Trumpet-like instruments have historically been used as signaling devices in battle or hunting, with examples dating back to the 2nd Millenium BC.[1] They began to be used as musical instruments only in the late 14th or early 15th century.[2] Trumpets are used inart music styles, appearing inorchestras,concert bands,chamber music groups, andjazz ensembles. They are also common inpopular music and are generally included inschool bands. Sound is produced by vibrating the lips in a mouthpiece,[3] which starts astanding wave in the air column of the instrument. Since the late 15th century, trumpets have primarily been constructed ofbrass tubing, usually bent twice into a rounded rectangular shape.
There are many distinct types of trumpet. The most common is atransposing instrument pitched in B♭ with a tubing length of about 1.48 m (4 ft 10 in). Thecornet is similar to the trumpet but has a conical bore (the trumpet has a cylindrical bore) and its tubing is generally wound differently. Early trumpets did not provide means to change the length of tubing, whereas modern instruments generally have three (or sometimes four)valves in order to change theirpitch. Most trumpets have valves of thepiston type, while some have therotary type. The use of rotary-valved trumpets is more common in orchestral settings (especially in German and German-style orchestras), although this practice varies by country. A musician who plays the trumpet is called atrumpet player ortrumpeter.[4]
Trio of trumpeters in Toledo, Ohio, approximately 1920
The English wordtrumpet was first used in the late 14th century.[5] The word came fromOld Frenchtrompette, which is a diminutive oftrompe.[5] The wordtrump, meaningtrumpet, was first used in English in 1300. The word comes from Old Frenchtrompe 'long, tube-like musical wind instrument' (c. 1100s), cognate withProvençaltromba,Italiantromba, all probably from aGermanic source (compareOld High Germantrumpa,Old Norsetrumba 'trumpet'), of imitative origin."[6]
Silver and gold plated trumpet and its wooden mute from thetomb of Tutankhamun (1326–1336 BC)Ceramic trumpet, AD 300,Larco Museum Collection Lima, PeruTrumpet, 17th century, decorated with large tassels
The earliest trumpets date back to 2000 BC and earlier. The bronze and silverTutankhamun's trumpets from his grave in Egypt,bronze lurs from Scandinavia, and metal trumpets from China date back to this period.[7] Trumpets from theOxus civilization (3rd millennium BC) of Central Asia have decorated swellings in the middle, yet are made out of one sheet of metal, which is considered a technical wonder for its time.[8]
TheSalpinx was a straight trumpet 62 inches (1,600 mm) long, made of bone or bronze.Homer’sIliad (9th or 8th century BCE) contain the earliest reference to its sound and further, frequent descriptions are found throughout theClassical Period.[9] Salpinx contests were a part of the original Olympic Games.[10] TheShofar, made from a ram horn and the Hatzotzeroth, made of metal, are both mentioned in the Bible. They were said to have been played in Solomon's Temple around 3,000 years ago. They are still used on certain religious days.[10]
TheMoche people of ancientPeru depicted trumpets in their art going back to AD 300.[11] The earliest trumpets were signaling instruments used for military or religious purposes, rather than music in the modern sense;[12] and the modernbugle continues this signaling tradition.
Improvements to instrument design and metal making in the late Middle Ages and Renaissance led to an increased usefulness of the trumpet as a musical instrument. Thenatural trumpets of this era consisted of a single coiled tube without valves and therefore could only produce the notes of a single overtone series. Changing keys required the player to changecrooks of the instrument.[10] The development of the upper, "clarino" register by specialist trumpeters—notablyCesare Bendinelli—would lend itself well to theBaroque era, also known as the "Golden Age of the natural trumpet." During this period, a vast body of music was written for virtuoso trumpeters. The art was revived in the mid-20th century and natural trumpet playing is again a thriving art around the world. Many modern players in Germany and the UK who perform Baroque music use a version of the natural trumpet fitted with three or four vent holes to aid in correcting out-of-tune notes in the harmonic series.[13]
The melody-dominatedhomophony of theclassical and romantic periods relegated the trumpet to a secondary role by most major composers owing to the limitations of the natural trumpet.Berlioz wrote in 1844:
Notwithstanding the real loftiness and distinguished nature of its quality of tone, there are few instruments that have been more degraded (than the trumpet). Down toBeethoven andWeber, every composer – not exceptingMozart – persisted in confining it to the unworthy function of filling up, or in causing it to sound two or three commonplace rhythmical formulae.[14]
The trumpet is constructed ofbrass tubing bent twice into a rounded oblong shape.[15] As with all brass instruments, sound is produced by blowing air through slightly separated lips, producing a "buzzing" sound into themouthpiece and starting astanding wave vibration in the air column inside the trumpet. The player can select thepitch from a range ofovertones orharmonics by changing the lipaperture and tension (known as theembouchure).
The mouthpiece has a circular rim, which provides a comfortable environment for the lips' vibration. Directly behind the rim is the cup, which channels the air into a much smaller opening (the back bore or shank) that tapers out slightly to match the diameter of the trumpet's lead pipe. The dimensions of these parts of the mouthpiece affect thetimbre or quality of sound, the ease of playability, and player comfort. Generally, the wider and deeper the cup, the darker the sound and timbre.
B♭ trumpet, disassembled
Modern trumpets have three (or, infrequently, four)piston valves, each of which increases the length of tubing when engaged, thereby lowering the pitch. The first valve lowers the instrument's pitch by a whole step (twosemitones), the second valve by a half step (one semitone), and the third valve by one and a half steps (three semitones). Having three valves provides eight possible valve combinations (including "none"), but only seven different tubing lengths, because the third valve alone gives essentially the same tubing length as the 1–2 combination. (In practice there is often a deliberately designed slight difference between "1–2" and "3", and in that case trumpet players will select the alternative that gives the best tuning for the particular note being played.) When a fourth valve is present, as with somepiccolo trumpets, it usually lowers the pitch aperfect fourth (five semitones). Used singly and in combination these valves make the instrument fullychromatic, i.e., able to play all twelve pitches of classical music. For more information about the different types of valves, seeBrass instrument valves.
The overall pitch of the trumpet can be raised or lowered by the use of the tuning slide. Pulling the slide out lowers the pitch; pushing the slide in raises it. Pitch can be "bent" using the embouchure only.[16]
To overcome the problems of intonation and reduce the use of the slides,Renold Schilke designed the tuning-bell trumpet. Removing the usual brace between the bell and a valve body allows the use of a sliding bell; the player may then tune the horn with the bell while leaving the slide pushed in, or nearly so, thereby improving intonation and overall response.[17]
A trumpet becomes aclosed tube when the player presses it to the lips; therefore, the instrument only naturally produces every other overtone of the harmonic series. The shape of the bell makes the missing overtones audible.[18] Most notes in the series are slightly out of tune and modern trumpets have slide mechanisms for the first and third valves with which the player can compensate bythrowing (extending) or retracting one or both slides, using the left thumb and ring finger for the first and third valve slides respectively.
Trumpets can be constructed from other materials, including plastic.[19]
The most common type is the B♭ trumpet, but A, C, D, E♭, E, low F, and G trumpets are also available. The C trumpet is most common in American orchestral playing, where it is used alongside the B♭ trumpet.Orchestral trumpet players are adept at transposing music at sight, frequently playing music written for the A, B♭, D, E♭, E or F trumpet as well as for the B, C♯, F♯ or G trumpet (which is used more rarely) on the C trumpet or B♭ trumpet.
Piccolo trumpet in B♭, with swappableleadpipes to tune the instrument to B♭ (shorter) or A (longer)
The smallest trumpets are referred to aspiccolo trumpets. The most common models are built to play in both B♭ and A, with separate leadpipes for each key. The tubing in the B♭ piccolo trumpet is one-half the length of that in a standard B♭ trumpet making it sound an octave higher. Piccolo trumpets in G, F and C are also manufactured, but are less common. Almost all piccolo trumpets have four valves instead of three—the fourth valve usually lowers the pitch by a fourth, making some lower notes accessible and creating alternate fingerings for certaintrills.Maurice André,Håkan Hardenberger,David Mason, andWynton Marsalis are some well-known trumpet players known for their virtuosity on the piccolo trumpet.
Trumpets pitched in the key of low G are also called sopranos, or soprano bugles, after their adaptation from militarybugles. Traditionally used indrum and bugle corps, sopranos employ eitherrotary valves orpiston valves.
The bass trumpet is at the same pitch as a trombone and is usually played by a trombone player,[4] although its music is written intreble clef. Most bass trumpets are pitched in either C or B♭. The C bass trumpet sounds anoctave lower than written, and the B♭ bass sounds a major ninth (B♭) lower, making them bothtransposing instruments.
The historicalslide trumpet was probably first developed in the late 14th century for use inalta cappella wind bands. Deriving from early straight trumpets, the Renaissance slide trumpet was essentially a natural trumpet with a sliding leadpipe. This single slide was awkward, as the entire instrument moved, and the range of the slide was probably no more than a major third. Originals were probably pitched in D, to fit withshawms in D and G, probably at a typical pitch standard near A=466 Hz. No known instruments from this period survive, so the details—and even the existence—of a Renaissance slide trumpet is a matter of debate among scholars. While there is documentation (written and artistic) of its existence, there is also conjecture that its slide would have been impractical.[20]
Some slide trumpet designs saw use in England in the 18th century.[21]
Thepocket trumpet is a compact B♭ trumpet. The bell is usually smaller than a standard trumpet bell and the tubing is more tightly wound to reduce the instrument size without reducing the total tube length. Its design is not standardized, and the quality of various models varies greatly. It can have a unique warm sound and voice-like articulation. Since many pocket trumpet models suffer from poor design as well as poor manufacturing, the intonation, tone color and dynamic range of such instruments are severely hindered. Professional-standard instruments are, however, available. While they are not a substitute for the full-sized instrument, they can be useful in certain contexts. The jazz musicianDon Cherry was renowned for his playing of the pocket instrument.
The tubing of the bell section of aherald trumpet is straight, making it long enough to accommodate a hanging banner. This instrument is mostly used for ceremonial events such as parades andfanfares.
David Monette designed theflumpet in 1989 for jazz musicianArt Farmer. It is a hybrid of a trumpet and a flugelhorn, pitched in B♭ and using three piston valves.[22]
Other variations includerotary-valve, or German, trumpets (which are commonly used in professional German and Austrian orchestras), alto andBaroque trumpets, and theVienna valve trumpet (primarily used in Viennese brass ensembles and orchestras such as theVienna Philharmonic andMnozil Brass).
The trumpet is often confused with its close relative thecornet, which has a moreconical tubing shape compared to the trumpet's morecylindrical tube. This, along with additional bends in the cornet's tubing, gives the cornet a slightly mellower tone, but the instruments are otherwise nearly identical. They have the same length of tubing and, therefore, the same pitch, so music written for one of them is playable on the other. Another relative, theflugelhorn, has tubing that is even more conical than that of the cornet, and an even mellower tone. It is sometimes supplied with a fourth valve to improve the intonation of some lower notes.
On any modern trumpet, cornet, or flugelhorn, pressing the valves indicated by the numbers below produces the written notes shown. "Open" means all valves up, "1" means first valve, "1–2" means first and second valve simultaneously, and so on. The sounding pitch depends on the transposition of the instrument. Engaging the fourth valve, if present, usually drops any of these pitches by aperfect fourth as well. Within eachovertone series, the different pitches are attained by changing theembouchure.
Eachovertone series on the trumpet begins with the first overtone—thefundamental of each overtone series cannot be produced except as apedal tone. Notes in parentheses are the sixth overtone, representing a pitch with a frequency of seven times that of the fundamental; while this pitch is close to the note shown, it is flat relative toequal temperament, and use of those fingerings is generally avoided.
The fingering schema arises from the length of each valve's tubing (a longer tube produces a lower pitch). Valve "1" increases the tubing length enough to lower the pitch by one whole step, valve "2" by one half step, and valve "3" by one and a half steps.[23] This scheme and the nature of the overtone series create the possibility of alternate fingerings for certain notes. For example, third-space "C" can be produced with no valves engaged (standard fingering) or with valves 2–3. Also, any note produced with 1–2 as its standard fingering can also be produced with valve 3 – each drops the pitch by1+1⁄2 steps. Alternate fingerings may be used to improve facility in certain passages, or to aid in intonation. Extending the third valve slide when using the fingerings 1–3 or 1-2-3 further lowers the pitch slightly to improve intonation.[24]
Some of the partials of theharmonic series that a modern B♭ trumpet can play for each combination of valves pressed are in tune with12-tone equal temperament and some are not.[25]
Trumpet with a straight mute inserted. Below, left to right: straight, wah-wah (harmon), and cup mutes.
Various types of mutes can be placed in or over the bell, which decreases volume and changes timbre.[26] Trumpets have a wide selection of mutes: common ones include thestraight mute,cup mute,harmon mute (wah-wah or wow-wow mute, among other names[27]),plunger,bucket mute, andpractice mute.[28] A straight mute is generally used when the type of mute is not specified.[27] Jazz and commercial music call for a wider range of mutes than most classical music[26] and many mutes were invented for jazz orchestrators.[29]
Mutes can be made of many materials, including fiberglass, plastic, cardboard, metal, and "stone lining", a trade name of the Humes & Berg company.[30] They are often held in place with cork.[26][31] To better keep the mute in place, players sometimes dampen the cork by blowing warm, moist air on it.[26]
The straight mute is conical and constructed of either metal (usually aluminum[27])—which produces a bright, piercing sound—or another material, which produces a darker, stuffier sound.[32][33] The cup mute is shaped like a straight mute with an additional, bell-facing cup at the end, and produces a darker tone than a straight mute.[34] The harmon mute is made of metal (usually aluminum or copper[27]) and consists of a "stem" inserted into a large chamber.[34] The stem can be extended or removed to produce different timbres, and waving one's hand in front of the mute produces a "wah-wah" sound, hence the mute's colloquial name.[34]
Contemporary music for the trumpet makes wide uses of extended trumpet techniques.
Flutter tonguing: The trumpeter rolls the tip of the tongue (as if rolling an "R" in Spanish) to produce a 'growling like' tone. This technique is widely employed by composers likeBerio andStockhausen.
Growling: Simultaneously playing tone and using the back of the tongue to vibrate the uvula, creating a distinct sound. Most trumpet players will use a plunger with this technique to achieve a particular sound heard in a lot of Chicago Jazz of the 1950s.
Double tonguing: The player articulates using the syllablesta-ka ta-ka ta-ka.
Triple tonguing: The same as double tonguing, but with the syllablesta-ta-ka ta-ta-ka ta-ta-ka.
Doodle tongue: The trumpeter tongues as if saying the worddoodle. This is a very faint tonguing similar in sound to a valve tremolo.
Glissando: Trumpeters can slide between notes by depressing the valves halfway and changing the lip tension. Modern repertoire makes extensive use of this technique.
Vibrato: It is often regulated in contemporary repertoire through specific notation. Composers can call for everything from fast, slow or no vibrato to actual rhythmic patterns played with vibrato.
Pedal tone: Composers have written notes as low as two-and-a-half octaves below the low F♯ at the bottom of the standard range. Extreme low pedals are produced by slipping the lower lip out of the mouthpiece.Claude Gordon assigned pedals as part of his trumpet practice routines, that were a systematic expansion on his lessons with Herbert L. Clarke. The technique was pioneered byBohumir Kryl.[35]
Microtones: Composers such as Scelsi and Stockhausen have made wide use of the trumpet's ability to play microtonally. Some instruments feature a fourth valve that provides a quarter-tone step between each note. The jazz musicianIbrahim Maalouf uses such a trumpet, invented by his father to make it possible to playArab maqams.
Valve tremolo: Many notes on the trumpet can be played in several different valve combinations. By alternating between valve combinations on the same note, a tremolo effect can be created. Berio makes extended use of this technique in hisSequenza X.
Noises: By hissing, clicking, or breathing through the instrument, the trumpet can be made to resonate in ways that do not sound at all like a trumpet. Noises may require amplification.
Preparation: Composers have called for trumpeters to play under water, or with certain slides removed. It is increasingly common for composers to specify all sorts of preparations for trumpet. Extreme preparations involve alternate constructions, such as double bells and extra valves.
Split tone: Trumpeters can produce more than one tone simultaneously by vibrating the two lips at different speeds. The interval produced is usually an octave or a fifth.
Lip-trill or shake: Also known as "lip-slurs". By rapidly varying air speed, but not changing the depressed valves, the pitch can vary quickly between adjacent harmonic partials. Shakes and lip-trills can vary in speed, and in the distance between the partials. However, lip-trills and shakes usually involve the next partial up from the written note.
Multi-phonics: Playing a note and "humming" a different note simultaneously. For example, sustaining a middle C and humming a major 3rd "E" at the same time.
Circular breathing: A technique wind players use to produce uninterrupted tone, without pauses for breaths. The player puffs up the cheeks, storing air, then breathes in rapidly through the nose while using the cheeks to continue pushing air outwards.
In early jazz,Louis Armstrong was well known for his virtuosity and his improvisations on theHot Five andHot Seven recordings, and his switch fromcornet to trumpet is often cited as heralding the trumpet's dominance over the cornet in jazz.[4][42]Dizzy Gillespie was a giftedimproviser with an extremely high (but musical) range, building on the style ofRoy Eldridge but adding new layers ofharmonic complexity. Gillespie had an enormous impact on virtually every subsequent trumpeter, both by the example of his playing and as a mentor to younger musicians.Miles Davis is widely considered one of the most influential musicians of the 20th century—his style was distinctive and widely imitated. Davis' phrasing and sense of space in his solos have been models for generations of jazz musicians.[43]Cat Anderson was a trumpet player who was known for the ability to play extremely high with an even more extreme volume, who played with Duke Ellington's Big Band.Maynard Ferguson came to prominence playing inStan Kenton's orchestra, before forming his own band in 1957. He was noted for being able to play accurately in a remarkably highregister.[44]
In the 1790sAnton Weidinger developed the first successfulkeyed trumpet, capable of playing chromatically.Joseph Haydn'sTrumpet Concerto was written for him in 1796 and startled contemporary audiences by its novelty,[45] a fact shown off by some stepwise melodies played low in the instrument's range.
^John Wallace and Alexander McGrattan,The Trumpet, Yale Musical Instrument Series (New Haven and London: Yale University Press, 2011): 239.ISBN978-0-300-11230-6.
^"Ferguson, Maynard".Encyclopedia of Music in Canada. The Canadian Encyclopedia. Retrieved2 January 2008.
^Keith Anderson, liner notes for Naxos CD 8.550243,Famous Trumpet Concertos, "Haydn's concerto, written for Weidinger in 1796, must have . At the first performance of the new concerto in Vienna in 1800 a trumpet melody was heard in a lower register than had hitherto been practicable."
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Sherman, Roger (1979).The trumpeter's handbook: a comprehensive guide to playing and teaching the trumpet. Athens, Ohio: Accura Music.ISBN0-918194-02-4.
Sevsay, Ertuğrul (2013).The Cambridge guide to orchestration. New York: Cambridge University Press. p. 125.ISBN978-1-107-02516-5.
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