By the end of the 19th century the modern Bb trumpet had replaced the longer F trumpet as the standard orchestral instrument. While the passing of the old F trumpet timbre was lamented by many(1), trumpeters were confronted with parts of increasing difficulty from composers such as Strauss and Mahler, and the new instrument proved more tractable in meeting these demands. The popularity of the Bb cornet also contributed to the change, since many orchestral players also played the cornet and were accustomed to the technical advantages of an Instrument in Bb.  Trumpets in C also made their appearance about this time and became particularly well established in France and Austria. 

The present widespread acceptance of the C trumpet in orchestras can be traced to the appointment in 1920 of Georges Mager  as principal trumpet of the Boston Symphony. A first prize winner at the Paris Conservatory and one of this century's greatest players, Mager used the C trumpet as his primary instrument during his 30-year tenure in Boston. He led a section of C trumpets (unknown in orchestras of the time) and established the pattern that has become standard in American orchestras today.

Among the first major figures beyond Boston to adopt the C trumpet was William Vacchiano, solo trumpet of the New York Philharmonic, 1934 - 1973.  The worldwide influence of American brass playing, particularly that of Adolph Herseth, principal trumpet of the Chicago Symphony(2), is responsible for the present trend toward the C trumpet. (The use of C trumpets in France and Austria has continued independent of this influence).

The trend is not universal, however. British trumpeters following in the great tradition of Ernest Hall, George Eskdale and Harold Jackson have maintained their allegiance to the Bb, preferring its rounder tone and blending qualities. The Bb has to some extent retained its position in German and Eastern European orchestras as well.

1. See, for example, the discussion Of the horn and trumpet by Ralph Vaughan Williams in The Making of Music (Ithaca, N.Y. : Cornell University Press, 1955), p. 29.

2. Adolph Herseth is a former student of Georges Mager.

In bands, the Bb remains the primary instrument due to its fuller timbre and greater ability to blend within an ensemble of wind instruments. The literature for band is almost entirely written for the Bb instrument and would have to be transposed if C trumpets were used.  Another area in which the C trumpet has failed to gain a foothold is in the jazz and studio fields. The C trumpet's timbre and playing characteristics do not seem to be particularly adaptable to the musical requirements of jazz performers.

Given the trend toward C trumpets in orchestral playing, it is important to emphasize that trumpeters are in agreement that students should begin and play through their formative years on the Bb instrument. In this way a good tonal concept and tone production will be firmly established.

It would be well to consider what specific advantages the C trumpet has to offer the orchestral player. The primary factor underlying the trend to C trumpets is related to the nature of orchestral playing with its long periods of rest. The response of the C seems to be better suited to making "cold" entrances than the Bb, and it provides a greater feeling of security and control.  This feeling is augmented by its being in the same key as the string section. The C also seems to be more compatible with the range in which the first trumpet plays and the extreme dynamic contrasts required. The timbre of the C carries well, and this allows the player to project the sound with slightly less effort than that required by the Bb.

C trumpets are now available with a number of leadpipe and bell combinations and these have contributed to an improved instrument. American orchestral players generally prefer a large bore C, and a medium-large Bb.

The parallel use of Bb and C trumpets is likely to continue indefinitely.  By having two primary instruments available, the player is afforded maximum flexibility in adapting to the requirements of the part to be performed. There has been superb orchestral playing on the Bb trumpet as well as the C. How to utilize these instruments to best advantage ultimately remains a matter of individual choice.

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