Quote:
Originally Posted by Venturion  Just trying to get a grasp on nuance, from Dixieland to descant. |
V,
You've hit the nail on the head with the above comment. It's all about the nuance, the character, of each style/composer/composition. That said, you've asked for an opinion on a rather large subject. Please remember that my opinion is just that. I'm hardly the last word on the subject (and would be interested to know who thinks (s)he is)
Ahem . . .
I rarely ornamented trumpet lines in Baroque music and did so only in moments of weakness.
Shocking?. . . I think not. You've already identified my reasoning: passing notes found outside the harmonic series weaken the often symbolic effect of composition that was meant to be played on the trumpet. The trumpet was a symbol of both the church and the state (no dummy, the King). The trumpet played Gloria, not Agnus Dei. It was an instrument of celebration. Also, there are many examples of keyboard and even string music that use the harmonic series to sound “in a trumpet-like fashion" during the period. "Trumpet-like", of course, refers to sticking to notes that could be played on the trumpet within a certain key.
That said, and before any of you rush to check my many mistake-filled CDs of Baroque music (as if you’ll find them, hah!), I used to ornament the living daylights out of music not written specifically for the trumpet (flute, and violin music especially). Many of the so-called “Concerti in X flat minor” published by this person or that are actually compilations of various keyboard or soprano instrument work -- and resemble true trumpet music as much as I resemble George Clooney. Creative ornamentation was considered part and parcel of being an artist in the Renaissance and Baroque periods: the ability to extemporize, in style, on a composer’s idea. The similarity between Baroque music and jazz isn’t small in this regard, although I suspect that Gary Peacock and Keith Jarrett wouldn’t relate that well with a basso continuo group.
There are treatises to read (J.J. Quantz comes to mind) but I preferred to listen to and occasionally play with others that had mastered ornamentation to some degree. Bruce Dickey (cornettist) and Monica Hugett (violinist) pop instantly to mind and I’m sure that their many CDs can still be found. I’ll bet that other TMers will suggest favorites as well. Also, check out Telemann's Methodischen Sonaten. The composer often writes two versions of the solo line: plain and ornamented. It's a goldmine.
Watching with interest,
EC
PS: try doodling around on Renaissance tunes with a hand drummer sometime? It can't be more fun and if you perform them someplace mention me warmly in your program notes. :)