File:The orchestra and its instruments (1917) (14595827179).jpg

Identifier: orchestraitsinst00sing (find matches)
Title: The orchestra and its instruments
Year: 1917 (1910s)
Authors: Singleton, Esther, d. 1930
Subjects: Orchestra Musical instruments
Publisher: New York : The Symphony society of New York
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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Century thislong tube was folded up and the sections were boundtogether by an ornamental cord. The word clarion was used to denote this new folded instrument andthe word trumpet was kept for the old straighttube, which still continued in favor. In the clarion, therefore, we have the ancestor ofthe modern trumpet. We cannot mistake its voice.Lavignac calls it a stately and heraldic instrument.That is a good characterization; for when we hear thesound of the trumpet, we picture processions, tourna-ments and pageants of historic and romantic times. To describe it in brief, we may say it is the sopranoof the horn family. It has nearly the same harmonicscale, but moves in a region at once higher and morerestricted. It differs from the horn in that it pro-duces only the open sounds. Closed sounds areunknown to it; and if attempted would produce onlyan unpleasant effect. Like the horn, the trumpet is a transposing instru-ment. It has a number of crooks,1 or lengtheningpieces. 1 See page 108.
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TRUMPET, SYMPHONY SOCIETY OF NEW YORK Carl Heinricb THE BRASSWIND FAMILY ill Of great agility, the trumpet is admirably suitedto rapid figures, arpeggios and especially to repetitionsof notes. Besides noisy fanfares and strident calls,it is able to produce in piano, or pianissimo, effectseither fantastic, or of extreme sweetness. Berlioz says: The quality of the trumpet tone isnoble and brilliant. It suits with warlike ideas, withcries of fury and vengeance, as with songs of triumph.It lends itself to the expression of all energetic andlofty and grand sentiments and to the majority oftragic accents. It may even figure in a jocund piece,provided the joy assume a character of pomp andgrandeur. The first improvement in the trumpet, writesCarl Heinrich, was made by Meyer of Hamburg inthe Eighteenth Century. This was a practical mouth-piece. In 1780 Wogel added tubes by which theperformer was enabled to play in tune with otherinstruments. Wiedenger, the court-trumpeter in Vienna(1801), add

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