A trumpet register and a style of playing from the 16th century to the 18th. The term refers to the low register of the natural trumpet, from g or c' upwards, as opposed to clarino, from c'' upwards. The terms ‘Principale’ (the register) and ‘Principalblasen’ (playing in the principale register) were German, and were not used in other countries. Ex.1 shows the range of the natural trumpet, together with the Italian and German designations both of the individual notes and also of the various registers of the instrument, each centred on a certain note.
The natural trumpet was used in two ways: as a solo instrument for signalling purposes, it was played in the principale register (see Signal); and for ceremonial purposes several players banded together in a ‘corps’. From about 1585 to 1685, according to Bendinelli, Monteverdi, Fantini, Praetorius, Schütz and Speer, the trumpet corps consisted of from five to seven players, who improvised in specific registers of their instrument, termed – from top to bottom – clarino, quinta, alto e basso, volgano and basso (to use the Italian terminology). From about 1685 to 1800 three parts, two clarinos and one principale, became common; the best example of this kind of writing is Handel's ‘Dettingen’ Te Deum. If a fourth part was added, it had the same notes as the kettledrums and was called toccato, dugetto or the like. (Or, in the writing of Austrian composers, the two lower parts were called tromba 1 and 2 and the two upper parts clarino 1 and 2.)
The principale player had to develop a strong and blasting tone (Ger. schmettern: ‘to blast’). He also had to excel in the use of double and triple tonguing, regarded by many as the noblest aspect of trumpet playing. In the field, where he was used for signalling purposes, the trumpeter was also entrusted with courier duties, carrying messages to the enemy; the dangers of such assignments are vividly recounted by J.E. Altenburg: Versuch einer Anleitung zur heroisch-musikalischen Trompeter- und Pauker-Kunst (Halle, 1795/R, pp.41ff; Eng. trans., Nashville, TN, 1974).
REINE DAHLQVIST, EDWARD H. TARR