An Examination of the Use of the Trumpet in the Solo and Chamber Works of James Barnes

Abstract

This document examines the chamber repertoire for trumpet and brass quintet by James Barnes. These pieces are explored within the context of Barnes's overall approach to composition, and specific aspects of his writing are selected for detailed analysis. After a short biography, Barnes's general compositional output is discussed and his chamber and solo repertoire for trumpet are introduced. These works include the Divertissement, Op. 50, and his Classical Suite, Op. 79 for brass quintet; the Duo Concertante for Solo Trumpet, Euphonium and Concert Band, Op. 74; The Fanfare and Capriccio for Solo Trumpet and Symphonic Band, Op. 102; "Poem" and "Scherzino," etudes for solo trumpet; and the Toccata, Op. 104 for four trumpets, four cornets, and four flugelhorns. A broad context for these works is established by examining Barnes's compositional philosophy including his emphasis on hard work, a detailed study of the classical repertoire, musical craftsmanship, orchestration, his knowledge of instrumental technique and tone color, and his lyrical melodic writing. Barnes is a superb orchestrator, and the next section of the document analyzes Barnes's use of cornets and flugelhorns along with trumpets to provide additional tone colors in some of his chamber works. This section demonstrates the importance of the interplay between these tone colors within the formal construction of these pieces. Afterwards, the following section of the document examines humor as an important element in many of Barnes's works and shows many of the techniques that he uses to incorporate it into these works. The final section of the main body of the document discusses the influence of forms and techniques from earlier stylistic periods on Barnes's works. This includes a comparison of Barnes's "Passacaglia" from his Classical Suite with J.S. Bach's passacaglia from the Passacaglia and Fugue in C Minor, BWV 582.