You are listening to a clip from 'Eternal Source of Light Divine' as performed by Susanne Ryden (soprano) and Niklas Eklund (natural trumpet) on Naxos. Note how seamlessly the trumpet takes over from the voice and the complete matching of timbres, manner of flowing the notes, and trills. This is followed by an example of how voice and natural trumpet could match each other in florid passage work as in this Scarlatti aria. Compare this 'Eternal Source' with a performance of the same piece
in which the modern piccolo trumpet is used and you will realise what I mean by 'application of vocal technique' to the playing of the natural trumpet.
< > Singers please note that the trumpet notes are produced entirely by tongue and mind control - the configuration of the instrument is not changed, (finger-holes are used only to adjust the intonation of existing harmonics which do not quite match our major/minor system) which makes the instrument identical to the human voice in terms of pitch selection. In a subsequent essay I will describe how my tackling of the natural trumpet has led to the development of 'Calisthenics for the Singing Voice' and, importantly for trumpeters, the observation of a feedback loop in which development of the high voice has had a significant positive effect on both range and security of my trumpet playing.

This voice development system is supported for repertoire exploration by an extensive collection of backing tracks designed both to aid learning and be used in performance. This music library can be explored here.


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