is now easy at 100!

) Not that speed is necessarily the

main objective of practice, but being able to play in a
controlled manner at a more rapid pace certainly gives
us a feeling of satisfaction.
How long a given routine should be used before it
is changed is up to the student; in general, a routine
is not effective unless it is used for a month or more.
Since it is too easy to overlook major weaknesses in
one's own playing, it would certainly be well for a stu-
dent to seek advice of a teacher in routine plan
The daily routine is an excellent way to start
practice sessions, as it provides a planned beginrj
Too often practice is begun in an aimless manner
if there is a specific task to perform immediately
can get started with no waste of time or effort.
By the use of a well-planned daily routine we
learn, not merely to play the material, but to plav
instrument.
Contemporary
Music
for
Unaccompanied
Trumpet
Steven Winick
Ever since tremendous forces were employed by
Mahler in the Eighth Symphony, the so-called "Sym-
phony of a Thousand," and by Stravinsky in The Rite
of Spring, which uses a minimum of 110 players, there
has been a general tendency toward a reduction in the
size of the performing medium. Ultimately, this trend
has resulted in the appearance of contemporary music
for unaccompanied instruments. The unaccompanied
Steven Winick is a member of the United States Military
Academy Band at West Point. He earned B.M. and M.M. de-
grees f rom the Eastman School of Music where he played
trumpet with the Rochester Philharmonic Orchestra and solo
cornet with the Eastman Wind Ensemble. He is presently
working on the DM.A. degree at Eastman.
36
solo has important advantages over the accompaniec
solo. ,
The performer benefits from the unaccompanied soio
by becoming, more than ever before, ful l y aware oJ
aspects of his playing. Since he cannot rely on tl
companiment to help furnish melodic, rhythmic, an
dynamic contrasts, he learns to provide them hrrr
He also improves his interpretive skills and learns
perform the subtleties of a work effectively $||
overdoing them. J e
These benefits can also be derived from good e
material. Many of the more recent French etudes
t r umpet , such as those by Bitsch, Charlier, Chay ^
Sabarich, Tomasi, and those contained in volume
[61
13]
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Figure 1
me Formal Aspects in Ketting's Intrada
CLIMAX
triplet figure
explodes \1
triplet figure
introduced
triplet figure
in repose
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4 )
1]
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A
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35
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2] Tranquillo
scale: l/16th of an inch ~ one beat
Decido Maestoso Tranquillo Lento
iccompanied
npanied solo
aware of all
ly on the ac-
.ythmic, and
lem himself,
nd learns to
/ely without
i good etude
h etudes for
er, Chaynes,
volume three
J
the Leduc edition of the Arban method for trumpet,
e musically interesting and challenging enough to
ake excellent unaccompanied solos. They require a
od command of technique and an understanding of
le and interpretation.
Andre Jolivet's Air de bravoura is one work which
ight very well be found in a book of French etudes,
owever, it is published separately, along with an
tional piano accompaniment.
Another advantage of the unaccompanied solo is its
.ccessful use in orchestra and band auditions. In
.ese situations, the accompanied solo cannot be fully
preciated because often the accompanist is sight-
ding the part poorly, or he is not even available.
An unaccompanied solo is also useful in programing
ause of the variety it adds to recitals of accompa-
.ed works.
An accompanist is essential to complete the musical
use of accompanied solos. Unfortunately, these solos
'e more often than not played and studied without an
companist. Of course, the unaccompanied solo elimi-
ates this problem.
Since the unaccompanied solo is a complete musical
ptity, it is an excellent means of teaching composi-
ional form. For example, Randell Croley's Variazioni
r solo trumpet con sordino can be used to illustrate
ariation form. The theme of the piece is based on the
>emi-tonal pentatonic scale with a chromatic ornamen-
ation which pivots around the note B. Each of the six
ariations has a single mood and explores one idea:
manipulation of a certain interval, quarter tones, or
rnamental flourishes which are marked rapido and
haracterize much of Croley's music.
Intrada by Otto Ketting is another unaccompanied
olo which provides an excellent example of studying
3rm. The time-line in Figure 1 shows six ways in
hich the structure of this piece can be observed. There
are no bar lines in the piece except for double bars
which are represented on the time line by short, vertical
lines. Number 1 at the left of the figure indicates the
number of quarter note beats in each section. By as-
signing a horizontal unit to each quarter note, the
relative length of each section can be shown. Number 2
lists the tempo and mood indications. The third way of
looking at the piece is from the standpoint of macro-
form A B A C A plus the coda. Number 4 shows the
subdivisions of this large form. Number 5 represents
dynamic highlights and is useful as an illustration of
one of the most important principles of form that of
tension and relaxation. Number 6 is concerned with the
growth and treatment of the triplet figure used in the
piece. A close study of these aspects, both singly and
in combination, can lead to an increased knowledge
and appreciation of the form and meaning of this work.
HeinzSchroter's Fanfarette is cast in a da capo form.
The melodic structure of the piece is based on the inter-
val of a minor second. This interval is used economi-
cally and effectively to give the piece a series of con-
stantly shifting tonal centers. Although rhythmically
not very original, its cheerful, light-hearted character
makes it a pleasant addition to any trumpeter' s solo
repertory.
A number of recent unaccompanied solos are valu-
able for developing a trumpeter' s knowledge of con-
temporary techniques and effects as well as for their
inherent musical worth.
Samuel Adler's Canto #1 uses various transforma-
tions and permutations of a 12-tone set combinator-
ially, along with occasional repetitions of 3 or 4-note
groups within a phrase. Some unusual effects em-
ployed include glissando, flutter-tongue, quarter tones,
and striking the bell with the fingernails.
Equinoctial Points by this writer is based on the
combination of a 12-tone set and references to We
37
Shall Overcome, the unofficial hymn of the civil rights
movement. This piece employs flutter-tongue, pedal
tones, harmon mute, tremolo, and reverberative ef-
fects.
In John Rahn's Counterpoints the performer is re-
quired to use vibrato at a rate of six pulses to the beat,
and to increase or decrease the rate of vibrato as a
crescendo is made. One rhythmically interesting sec-
tion calls on the soloist to accent every fifth note in a
series of 16th notes, and every fourth note in a series
of quintuplet 16th notes.
These works represent only a fraction of an
exciting, valuable, and constantly growing
repertory for unaccompanied trumpet
Barney Childs's Interbalances IV is an aleatoric work
for solo trumpet and optional narrator. The performer
is free to shape the total presentation as it unwinds
in time. Certain sections in the trumpet part require
the soloist to play pedal tones and tremolos, suck air
in through the trumpet, open the water key while play-
ing, and blow audibly through the instrument without
producing any pitch.
The Solo Piece for Trumpet by Stefan Wolpe is built
on tiny, cell-like structures which retain their basic
identity through shifts of registers, rhythms, and dy-
namics. The phrases seem to grow out of one another,
and the result is an accumulation of tensions which
are never resolved. Wolpe, like Webern, is greatly con-
cerned with the dramatic use of silence, which takes on
as much importance as the sound itself.
Charles Whittenberg's Polyphony uses an all-com-
binatorial, 12-tone set which is partitioned in a cyclic
manner so that dynamics, registers, and articulations
are associated with particular segments of the set.
Flutter-tongue, tremolo, and half-valve passages are
employed.
Some etudes make good
unaccompanied solos
These works represent only a fraction of an exciting,
valuable, and constantly growing repertory for unac-
companied trumpet. The unaccompanied solo litera-
ture available for all instruments is really more ex-
tensive than most musicians realize. The study and per-
formance of unaccompanied solos provides a unique
and challenging musical experience which cannot be
obtained from accompanied solos.
Contemporary Music For Unaccompanied Trumpet
A Selective List
Adler, Samuel. Canto #1 Four Concert Etudes for
Trumpet Solo. (1970). Rochester, N. Y.: By the Com-
poser, Eastman School of Music, 26 Gibbs Street.
Duration 8 minutes.
Arnold, Malcolm. Fantasy for Trumpet. Op. 100. Lon-
don: Faber Music Ltd., 1969. Duration 3 1/2 mi-
nutes.
Childs, Barney. Interbalances IV for Trumpet and Op-
tional Narrator. Hattiesburg, Miss.: Tritone Press
1962.
Winick, Steven. Equinoctial Points for Solo Trumpet.
New York: Autograph Editions, 1970. Duration 3
minutes.
Wolpe, Stefan. Solo Piece for Trumpet. (1966). New
York: Josef Marx Music Co., 1968. Duration 2 1/2
minutes.
Some Recent French Etudes
Suitable for Unaccompanied Trumpet Solos
Arban, Joseph J. B. L. Celebre methode complete de
trompette, cornet a pistons et saxhorn. Edited y
Jean Maire. Paris: Leduc, 1956.
Bitsch, Marcel. Vingt etudes. Paris: Leduc, 195 .
Charlier, Theo. Trente-six etudes transcendantes
Paris: Leduc, 1946.
Chaynes, Charles. Quinze etudes. Paris: Leduc, 1
Sabarich, Raymond, Dix etudes. Paris: Editions S6
1954.
Tomasi, Henri. Six etudes. Paris: Leduc, 1" -5
Croley, Randell. Variazioni for Solo Trumpet n
No. 3. (1965). Hattiesburg, Miss.: Tritone P j
1968. Duration 4 1/2 minutes. ess.
Danburg, Russell. Three Monologues for Solo Tru
(1955). Gainesville, Fla.: By the Composer, 212
43rd Terrace. Duration 5 minutes.
Davis, David. Sonata for Trumpet. (1960) Los Ane 1
Calif.: By the Composer, 10501 Ashton Aver?'
Duration 7 minutes
Henderson, Robert. Variation Movements. (1967) s
Bernadino, Calif.: Roche-Thomas Music Co 1970 |
Jolivet, Andre. Air de bravoure. New York: Intern *
tional Music Co., 1954. Duration 1 1/2 minut
Ketting, Otto. Intrada. Amsterdam: Donemus, 1958
Duration 3 minutes.
Rahn, John. Counterpoints for Solo Trumpet New
York: Autograph Editions, 1970. Duration 1 minute
Reinhardt, Bruno. Music for Trumpet Solo. Tel Aviy:
Israeli Music Publications Ltd., 1965. Duration 5
minutes.
Schroter, Heinz. Fanfarette pour Trompette seule
Paris: Leduc, 1963. Duration 2 1/2 minutes.
Stein, Leon. Sonata for Solo Trumpet. New York:
Composers Facsimile Edition, 1969. Duration 10 1/2
minutes.
Vackar, Dalibor C. Partita for Trumpet. (1968). Lon-
don: Ernst Eulenburg Ltd., 1969.
Whittenberg, Charles. Polyphony for Trumpet. (1965).
New York: Josef Marx Music Co., 1970. Duration 7
minutes.
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