Three Approaches to Transcription, and Two New Transcriptions for Trumpet and Piano

Abstract

This document discusses the role of transcriptions in the trumpet literature and examines three different approaches to transcription for the trumpet. In short, transcriptions fill in gaps in the trumpet repertoire, create a new outlet for repertoire composed for other instruments, and make repertoire more accessible to the average trumpet player. The three approaches to transcription examined are: direct transcription of the solo part with minor changes; semi-direct transcription of the solo part with more extensive changes; and loose transcriptions, where many aspects of the solo are preserved but the transcription goes in its own direction. These approaches are examined through three pieces that are now a part of the standard trumpet repertoire: two different direct transcriptions of Ravel’s Pièce en forme de habanera, one by Neal Ramsay and Ronald C. Dishinger and one by Thierry Caens; Allen Chen’s semi-direct transcription of Bach’s Concerto in D Major, BWV 972; and Rafael Méndez’s loose transcription of Verdi’s aria “Caro nome,” from Rigoletto. In addition, I used the techniques described in my analysis of these approaches to create direct transcriptions for trumpet and piano of two Hugo Wolf lieder (“Verschwiegene Liebe” from Eichendorff-Lieder, and “Nimmersatte Liebe” from Mörike-Lieder) and a semi-direct transcription of a William Byrd virginal (“Will Yow Walke the Woods Soe Wylde” from My Ladye Nevells Booke of Virginal Music). These transcriptions were created in order to make these non-trumpet works accessible to the non-professional trumpet player, and to give a guide on how to create these types of transcriptions.