Writing Music for Television and Radio Commercials (and more): A Manual for Composers and Students

Arranging and Orchestration Concepts !! 123

have been many versions of these instruments (tuned to different keys).
Most modern arrangers write for trumpets in B-flat, trombones in C,
French horns in F, and tubas in C. There are instances when special instru-
ments are used; for example, the piccolo trumpet (pitched in B-flat and
sounding one octave above a B-flat trumpet) is popular in film scoring;
sousaphones, baritone horns, and coronets are standard brass band and
wind band instruments; and flu ̈gelhorns are used in all styles of music.
Because of the physical energy needed to play a brass instrument,
arrangers must take the following into consideration:

1. Do not write the parts too high or too low for long periods of time.
   Players cannot sustain very high or very low parts for long periods
   of time without faltering. The embouchure (placement of lips) can
   become weak because of the muscular strain.


2. Trumpets are most effective when used in moderation. (Orchestra-
   tion is the art of ‘‘painting’’ a musical picture; if the orchestrator
   uses too many of the same ‘‘colors,’’ the orchestration will lack
   variety.)

Brass instruments have metal mouthpieces of various sizes. The player cre-
ates an embouchure (the placement of lips and tongue) and blows into the
mouthpiece.

Trumpet in B-Flat

The trumpet is the highest of the brass instruments. It has three valves.
By adjusting his embouchure, the player can change the natural harmonic
overtones; by pressing various combinations of the three valves, half steps
are achieved. Double and triple tonguing, slurring between notes, rapid
trills, and special big-band playing techniques are all characteristic of the
playing style.
In a large setting (e.g., big band or orchestra), there are usually three
or four trumpets. Trumpets playing in octaves can be very powerful.
Three- and four-part harmony produces a full and exciting sound.
Big bands always have a specialist called a lead trumpet player, who
can play higher than the other players and sustain high parts for long peri-
ods of time. Normally, the second trumpet player has the role of the jazz
soloist.
There are numerous concertos and chamber pieces written for trum-
pet. The sound of the trumpet can be altered through the use of three types
of mutes:

• Thecup muteis the softest sounding and blends well with other sec-
  tions.


• Thestraight mutehas a more cutting sound.