Image above: A dismantled Soprano Bugle.
A couple of months ago I decided to dismantle and re-assemble an old Soprano Bugle that had bought on eBay in 2007. At first things were going well. I removed some dents, rebuilt the tuning slide, patched over a hole using a small copper ring and added an Amado water key. When it came to fixing the bell I realised after reshaping it that it was beyond repair. For reasons unknown to me it rings and buzzes in ways that it shouldn’t. As it happened I had a spare old trumpet in the garage and so I took the bell from that and put it onto the body of the bugle. To my surprise this bell made the old instrument sound much better so my project evolved into something else.
After making this trumpet I wrote a long list of reasons why using a lower-pitched trumpet in G is a good idea and I think I may refine and publish that at another date. When I started to write that blog post it turned out that I needed a series of other blog posts to already exist to explain the concepts that I mentioned in the list. That’ll just have to be a work in progress for now.
Since making this instrument I have tried playing a wide variety of music on it. I practised Bach’s B minor mass for a few days. Music written for trumpet in D or C end up in comfortable keys (G or F major respectively) when transposing on a trumpet in G. Upon realising that I needed to build my stamina a bit I began instead to playing from a French horn tutor book. I was transposing in a way such that a written middle C would be played as the 3rd available open note, thus meaning that the fingering would be the same as in the tutor book. Essentially this is how you would read music for a natural trumpet in G (a high key for a natural trumpet and not an instrument that existed historically), except you also have the facility of the valves to add chromaticism. Doing this really helped to develop my ear for this instrument as well as develop some familiarity with the harmonics being closer together at the lower pitch.
Below: some photos of the finished instrument.
In the last few days I have made some recordings of myself playing some orchestral repertoire using this trumpet. I don’t believe it would be appropriate to play music written post-1900, but anything before then is fair game. I chose the Leonore calls by Beethoven, because they are ideal for instantly hearing the different tonal qualities of this trumpet, and I also chose excerpts from Chabrier’s España, which has parts for both B-flat Cornet and Trumpet in F. I played the trumpet parts on the trumpet in G and the Cornet parts on the trumpet in B-flat (my Rudy Mück). I hope you enjoy listening to them. As always I welcome comments. ~iii<0
I used GarageBand for these recordings and a Shure SM57 microphone.