Elsa jean band plays the trumpet

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Elsa jean band plays the trumpet

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Elsa Jean. Videos Featuring Model View All. Romi Rain , Elsa Jean. Various types of mutes can be used to alter the sound of the instrument when placed in or over the bell.

While most types of mutes do decrease the volume the instrument produces, as the name implies, the sound modification is typically the primary reason for their use.

A description of their construction and sound quality are below:. Straight Mute: Constructed of either aluminum, which produces a bright piercing sound, or stone lined with cardboard, which produces a stuffy sound.

Harmon Mute: Constructed of aluminum and consists of two parts called the "stem" and the "body". The stem can be extended or removed to produce different timbres of sound.

This mute is also called the "Wah-Wah" mute due to its distinctive sound created by the player placing their hand over the stem opening and waving it back and forth.

Plunger Mute: Most often made of a rubber bathroom plunger without the stick. This is used to manipulate sound by the player holding it over the bell with their left hand.

Bucket Mute : Constructed from cardboard and cloth, this mute is clipped to the end of the bell and used to muffle the sound almost completely.

Cup Mute: Also constructed of cardboard, this mute is shaped exactly like a straight mute but includes a cup at the end.

In many models the cup is adjustable much like the stem on the harmon mute and produces a softer more muffled sound than a traditional straight mute.

Traditional trumpet repertoire rarely calls for notes beyond this range, and the fingering tables of most method books peak at the high C , two octaves above middle C.

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 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 s. 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 or ta-ka-ta ta-ka-ta.

Doodle tongue : The trumpeter tongues as if saying 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.

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.

The technique was pioneered by Bohumir Kryl. 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 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 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. 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 the Hot Five and Hot Seven recordings, and his switch from cornet to trumpet is often cited as heralding the trumpet's dominance over the cornet in jazz.

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.

Maynard Ferguson came to prominence playing in Stan Kenton 's orchestra, before forming his own band in He was noted for being able to play accurately in a remarkably high register.

Anton Weidinger developed in the s the first successful keyed trumpet, capable of playing all the chromatic notes in its range. Joseph Haydn 's Trumpet Concerto was written for him in and startled contemporary audiences by its novelty, [30] a fact shown off by some stepwise melodies played low in the instrument's range.

Trumpet-Player in front of a Banquet , Gerrit Dou , c. Louis Armstrong statue in Algiers, New Orleans. Miles Davis statue in Kielce, Poland.

From Wikipedia, the free encyclopedia. Musical instrument. For other uses, see Trumpeter disambiguation and Trumpet disambiguation.

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources.

Jones is currently represented by Unlimited Myles, Inc. From Wikipedia, the free encyclopedia. For other people with the same name, see Sean Jones disambiguation.

Sean Jones. Retrieved Namespaces Article Talk. Views Read Edit View history.

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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 the natural trumpet.

Berlioz wrote in Notwithstanding the real loftiness and distinguished nature of its quality of tone, there are few instruments that have been more degraded than the trumpet.

The trumpet is constructed of brass tubing bent twice into a rounded oblong shape. The player can select the pitch from a range of overtones or harmonics by changing the lip aperture and tension known as 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, 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.

When a fourth valve is present, as with some piccolo trumpets , it usually lowers the pitch a perfect fourth five semitones.

Used singly and in combination these valves make the instrument fully chromatic , i. For more information about the different types of valves, see Brass instrument valves.

The 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.

To overcome the problems of intonation and reduce the use of the slide, 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 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. The smallest trumpets are referred to as piccolo trumpets.

Piccolo trumpets in G, F and C are also manufactured, but are less common. 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 have featured both rotary valves and piston valves. The bass trumpet is usually played by a trombone player, being at the same pitch.

The historical slide trumpet was probably first developed in 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 rather awkward, as the entire corpus of the instrument moved, and the range of the slide was probably no more than a major third.

As no known instruments from this period survive, the details—and even the existence—of a Renaissance slide trumpet is a matter of conjecture and debate among scholars.

Some slide trumpet designs saw use in England in the 18th century. The bell is usually smaller than a standard trumpet 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 tone quality and projection unique in the trumpet world: a warm sound and a voice-like articulation.

Since many pocket trumpet models suffer from poor design as well as cheap and imprecise 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 musician Don Cherry was renowned for his playing of the pocket instrument. The herald trumpet has an elongated bell extending far in front of the player, allowing a standard length of tubing from which a flag may be hung; the instrument is mostly used for ceremonial events such as parades and fanfares.

Monette designed the flumpet in for jazz musician Art Farmer. There are also rotary-valve, or German, trumpets which are commonly used in professional German and Austrian orchestras as well as alto and Baroque trumpets.

Another variant of the standard trumpet is 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 the instruments are otherwise nearly identical.

They have the same length of tubing and, therefore, the same pitch, so music written for cornet and trumpet is interchangeable.

Another relative, the flugelhorn , has tubing that is even more conical than that of the cornet, and an even richer tone.

It is sometimes augmented 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.

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 the embouchure. 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 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 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. 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 further lowers the pitch slightly to improve intonation. Some of the partials of the harmonic series that a modern Bb trumpet can play for each combination of valves pressed are in tune with tone equal temperament and some are not.

Various types of mutes can be used to alter the sound of the instrument when placed in or over the bell. While most types of mutes do decrease the volume the instrument produces, as the name implies, the sound modification is typically the primary reason for their use.

A description of their construction and sound quality are below:. Straight Mute: Constructed of either aluminum, which produces a bright piercing sound, or stone lined with cardboard, which produces a stuffy sound.

Harmon Mute: Constructed of aluminum and consists of two parts called the "stem" and the "body". Jones developed an interest in jazz music around the same time, after receiving two Miles Davis albums from his band instructor, namely Kind of Blue and Tutu.

By the time he entered Warren G. Harding High School , Jones had decided to pursue a career as a professional musician, and studied classical trumpet as well as jazz.

In , Jones obtained an undergraduate degree in classical trumpet performance from Youngstown State University and later a master's degree from Rutgers University , where he studied under Professor William Fielder, who had also taught Wynton Marsalis , among others.

In , Jones had a six-month stint with the Lincoln Center Jazz Orchestra , after which Marsalis offered him a position with the ensemble as a third trumpeter then moved to the lead chair a couple months later.

Around the same time, Jones became a music professor at Duquesne University , and lived in the Pittsburgh area for several years.

He became an associate professor of Jazz Trumpet at Oberlin Conservatory for the academic year.

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Elsa Jean Band Plays The Trumpet Video

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Elsa Jean Band Plays The Trumpet Video

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