trumpetnick,

I was a music performance major in 1982. Not a great program, never picked up a C trumpet, a picc or did anything to actually learn how to become a professional trumpet player. Pretty good jazz program, but I never really hunkered down and learned all of the repertoire and methods that I would need regardless of which path (jazz/commercial/classical) I chose. Now after all of these years I have a desire to see how good I can become and am just trying to catch up.

On the Haydn, it was more of a trivial question. Again, I enjoy this instrument and I enjoy talking about it. Not trying to be lazy, just looking for educated opinions, which are scarce in the part of the country where I live.

Thanks

Originally Posted by rowuk

then try

International Music Score Library Project (IMSLP) Portal

and look up the composer, then the piece.

On a side note:

I am not trying to be difficult, but don't you ever look for anything on the internet? I mean every internet site in the world is organized the same way. If a link doesn't work, you go up one level higher - or to the home site. It is kind of a basic procedure for research.

I used to rant about members wanting to be spoon fed everything..............

The link sent me to a general section so I searched. I found a score but I don't believe that it has Haydn's original marks in it. I might have gone to the wrong place though.

Originally Posted by trumpetnick

you probably understand my rant about composers names spelling now...

Nope - not really.

It matches the original score well enough. I have both.

When you look at the score, you first just look to see if the composer writes every fine detail, if they just make some suggestions at the beginning and expect the player/conductor to figure the rest out. You look for melodical lines in the strings and how they were handled. You research the keyed trumpet to find out what it could do. You try and get into Haydns head and figure out what he is showcasing here. Then you get into Anton Weidingers head and figure out what he could have done.

If you are really interested, you check out other works by Haydn to confirm your suspicions.

In this case, 16ths are not just 16ths. Some are in the high register and showcase the Eb natural trumpet. They would most likely be tongued. Others would need the keys and showcase a more lyrical side - something that did not exist before valves. Here, the treatment could be more violin like. Haydn composed a revolution of contrast. We need to look at the score and some of his string music. THINK about it - new horn, chromatics, low register now with more than G, C, E, G, Bb, C. No soprano tympany parts.

There is NO answer about the 16ths. It depends on the player and how unlazy they are about understanding this piece. Everything is logical once we give a crap. Various players will come up with various answers. That is legitimate if Haydns message is discovered and proclaimed. All interpretations are valid if they are musically consistent. In the case of this concerto, some things are more obvious than others.

While you are at it, you can also consider why Haydn did not incorporate this horn into any of his other works. Try and figure out why none of the symphonies used the keyed trumpet.

Here is a fantastic article complete with a recording.

Classical Music Anton Weidinger’s Keyed Trumpet WKSU

Originally Posted by B15M

Here is a fantastic article complete with a recording.

Classical Music Anton Weidinger’s Keyed Trumpet WKSU

very cool.. looks like a monster to play that "thing"

This is a vote for the correct spelling of the names of composers. Regardless if an incorrect spelling results from a typo or from ignorance, it calls for a correction.

The small effort it takes to spell a composer's name correctly indicates a respect for the composer and a respect for the other people in the forum.

You can spell sixteenth any way you want, although you might be taken more seriously if you spell that correctly also.

http://www.exetermusic.talktalk.net/Haydn%20Project.pdf

This is a vote for the correct spelling of the names of composers. Regardless if an incorrect spelling results from a typo or from ignorance, it calls for a correction.

The small effort it takes to spell a composer's name correctly indicates a respect for the composer and a respect for the other people in the forum.

You can spell sixteenth any way you want, although you might be taken more seriously if you spell that correctly also. This is a vote for the correct spelling of the names of composers. Regardless if an incorrect spelling results from a typo or from ignorance, it calls for a correction.

The small effort it takes to spell a composer's name correctly indicates a respect for the composer and a respect for the other people in the forum.

You can spell sixteenth any way you want, although you might be taken more seriously if you spell that correctly also. 06-24-2011 02:52 AMThis is a vote for the correct spelling of the names of composers. Regardless if an incorrect spelling results from a typo or from ignorance, it calls for a correction.

The small effort it takes to spell a composer's name correctly indicates a respect for the composer and a respect for the other people in the forum.

You can spell sixteenth any way you want, although you might be taken more seriously if you spell that correctly also. 06-24-2011 02:52 AM

I believe that I spelled it correctly after the first time. I also said that I agreed with TrumpetNick on doing so. You might want to try decaf.

When you look at the score, you first just look to see if the composer writes every fine detail, if they just make some suggestions at the beginning and expect the player/conductor to figure the rest out. You look for melodical lines in the strings and how they were handled. You research the keyed trumpet to find out what it could do. You try and get into Haydns head and figure out what he is showcasing here. Then you get into Anton Weidingers head and figure out what he could have done.

If you are really interested, you check out other works by Haydn to confirm your suspicions.

In this case, 16ths are not just 16ths. Some are in the high register and showcase the Eb natural trumpet. They would most likely be tongued. Others would need the keys and showcase a more lyrical side - something that did not exist before valves. Here, the treatment could be more violin like. Haydn composed a revolution of contrast. We need to look at the score and some of his string music. THINK about it - new horn, chromatics, low register now with more than G, C, E, G, Bb, C. No soprano tympany parts.

There is NO answer about the 16ths. It depends on the player and how unlazy they are about understanding this piece. Everything is logical once we give a crap. Various players will come up with various answers. That is legitimate if Haydns message is discovered and proclaimed. All interpretations are valid if they are musically consistent. In the case of this concerto, some things are more obvious than others.

Thank you Rowuk, after all of that this was the answer I was looking for in the first place.

Originally Posted by hup_d_dup

This is a vote for the correct spelling of the names of composers. Regardless if an incorrect spelling results from a typo or from ignorance, it calls for a correction.

The small effort it takes to spell a composer's name correctly indicates a respect for the composer and a respect for the other people in the forum.

Are you seriously that uptight - I mean, do you really believe that?

You know, I used to spell it the way he did (Hayden) because I had never really paid that close attention to it before, (and that's how it's pronounced) and would probably still be spelling it that way had someone not nicely pointed it out to me.