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2. &mdash; Modern Slide Trumpet F to C (Besson).

The first attempts to extend the limited resources of the instrument in its new employment arose out of Hampel's Inventions-Horn, in which, instead of fixing the shanks between the mouthpiece and the upper extremity, they were adapted to the body of the instrument itself by a double slide, upon the two branches of which tubes were inserted bent in the form of a circle and gradually lengthened as required. This system was applied to the trumpet by Michael Woegel (born at Rastatt in 1748), whose &ldquo;invention trumpet&rdquo; had a great success, notwithstanding the unavoidable imperfection of a too great disparity in quality of tone between the open and closed sounds. It is a curious fact that the sackbut or early trombone was merely a trumpet with a slide, or a draw trumpet, and that it was known as such in England, Scotland, Spain, Holland and Italy. Yet as soon as the powerful family of tenor and bass trombones had been created, the slide trumpet seems to have lost its identity and to have become merged in the alto trombone from which it differed mainly in the form of the bent tube. The slide trumpet appears to have been re-invented in the 18th century according to Johann Ernst Altenburg, or as some

writers put it, &ldquo;the slide was adapted to it from the trombone.&rdquo; It was mentioned in 1700 by Kuhnau. Any one wishing to be convinced of this re-incarnation may compare the modern slide-trumpet with the original slide-trumpet or alto sackbut in the Grimiani Breviary, a MS. of the 15th century, and with E. van der Straeten's reproduction of an old engraving by Galle and Stradan from the Encomium Musices in which the forms are identical except that in the modern slide-trumpet the bell reaches the level of the U-shaped bottom of the slide.



(From the Encomium Musices.)

3. &mdash; Slide Trumpet 16th century.

The slide trumpet is still used in England in a somewhat modified form. The slide is a short one allowing of four positions. In 1889 a trumpet was constructed by Mr W. Wyatt with a double slide which gave the trumpet a complete chromatic compass. This instrument, which has the true brilliant trumpet tone, requires delicate manipulation, for the shifts are necessarily very short. About 1760 Kölbel, a Bohemian musician, applied a key to the bugle, and soon afterwards the trumpet received a similar addition. By opening this key, which is placed near the bell, the instrument was raised a diatonic semitone, and by correcting errors of intonation by the tension of the lips in the mouthpiece the following diatonic succession was obtained.



This invention was improved in 1801 by Weidinger, trumpeter to the imperial court at Vienna, who increased the number of keys and thus made

the trumpet chromatic throughout its scale. The instrument shown in fig. 4 is in G; the keys are five in number, and as they open one after another or in combination it is possible to connect the second proper tone with the third by chromatic steps, and thus produce the following succession: &mdash;



The number of keys was applied to fill up the gaps between the extreme sounds of the interval of a fifth; and a like result was arrived at more easily for the intervals of the fourth, the major third, &amp;c., furnished by the proper tones of 3, 4, 5, &amp;c. But, though the keyed trumpet was a notable improvement on the invention trumpet, the sounds obtained by means of the lateral openings of the tube did not possess the qualities which distinguish sounds caused by the resonance of the air-column vibrating in its entirety. But in 1815 Stölzel made a genuine chromatic trumpet by the invention of the Ventile or piston. The natural-trumpet is now no longer employed except in cavalry regiments. It is usually in E♭. The bass trumpet in E♭, which is an octave lower, is sometimes, but rarely, used. Trumpets with pistons are generally constructed in F, with crooks in E and E♭. In Germany trumpets in the high B♭ with a crook in A are very often used in the orchestra. They are easier for cornet à piston players than the trumpet in F. A quick change trumpet in Bb with combined tuning and transposing slides, for changing into the key of A, known as the &ldquo;Proteano&rdquo; trumpet,

has been patented by Messrs Besson &amp; Co. The transposing slide always remains at the correct length, and change of the tuning slide does not necessitate readjustment of the former. This combination slide is fitted to the ordinary valve trumpet as well as to the trumpet with &ldquo;enharmonic&rdquo; valves. Mahillon constructed for the concerts of the Conservatoire at Brussels trumpets in the high D, an octave above the old trumpet in the same key. They permit the execution of the high trumpet parts of Handel and J. S. Bach. The bass trumpet with pistons used for Wagner's tetralogy is in E♭, in unison with the ordinary trumpet with crooks of D and C; but, when constructed so as to allow of the production of the second proper tone as written by this master, this instrument belongs rather to the trombones than to the trumpets.

(V. M.; K. S.)

TRUMPET,. The speaking trumpet, though some instrument of the kind appears to have been in earlier use, is connected in its modern form with the name of Athanasius Kircher and that of Sir Samuel Morland, who in 1670 proposed to the Royal Society of London the question of