Prout | Chapter IX | Figures
The Horn and Trumpet:
Embouchure; Harmonic Series; Transposing
The Horn:
Illustration; Clefs; Transposing; Range; Natural Horn; Tone Quality; Register; Texture; Trills; Fingerings; Stopped Notes
The Trumpet:
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 176
Summary of Figure: An example showing three notes. On the flute or oboe they are all produced with the same air pressure by pressing different keys, but on the trumpet they all require a different air pressure and embouchure.
Exemplification of: trumpet embouchure, air pressure
Prout, 1899 (vol.I), p. 176 [Note: An example showing three notes. On the flute or oboe they are all produced with the same air pressure by pressing different keys, but on the trumpet they all require a different air pressure and embouchure.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 177
Summary of Figure: The note C2, which is the fundamental tone produced by the vibration of an eight-foot tube.
Exemplification of: trumpet and horn acoustics, harmonic series
Prout, 1899 (vol.I), p. 177 [Note: The note C2, which is the fundamental tone produced by the vibration of an eight-foot tube.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 177
Summary of Figure: The note C3, which is the first harmonic of the fundamental tone C2, and is produced by an eight-foot tube vibrating in halves.
Exemplification of: trumpet and horn acoustics, harmonic series
Prout, 1899 (vol.I), p. 177 [Note: The note C3, which is the first harmonic of the fundamental tone C2, and is produced by an eight-foot tube vibrating in halves.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 177
Summary of Figure: The note G3, which is the second harmonic of the fundamental tone C2, and is produced by an eight-foot tube vibrating in thirds
Exemplification of: trumpet and horn acoustics, harmonic series
Prout, 1899 (vol.I), p. 177 [Note: The note G3, which is the second harmonic of the fundamental tone C2, and is produced by an eight-foot tube vibrating in thirds.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 177
Summary of Figure: An example showing the notes of the harmonic series based on the fundamental C2, up to the 20th partial.
Exemplification of: trumpet and horn acoustics, harmonic series
Prout, 1899 (vol.I), p. 177 [Note: An example showing the notes of the harmonic series based on the fundamental C2, up to the 20th partial.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 178
Summary of Figure: An example showing the first nine notes of the harmonic series based on the fundamental D2. This series produces the notes available on a natural trumpet or horn when the "D crook" is used.
Exemplification of: trumpet and horn acoustics, harmonic series, crooks
Prout, 1899 (vol.I), p. 178 [Note: An example showing the first nine notes of the harmonic series based on the fundamental D2. This series produces the notes available on a natural trumpet or horn when the "D crook" is used.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 178
Summary of Figure: An example showing the first nine notes of the harmonic series based on the fundamental F2. This series produces the notes available on a natural trumpet or horn when the "F crook" is used.
Exemplification of: trumpet and horn acoustics, harmonic series, crooks
Prout, 1899 (vol.I), p. 178 [Note: An example showing the first nine notes of the harmonic series based on the fundamental F2. This series produces the notes available on a natural trumpet or horn when the "F crook" is used.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 179
Summary of Figure: The note G4
Exemplification of: horn transposing notation
Prout, 1899 (vol.I), p. 179 [Note: The note G4.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 180
Summary of Figure: An example showing the appearance of the natural horn.
Exemplification of: natural horn illustration
Prout, 1899 (vol.I), p. 180 [Note: An example showing the appearance of the natural horn.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 193
Summary of Figure: : An example showing the appearance of the valved horn.
Exemplification of: valved horn illustration
Prout, 1899 (vol.I), p. 193 [Note: An example showing the appearance of the valved horn.]
Chapter 9: Brass Instruments: The Horn
Citation: Prout, 1899 (vol.I), p. 180
Summary of Figure: The notes C3 and C4 in treble clef.
Exemplification of: horn clefs, notation
Prout, 1899 (vol.I), p. 180 [Note: The notes C3 and C4 in treble clef.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 181
Summary of Figure: The notes C3 and C4 in bass clef.
Exemplification of: horn clefs, notation
Prout, 1899 (vol.I), p. 181 [Note: The notes C3 and C4 in bass clef.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 181
Summary of Figure: The notes C2 and C3 in bass clef. An archaic notational custom used this notation for the notes an octave above in horn parts.
Exemplification of: horn clefs, notation
Prout, 1899 (vol.I), p. 181 [Note: The notes C2 and C3 in bass clef. An archaic notational custom used this notation for the notes an octave above in horn parts.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 181
Summary of Figure: A table showing the relationship of sounding and notated pitch for horns written in different transposing keys. For natural horns, each key represents the use of a different crook on the instrument.
Exemplification of: horn crooks, keys, transposing notation
Prout, 1899 (vol.I), p. 181 [Note: A table showing the relationship of sounding and notated pitch for horns written in different transposing keys. For natural horns, each key represents the use of a different crook on the instrument.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 196
Summary of Figure: An example from Act 2 of Wagner's "Lohengrin" demonstrating an unconventional horn notation in which crook changes are written with no break, forcing the player to transpose for individual notes.
Exemplification of: horn transposing notation
Composer and Work: Wagner, Richard | Lohengrin, WWV 75 <1846–1847>
Prout, 1899 (vol.I), p. 196 [Note: An example from Act 2 of Wagner's "Lohengrin" demonstrating an unconventional horn notation in which crook changes are written with no break, forcing the player to transpose for individual notes.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 196
Summary of Figure: An example showing the most common notation for stopped notes, which can still be used on the valved horn for their distinctive tone quality. In an example like this, they can be used to produce an "echo" effect.
Exemplification of: horn transposing notation
Prout, 1899 (vol.I), p. 196 [Note: An example showing the most common notation for stopped notes, which can still be used on the valved horn for their distinctive tone quality. In an example like this, they can be used to produce an "echo" effect.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 197
Summary of Figure: An example from Act 2 of Wagner's "Lohengrin" demonstrating two simpler ways of notating a horn passage. The original used an unconventional notation in which crook changes are written with no break, forcing the player to transpose for individual notes (previous example).
Exemplification of: horn transposing notation
Composer and Work: Wagner, Richard | Lohengrin, WWV 75 <1846–1847>
Prout, 1899 (vol.I), p. 197 [Note: An example from Act 2 of Wagner's "Lohengrin" demonstrating two simpler ways of notating a horn passage. The original used an unconventional notation in which crook changes are written with no break, forcing the player to transpose for individual notes (previous example).]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 182
Summary of Figure: The note G5, which is the twelfth upper partial of the horn in a given key. Prout recommends not writing above this note for a horn part in a key higher than F.
Exemplification of: horn range, keys
Prout, 1899 (vol.I), p. 182 [Note: The note G5, which is the twelfth upper partial of the horn in a given key. Prout recommends not writing above this note for a horn part in a key higher than F.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 182
Summary of Figure: The note C4, which is the lower limit recommended by Prout for the typical range of a first horn part.
Exemplification of: horn 1 range, lower limit
Prout, 1899 (vol.I), p. 182 [Note: The note C4, which is the lower limit recommended by Prout for the typical range of a first horn part.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 182
Summary of Figure: The note E5, which is the upper limit recommended by Prout for the typical range of a second horn part.
Exemplification of: horn 2 range, upper limit
Prout, 1899 (vol.I), p. 182 [Note: The note E5, which is the upper limit recommended by Prout for the typical range of a second horn part.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 182
Summary of Figure: The note Bb4, which is naturally flat in the harmonic series with respect to equal temperament. On a natural horn, the hand can be used to "stop" this note to a lower pitch, producing an A4.
Exemplification of: natural horn stopped notes
Prout, 1899 (vol.I), p. 182 [Note: The note Bb4, which is naturally flat in the harmonic series with respect to equal temperament. On a natural horn, the hand can be used to "stop" this note to a lower pitch, producing an A4.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 183
Summary of Figure: An example showing a series of low notes in the bass clef that could be played on the natural horn using a special embouchure and hand technique. These are known as "artificial" or "factitious" notes.
Exemplification of: natural horn, artificial/factitious notes, embouchure, clefs
Prout, 1899 (vol.I), p. 183 [Note: An example showing a series of low notes in the bass clef that could be played on the natural horn using a special embouchure and hand technique. These are known as "artificial" or "factitious" notes.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 183
Summary of Figure: An example from Haydn's Symphony No. 51 demonstrating a melody for the first horn and the use of very low "artificial" or "factitious" notes in the second horn. In the string accompaniment, violins are muted and violas play "col Basso," doubling the cello and double bass line an octave higher. Editor: The treatise identifies this work as "Symphony in B flat, No. 24," but it is now known as No. 51.
Exemplification of: natural horn, artificial/factitious notes, embouchure, clefs
Composer and Work: Haydn, Franz Joseph | Symphony No.51, B-flat major <1774>
Prout, 1899 (vol.I), p. 183 [Note: (1/2) An example from Haydn's Symphony No. 51 demonstrating a melody for the first horn and the use of very low "artificial" or "factitious" notes in the second horn. In the string accompaniment, violins are muted and violas play "col Basso," doubling the cello and double bass line an octave higher. Editor: The treatise identifies this work as "Symphony in B flat, No. 24," but it is now known as No. 51.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 184
Summary of Figure: An example from Haydn's Symphony No. 51 demonstrating a melody for the first horn and the use of very low "artificial" or "factitious" notes in the second horn. In the string accompaniment, violins are muted and violas play "col Basso," doubling the cello and double bass line an octave higher. Editor: The treatise identifies this work as "Symphony in B flat, No. 24," but it is now known as No. 51.
Exemplification of: natural horn, artificial/factitious notes, embouchure, clefs
Composer and Work: Haydn, Franz Joseph | Symphony No.51, B-flat major <1774>
Prout, 1899 (vol.I), p. 184 [Note: (2/2) An example from Haydn's Symphony No. 51 demonstrating a melody for the first horn and the use of very low "artificial" or "factitious" notes in the second horn. In the string accompaniment, violins are muted and violas play "col Basso," doubling the cello and double bass line an octave higher. Editor: The treatise identifies this work as "Symphony in B flat, No. 24," but it is now known as No. 51.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 186
Summary of Figure: An example from Cherubini's "Eliza" demonstrating a horn solo originally intended for the natural horn. This example contains several notes that don't exist naturally in the horn as part of the harmonic series and that must be obtained by "stopping" with the hand. They are usually approached by step from the "open" notes they modify.
Exemplification of: natural horn stopped notes
Composer and Work: Cherubini, Luigi | Eliza (Le voyage aux glaciers du Mont St Bernard) <1794>
Prout, 1899 (vol.I), p. 186 [Note: An example from Cherubini's "Eliza" demonstrating a horn solo originally intended for the natural horn. This example contains several notes that don't exist naturally in the horn as part of the harmonic series and that must be obtained by "stopping" with the hand. They are usually approached by step from the "open" notes they modify.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 187
Summary of Figure: An example from Spontini's "La Vestale" demonstrating a solo horn melody originally intended for the natural horn. Though the key of the movement is C major, the natural horn in F is used because of its greater agility in "florid" passages. Writing the part for horn in C (next example) requires fewer stopped notes, but would be technically much more difficult on the natural horn.
Exemplification of: natural horn keys, agility
Composer and Work: Spontini, Gaspare | La Vestale <1807>
Prout, 1899 (vol.I), p. 187 [Note: (1/3) An example from Spontini's "La Vestale" demonstrating a solo horn melody originally intended for the natural horn. Though the key of the movement is C major, the natural horn in F is used because of its greater agility in "florid" passages. Writing the part for horn in C (next example) requires fewer stopped notes, but would be technically much more difficult on the natural horn.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 184
Summary of Figure: An example from the beginning of the Overture to Weber's "Oberon" demonstrating an unaccompanied horn solo with a character Prout describes as "dreamy and melancholy."
Exemplification of: horn tone quality
Composer and Work: Weber, Carl Maria von | Oberon, J.306 <1825–1826>
Prout, 1899 (vol.I), p. 184 [Note: An example from the beginning of the Overture to Weber's "Oberon" demonstrating an unaccompanied horn solo with a character Prout describes as "dreamy and melancholy."]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 188
Summary of Figure: An example from Spontini's "La Vestale" demonstrating a solo horn melody originally intended for the natural horn. Though the key of the movement is C major, the natural horn in F is used because of its greater agility in "florid" passages. Writing the part for horn in C (next example) requires fewer stopped notes, but would be technically much more difficult on the natural horn.
Exemplification of: horn tone quality
Composer and Work: Weber, Carl Maria von | Oberon, J.306 <1825–1826>
Prout, 1899 (vol.I), p. 188 [Note: (2/3) An example from Spontini's "La Vestale" demonstrating a solo horn melody originally intended for the natural horn. Though the key of the movement is C major, the natural horn in F is used because of its greater agility in "florid" passages. Writing the part for horn in C (next example) requires fewer stopped notes, but would be technically much more difficult on the natural horn.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 188
Summary of Figure: An example from Spontini's "La Vestale" demonstrating a solo horn melody originally intended for the natural horn in F (previous example). Though the key of the movement is C major, the natural horn in F is used because of its greater agility in "florid" passages. Writing the part for horn in C (this example) requires fewer stopped notes, but would be technically much more difficult on the natural horn.
Exemplification of: An example from Spontini's "La Vestale" demonstrating a solo horn melody originally intended for the natural horn. Though the key of the movement is C major, the natural horn in F is used because of its greater agility in "florid" passages. Writing the part for horn in C (next example) requires fewer stopped notes, but would be technically much more difficult on the natural horn.
Exemplification of: horn tone quality
Composer and Work: Weber, Carl Maria von | Oberon, J.306 <1825–1826>
Prout, 1899 (vol.I), p. 188 [Note: (3/3) An example from Spontini's "La Vestale" demonstrating a solo horn melody originally intended for the natural horn in F (previous example). Though the key of the movement is C major, the natural horn in F is used because of its greater agility in "florid" passages. Writing the part for horn in C (this example) requires fewer stopped notes, but would be technically much more difficult on the natural horn.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 189
Summary of Figure: An example from Schubert's "Great C Major" Symphony (No. 9) demonstrating a passage for two unison horns accompanied by string chords. In this example, it is reasonable to write up to the high G for the second horn because on the natural horn with the C crook it is a lower note than if the horns had been, for example, in F. Editor: The treatise identifies this work as "Symphony no. 7," but it is now known as no. 9.
Exemplification of: horn high register
Composer and Work: Schubert, Franz | Symphony No.9, D.944, C major (The Great C major) <1825–1828>
Prout, 1899 (vol.I), p. 189 [Note: An example from Schubert's "Great C Major" Symphony (No. 9) demonstrating a passage for two unison horns accompanied by string chords. In this example, it is reasonable to write up to the high G for the second horn because on the natural horn with the C crook it is a lower note than if the horns had been, for example, in F. Editor: The treatise identifies this work as "Symphony no. 7," but it is now known as no. 9.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 197
Summary of Figure: An example from the solo entrance of Schumann's Concertstück for four horns demonstrating a "vocal" type of melodic writing for the valved horn. This example also shows the use of the high register in the first horn part.
Exemplification of: horn high register, chromatic notes, vocal melodic contour
Composer and Work: Schumann, Robert | Concertstück, 4 Horns, op.86, F major <1849>
Prout, 1899 (vol.I), p. 197 [Note: (1/2) An example from the solo entrance of Schumann's Concertstück for four horns demonstrating a "vocal" type of melodic writing for the valved horn. This example also shows the use of the high register in the first horn part.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 198
Summary of Figure: An example from the solo entrance of Schumann's Concertstück for four horns demonstrating a "vocal" type of melodic writing for the valved horn. This example also shows the use of the high register in the first horn part.
Exemplification of: horn high register, chromatic notes, vocal melodic contour
Composer and Work: Schumann, Robert | Concertstück, 4 Horns, op.86, F major <1849>
Prout, 1899 (vol.I), p. 198 [Note: (2/2) An example from the solo entrance of Schumann's Concertstück for four horns demonstrating a "vocal" type of melodic writing for the valved horn. This example also shows the use of the high register in the first horn part.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 200
Summary of Figure: An example from the last of Beethoven's 12 German Dances demonstrating a solo for the post horn. The four notes used in this excerpt are the only ones ever used on the instrument in the pieces that include it by Beethoven and Mozart. The accompaniment is omitted, but consists only of a C major chord.
Exemplification of: post horn range
Composer and Work: Beethoven, Ludwig van | 12 German Dances, WoO 8 (Deutsche Tänze) <1795>
Prout, 1899 (vol.I), p. 200 [Note: An example from the last of Beethoven's 12 German Dances demonstrating a solo for the post horn. The four notes used in this excerpt are the only ones ever used on the instrument in the pieces that include it by Beethoven and Mozart. The accompaniment is omitted, but consists only of a C major chord.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 201
Summary of Figure: An example from Bach's cantata "Der Himmel lacht" (No. 31) demonstrating Bach's use of florid passages and the high register in trumpet parts.
Exemplification of: trumpet high register, agility
Composer and Work: Bach, Johann Sebastian | Cantata No.31 (Der Himmel Lacht! die Erde jubilieret) <1715>
Prout, 1899 (vol.I), p. 201 [Note: An example from Bach's cantata "Der Himmel lacht" (No. 31) demonstrating Bach's use of florid passages and the high register in trumpet parts.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 189
Summary of Figure: An example from Schubert's "Lazarus" demonstrating a passage in which two horns play a melody, accompanied by the cellos and basses, that turns into the middle voice harmonic accompaniment to a solo vocal melody.
Exemplification of: horns melody, middle voice harmonies, cello-bass accompaniment
Composer and Work: Schubert, Franz | Lazarus, oder Die Feier der Auferstehung, D.689 <1820>
Prout, 1899 (vol.I), p. 189 [Note: An example from Schubert's "Lazarus" demonstrating a passage in which two horns play a melody, accompanied by the cellos and basses, that turns into the middle voice harmonic accompaniment to a solo vocal melody.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 190
Summary of Figure: An example from Meyerbeer's "Les Huguenots" demonstrating a passage for two horns, soprano, and cellos. The first bars show a typical horn duet figure consisting of mostly open notes on the natural horn. The remainder of the excerpt demonstrates the distribution of different lines in a three-part texture.
Exemplification of: horn duet, three-part texture
Composer and Work: Meyerbeer, Giacomo | Les Huguenots <1836>
Prout, 1899 (vol.I), p. 190 [Note: An example from Meyerbeer's "Les Huguenots" demonstrating a passage for two horns, soprano, and cellos. The first bars show a typical horn duet figure consisting of mostly open notes on the natural horn. The remainder of the excerpt demonstrates the distribution of different lines in a three-part texture.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 191
Summary of Figure: An example from Rossini's "Semiramide" demonstrating a passage for four horns that is difficult on the natural horns for which it was originally written, but much easier on valved instruments.
Exemplification of: horn quartet
Composer and Work: Rossini, Gioachino | Semiramide <1823>
Prout, 1899 (vol.I), p. 191 [Note: An example from Rossini's "Semiramide" demonstrating a passage for four horns that is difficult on the natural horns for which it was originally written, but much easier on valved instruments.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 191
Summary of Figure: An example from Rossini's "William Tell" demonstrating a passage for four horns that includes a trill for the second horn.
Exemplification of: horn trills
Composer and Work: Rossini, Gioachino | Guillaume Tell (William Tell) <1829>
Prout, 1899 (vol.I), p. 191 [Note: (1/2) An example from Rossini's "William Tell" demonstrating a passage for four horns that includes a trill for the second horn.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 192
Summary of Figure: An example from Rossini's "William Tell" demonstrating a passage for four horns that includes a trill for the second horn.
Exemplification of: horn trills
Composer and Work: Rossini, Gioachino | Guillaume Tell (William Tell) <1829>
Prout, 1899 (vol.I), p. 192 [Note: (2/2) An example from Rossini's "William Tell" demonstrating a passage for four horns that includes a trill for the second horn.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 194
Summary of Figure: An example showing the notes available with each combination of pistons on the horn.
Exemplification of: valved horn piston fingerings, keys
Prout, 1899 (vol.I), p. 194 [Note: An example showing the notes available with each combination of pistons on the horn.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 194
Summary of Figure: An example from Spontini's "La Vestale" demonstrating a horn melody as written in F, and with a line showing the open notes blown in combination with the pistons pressed on the valved horn. The original example is shown in Ex. 147.
Exemplification of: valved horn piston fingerings
Composer and Work: Spontini, Gaspare | La Vestale <1807>
Prout, 1899 (vol.I), p. 194 [Note: An example from Spontini's "La Vestale" demonstrating a horn melody as written in F, and with a line showing the open notes blown in combination with the pistons pressed on the valved horn. The original example is shown in Ex. 147.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 195
Summary of Figure: An example from Spontini's "La Vestale" demonstrating a horn melody as written in F, and with a line showing the open notes blown in combination with the pistons pressed on the valved horn. The original example is shown in Ex. 147.
Exemplification of: horn stopped notes echo effect
Prout, 1899 (vol.I), p. 195 [Note: An example from Spontini's "La Vestale" demonstrating a horn melody as written in F, and with a line showing the open notes blown in combination with the pistons pressed on the valved horn. The original example is shown in Ex. 147.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 191
Summary of Figure: An example from Weber's "Preciosa" demonstrating a passage for three horns. When played on natural horns as originally intended, the F naturals in the third bar of this excerpt must be produced by "stopping" with the hand.
Exemplification of: horn stopped notes
Composer and Work: Weber, Carl Maria von | Preciosa, J.279 <1820>
Prout, 1899 (vol.I), p. 191 [Note: An example from Weber's "Preciosa" demonstrating a passage for three horns. When played on natural horns as originally intended, the F naturals in the third bar of this excerpt must be produced by "stopping" with the hand.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 199
Summary of Figure: An example from Wagner's "Tristan und Isolde" demonstrating a passage for four horns, solo voice, and double bass. This example shows the possibility of writing with a "vocal" melodic contour for each horn part, even in highly chromatic music. The division of the horn parts in this excerpt gives the lowest ranges to horns 2 and 4, and this is reflected in the ordering of parts on the score.]
Exemplification of: horn chromatic notes, vocal melodic contour
Composer and Work: Wagner, Richard | Tristan und Isolde, WWV 90 <1857–1859>
Prout, 1899 (vol.I), p. 199 [Note: An example from Wagner's "Tristan und Isolde" demonstrating a passage for four horns, solo voice, and double bass. This example shows the possibility of writing with a "vocal" melodic contour for each horn part, even in highly chromatic music. The division of the horn parts in this excerpt gives the lowest ranges to horns 2 and 4, and this is reflected in the ordering of parts on the score.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 201
Summary of Figure: An example showing the appearance of the natural trumpet.
Exemplification of: natural trumpet illustration
Prout, 1899 (vol.I), p. 201 [Note: An example showing the appearance of the natural trumpet.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 203
Summary of Figure: An example showing the appearance of the valved trumpet.
Exemplification of: valved trumpet illustration
Prout, 1899 (vol.I), p. 203 [Note: An example showing the appearance of the valved trumpet.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 201
Summary of Figure: The note C5, which was the typical limit of the "principal-bläser" trumpet range in the Baroque era.
Exemplification of: trumpet range
Prout, 1899 (vol.I), p. 201 [Note: The note C5, which was the typical limit of the "principal-bläser" trumpet range in the Baroque era.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 202
Summary of Figure: The note E5. Prout recommends against writing at a pianissimo dynamic above this note for the trumpet.
Exemplification of: trumpet dynamics, range
Prout, 1899 (vol.I), p. 202 [Note: The note E5. Prout recommends against writing at a pianissimo dynamic above this note for the trumpet.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 203
Summary of Figure: The note D4, which is the lowest note possible on the slide trumpet.
Exemplification of: slide trumpet range, lower limit
Prout, 1899 (vol.I), p. 203 [Note: The note D4, which is the lowest note possible on the slide trumpet.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 203
Summary of Figure: The note F4, which according to Prout is "always slightly sharp" on the slide trumpet.
Exemplification of: slide trumpet intonation
Prout, 1899 (vol.I), p. 203 [Note: The note F4, which according to Prout is "always slightly sharp" on the slide trumpet.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 211
Summary of Figure: An example from Wagner's "Götterdämmerung" demonstrating the use of the high C in a fortissimo trumpet passage, a rare occurrence in music of the Romantic era.
Exemplification of: trumpet high register, dynamics, fortissimo
Composer and Work: Wagner, Richard | Götterdämmerung <1872–1874>
Prout, 1899 (vol.I), p. 211 [Note: An example from Wagner's "Götterdämmerung" demonstrating the use of the high C in a fortissimo trumpet passage, a rare occurrence in music of the Romantic era.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 202
Summary of Figure: A table showing the relationship of sounding and notated pitch for trumpets written in different transposing keys. For natural trumpets, each key represents the use of a different crook on the instrument.
Exemplification of: trumpet crooks, keys, transposing notation
Prout, 1899 (vol.I), p. 202 [Note: A table showing the relationship of sounding and notated pitch for trumpets written in different transposing keys. For natural trumpets, each key represents the use of a different crook on the instrument.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 204
Summary of Figure: An example from the Overture to Auber's "Fra Diavolo" demonstrating a solo trumpet melody that uses only "open" notes that occur naturally in the harmonic series. The strings accompany without double bass.
Exemplification of: trumpet open notes
Composer rand Work: Auber, Daniel-François-Esprit | Fra Diavolo <1830>
Prout, 1899 (vol.I), p. 204 [Note: An example from the Overture to Auber's "Fra Diavolo" demonstrating a solo trumpet melody that uses only "open" notes that occur naturally in the harmonic series. The strings accompany without double bass.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 205
Summary of Figure: An example from Prout's "Alfred" demonstrating a solo trumpet melody originally intended for the slide trumpet. The use of the slide trumpet allows the intonation to be fine-tuned, especially on notes like the high F near the end of this excerpt, which is naturally sharp with respect to equal temperament. The accompaniment consists of other brass and the snare drum.
Exemplification of: slide trumpet intonation
Composer and Work: Prout, Ebenezer | Alfred, op.16 <1885>
Prout, 1899 (vol.I), p. 205 [Note: (1/2) An example from Prout's "Alfred" demonstrating a solo trumpet melody originally intended for the slide trumpet. The use of the slide trumpet allows the intonation to be fine-tuned, especially on notes like the high F near the end of this excerpt, which is naturally sharp with respect to equal temperament. The accompaniment consists of other brass and the snare drum.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 206
Summary of Figure: An example from Prout's "Alfred" demonstrating a solo trumpet melody originally intended for the slide trumpet. The use of the slide trumpet allows the intonation to be fine-tuned, especially on notes like the high F near the end of this excerpt, which is naturally sharp with respect to equal temperament. The accompaniment consists of other brass and the snare drum.
Exemplification of: slide trumpet intonation
Composer and Work: Prout, Ebenezer | Alfred, op.16 <1885>
Prout, 1899 (vol.I), p. 206 [Note: (2/2) An example from Prout's "Alfred" demonstrating a solo trumpet melody originally intended for the slide trumpet. The use of the slide trumpet allows the intonation to be fine-tuned, especially on notes like the high F near the end of this excerpt, which is naturally sharp with respect to equal temperament. The accompaniment consists of other brass and the snare drum.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 206
Summary of Figure: An example from Rossini's "William Tell" Overture demonstrating unison doubling between two trumpets in a fortissimo passage. The trumpets are unaccompanied for the first half of this excerpt, then joined by the horns in loose imitation.
Exemplification of: trumpets unison doubling
Composer and Work: Rossini, Gioachino | Guillaume Tell (William Tell) <1829>
Prout, 1899 (vol.I), p. 206 [Note: An example from Rossini's "William Tell" Overture demonstrating unison doubling between two trumpets in a fortissimo passage. The trumpets are unaccompanied for the first half of this excerpt, then joined by the horns in loose imitation.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 207
Summary of Figure: An example from Part 2 of Haydn's "Creation" demonstrating a quiet accompanimental figure for the second trumpet in the context of a bass aria.
Exemplification of: second trumpet piano accompaniment
Composer and Work: Haydn, Franz Joseph | Die Schöpfung (The Creation) <1798>
Prout, 1899 (vol.I), p. 207 [Note: An example from Part 2 of Haydn's "Creation" demonstrating a quiet accompanimental figure for the second trumpet in the context of a bass aria.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 207
Summary of Figure: An example from Mozart's "Thamos, König in Ägypten" demonstrating the combination of soft trumpets, flutes, and timpani in the context of a soprano aria. This example also features unison doubling between pizzicato violin sections and later bassoon, as well as doubling of the bassline an octave above by the violas (Viola col Basso).
Exemplification of: flutes, trumpets, and timpani, piano accompaniment, violins unison pizzicato accompaniment, violin pizzicato-bassoon unison doubling, viola col Basso.
Composer and Work: Mozart, Wolfgang Amadeus | Thamos, König in Ägypten, K.345 (336a)
Prout, 1899 (vol.I), p. 207 [Note: (1/2) An example from Mozart's "Thamos, König in Ägypten" demonstrating the combination of soft trumpets, flutes, and timpani in the context of a soprano aria. This example also features unison doubling between pizzicato violin sections and later bassoon, as well as doubling of the bassline an octave above by the violas (Viola col Basso).]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 208
Summary of Figure: An example from Mozart's "Thamos, König in Ägypten" demonstrating the combination of soft trumpets, flutes, and timpani in the context of a soprano aria. This example also features unison doubling between pizzicato violin sections and later bassoon, as well as doubling of the bassline an octave above by the violas (Viola col Basso).
Exemplification of: flutes, trumpets, and timpani, piano accompaniment, violins unison pizzicato accompaniment, violin pizzicato-bassoon unison doubling, viola col Basso.
Composer and Work: Mozart, Wolfgang Amadeus | Thamos, König in Ägypten, K.345 (336a)
Prout, 1899 (vol.I), p. 208 [Note: (2/2) An example from Mozart's "Thamos, König in Ägypten" demonstrating the combination of soft trumpets, flutes, and timpani in the context of a soprano aria. This example also features unison doubling between pizzicato violin sections and later bassoon, as well as doubling of the bassline an octave above by the violas (Viola col Basso).]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 209
Summary of Figure: An example from Verdi's "Otello" demonstrating a "flourish" figure for six trumpets. This example features the use of the high C in the first trumpet. The division of parts follows an "interlocking" pattern which sometimes places the third trumpet above the second in pitch level
Exemplification of: six-trumpet flourish, part division
Composer and Work: Verdi, Giuseppe | Otello <1887>
Prout, 1899 (vol.I), p. 209 [Note: An example from Verdi's "Otello" demonstrating a "flourish" figure for six trumpets. This example features the use of the high C in the first trumpet. The division of parts follows an "interlocking" pattern which sometimes places the third trumpet above the second in pitch level.]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 210
Summary of Figure: An example from the first movement of a Divertimento for flutes, 5 trumpets and timpani demonstrating the use of more than 2 trumpets and the use of the high register in the first trumpet. The timpani provides the bassline. Editor: The treatise identifies this work as "8 Pieces" by Mozart, but it is now known to be of spurious attribution; the piece is in fact a collection of arrangements by Leopold Mozart of dances by Gluck and Starzer, and has also been published as "Divertimento" and "Eight Pieces."
Exemplification of: flutes, trumpets, and timpani combination
Composer and Work: Arr. Leopold Mozart of dances by Gluck and Starzer, spuriously attributed to Wolfgang Amadeus Mozart | Divertimento (also published as Divertimento No. 5, "8 pieces"), K.188 (240b), C major <1773>
Prout, 1899 (vol.I), p. 210 [Note: (1/2) An example from the first movement of a Divertimento for flutes, 5 trumpets and timpani demonstrating the use of more than 2 trumpets and the use of the high register in the first trumpet. The timpani provides the bassline. Editor: The treatise identifies this work as "8 Pieces" by Mozart, but it is now known to be of spurious attribution; the piece is in fact a collection of arrangements by Leopold Mozart of dances by Gluck and Starzer, and has also been published as "Divertimento" and "Eight Pieces."]
Chapter 9: Brass Instruments: The Horn and Trumpet
Citation: Prout, 1899 (vol.I), p. 211
Summary of Figure: An example from the first movement of a Divertimento for flutes, 5 trumpets and timpani demonstrating the use of more than 2 trumpets and the use of the high register in the first trumpet. The timpani provides the bassline. Editor: The treatise identifies this work as "8 Pieces" by Mozart, but it is now known to be of spurious attribution; the piece is in fact a collection of arrangements by Leopold Mozart of dances by Gluck and Starzer, and has also been published as "Divertimento" and "Eight Pieces."
Exemplification of: flutes, trumpets, and timpani combination
Composer and Work: Arr. Leopold Mozart of dances by Gluck and Starzer, spuriously attributed to Wolfgang Amadeus Mozart | Divertimento (also published as Divertimento No. 5, "8 pieces"), K.188 (240b), C major <1773>
Prout, 1899 (vol.I), p. 211 [Note: (2/2) An example from the first movement of a Divertimento for flutes, 5 trumpets and timpani demonstrating the use of more than 2 trumpets and the use of the high register in the first trumpet. The timpani provides the bassline. Editor: The treatise identifies this work as "8 Pieces" by Mozart, but it is now known to be of spurious attribution; the piece is in fact a collection of arrangements by Leopold Mozart of dances by Gluck and Starzer, and has also been published as "Divertimento" and "Eight Pieces."]