Facial muscles have an overwhelming importance in obtaining a special sonority, a perfect instrumental technique. In fact, through their vibration all sonority is produced by these muscles, and the level of professionalism one can reach depends on their degree of efficient use. We shall next analyze the specific issues and modality of use. While playing a mouthpiece instrument, due to the way facial muscle s are used, the following issues arise: exaggerated facial muscles stretching, clamping, undue strain, vibration limitation (by over-pressing, outer reason).
Like most baroque concerts, the Concerto for trumpet and orchestra in D major by Georg Philipp Telemann raises particular problems of interpretation. It is a concert written in the head register of the trumpet, with frequent references in the acute register. I should mention that the head register of a trumpet depends on its size. At a normal trumpet in and flat (and not piccolo), the acute register is from do (and flat from the first octave) to the next do ascendant. The head register continues from do2 to do3. In the trumpets in do, re, mi flat, fa, sol, the principle remains the same, with a variability depending on the size of the trumpet, except that in the acute record the other notes correspond to that of the flat, but the upper limit is generally the same.