Newsgroup: it.arti.musica.classica
Titolo: Info tromba

Carissimi amici di IAMC,
sono a chiedervi un aiuto. Qualche settimana fa ho ascoltato dal vivo un
concerto impostato su un programma barocco per tromba ed orchestra; tra i
vari pezzi eseguiti c'era un concerto di Vivaldi che mi ha fatto
completamente impazzire, un pezzo meraviglioso...sono talmente galvanizzato
che ho deciso di intraprendere lo studio della tromba e lasciare i miei
precedenti interessi...
L'aiuto che vi chiedo è quello di fornirmi indicazioni sui vari tipi di
tromba esistenti, se ci sono cioè trombe che hanno diverse tonalità; quali
sono le marche più conosciute; i prezzi medi di una tromba per cominciare a
studiare;magari anche qualche riferimento bibliografico...
Scusate se vi ho rubato del tempo, ma spero che questa mia venga accolta
seriamente evitando battutine di vario genere che possono sorgere dal nome
dello strumento.
Grazie anticipatamente per l'aiuto.

 dello strumento.
Azz!!! Stavo già facendo la battutina! Vorrà dire che la tengo per me ;-)
Ciao
Viperozza

 Grazie anticipatamente per l'aiuto.
ciao, spero di esserti stato d'aiuto .....
...e buona fortuna con uno degli strumenti più belli e impestati che ci
siano!
Giangia
--
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per rispondere in mail togli TI DALLE PALLE
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 Carissimi amici di IAMC,
*The Western trumpet*.
A member of the family of brass instruments, in its modern form the Western
trumpet is a folded tube opening at the end into a bell, with a separate
mouthpiece and (usually) three valves. Trumpet playing normally involves
overblowing to obtain various members of the harmonic series. Ex.1 shows the
harmonic series for a trumpet in 8' C (i.e. with approximately 8' (2·44
metres) of tubing; Roman numerals denote the beginning of each octave,
Arabic the individual members). Certain partials, indicated in black, are
distinctly sharp or flat (as shown by the direction of the arrows above
them) in relation to their equivalents in the equal-tempered scale. For
example, the 11th partial is intermediate between f'' and f''and the 13th
partial intermediate between g'' and a''. In performance, pitch can be
adjusted slightly by lip technique.
The older 'natural trumpet' is able to produce only the notes of the
harmonic series. In the modern valve trumpet the three valves add, in
effect, extra lengths of tubing, thus enabling the pitch of 'open' notes to
be lowered by a whole tone, a semitone or a minor 3rd respectively. Used in
various combinations the valves can lower the pitch by as much as a
diminished 5th, making available a chromatic scale from a diminished 5th
below the 2nd partial up to the 10th partial or higher (see Valve (i)).
Trumpet parts are traditionally notated in the key of C; the actual pitch
sounded depends on the length of the instrument (see Transposing
instruments). Natural trumpets were commonly built to pitches between 6' F
and 9' B. In modern valve trumpets the tubing need be only half as long:
'trumpet in C' generally means 4' C, and c' is the 2nd partial, not the 4th
(see also Acoustics, §IV).
*Sizes and types*.
The B trumpet common in orchestras and bands today has a tube length of 130
cm and three piston valves. It consists of a tapered mouthpipe (Fr. branche;
Ger. Mundrohr) 18 to 33 cm long into which the mouthpiece is inserted; a
middle section of cylindrical tubing, including the tuning-slide (Fr.
coulisse d'accord; Ger. Stimmzug) and the valves together with their
associated tubing; and a conical bell section (Fr. pavillon; Ger.
Schallstück) ending in a flare (Fr. évasement; Ger. Schallbecher,
Schalltrichter or Stürze) about 12·5 cm in diameter. The cylindrical part of
the bore is between 11·66 mm and 11·89 mm in diameter. Although the bore was
traditionally about one-third conical and two-thirds cylindrical, modern
manufacturers of piston-valve trumpets have increased the length of the
conical section to improve intonation; in some modern trumpets the
cylindrical tubing constitutes only about 20% of the total length.
The trumpet in 4' C, pitched a whole tone above the B instrument, is also
common in orchestral work. Indeed, modern trumpeters, because of the variety
of musical styles in which they are required to play and the perfection
demanded of them in broadcast and recorded performances, need at least three
or four instruments, including ones pitched in B and in C for regular work,
in D/E and in high B/A (piccolo trumpet; Ger. Hoch-B/A-Trompete; Fr. petite
trompette en si-bémol/la aiguë, trompette piccolo) for high parts and in
Baroque music. The 'quick change' rotary valve which changes the pitch from
B to A, favoured by some orchestras at the beginning of the 20th century, is
no longer in general use. A low E trumpet is still used in military bands on
the Continent, especially in Germany and Italy. It is the band counterpart
of the old orchestral valve trumpet in 6' F.
The orchestral bass trumpet was designed to Wagner's specifications for the
Ring. Wagner first visualized a huge trumpet pitched an octave below the
ordinary 6' F valve trumpet of his day, with the same length of tubing as a
horn or tuba. He later suggested (to the Berlin maker C.W. Moritz) the
construction of a four-valve trumpet in 8' C with crooks for B and A. The
resulting instrument has a tube length no greater than that of the 6' F
trumpet played with its longest crooks, but it has a more mellow tone
because of its wide bore and large mouthpiece. It is usually played by a
trombonist. Wagner demanded of it a large compass, from G to g'', and gave
it solo passages in every part of its range. Since Wagner, other composers -
including Richard Strauss and Stravinsky - have been attracted to write for
the bass trumpet.
After World War II piston-valve trumpets spread from France, England and the
USA to most European orchestras, although rotary-valve trumpets,
traditionally used in Germany and eastern Europe, remained in use in a few,
such as the Berlin PO, the Leipzig Gewandhaus, Dresden Staatskapelle and the
Vienna PO. In the 1980s many orchestras - including some in which they had
never been employed - began to use rotary-valve trumpets for the German
Classical and Romantic repertory. An instrument of this type has a mouthpipe
only about 13 cm long; the valve section is usually inserted between
mouthpipe and tuning-slide; the bell is some 13 to 14 cm in diameter.
BIBLIOGRAPHY
A General. B The Western trumpet.
a: general
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'Pu', M. McLean, 'Sankh', A. Dick, 'Tapáe', 'Taure', Trumpet [incl list of
other types of Trumpet, §5, pp.652-3])
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Indians (Göteborg, 1934)
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Eskimo and American Indian Peoples (New York, 1973)
A. Baines: Brass Instruments: their History and Development (London, 1980)
K.A. Gourlay: 'Long Trumpets of Northern Nigeria in History and Today',
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85-97
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for the Evolution of Lip-Blown instruments from Classical Antiquity until
the End of the Middle Ages', HBSJ, i (1989), 3-64
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(London, 1992), 245-300
M. Ghouse Nasuruddin: The Malay Traditional Music (Kuala Lumpur, 1992)
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b: the western trumpet
MersenneHU
MGG1 (A. Berner)
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musikalischen Kunst (Ulm, 1687, 2/1697/R)
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137-45
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Mittelalters (Berne, 1962)
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GSJ, xv (1962), 70-81; xvi (1963), 73-84
E. Halfpenny: 'Two Oxford Trumpets', GSJ, xvi (1963), 49-62
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1963)
J.M. Barbour: Trumpets, Horns and Music (East Lansing, MI, 1964)
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H. Heyde: Trompete und Trompeteblasen im europäischen Mittelalter (diss., U.
of Leipzig, 1965)
D. Smithers: 'The Trumpets of J.W. Haas: a Survey of Four Generations of
Nuremberg Brass Instrument Makers', GSJ, xviii (1965), 23-41
J. Wheeler: 'Further Notes on the Classic Trumpet', GSJ, xviii (1965), 14-22
P. Bate: The Trumpet and Trombone (London, 1966, 2/1972/R)
M. Byrne: 'The Goldsmith-Trumpet-Makers of the British Isles', GSJ, xix
(1966), 71-83
BWQ (1966-9)
K. Polk: 'Wind Bands of Medieval Flemish Cities', BWQ, i (1966-8), 93-117
E. Halfpenny: 'Early British Trumpet Mouthpieces', GSJ, xx (1967), 76-88
H. Heyde: 'Die Unterscheidung von Klarin- und Prinzipaltrompete: zum Problem
des Klarinblasens', BMw, ix (1967), 55-9
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B. Stedron: 'Landschafts-Trompeter und -Tympanisten im alten Brünn', Mf, xxi
(1968), 438-58
R.E. Eliason: Brass Instrument Key and Valve Mechanisms made in America
before 1875, with Special Reference to the D.S. Pillsbury Collection in
Greenfield Village, Dearborn, Michigan (diss., U. of Missouri, 1969)
E. Halfpenny: 'Four Seventeenth-Century British Trumpets', GSJ, xxii (1969),
51-7
K. Polk: 'Municipal Wind Music in Flanders in the Late Middle Ages', BWQ, ii
(1969), 1-45
A. Schnoebelen: 'Performance Practices at San Petronio in the Baroque', AcM,
xli (1969), 37-55
E.J. Enrico: Giuseppe Torelli's Instrumental Ensemble Music with Trumpet
(diss., U. of Michigan, 1970)
L.J. Plenckers: Hoorn- en trompetachtige blaasinstrumenten, Haags
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E.H. Tarr: 'Monteverdi, Bach und die Trompetenmusik ihrer Zeit', GfMKB: Bonn
1970, 592-6
E.H. Tarr: 'Original Italian Baroque Compositions for Trumpet and Organ',
The Diapason, lxi/5 (1970), 27-9
T.F. Taylor: 'Jeremiah Clarke's Trumpet Tunes: Another View of Origins', MQ,
lvi (1970), 455-62
Brass Bulletin: International Brass Chronicle (1971-)
Sounding Brass (1971-82)
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D.L. Smithers: 'The Hapsburg Imperial Trompeter and Heerpaucker Privileges
of 1653', GSJ, xxiv (1971), 84-95
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Posaunenmacher von 1640', Mitteilung des Vereins für Geschichte der Stadt
Nürnberg, lix (1972), 198-202
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Trumpet', Brass Bulletin, no.2 (1972), 30-34, 40-42; no.3 (1972), 44-8, 54-7
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(diss., Technical Institute of Braunschweig, 1972)
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Clarinblaskunst 1500-1800 (Regensburg, 1973)
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24-35
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(Berne, 1973)
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(London, 1973, 2/1988)
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20. Jahrhundert (diss., U. of Innsbruck, 1973)
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and Obbligato Instrument (diss., North Texas State U., 1974)
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(1974-5), 1-9
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Karl-Marx-Universität Leipzig (Leipzig, 1975)
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, NRMI, xi (1977), 591-605
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Observations', EMc, v (1977), 177-83; vi (1978), 356-61
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143-203
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(1979), 92-132
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1979)
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17. und 18. Jahrhundert', Alta Musica, vi (1980), 9-32
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musique (Brussels, 1980)
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Karl-Marx-Universität Leipzig, iii (Leipzig, 1980)
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(1980), 181-229
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(1981), 325-9
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1981)
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Jahrhundert', Basler Jb für historische Musikpraxis, vii (1983), 119-65
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(1984), 26-33
ICTM Study Group on Music Archaeology: Conference II: Stockholm 1984, ii:
The Bronze Lurs
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besonderer Berücksichtigung der Tromba da tirarsi', BJb, lxx (1984), 59-89
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(Kassel, 1986)
D.L. Smithers, K. Wogram and J.M. Bowsher: 'Playing the Baroque Trumpet',
Scientific American, ccliv/4 (1986), 108-15
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Raum von den Anfängen bis zur Gegenwart (Leipzig, 1987)
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D. Smithers: 'Gottfried Reiches Ansehen und sein Einfluss auf die Musik
Johann Sebastian Bachs', BJb, lxxiii/1 (1987), 113-50
R. Dahlqvist: Bidrag till trumpeten och trumpetspelets historia: från
1500-talet till mitten av 1800-talet, med särskild hänsyn till perioden
1740-1830 (diss., U. of Göteborg, 1988) [with Eng. summary; Eng. trans. in
preparation]
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století, 1. cóst' ('Naturtrompete und Trompeter in Mähren im 17. und 18.
Jahrhundert, 1. Teil'), Acta musei moraviae, lxxiii (1988), 175-203
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klasicizem in njegov odmev na Slovenskem/Der europäische Musikklassizismus
und sein Widerhall in Slowenien: Ljubljana 1988, 53-62 [with Ger. summary]
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(1988), 63-6
J. Webb: 'The Billingsgate Trumpet', GSJ, xli (1988), 59-62
Historic Brass Society Journal (HBSJ) (1989-)
F. Anzenberger: Ein Überblick über die Trompeten- und Kornettschulen in
Frankreich, England, Italien, Deutschland und Österreich von ca. 1800 bis
ca. 1880 (diss., U. of Vienna, 1989)
R.W. Duffin: 'The trompette des ménestrels in the 15th-Century alta capella'
, EMc, xvii (1989), 397-402
H. Myers: 'Slide Trumpet Madness: Fact or Fiction?', EMc, xvii (1989), 383-9
K. Hofmann: 'Johann Sebastian Bachs Kantate "Jauchzet Gott in allen Landen"
bwv51: überlegungen zu Entstehung und ursprünglicher Bestimmung', BJb, lxxv
(1989), 43-54
K. Polk: 'The Trombone, the Slide Trumpet and the Ensemble Tradition of the
Early Renaissance', EMc, xvii (1989), 389-97
D.L. Smithers: 'A New Look at the Historical, Linguistic and Taxonomic Bases
for the Evolution of Lip-Blown Instruments from Classical Antiquity until
the End of the Middle Ages', HBSJ, i (1989), 3-64
D. Lasocki: 'A Bibliography of Writings about Historic Brass Instruments',
HBSJ (1990-) [annual series]; also available online
?
http://www.music.indiana.edu/musicref/brassint.htm
?
D.L. Smithers: 'Bach, Reiche and the Leipzig collegia musica', HBSJ, ii
(1990), 1-51
B. Cízek: 'Josef Kail (1795-1871), Forgotten Brass Instrument Innovator',
Brass Bulletin, no.73 (1991), 64-75; no.74 (1991), 24-9
G. Lawson: 'Medieval Trumpet from the City of London, II', GSJ, xliv (1991),
150-56
M.H. Schmid: 'Trompeterchor und Sprachvertonung bei Heinrich Schütz',
Schütz-Jb 1991, 28-55
A. Hiller: Trompetenmusiken aus drei Jahrhunderten (ca. 1600-nach 1900):
Kompositionen für 1 bis 24 (Natur-)Trompeten mit und ohne Pauken, 3 vols.
(Cologne, 1991) (Eng. trans., 1993)
R. Meucci: 'On the Early History of the Trumpet in Italy', Basler Jb für
historische Musikpraxis, xv (1991), 9-34
R.L. Barclay: The Art of the Trumpet-Maker: the Materials, Tools, and
Techniques of the Seventeenth and Eighteenth Centuries in Nuremberg (Oxford,
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*****Ale Redfiddler, qualità, convenienza & cortesia!************

> Umpf ....le marche più conosciute ..... Bach su tutte! Sono le migliori.>
Le Bach hanno raggiunto prezzi inaccettabili: per quasi 5 milioni di lire
conviene andare da un artigiano. Io consiglio le B&S. La qualità è più o
meno la stessa delle Bach, il prezzo sui 3 milioni. Con una cifra modesta ci
si compra un ottimo strumento professionale.
Fra i metodi trovo eccezionale James Stamp "Warm Up and Studies", in ogni
caso è necessario trovare un docente che conosca la scuola americana degli
ottoni. Se sei di Roma fammi sapere.
In bocca al lupo,
Valerio

da oggetto:
beato lui!


..........
;-)