While the A section remains strictly diatonic (I, IV, V, I), the B section modulates to the relative minor (B minor) and briefly touches on the subdominant of the dominant (G Major). German avoids the prolonged suspensions of Baroque counterpoint, favoring clear, block chords under the melodic line.
The left hand and pedal (if organ) provide a walking bass or repeated eighth-note chords, creating momentum. The final 8 measures feature a tierce de Picardie (turning a minor chord into major) followed by a prolonged tonic pedal point with ascending scalar runs in the solo voice. IV. Comparison with Baroque Trumpet Tunes | Feature | Purcell / Clarke (c. 1700) | David German (c. 1990) | | :--- | :--- | :--- | | Texture | Contrapuntal (imitative entries) | Homophonic (melody + accompaniment) | | Ornamentation | Extensive trills, mordents | Minimal; marked non legato | | Pedal part | Independent melodic line | Supportive, doubling bass | | Difficulty | Intermediate to advanced | Easy to intermediate | | Harmonic surprise | Modulates to dominant only | Brief chromaticism / modal mixture | david german trumpet tune
The Festive Baroque Revival: An Analysis of David German’s Trumpet Tune While the A section remains strictly diatonic (I,
Right hand (Trumpet stop): D - F# - A | D - F# - A | D (dotted quarter) E (eighth) | F# - D - A (half) Left hand (accompaniment): D Major chord (whole) | D Major | G Major (half) | A Major (half) Pedal: D (whole) | D | G | A End of paper The final 8 measures feature a tierce de