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97-490: Plucked The trumpet is a brass instrument commonly used in classical and jazz ensembles . The trumpet group ranges from the piccolo trumpet —with the highest register in the brass family—to the bass trumpet , pitched one octave below the standard B ♭ or C trumpet. Trumpet-like instruments have historically been used as signaling devices in battle or hunting, with examples dating back to at least 2000 BC. They began to be used as musical instruments only in

194-435: A closed 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. 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 by throwing (extending) or retracting one or both slides, using

291-418: A natural trumpet ) which is used to change the length of the pipe, altering the fundamental pitch and harmonic series which the instrument can sound, and thus the key in which it plays. Early horns had unalterable lengths and permanently attached mouthpieces. This presented problems in concert situations. A different horn was required for different keys, and the instrument could not be tuned. Around 1700

388-406: A perfect fourth (five semitones). Used singly and in combination these valves make the instrument fully chromatic , i.e., able to play all twelve pitches of classical music. For more information about the different types of valves, see Brass 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

485-538: A Germanic source (compare Old High German trumpa , Old Norse trumba 'trumpet'), of imitative origin." The earliest trumpets date back to 2000 BC and earlier. The bronze and silver Tutankhamun's trumpets from his grave in Egypt, bronze lurs from Scandinavia, and metal trumpets from China date back to this period. Trumpets from the Oxus civilization (3rd millennium BC) of Central Asia have decorated swellings in

582-426: A brass instrument . Slides , valves , crooks (though they are rarely used today), or keys are used to change vibratory length of tubing, thus changing the available harmonic series , while the player's embouchure , lip tension and air flow serve to select the specific harmonic produced from the available series. The view of most scholars (see organology ) is that the term "brass instrument" should be defined by

679-470: A brass instrument accurately. It also plays a major role in some performance situations, such as in marching bands. Traditionally the instruments are normally made of brass , polished and then lacquered to prevent corrosion . Some higher quality and higher cost instruments use gold or silver plating to prevent corrosion. Alternatives to brass include other alloys containing significant amounts of copper or silver. These alloys are biostatic due to

776-452: A conical mouthpiece. One interesting difference between a woodwind instrument and a brass instrument is that woodwind instruments are non-directional. This means that the sound produced propagates in all directions with approximately equal volume. Brass instruments, on the other hand, are highly directional, with most of the sound produced traveling straight outward from the bell. This difference makes it significantly more difficult to record

873-491: A fourth valve, such as tubas, euphoniums, piccolo trumpets , etc. that valve lowers the pitch by a perfect fourth; this is used to compensate for the sharpness of the valve combinations 1–3 and 1–2–3 (4 replaces 1–3, 2–4 replaces 1–2–3). All three normal valves may be used in addition to the fourth to increase the instrument's range downwards by a perfect fourth, although with increasingly severe intonation problems. When four-valved models without any kind of compensation play in

970-476: A gimmick, these plastic models have found increasing popularity during the last decade and are now viewed as practice tools that make for more convenient travel as well as a cheaper option for beginning players. Brass instruments are one of the major classical instrument families and are played across a range of musical ensembles . Orchestras include a varying number of brass instruments depending on music style and era, typically: Concert bands generally have

1067-416: A good range of notes simply by varying the tension of their lips (see embouchure ). Most brass instruments are fitted with a removable mouthpiece . Different shapes, sizes and styles of mouthpiece may be used to suit different embouchures, or to more easily produce certain tonal characteristics. Trumpets, trombones, and tubas are characteristically fitted with a cupped mouthpiece, while horns are fitted with

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1164-454: A hanging banner. This instrument is mostly used for ceremonial events such as parades and fanfares . David Monette designed the flumpet in 1989 for jazz musician Art Farmer . It is a hybrid of a trumpet and a flugelhorn, pitched in B ♭ and using three piston valves. Other variations include rotary-valve , or German, trumpets (which are commonly used in professional German and Austrian orchestras), alto and Baroque trumpets , and

1261-404: A larger brass section than an orchestra, typically: British brass bands are made up entirely of brass, mostly conical bore instruments. Typical membership is: Quintets are common small brass ensembles; a quintet typically contains: Crook (music) A crook , also sometimes called a shank , is an exchangeable segment of tubing in a natural horn (or other brass instrument , such as

1358-526: A new instrument, the inventionshorn , in which detachable crooks (or inventions ) were inserted not in the mouth pipe, but in the middle of the horn. This presented the new problem of fitting the longest and shortest crooks into the same small space. Working with the Dresden instrument maker Johann Werner, Hampel perfected the Inventionshorn sometime between 1750 and 1755. The new horn was capable of

1455-415: A rounded rectangular shape. There are many distinct types of trumpet, with the most common being pitched in B ♭ (a transposing instrument ), having a tubing length of about 1.48 m (4 ft 10 in). The cornet is very similar to the trumpet but has a conical bore (trumpet has a cylindrical bore) and its tubing is generally wound differently. Early trumpets did not provide means to change

1552-429: A straight mute with an additional, bell-facing cup at the end, and produces a darker tone than a straight mute. The harmon mute is made of metal (usually aluminum or copper) and consists of a "stem" inserted into a large chamber. 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. Using standard technique,

1649-451: A trade name of the Humes & Berg company. They are often held in place with cork. To better keep the mute in place, players sometimes dampen the cork by blowing warm, moist air on it. The straight mute is conical and constructed of either metal (usually aluminum)—which produces a bright, piercing sound—or another material, which produces a darker, stuffier sound. The cup mute is shaped like

1746-419: A trigger on valves other than 2 (especially 3), although many professional quality euphoniums, and indeed other brass band instruments, have a trigger for the main tuning slide. The two major types of valve mechanisms are rotary valves and piston valves . The first piston valve instruments were developed just after the start of the 19th century. The Stölzel valve (invented by Heinrich Stölzel in 1814)

1843-431: A trumpet, a person lays out a pattern and shapes sheet metal into a bell-shape using templates, machine tools, handtools, and blueprints. The maker cuts out the bell blank, using hand or power shears. He hammers the blank over a bell-shaped mandrel, and butts the seam, using a notching tool. The seam is brazed, using a torch and smoothed using a hammer or file. A draw bench or arbor press equipped with expandable lead plug

1940-483: 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. Some slide trumpet designs saw use in England in the 18th century. The pocket trumpet

2037-505: A wide selection of mutes: common ones include the straight mute , cup mute , harmon mute (wah-wah or wow-wow mute, among other names), plunger , bucket mute , and practice mute . A straight mute is generally used when the type of mute is not specified. Jazz and commercial music call for a wider range of mutes than most classical music and many mutes were invented for jazz orchestrators. Mutes can be made of many materials, including fiberglass, plastic, cardboard, metal, and "stone lining",

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2134-429: 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,

2231-518: 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. The melody-dominated homophony of the classical and romantic periods relegated the trumpet to a secondary role by most major composers owing to the limitations of

2328-568: Is also possible to produce pedal tones below the low F ♯ , which is a device occasionally employed in the contemporary repertoire for the instrument. 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 like Berio and Stockhausen . Growling : Simultaneously playing tone and using

2425-421: Is at the same pitch as a trombone and is usually played by a trombone player, although its music is written in treble clef . Most bass trumpets are pitched in either C or B ♭ . The C bass trumpet sounds an octave lower than written, and the B ♭ bass sounds a major ninth (B ♭ ) lower, making them both transposing instruments . The historical slide trumpet was probably first developed in

2522-410: Is close to the note shown, it is flat relative to equal 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. This scheme and the nature of

2619-428: Is constructed of brass tubing bent twice into a rounded oblong shape. As with all brass instruments, sound is produced by blowing air through slightly separated lips, producing a "buzzing" sound into the mouthpiece and starting a standing wave vibration in the air column inside the trumpet. The player can select the pitch from a range of overtones or harmonics by changing the lip aperture and tension (known as

2716-494: Is involved is that the crooks have become a permanent part of the instrument, and are opened and closed in various combinations by the use of valves, rendering the switching between crooks effectively instantaneous (see also the articles on the French horn , the cornet , and the valved trumpet ). In the 19th century, brass instruments were produced which incorporated many of the features described above in one design. For instance,

2813-412: Is noted in the table, despite the exposition of four-valve and also five-valve systems (the latter used on the tuba) being incomplete in this article. Since valves lower the pitch, a valve that makes a pitch too low (flat) creates an interval wider than desired, while a valve that plays sharp creates an interval narrower than desired. Intonation deficiencies of brass instruments that are independent of

2910-406: Is significantly lower than the fundamental frequency of the series that the other resonances are overtones of. Depending on the instrument and the skill of the player, the missing fundamental of the series can still be played as a pedal tone , which relies mainly on vibration at the overtone frequencies to produce the fundamental pitch. The bore diameter in relation to length determines whether

3007-472: Is the norm, usually in a double, sometimes even triple configuration. Some valved brass instruments provide triggers or throws that manually lengthen (or, less commonly, shorten) the main tuning slide, a valve slide, or the main tubing. These mechanisms alter the pitch of notes that are naturally sharp in a specific register of the instrument, or shift the instrument to another playing range. Triggers and throws permit speedy adjustment while playing. Trigger

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3104-432: Is used in two senses: A throw is a simple metal grip for the player's finger or thumb, attached to a valve slide. The general term "throw" can describe a u-hook, a saddle (u-shaped grips), or a ring (ring-shape grip) in which a player's finger or thumb rests. A player extends a finger or thumb to lengthen a slide, and retracts the finger to return the slide to its original position. Triggers or throws are sometimes found on

3201-421: Is used to shape and smooth the bell and bell neck over a mandrel. A lathe is used to spin the bell head and to form a bead at the edge of bell head. Previously shaped bell necks are annealed, using a hand torch to soften the metal for further bending. Scratches are removed from the bell using abrasive-coated cloth. A few specialty instruments are made from wood. Instruments made mostly from plastic emerged in

3298-408: Is usually a great and unexpected pleasure to performers who have previously used only modern double horns, for they differ greatly in timbre and response. The highest keys, B ♭ and A, are very focused and penetrating in tone, and respond quickly, making rapid tonguing easy, but they soon become tiring to play because they are usually used for very high parts. At the opposite end of the spectrum,

3395-530: The National Music Museum has a German (or Austrian) trumpet in G (NMM 7077), ca. 1840, which includes terminal crooks, two-piston valves, and a tuning slide. The museum also has a cornet (cornopean in B-flat, Raoux, Paris, ca. 1850, NMM 6852) with terminal crooks, Stölzel valves, tuning slide, and tuning shanks, one of which was also used as a coupler. Modern Vienna horns are manufactured with

3492-584: The Vienna valve trumpet (primarily used in Viennese brass ensembles and orchestras such as the Vienna Philharmonic and Mnozil Brass ). The trumpet is often confused with its close relative the cornet , which has a more conical tubing shape compared to the trumpet's more cylindrical tube. This, along with additional bends in the cornet's tubing, gives the cornet a slightly mellower tone, but

3589-410: The bore , that is, the tubing between the mouthpiece and the flaring of the tubing into the bell . Those two generalizations are with regard to While all modern valved and slide brass instruments consist in part of conical and in part of cylindrical tubing, they are divided as follows: The resonances of a brass instrument resemble a harmonic series , with the exception of the lowest resonance, which

3686-453: The embouchure ). 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 the timbre or quality of sound, the ease of playability, and player comfort. Generally,

3783-431: The embouchure . Standard fingerings above high C are the same as for the notes an octave below (C ♯ is 1–2, D is 1, etc.). Each overtone series on the trumpet begins with the first overtone—the fundamental of each overtone series cannot be produced except as a pedal tone . Notes in parentheses are the sixth overtone, representing a pitch with a frequency of seven times that of the fundamental; while this pitch

3880-404: The oligodynamic effect , and thus suppress growth of molds , fungi or bacteria . Brass instruments constructed from stainless steel or aluminium have good sound quality but are rapidly colonized by microorganisms and become unpleasant to play. Most higher quality instruments are designed to prevent or reduce galvanic corrosion between any steel in the valves and springs, and the brass of

3977-513: The 19th century. Charles Tully's Tutor for the French Horn , published in London, recommended this system for beginners as late as 1840. The master crook and coupler system presented some problems. In high keys, the instrument was uncomfortably close to the face, while in low keys, so many pieces needed to be added that the instrument could become unstable, adversely affecting the accuracy of

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4074-468: The 1st note of the harmonic series ... A horn giving the C of an open 8 ft organ pipe had to be 16 ft (5 m). long. Half its length was practically useless ... it was found that if the calibre of tube was sufficiently enlarged in proportion to its length, the instrument could be relied upon to give its fundamental note in all normal circumstances. – Cecil Forsyth, Orchestration , p. 86 The instruments in this list fall for various reasons outside

4171-407: The 2010s as a cheaper and more robust alternative to brass. Plastic instruments could come in almost any colour. The sound plastic instruments produce is different from the one of brass, lacquer, gold or silver. This is because plastic is much less dense, or rather has less matter in a given space as compared to the aforementioned which causes vibrations to occur differently. While originally seen as

4268-581: The A, B ♭ , D, E ♭ , E, or F trumpet on the C trumpet or B ♭ trumpet. The smallest trumpets are referred to as piccolo 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

4365-477: The Compensation system, each of the first two (or three) valves has an additional set of tubing extending from the back of the valve. When the third (or fourth) valve is depressed in combination with another one, the air is routed through both the usual set of tubing plus the extra one, so that the pitch is lowered by an appropriate amount. This allows compensating instruments to play with accurate intonation in

4462-593: The Leichnamschneider brothers in Vienna developed a horn with a removable mouthpiece that could be connected to a short piece of tubing, called a master crook . Additional pieces, couplers , of different lengths were inserted between the master crook and the body of the horn to change the horn's length, and thus the pitch. Fine-tuning was done with even shorter segments called tuning bits . This simple and relatively inexpensive solution remained in use even into

4559-407: The action of three valves had become almost universal by (at latest) 1864 as witnessed by Arban's method published in that year. The effect of a particular combination of valves may be seen in the table below. This table is correct for the core three-valve layout on almost any modern valved brass instrument. The most common four-valve layout is a superset of the well-established three-valve layout and

4656-636: The air being doubled back through the main valves. In early designs, this led to sharp bends in the tubing and other obstructions of the air-flow. Some manufacturers therefore preferred adding more 'straight' valves instead, which for example could be pitched a little lower than the 2nd and 1st valves and were intended to be used instead of these in the respective valve combinations. While no longer featured in euphoniums for decades, many professional tubas are still built like this, with five valves being common on CC- and BB ♭ -tubas and five or six valves on F-tubas. Compensating double horns can also suffer from

4753-453: 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 syllables ta-ka ta-ka ta-ka . Triple tonguing : The same as double tonguing, but with the syllables ta-ta-ka ta-ta-ka ta-ta-ka . Doodle tongue : The trumpeter tongues as if saying

4850-404: The corresponding register, the sharpness becomes so severe that players must finger the note a half-step below the one they are trying to play. This eliminates the note a half-step above their open fundamental. Manufacturers of low brass instruments may choose one or a combination of four basic approaches to compensate for the tuning difficulties, whose respective merits are subject to debate: In

4947-530: The deficiencies in the valve system. In most trumpets and cornets, the compensation must be provided by extending the third valve slide with the third or fourth finger, and the first valve slide with the left hand thumb (see Trigger or throw below). This is used to lower the pitch of the 1–3 and 1–2–3 valve combinations. On the trumpet and cornet, these valve combinations correspond to low D, low C ♯ , low G, and low F ♯ , so chromatically, to stay in tune, one must use this method. In instruments with

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5044-464: The first valve slide. They are operated by the player's thumb and are used to adjust a large range of notes using the first valve, most notably the player's written top line F, the A above directly above that, and the B ♭ above that. Other notes that require the first valve slide, but are not as problematic without it include the first line E, the F above that, the A above that, and the third line B ♭ . Triggers or throws are often found on

5141-438: The first, second or third valves are pressed; pressing the thumb valve takes these secondary valve slides and the extra length of main tubing out of play to produce a shorter B ♭ horn. A later "full double" design has completely separate valve section tubing for the two sides, and is considered superior, although rather heavier in weight. Initially, compensated instruments tended to sound stuffy and blow less freely due to

5238-453: The following ratios and comparisons to 12-tone equal tuning and to a common five-limit tuning in C: The additional tubing for each valve usually features a short tuning slide of its own for fine adjustment of the valve's tuning, except when it is too short to make this practicable. For the first and third valves this is often designed to be adjusted as the instrument is played, to account for

5335-636: The full range of transpositions and quickly became a regular member of the developing symphony orchestra. Fine-tuning of the Inventionshorn remained a problem until J. G. Haltenhof replaced the tenon and socket fittings with slides in 1776. About 4 years later the Parisian instrument makers Joseph and Lucien-Joseph Raoux, in collaboration with Carl Türrschmidt, came out with the cor solo , a refined version for soloists with crooks in G, F, E, E ♭ , and D. (Orchestra players needed more crooks since they needed to play in more keys). The Inventionshorn design

5432-414: The fundamental tone or the first overtone is the lowest partial practically available to the player in terms of playability and musicality, dividing brass instruments into whole-tube and half-tube instruments. These terms stem from a comparison to organ pipes , which produce the same pitch as the fundamental pedal tone of a brass instrument of equal length. Neither the horns nor the trumpet could produce

5529-430: The horn into an almost completely chromatic instrument, but the change in timbre associated with stopped notes, and the length of time needed to change crooks, did greatly limit their usefulness. The addition of valves around 1815 by Heinrich Stölzel and Friedrich Blühmel revolutionized the playing of many brass instruments and the music that could be written for them. The name "valves" is somewhat misleading since what

5626-552: The instrument. Designs exist, although rare, in which this behaviour is reversed, i.e., pressing a valve removes a length of tubing rather than adding one. One modern example of such an ascending valve is the Yamaha YSL-350C trombone, in which the extra valve tubing is normally engaged to pitch the instrument in B ♭ , and pressing the thumb lever removes a whole step to pitch the instrument in C. Valves require regular lubrication . A core standard valve layout based on

5723-448: 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, the flugelhorn , 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

5820-440: 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 musician Don Cherry was renowned for his playing of the pocket instrument. The tubing of the bell section of a herald trumpet is straight, making it long enough to accommodate

5917-462: The late 14th century for use in alta 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 with shawms in D and G, probably at

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6014-413: The late 14th or early 15th century. Trumpets are used in art music styles, for instance in orchestras, concert bands , and jazz ensembles, as well as in popular music . Sound is produced by vibrating the lips in a mouthpiece, which starts a standing wave in the air column of the instrument. Since the late 15th century, trumpets have primarily been constructed of brass tubing, usually bent twice into

6111-553: The left thumb and ring finger for the first and third valve slides respectively. Trumpets can be constructed from other materials, including plastic. 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

6208-455: The length of tubing, whereas modern instruments generally have three (or sometimes four) valves in order to change their pitch . Most trumpets have valves of the piston type, while some have the rotary 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

6305-423: The low B ♭ and C crooks have a rich, dark almost muddy tone, but, because of their length — B ♭ has 18 feet (about 5.5m) of tubing — are slow to speak. Indeed, the difference in response between a horn crooked in B ♭ alto and one in B ♭ basso is akin to the difference in handling between a sports car and a lorry. The use of crooks in conjunction with hand-stopping made

6402-412: 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 by Bohumir Kryl . Microtones : Composers such as Scelsi and Stockhausen have made wide use of

6499-511: The lowest note is the written F ♯ below middle C . There is no actual limit to how high brass instruments can play, but fingering charts generally go up to the high C two octaves above middle C. Several trumpeters have achieved fame for their proficiency in the extreme high register, among them Maynard Ferguson , Cat Anderson , Dizzy Gillespie , Doc Severinsen , and more recently Wayne Bergeron , Louis Dowdeswell , Thomas Gansch , James Morrison , Jon Faddis and Arturo Sandoval . It

6596-466: The middle, yet are made out of one sheet of metal, which is considered a technical wonder for its time. The Salpinx was a straight trumpet 62 inches (1,600 mm) long, made of bone or bronze. Homer ’s Iliad (9th or 8th century BCE) contain the earliest reference to its sound and further, frequent descriptions are found throughout the Classical Period . Salpinx contests were a part of

6693-419: The modern sense; and the modern bugle 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. The natural 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

6790-443: 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 to Beethoven and Weber , every composer – not excepting Mozart  – persisted in confining it to the unworthy function of filling up, or in causing it to sound two or three commonplace rhythmical formulae. The trumpet

6887-466: The octave below their open second partial, which is critical for tubas and euphoniums in much of their repertoire. The compensating system was applied to horns to serve a different purpose. It was used to allow a double horn in F and B ♭ to ease playing difficulties in the high register. In contrast to the system in use in tubas and euphoniums, the default 'side' of the horn is the longer F horn, with secondary lengths of tubing coming into play when

6984-634: The original Olympic Games. The Shofar , 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. The Moche people of ancient Peru depicted trumpets in their art going back to AD 300. The earliest trumpets were signaling instruments used for military or religious purposes, rather than music in

7081-450: 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 by 1 + 1 ⁄ 2 steps. Alternate fingerings may be used to improve facility in certain passages, or to aid in intonation. Extending

7178-531: The pitch by a fourth, making some lower notes accessible and creating alternate fingerings for certain trills . Maurice André , Håkan Hardenberger , David Mason , and Wynton 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 military bugles . Traditionally used in drum and bugle corps , sopranos employ either rotary valves or piston valves . The bass trumpet

7275-457: The player to change crooks of the instrument. The development of the upper, " clarino " register by specialist trumpeters—notably Cesare Bendinelli —would lend itself well to the Baroque 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

7372-413: The playing. Moreover, the instrument became so long that it was sometimes difficult to reach the bell for hand-stopping , a technique for lowering the pitch of individual notes a semitone or more. This important innovation had been introduced around 1720, and codified by Anton Hampel of Dresden in about 1750, so that the horn could be played chromatically . To get around these problems Hampel devised

7469-402: The same note, a tremolo effect can be created. Berio makes extended use of this technique in his Sequenza 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. Brass instrument There are several factors involved in producing different pitches on

7566-457: The scope of much of the discussion above regarding families of brass instruments. Valves are used to change the length of tubing of a brass instrument allowing the player to reach the notes of various harmonic series. Each valve pressed diverts the air stream through additional tubing, individually or in conjunction with other valves. This lengthens the vibrating air column thus lowering the fundamental tone and associated harmonic series produced by

7663-458: The slide in raises it. Pitch can be "bent" using the embouchure only. 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. A trumpet becomes

7760-464: The stuffiness resulting from the air being passed through the valve section twice, but as this really only affects the longer F side, a compensating double can be very useful for a 1st or 3rd horn player, who uses the F side less. Another approach was the addition of two sets of slides for different parts of the range. Some euphoniums and tubas were built like this, but today, this approach has become highly exotic for all instruments except horns, where it

7857-399: 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 some piccolo trumpets , it usually lowers the pitch

7954-428: The third valve slide when using the fingerings 1–3 or 1-2-3 further lowers the pitch slightly to improve intonation. Some of the partials of the harmonic series that a modern B ♭ trumpet can play for each combination of valves pressed are in tune with 12-tone equal temperament and some are not. Various types of mutes can be placed in or over the bell, which decreases volume and changes timbre. Trumpets have

8051-489: The third valve slide. They are operated by the player's fourth finger, and are used to adjust the lower D and C ♯ . Trumpets typically use throws, whilst cornets may have a throw or trigger. Trombone triggers are primarily but not exclusively installed on the F-trigger, bass, and contrabass trombones to alter the length of tubing, thus making certain ranges and pitches more accessible. A euphonium occasionally has

8148-505: The trumpet is called a trumpet player or trumpeter . The English word trumpet was first used in the late 14th century. The word came from Old French trompette , which is a diminutive of trompe . The word trump , meaning trumpet , was first used in English in 1300. The word comes from Old French trompe 'long, tube-like musical wind instrument' (12c.), cognate with Provençal tromba , Italian tromba , all probably from

8245-404: The trumpet's ability to play microtonally. Some instruments feature a fourth valve that provides a quarter-tone step between each note. The jazz musician Ibrahim Maalouf uses such a trumpet, invented by his father to make it possible to play Arab maqams . Valve tremolo : Many notes on the trumpet can be played in several different valve combinations. By alternating between valve combinations on

8342-414: The tuba. See also the article Brass Instrument Valves . Because the player of a brass instrument has direct control of the prime vibrator (the lips), brass instruments exploit the player's ability to select the harmonic at which the instrument's column of air vibrates. By making the instrument about twice as long as the equivalent woodwind instrument and starting with the second harmonic, players can get

8439-532: The tubing has an inversely proportional effect on pitch ( Pitch of brass instruments ), while pitch perception is logarithmic, there is no way for a simple, uncompensated addition of length to be correct in every combination when compared with the pitches of the open tubing and the other valves. For example, given a length of tubing equaling 100 units of length when open, one may obtain the following tuning discrepancies: Playing notes using valves (notably 1st + 3rd and 1st + 2nd + 3rd) requires compensation to adjust

8536-414: The tubing. This may take the form of desiccant design, to keep the valves dry, sacrificial zincs , replaceable valve cores and springs, plastic insulating washers, or nonconductive or noble materials for the valve cores and springs. Some instruments use several such features. The process of making the large open end (bell) of a brass instrument is called metal beating . In making the bell of, for example,

8633-416: The tuning appropriately, either by the player's lip-and-breath control, via mechanical assistance of some sort, or, in the case of horns, by the position of the stopping hand in the bell. 'T' stands for trigger on a trombone. Traditionally the valves lower the pitch of the instrument by adding extra lengths of tubing based on a just tuning : Combining the valves and the harmonics of the instrument leads to

8730-415: The tuning or temperament system are inherent in the physics of the most popular valve design, which uses a small number of valves in combination to avoid redundant and heavy lengths of tubing (this is entirely separate from the slight deficiencies between Western music's dominant equal (even) temperament system and the just (not equal) temperament of the harmonic series itself). Since each lengthening of

8827-438: 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 a perfect fourth as well. Within each overtone series, the different pitches are attained by changing

8924-780: The way the sound is made, as above, and not by whether the instrument is actually made of brass . Thus one finds brass instruments made of wood, like the alphorn , the cornett , the serpent and the didgeridoo , while some woodwind instruments are made of brass, like the saxophone . Modern brass instruments generally come in one of two families: Plucked There are two other families that have, in general, become functionally obsolete for practical purposes. Instruments of both types, however, are sometimes used for period-instrument performances of Baroque or Classical pieces. In more modern compositions, they are occasionally used for their intonation or tone color. Brass instruments may also be characterised by two generalizations about geometry of

9021-544: The wider and deeper the cup, the darker the sound and timbre. 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 (two semitones ), 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

9118-547: The word doodle . 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

9215-631: Was also applied to other brass instruments. Some examples are a pair of invention trumpets by Michael Saurle (1805) at the National Music Museum . Around 1800 in France terminal crooks were invented, which proved to be extremely popular. These instruments used a separate crook for each key, and the crooks maintained a fairly uniform distance between the mouthpiece and the body of the instrument. Horn players typically needed at least eight crooks, for B ♭ -alto, A, G, F, E, E ♭ , D, and C. After about 1828, an additional crook in A ♭ -alto

9312-634: Was also included. Although crooks for low B and B ♭ were also occasionally made, these keys were usually reached by adding couplers to the C crook. Horns constructed with the large number of crooks needed for playing in an orchestra are sometimes referred to as orchestral horns ("Orchesterhorn" in German). The main disadvantage of this system was that so many crooks needed to be transported. The large cases required for carrying them were often works of art themselves. According to John Humphries' The Early Horn, A Practical Guide : The discovery of crooks

9409-422: Was an early variety. In the mid 19th century the Vienna valve was an improved design. However many professional musicians preferred rotary valves for quicker, more reliable action, until better designs of piston valves were mass manufactured towards the end of the 19th century. Since the early decades of the 20th century, piston valves have been the most common on brass instruments except for the orchestral horn and

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