AN HISTORICAL AND PRACTICAL GUIDE TO THE TRENT-SIX ETUDES

TRANSCENDENTES POUR TROMPETTE, CORNET PISTONS, OU BUGLE

B-Flat, BY THEO CHARLIER (1868-1944).

by

JOHN BRIAN ANTHONY

(Under the Direction of Edward Sandor)

ABSTRACT

This study is divided into five chapters: the first chapter describes the purpose, methodology, and organization of the study. The second chapter provides a brief sketch of the evolution of the valved trumpet and trumpet writing in the late 19th and early 20th centuries and also includes a brief description of the life and career of Theo Charlier. The third chapter describes the general characteristics of the etude book and includes an assessment of the ordering of the etudes, the titles and keys of the etudes, and the distribution pattern of the textual notes. The fourth chapter, which is the most extensive, discusses each etude individually, giving a brief overview of the etude, a short discussion of its formal characteristics, the most significant performance challenges of each etude are identified and described, and then a number of practical strategies are given for each etude. Conclusions and suggestions for further research are given in Chapter Five.

INDEX WORDS: Trumpet, Etudes, French Trumpet, Cornet Pistons, Theo Charlier,

Charlier, Trumpet Style, Trumpet Studies, Trumpet Pedagogy, Pedagogy, Historical, History, Practical, Guide

AN HISTORICAL AND PRACTICAL GUIDE TO THE TRENT-SIX ETUDES

TRANSCENDENTES POUR TROMPETTE, CORNET PISTONS, OU BUGLE

B-Flat, BY THEO CHARLIER (1868-1944).

by

JOHN BRIAN ANTHONY

B.S., Hobe Sound Bible College, 1987

M.Mus., Penn State University, 1999

A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial

Fulfillment of the Requirements for the Degree

DOCTOR OF MUSICAL ARTS

ATHENS, GEORGIA

2007

2007

John B. Anthony

All Rights Reserved

AN HISTORICAL AND PRACTICAL GUIDE TO THE TRENT-SIX ETUDES

TRANSCENDENTES POUR TROMPETTE, CORNET A PISTONS, OU BUGLE

B-Flat, BY THEO CHARLIER (1868-1944).

by

JOHN B.ANTHONY

Major Professor: Edward Sandor

Committee: Fred Mills Philip Jameson David Schiller Jolene Davis

Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia August 2007

iv

DEDICATION

I would like to dedicate this document to my wife Edith and my lovely children: Daniel,

Josiah, Elizabeth and Ruth. Thank you for your support and encouragement as I undertook and

completed this significant endeavor. I love you all very much.

v

ACKNOWLEDGEMENTS

I would like to give special recognition to Dr. Sandor for all the time and effort he has

spent helping me put together this document. It has been his tireless efforts, endless critiquing,

and perpetual encouragement that have given me the necessary inspiration to work through all

of the obstacles and bring this project to completion.

I would also like to thank the members of my committee; Mr. Mills, Dr. Schiller, Dr.

Jameson, and Dr. Davis, for the significant contribution they have made to my academic and

professional development.

vi

TABLE OF CONTENTS

Page

DEDICATION...........................................................................................................................iv

ACKNOWLEDGEMENTS ........................................................................................................v

LIST OF FIGURES ...................................................................................................................ix

CHAPTER

1 INTRODUCTION.....................................................................................................1

Purpose of the Study..............................................................................................1

Methodology .........................................................................................................2

Organization of the study ......................................................................................3

A Survey of the Related Literature ........................................................................4

2 HISTORICAL BACKGROUND ...............................................................................7

Biography of the Composer...................................................................................7

The Invention of the Valve and its Adaptation to the Trumpet ...............................9

The Evolution of Trumpet Writing in the Late 19th and Early 20th Centuries........11

3 A DISCUSSION OF THE GENERAL CHARACTERISTICS OF THE ETUDES ..13

The Textual Notes ...............................................................................................13

The Etude Titles ..................................................................................................17

The Order of the Etudes in the 1st Edition ............................................................19

4. A DISCUSSION OF THE INDIVIDUAL ETUDES ..............................................22

Introduction.........................................................................................................22

vii

Etude 1: Articulation ...........................................................................................22

Etude 2: Style......................................................................................................25

Etude 3: Intervals/ The Third...............................................................................29

Etude 4: Style......................................................................................................33

Etude 5: Articulation ...........................................................................................39

Etude 6: Style......................................................................................................42

Etude 7: Technique..............................................................................................44

Etude 8: Intervals/ The Fourth .............................................................................47

Etude 9: Scherzetto..............................................................................................50

Etude 10: Rhythm ...............................................................................................52

Etude 11: Fantasy................................................................................................55

Etude 12: Modern Etude......................................................................................58

Etude 13: Prelude ................................................................................................65

Etude 14: Exercise for the Third Finger ...............................................................68

Etude 15: Intervals/ The Fifth ..............................................................................71

Etude 16: Double Tonguing.................................................................................76

Etude 17: Intervals/ The Sixth .............................................................................80

Etude 18: Triple Tonguing...................................................................................84

Etude 19: Intervals/ The Seventh .........................................................................87

Etude 20: By Combined Movements and in Varying Rhythms ............................90

Etude 21: The Octave ......................................................................................... 94

Etude 22: Various Tonguings ..............................................................................98

Etude 23: Arpeggios.......................................................................................... 101

viii

Etude 24: Throughout the Trumpet Parts of Richard Wagners Works............... 104

Etude 25: Slurs.................................................................................................. 113

Etude 26: Chromaticism .................................................................................... 116

Etude 27: Fantasia ............................................................................................. 119

Etude 28: Triple Tonguing................................................................................. 124

Etude 29: The Mordant...................................................................................... 127

Etude 30: March................................................................................................ 130

Etude 31: Double Tonguing............................................................................... 137

Etude 32: Slurring the Harmonics...................................................................... 141

Etude 33: Triple Tonguing................................................................................. 146

Etude 34: Rhythmic Fantasia............................................................................. 149

Etude 35: A Study of the Slur ............................................................................ 152

Etude 36: The Trills........................................................................................... 156

5 CONCLUSIONS AND SUGGESTIONS FOR FURTHER RESEARCH.......