For most modern trumpeters, what first comes to mind when thinking about the natural trumpet is the high tessitura writing from the Baroque era, by composers such as by J.S. Bach and G.F. Handel. There is however an enormous volume of instructional material and repertoire from the 19th century that is entirely accessible for developing trumpeters. The overwhelming majority of this literature doesn't venture beyond the 12th partial (G above the staff), which is reflected in the symphonic music of composers from Mozart to Beethoven to Brahms. Probably the best way to understand the foundations and history of trumpet literature—solo, chamber, and orchestral—is to learn the natural trumpet.
Trumpet teachers incorporating the natural trumpet into weekly lessons will see benefits on multiple fronts—increased efficiency, flexibility, internal pitch sense, awareness of resonance and resultant tones—all of which directly benefit modern trumpet playing. Perhaps most importantly, learning the natural trumpet opens up a world of learning and enjoyment that will last a lifetime.
F.G.A. Dauverné, the first professor of trumpet (to be precise, the natural trumpet) at the Paris Conservatory, teacher of J.B. Arban, and one of the earliest proponents of piston trumpets and cornets, famously wrote: "it is impossible to become a skillful trumpeter, in any style, if one does not begin with a complete study of the natural trumpet."
Click the link below for details on the Trumpet Teacher Studio Package and practice along with historic trumpet specialist Julian Zimmermann.