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Discussion in 'Trumpet Discussion' started by ROGERIO, Jul 11, 2005.
Now I find this stuff on the Natural Trumpet.
There is a German band that plays Natural Trumpet and I think that they even march with them. I have heard that they are suppose to be great.
Anybody know the name of that band or anything about them?
I've buy a trumpet!
Thank you that you let me know about Michael Munkwitz in Rostock.
I've buy his trumpet and it's very very nice!
I played Egger 3-hole trumpet before but this one I like much more
I also like my Münkwitz very much! The Egger instruments are much more expensive, but seem to be the most common. The bell is larger on the Egger and it has a "smoother" sound. Egger also has TONS of accessories available. I think the standard crooks work better. You know in advance if you need to tune to A=442 or A=415 anyway, so I never have more than 2 or 3 crooks with me at any time.
Getting started is easiest if you just use the thumb hole for F and A. Once you get used to getting around the horn, you can add the rest as required. I only need the other vents when playing with "modern" orchestras. The mean (instead of well-tempered) tuning in real baroque ensembles doesn't need as much compensation.
I have found that mixing 3-hole short and 4-hole long systems in the same ensemble generally doesn't work well. A lot of intonation and blending issues.
To answer the original question: every instrument that you play enhances the entire experience. I think you are more sensitive to color and dynamics after playing natural trumpets. These two factors are more closely related than with modern instruments. As far as my chops go, the first year I thought it made a difference, I don't think so anymore. Whenever you practice intensely, things get better. If you work on your lip trill on a modern trumpet, you also get better on the nat. I don't split more or less notes than before.
I love them!
I have a natural trumpet I use as part of my "acoustics of trumpet" lectures. First, I actually assemble a cheesy natural horn out of bits and pieces of PVC right in front of my classes and then end up with perforing a couple of pieces on it. I do this to demonstrate the effect of each piece of the horn (mouthpiece, leadpipe, bell, etc) on the series that is available to you. Then, I grab my real natural C trumpet and show how that works. It is a lot of fun.
Now, I am not a great natural trumpet player, to put it mildly. However, after doing that demo, my Bb or C feels just terrific! I honestly think that learning how to play one does help one to get a better feel for his/her own chops.
My 2-cents worth!
Yes, after playing the natural trumpet you clearlier know how any passages or figures should sounds and be played on modern trumpet.
And what mouthpiece do you use for the natural trumpet - modern or made specially for it (what maker if it's so?)?
So is natural trumpet playing like playing on the mouthpiece where all pitches are dictated by your embrochure?
I have a Webb of London four hole D with all the crooks down to Baroque C. How does that fit in with the other natural trumpets out there? I don't use mine much, but it looks good above my fireplace. I also use a Bruno Tiltz mouthpiece on it.
Trumpetguy, no. In simple terms the notes on a natural trumpet are limited to the harmonic series (the notes that you can play on a normal trumpet with no valves). It's still like playing a trumpet but not using the valves.
Sterling, get it off the wall and play the thing!! I'm sure that Robin, Dr Zinc or Brass on Line or somebody who is much more experienced with the thing than I am can fill in the banks or correct my attempts. The four hole (long) natural trumpet that you have is fundamentally an English development made popular by Michael Laird. It is patterned after a design by Ehle (?). The other version you will see is the three hole version made popular by Egger from Switzerland and seems to be much more popular in Europe I believe. There are a number of historical precedents that are of the shorter variety such as the Egger is modelled after. The purist will insist that any vent holes is historically incorrect and consequently most modern makers provide a ventless crook for historical authenticity. The same issue relates to mouthpieces.
Just the start of an explanation really, hope it can be built on.
So then it's like a bugle?