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Brand New
Never Played
The Orchestral Trumpeter
by Sigmund Hering
Author’s Note: Before the trumpet emerged as a valve or
chromatic (“semi-tone”) instrument, circa 1850-60, it was no simple matter for
a symphony trumpeter to cope with a concert program in diversified keys. Trumpets were pitched in specific,
self-limiting keys: F, E-flat, D, et cetera. Thus, for a program of
compositions in four or five keys, the trumpeter was obliged to have an array
of differently pitched instruments and crooks laid out before him in order to
perform each score’s indicated tonality.
The valve trumpet did away with this cumbersome apparatus,
for it was al “all-key” instrument, and could skip as nimbly as a violin
through the most complicated modulations.
However, since the older published music exists unchanged, there still
remains the problem of adjusting the key of one’s own instrument to the key of
the instrument called for by a particular composition.
In due course, this obstacle also was hurdled. Trumpeters learned to transpose while they
played. That is, they read at a properly
raised or lowered interval and presto, all was well.
After forty years as a member of the Philadelphia Orchestra
Trumpet Section and teacher of trumpet, I am still rather surprised at the
limited amount of materials available to the aspiring symphony trumpeter on so
important a subject as transportation.
Learning to transpose on the job is too late. Indeed, it may mean the
abrupt termination of a coveted job!
The serious young trumpet student can, and should, acquire
ease in transposing at about the same time he begins to read fluently in all
keys. This is the course I have pursued
with my own pupils, many of whom occupy solo chair positions in major symphony
orchestras. It was with the hope of aiding other students that I prepared this
much needed method of transposition studies.
Almost all trumpeters now play in the B-flat trumpet. I therefore, based this method on transposing
from the trumpet in B-flat.
Sigmund Hering
Phildelphia Orchestra
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