Alfredo Casella's Serenata, op. 46 for clarinet, bassoon, trumpet, violin and cello is a composition that received great acclaim at the time of its conception, it is all but unknown to modern audiences and performers. The Serenata has several historical influences from the French and Italian Baroque and Classical periods. At present, there is limited scholarship regarding the Serenata op. 46. The first section of this study presents a survey of historical information, current literature and methods of examination. The second section compares movements of the Serenata op. 46 to other historical forms of similar design. The third section provides a performance guide for the trumpeter and ensemble. Implications and suggestions for performance of the composition are provided for the trumpeter. This performance guide provides the trumpeter and ensemble with performance information to help facilitate an informed performance.

In 1638 Girolamo Fantini wrote eight multi-sectional trumpet sonatas. This dissertation compares these sonatas with recognized stile moderno solo instrumental sonatas by Biagio Marini and Dario Castello in order to show that Fantini’s sonatas are stile moderno trumpet sonatas. This study looks at how form, texture, motivic organization, and instrumental effects function in the works of Castello, Marini, and Fantini. This comparison shows how and to what degree Fantini uses stile moderno characteristics in his works and concludes that Fantini’s sonatas are full-fledged examples of stile moderno trumpet sonatas.

Claude Bolling’s Toot Suite for Trumpet and Jazz Piano that was premiered by French virtuoso trumpeter Maurice Andre in 1980 is an important work in the trumpet repertoire. At present, there is limited research regarding Toot Suite. Almost all of the six movements within Toot Suite are performed on a different instrument: C trumpet for Allegre, Eb trumpet for Mystique, Bb cornet for Rag-Polka, Bb piccolo trumpet for Marche, Bb flugelhorn for Vesperale and Bb piccolo for Spirituelle. Chapter 1 examines the life and musical background of the composer. It also exposes the history surrounding the origin of Toot Suite. Chapter 2 discusses the musical influences of the composer that are found in Toot Suite. Chapter 3 provides an analysis of existing studio recordings. Chapter 4 offers specific suggestions regarding preparation and performance of Toot Suite. Chapters 5 and 6 conclude the guide with interviews with the composer and prominent trumpet performers and pedagogues that have recorded and/or have performed Toot Suite live.

Paul Hindemeith adheres to the traditional concept of using two trumpets in his orchestral brass section. The trumpet parts are notated in concert pitch on the score implying the use of the "c" trumpet, although in actual practice, the parts are often transposed and played on the B-flat trumpet by the performer.

The purpose of this study is to present the development of the trumpet from the primitive lip-vibrated instruments of ancient cultures to the baroque trumpet on which were performed the astounding parts composed by the culminating figures of that period, Bach and Handel.

The purpose of this research is to create an awareness of the significant contributions to the solo and chamber trumpet literature made by Jiří Laburda (b. 1931), a twentieth-century composer from the Czech Republic. Laburda has an extensive oeuvre including 22 solo pieces for trumpet and accompaniment, four pieces for two or more trumpets, two collections of trumpet duets, eight brass chamber works including at least one trumpet, and six works for brass quintet. Select pieces by Laburda for trumpet and piano lend themselves to pedagogical uses for the instruction of beginning and intermediate trumpet students, and thus provide a valuable repertory of teaching pieces that could help prepare students to play standard repertory such as the Haydn and Hummel concerti for trumpet. This document provides annotated pedagogical analyses of four compositions by Jiří Laburda including Diarium (a five-volume set of short technical studies for trumpet and piano), Peter with Trumpet, Sonatina for Trumpet, and Sonata for Trumpet. The four works have been selected from various levels of difficulty to illustrate Laburda's method of sequential progression in writing for different stages of the developing trumpet student. Each analysis explains how the composition is of particular value for trumpet students and for what purpose(s) the piece can be used pedagogically. The analyses contain various exercises and suggestions to help students practice and prepare these pieces for performance.

This study documents the performing and teaching career of Armando Ghitalla (1925-2001), and describes his pedagogical approach with an emphasis on understanding his approach to teaching embouchure. It includes as appendices a comprehensive discography of his solo, chamber, and orchestral recordings, a listing of his solo performances with the Boston Symphony Orchestra, a selected list of former students, and copies of his advanced flexibility and transposition studies.The personal interview served as the primary source of data for this study. The subject, Armando Ghitalla, participated in an in-depth interview with the author which was recorded and transcribed. Subsequent data was gathered from former students through the use of an open-ended questionnaire. Follow-up interviews were held with several of the respondents. Previously published articles, interviews, reviews, and an unpublished recording of a trumpet clinic were also consulted.Ghitalla was a member of the Boston Symphony Orchestra for twenty-eight years, serving as solo trumpet of the Boston Pops Orchestra from 1951-1965 and principal trumpet of the Boston Symphony Orchestra from 1965-1979. He was active as a virtuoso trumpet soloist and had a distinguished career as a trumpet professor following his retirement from the Boston Symphony. His success as an orchestral performer, solo performer, and noted pedagogue distinguish him from many of his contemporaries. / School of Music

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2008. / Includes abstract. Vita. Adviser: John Hill. Includes bibliographical references. Available from Pro Quest Information and Learning.

This paper investigates the usage of traditional compositional techniques on Concerto for Trumpet and Orchestra by William Lovelock. (1899-1986) Like many other twentieth-century composers for trumpet Lovelock wrote in a romantic style using traditional forms. As a composer, Lovelock is largely under-appreciated. This paper explains Lovelock's compositional techniques and provides performers with a guide to help prepare the piece for performance.

In this essay I present my creative input and development as a musician since fall 2020 and the compositions that has come out of it. Furthermore, I reflect on preparing these songs for my exam concert with my band Paradise League, as well as adding a trumpet synth called EVI (Electric Valve Instrument) to the instrumentation. Having experienced embouchure fatigue and a lack of stamina to follow through with longer sets, I am also pursuing a more effective technique. Hence, I analyze my practice methods and discuss my trumpet teachers, their tools and the effects thereof. Through the combination of fundamental, soloistic and flexibility exercises I developed a more effortless playing style with a wider artistic expression. There were vast technical differences between the EVI and the trumpet. Despite some minor challengers when switching between the two instruments, the EVI opened up a different set of improvisational ideas, broadening my soloistic framework.