Coordinates	38°37′38″N90°11′52″N
Name	Trumpet
Image capt	B trumpet
Background	brass
Classification	Brass Wind Brass Aerophone
Hornbostel sachs	423.233
Hornbostel sachs desc	Valved aerophone sounded by lip movement
Range	Written range:
Related	Flugelhorn, cornet, bugle, natural trumpet, bass trumpet, post horn, Roman tuba, bucina, shofar, conch, lur, didgeridoo, piccolo trumpet, baritone horn, pocket trumpet
Midi	056/057
Article	}}

The trumpet is the musical instrument with the highest register in the brass family. Trumpets are among the oldest musical instruments, dating back to at least 1500 BCE. They are constructed of brass tubing bent twice into a rounded oblong shape, and are played by blowing air through closed lips, producing a "buzzing" sound which starts a standing wave vibration in the air column inside the trumpet.

There are several types of trumpet; the most common is a transposing instrument pitched in B with a tubing length of about 134 cm. The predecessors to trumpets did not have valves, but modern trumpets generally have either three piston valves or, more rarely, three rotary valves. Each valve increases the length of tubing when engaged, thereby lowering the pitch.

The trumpet is used in many forms of music, including classical music and jazz.

A musician who plays the trumpet is called a ''trumpet player'' or ''trumpeter''.

History

The earliest trumpets date back to 1500 BCE and earlier. The bronze and silver trumpets from Tutankhamun's grave in Egypt, bronze lurs from Scandinavia, and metal trumpets from China date back to this period. Trumpets from the Oxus civilization (3rd millennium BCE) of Central Asia have decorated swellings in the middle, yet are made out of one sheet of metal, which is considered a technical wonder. The Moche people of ancient Peru depicted trumpets in their art going back to 300 CE. The earliest trumpets were signaling instruments used for military or religious purposes, rather than music in the modern sense; and the modern bugle continues this signaling tradition.

In medieval times, trumpet playing was a guarded craft, its instruction occurring only within highly selective guilds. The trumpet players were often among the most heavily guarded members of a troop, as they were relied upon to relay instructions to other sections of the army.

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 the player to swap out the 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 is again a thriving art around the world. Most successful players nowadays use a version of the natural trumpet dubbed the baroque trumpet which is fitted with one or more 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 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 attempt to give the trumpet more chromatic freedom in its range saw the development of the keyed trumpet, but this was a largely unsuccessful venture due to the poor quality of its sound.

Although the impetus for a tubular valve began as early as 1793, it was not until 1818 that Friedrich Bluhmel and Heinrich Stölzel made a joint patent application for the box valve as manufactured by W. Schuster. The symphonies of Mozart, Beethoven, and as late as Brahms, were still played on natural trumpets. Crooks and shanks (removable tubing of various lengths) as opposed to keys or valves were standard, notably in France, into the first part of the 20th century. As a consequence of this late development of the instrument's chromatic ability, the repertoire for the instrument is relatively small compared to other instruments. The 20th century saw an explosion in the amount and variety of music written for the trumpet.

Construction

The trumpet is constructed of brass tubing bent twice into a rounded oblong shape. The trumpet and trombone share a roughly cylindrical bore which results in a bright, loud sound. The bore is actually a complex series of tapers, smaller at the mouthpiece receiver and larger just before the flare of the bell begins; careful design of these tapers is critical to the intonation of the instrument. By comparison, the cornet and flugelhorn have conical bores and produce a more mellow tone. Bore sizes generally range from 0.430 to 0.472 inches and are usually listed as medium, medium large and large from various manufactuers.

As with all brass instruments, sound is produced by blowing air through closed 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 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) which 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 (2 semitones), the second valve by a half step (1 semitone), and the third valve by one-and-a-half steps (3 semitones). When a fourth valve is present, as with some piccolo trumpets, it lowers the pitch a perfect fourth (5 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 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 is what allows the missing overtones to be heard. Most notes in the series are slightly out of tune and modern trumpets have slide mechanisms built in to compensate.

Types of trumpets

The most common type is the B trumpet, but low F, C, D, E, E, G and A trumpets are also available. The C trumpet is most common in American orchestral playing, where it is used alongside the B trumpet. Its slightly smaller size gives it a brighter, more lively sound. Because music written for early trumpets required the use of a different trumpet for each key — they did not have valves and therefore were not chromatic — and also because a player may choose to play a particular passage on a different trumpet from the one indicated on the written music, orchestra trumpet players are generally adept at transposing music at sight, sometimes playing music written for the B trumpet on the C trumpet, and vice versa.

The standard trumpet range extends from the written F immediately below Middle C up to about three octaves higher. Traditional trumpet repertoire rarely calls for notes beyond this range, and the fingering tables of most method books peak at the C (''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, and Dizzy Gillespie. It is also possible to produce pedal tones below the low F, which is a device commonly employed in contemporary repertoire for the instrument.

The smallest trumpets are referred to as piccolo trumpets. The most common of these 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. Piccolo trumpets in G, F and C are also manufactured, but are rarer. Many players use a smaller mouthpiece on the piccolo trumpet, which requires a different sound production technique from the B trumpet and can limit endurance. Almost all piccolo trumpets have four valves instead of the usual three — the fourth valve lowers the pitch, usually by a fourth, to assist in the playing of lower notes and to create alternate fingerings that facilitate certain trills. Maurice André, Håkan Hardenberger, David Mason, and Wynton Marsalis are some well-known piccolo trumpet players. 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. Bass trumpet is played with a shallower trombone mouthpiece, and music for it is written in treble clef.

The modern slide trumpet is a B trumpet that has a slide instead of valves. It is similar to a soprano trombone. The first slide trumpets emerged during the Renaissance, predating the modern trombone, and are the first attempts to increase chromaticism on the instrument. Slide trumpets were the first trumpets allowed in the Christian church.

The historical slide trumpet was probably first developed in the late 14th century for use in alta capella 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. Originals were probably pitched in D, to fit with shawms in D and G, probably at a typical pitch standard near A=466 Hz. As no instruments from this period are known to survive, the details – and even the existence – of a Renaissance slide trumpet is a matter of some conjecture, and there continues to be some debate among scholars.

Some slide trumpet designs saw use in England in the 18th century.

The pocket trumpet is a compact B trumpet. 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. Unfortunately, since many pocket trumpet models suffer from poor design as well as cheap and sloppy 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.

There are also rotary-valve, or German, trumpets, as well as alto and Baroque trumpets.

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.

Playing

Fingering

On any modern trumpet, cornet, or flugelhorn, pressing the valves indicated by the numbers below will produce 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 concert pitch which sounds depends on the transposition of the instrument. Engaging the fourth valve, if present, drops any of these pitches by a perfect fourth as well. Within each overtone series, the different pitches are attained by changing the embouchure, or lip-aperture size and "firmness". 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 can not 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 slightly 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. 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 the third valve slide when using the fingerings 1-3 or 1-2-3 further lowers the pitch slightly to improve intonation.

Extended technique

Contemporary music for the trumpet makes wide uses of extended trumpet techniques.

Flutter tonguing: The trumpeter rolls the tip of the tongue to produce a 'growling like' tone. It is achieved as if one were rolling an ''R'' in the Spanish language. This technique is widely employed by composers like Berio and Stockhausen.

Growling: While playing a note, clinching the back of the throat to partially obstruct the air, preventing it from flowing evenly. This creates a gargling sound, thus making a 'growling' sound from the bell. Utilized by many jazz players, not to be confused with flutter tonguing, where the tongue is 100% responsible for creating the sound desired.

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 valve halfway or 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 for two and a half octaves below the low F#, which is at the bottom of the standard range. Extreme low pedals are produced by slipping the lower lip out of the mouthpiece. 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 are adapted with a 4th valve which allows for a quarter-tone step between each note.

Mute belt: Karlheinz Stockhausen pioneered the use of a mute belt, worn around the player's waist, to enable rapid mute changes during pieces. The belt allows the performer to make faster and quieter mute changes, as well as enabling the performer to move around the stage.

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 sound a 1/2 step higher than they are notated, and often require amplification to be heard.

Preparation: Composers have called for the trumpet to be played under water, or with certain slides removed. It is increasingly common for all sorts of preparations to be requested of a trumpeter. Extreme preparations involve alternate constructions, such as double bells and extra valves.

Singing: Composers such as Robert Erickson and Mark-Anthony Turnage have called for trumpeters to sing during the course of a piece, often while playing. It is possible to create a multiphonic effect by singing and playing different notes simultaneously.

Double buzz: 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: By rapidly varying lip tension, but not changing the depressed valves, the pitch varies quickly between adjacent harmonics. These are usually done, and are more straight-forward to execute, in the upper register.

Instruction and method books

One trumpet method publication of long-standing popularity is Jean-Baptiste Arban's ''Complete Conservatory Method for Trumpet (Cornet)''. Other well-known method books include ''Technical Studies'' by Herbert L. Clarke, ''Grand Method'' by Louis Saint-Jacome,''Daily Drills and Technical Studies'' by Max Schlossberg, and methods by Ernest S. Williams, Claude Gordon, Charles Colin, James Stamp and Louis Davidson. Vassily Brandt's ''Orchestral Etudes and Last Etudes'' is used in many college and conservatory trumpet studios, containing drills on permutations of standard orchestral trumpet repertoire, transpositions, and other advanced material. A common method book for beginners is the Walter Beeler's ''Method for the Cornet'', and there have been several instruction books written by virtuoso Allen Vizzutti.

Players

In early jazz, Louis Armstrong was well known for his virtuosity and his improvisations on the Hot Five and Hot Seven recordings. Miles Davis is widely considered one of the most influential musicians of the 20th century. His trumpet playing was distinctive, with a vocal, clear tone that has been imitated by many. The phrasing and sense of space in his solos have been models for generations of jazz musicians. Dizzy Gillespie was a gifted improviser with an extremely high range, building on the style of Roy Eldridge but adding new layers of harmonic 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. Maynard Ferguson came to prominence playing in Stan Kenton's orchestra, before forming his own band in 1957. He was noted for being able to play accurately in a remarkably high register.

Notable classical trumpeters include Maurice André, Armando Ghitalla, Alison Balsom, Hakan Hardenberger, Tine Thing Helseth, Adolph "Bud" Herseth, Malcolm McNab, Rafael Méndez, Maurice Murphy, Sergei Nakariakov, Charles Schlueter, Philip Smith, William Vacchiano, Allen Vizzutti, and Roger Voisin

Notable jazz trumpet players include Nat Adderley, Bud Brisbois, Chet Baker, Clifford Brown, Donald Byrd, Doc Cheatham, Don Cherry, Kenny Dorham, Dave Douglas, Jon Faddis, Maynard Ferguson, Roy Hargrove, Tom Harrell, Freddie Hubbard, Roger Ingram, Harry James, Wynton Marsalis, Blue Mitchell, Lee Morgan, Fats Navarro, Nicholas Payton, Claudio Roditi, Wallace Roney, Arturo Sandoval, Bobby Shew, Doc Severinsen, Woody Shaw, Allen Vizzutti, Cootie Williams, and Snooky Young.

Notable natural trumpet players include Valentine Snow for whom Handel wrote several pieces and Gottfried Reiche who was Bach's chief trumpeter.

The American orchestral trumpet sound is largely attributable to Adolph "Bud" Herseth's 53-year tenure with the Chicago Symphony Orchestra. Though he was not as prolific a teacher as some of his peers, his widely recorded sound became the standard for American orchestras.

Musical pieces

Solos

The chromatic trumpet was first made in the late 18th century. The repertoire for the natural trumpet and cornetto is extensive. This music is commonly played on modern piccolo trumpets, although there are many highly proficient performers of the original instruments. This vast body of repertoire includes the music of Gabrieli, Monteverdi, Bach, Vivaldi and countless other composers. Because the overtone series doesn't allow stepwise movement until the upper register, the tessitura for this repertoire is very high.

Joseph Haydn's Trumpet Concerto was one of the first for a chromatic trumpet, a fact shown off by some stepwise melodies played low in the instrument's range. Johann Hummel wrote the other great Trumpet Concerto of the Classical period, and these two pieces are the cornerstone of the instrument's repertoire. Written as they were in the infancy of the chromatic trumpet, they reflect only a minor advancement of the trumpet's musical language, with the Hummel's being the more adventurous piece by far.

In 1827, François Dauverné became the first musician to use the new F three-valved trumpet in public performance.

In the 20th century, trumpet repertoire expanded rapidly as composers embraced the almost completely untapped potential of the modern trumpet.

See also

Clarion

Compositions for trumpet

Guča trumpet festival – The world's largest trumpet festival

Keyed trumpet

List of trumpeters

Muted trumpet

Piccolo trumpet

Trumpet repertoire

Trumpets' Republic - documentary film

References

Notes

Bibliography

Don L. Smithers, ''The Music and History of the Baroque Trumpet Before 1721'', Syracuse University Press, 1973, ISBN 0815621574

Philip Bate, ''The Trumpet and Trombone: An Outline of Their History, Development, and Construction'', Ernest Benn, 1978, ISBN 0393021297

Roger Sherman, ''Trumpeter's Handbook: A Comprehensive Guide to Playing and Teaching the Trumpet'', Accura Music, 1979, ISBN 0918194024

Stan Skardinski, ''You Can't Be Timid With a Trumpet: Notes from the Orchestra'', Lothrop, Lee & Shepard Books, 1980, ISBN 0688419631

Robert Barclay, ''The Art of the Trumpet-Maker: The Materials, Tools and Techniques of the Seventeenth and Eighteenth Centuries in Nuremberg '', Oxford University Press, 1992, ISBN 0198162235

James Arthur Brownlow, ''The Last Trumpet: A History of the English Slide Trumpet'', Pendragon Press, 1996, ISBN 0945193815

Frank Gabriel Campos, ''Trumpet Technique'', Oxford University Press, 2005, ISBN 0195166922

Gabriele Cassone, ''The Trumpet Book'', pages 352+CD, illustrated, Zecchini Editore, 2009, ISBN 8887203806

External links

International Trumpet Guild international trumpet players' association with online library of scholarly journal back issues, news, jobs and other trumpet resources.

Trumpet Playing Articles by Jeff Purtle, protege of Claude Gordon

Jay Lichtmann's trumpet studies Scales and technical trumpet studies.

Dallas Music — a non-profit musical instrument resource site

Category:Brass instruments Category:Trumpeters Category:B-flat instruments Category:Jazz instruments

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Coordinates	38°37′38″N90°11′52″N
name	Tine Thing Helseth
background	non_vocal_instrumentalist
birth date	August 18, 1987
origin	Oslo, Norway
instrument	Trumpet
genre	Classical
occupation	SoloistTrumpeter
website	http://www.tinethinghelseth.com/
notable instruments	}}

Tine Thing Helseth (phonetic pron.Tin-eh Ting Hel-set) (; born August 18, 1987 in Oslo) is a Norwegian trumpet soloist specializing in classical repertoire.

Helseth started to play trumpet at the age of 7 and studies at the Barratt Due Institute of Music in Oslo. Her teachers have included Heidi Johanessen (Norwegian National Opera Orchestra) and since 2002 Arnulf Naur Nilsen (Oslo Philharmonic Orchestra). She also appears on Didrik Solli-Tangen's second single Best Kept Secret, taken from Solli-Tangen's debut album Guilty Pleasures, which was released on September 3, 2010.

Prizes, contests and awards

National Soloist Championship of Norway no-age-limit open class 1st Prize 2004 International Trumpet competition "Theo Charlier" Brussels, Belgium 2nd prize 2005 Oslo Music Teachers Foundation Prize of Honour 2005 Yamaha Music Foundation Europe Scholarship 2006 Eurovision Young Musicians Competition 2006 2nd place

The Prince Eugen Culture Prize 2006

NRK Radio P2 Prize for 2006/2007

Borletti-Buitoni Trust Fellowship 2009

Concert and festival performances

Tine has performed with such orchestras as the Wiener Symphoniker, Beethoven Academie, Capella Cracowiensis, The Norwegian Chamber Orchestra, Shanghai Symphony Orchestra, Slovenian Radio Symphony Ljubljana, Oslo Camerata, Camerata Nordica, Württemberg Philharmonic, the Trondheim Soloists, Norwegian symphony orchestras, Norwegian Army bands and other brass and wind ensembles.

Future engagements include concerts with the Oslo Philharmonic Orchestra, Nordwestdeutsche Philharmonie, Bielefeld Symphony Orchestra, Värmlands Operaens Sinfonietta, and Georgische Kammerorchester.

She has appeared at music festivals including Bergen International Festival, Kissinger Summer Festival and Usedomer Music Festival.

Tine performed at the 2007 Nobel Peace Prize Concert.

Tine has also performed three times in the United States so far. The first time was December 13, 2009 at the National Gallery of Art in Washington, D.C.. More recently she performed at Carnegie Hall in New York City on February 18, 2011, and the Struthers Library Theatre in Warren, Pennsylvania on February 20, 2011.

Tine is the leader of an all female brass ensemble tenThing

Debut CD

Contents of her self-titled debut CD under the Simax Classics label performed with the Norwegian Chamber Orchestra conducted by Terje Tønnesen:

Joseph Haydn: ''Trumpet Concerto in E flat''

Tomaso Albinoni: ''Trumpet Concerto in B flat, op. 7 no. 3''

Johann Baptist Georg Neruda: ''Trumpet Concerto in E flat''

Johann Nepomuk Hummel: ''Trumpet Concerto in E flat''

References

External links

Myspace Site

Personal website in English

Haydn Concerto 3rd mvt on YouTube

Category:1987 births Category:Living people Category:European musicians Category:Norwegian classical musicians Category:Norwegian trumpeters Category:People from Oslo

de:Tine Thing Helseth et:Tine Thing Helseth es:Tine Thing Helseth fr:Tine Thing Helseth ja:ティーネ・シング・ヘルセット no:Tine Thing Helseth oc:Tine Thing Helseth simple:Tine Thing Helseth sv:Tine Thing Helseth

Rafael Méndez (March 26, 1906 - September 15, 1981) was a popular Mexican virtuoso solo trumpeter.

Méndez was born in Jiquilpan, Michoacán, Mexico. As a young child, Méndez was the cornetist for Pancho Villa.

His most famous recording, "Moto Perpetuo", was written in the eighteenth century by Paganini for violin and features Mendez double-tonguing continuously for over 4 minutes while circular breathing to give the illusion that he is not taking a natural breath while playing.

From 1950 to 1975, Méndez was a full time soloist, performing as many as 125 concerts per year. He was also very active as a recording artist. Many of his recordings are now available on compact disc.

Méndez was legendary for his tone, range, technique and unparalleled double tonguing. Méndez's playing was characterized by a brilliant tone, wide vibrato and clean, rapid articulation. His repertoire was a mixture of classical, popular, Mexican folk music and jazz. Méndez contributed many arrangements and original compositions to the trumpet repertoire. His ''Scherzo in D Minor'' is often heard in recitals, and has been recorded by David Hickman. He was considered to many people the best trumpet/cornet player in the world.

The music building of Arizona State University houses the Rafael Méndez Library, established in 1993.

References

External links

Rafael Méndez Online Library and free sound clips (mp3) at Arizona State University.

Category:1906 births Category:1981 deaths Category:Mexican artists Category:Mexican musicians Category:People from Jiquilpan Category:Trumpeters

es:Rafael Méndez it:Rafael Méndez

Coordinates	38°37′38″N90°11′52″N
Name	Chris Botti
Background	non_vocal_instrumentalist
Born	October 12, 1962 Portland, Oregon, U.S.
Instrument	Trumpet
Label	Columbia Records
Genre	JazzSmooth Jazz
Occupation	TrumpeterRadio presenter
Website	}}

Christopher Stephen "Chris" Botti (pronounced ; born October 12, 1962), is an American trumpeter and composer. In 2007, Botti was nominated for two Grammy Awards including Best Pop Instrumental Album. On December 4, 2009, he was nominated for 3 more Grammy Awards including Best Pop Instrumental Album and Best Long Form Music Video. Three of his albums have reached the #1 position on the ''Billboard'' jazz albums chart.

Coming to prominence with the 2001 recording of his "Night Sessions" CD, Botti established a reputation as a versatile musician in both jazz and pop music for his ability to fuse both styles together.

Early life

He was born in Portland, Oregon and raised in Corvallis and spent two years of his childhood growing up in Italy. His earliest musical influence was his mother, a classically trained pianist and part-time piano teacher.

He started playing the trumpet at 9-years-old and committed to the instrument at age 12, when he heard Miles Davis play "My Funny Valentine."

In 1983, he was selected as a member of McDonalds’ All American High School Jazz band which marked his first Carnegie Hall performance.

At the age of 17, he ended up at Mount Hood Community College in Gresham, Oregon by convincing his high school to allow him to fulfill his remaining senior year credits there. Botti constructed the scenario so that he could also play at Portland clubs in the evening. Mount Hood's program was headed by Larry McVey, whose band had come to be a proving ground and regular stop for Stan Kenton and Mel Tormé when they were looking for new players. It was here Botti played alongside his friend, trombonist and future Academy Award nominated filmmaker, Todd Field. After graduating from high school, Botti studied under jazz educator David Baker and trumpet professor Bill Adam at Indiana University. Botti was also the recipient of two grants from the National Endowment for the Arts which allowed him to study with trumpeter Woody Shaw and saxophonist George Coleman during two consecutive summer breaks.

Career

Early career

Botti left Indiana University during his senior year for short touring stints with Frank Sinatra and Buddy Rich. In 1985, he moved to New York City to hone his craft as a studio musician.

In 1990, he began a decade long touring and recording relationship with Paul Simon which broadened his exposure to other singers. During that period, he also performed/recorded with Aretha Franklin, Natalie Cole, Bette Midler, Joni Mitchell, Natalie Merchant, Scritti Politti, Roger Daltrey and others.

On August 15, 1991, Botti performed with Paul Simon in New York’s Central Park as part of the The Rhythm of the Saints tour. The performance was commercially released as the ''Concert in the Park'' CD. While on tour with Simon, he met saxophonist Michael Brecker, which led to Botti producing the Brecker Brothers’ ''Out of the Loop''. The album won a 1995 Grammy for Best Contemporary Jazz Performance.

Verve recordings (1995-2000)

Botti's solo debut, ''First Wish'', was released in 1995; his second effort, ''Midnight Without You'', which included a collaboration with Blue Nile vocalist Paul Buchanan, appeared in 1997. These were followed by ''Slowing Down The World'' in 1999 which included vocal contributions from Sting and Jonatha Brooke (also on the ''Midnight Without You'' release).

Botti was also a member of Bruford Levin Upper Extremities, a more experimental, jazz fusion-oriented group. He composed the score and recorded a soundtrack for the 1996 film ''Caught''.

In 1999, Botti was invited to tour with Sting as a featured soloist in the ''Brand New Day'' tour. The two-year run culminated in ''All This Time'', a CD/DVD-taping and webcast performance from Sting’s estate in Tuscany on September 11, 2001. Botti attributes his relationship with Sting as having changed the course of his career.

Columbia recordings (2001-present)

Botti was introduced to Columbia by Bobby Colomby, drummer and founding member of Blood, Sweat & Tears, who went on to become his producer and manager. Botti’s first Columbia release was ''Night Sessions'' in 2001. This was followed in 2002 by ''December'', a holiday album, which included an original composition by Richard Marx. The project represented the only time Botti has performed vocals on two tracks.

A ''Thousand Kisses Deep'', was released in 2003 and contained a group of originals and covers that accent Botti’s crossover appeal as both a jazz and pop musician.

''When I Fall In Love'' followed in 2004, which featured a more traditional sound than its predecessor.

''To Love Again: The Duets'', released in 2005, continued where the previous album left off with more lush orchestral jazz via the London Session Orchestra, this time showcasing guest vocalists — as well as a handful of instrumental tracks.

In May 2005, Botti was invited to perform at Oprah Winfrey's Legends Ball weekend honoring her African American heroines. In 2006, Billy Childs, Gil Goldstein & Heitor Pereira won the Grammy for Best Instrumental Arrangement Accompanying Vocalist(s): "What Are You Doing the Rest of Your Life?" (Chris Botti & Sting) from Botti's album ''To Love Again - The Duets''. 2006 also marked his first PBS collaboration, ''Chris Botti Live: With Orchestra and Special Guests'', released in early 2006. The CD and platinum-certified DVD included duets with Sting, Burt Bacharach, Gladys Knight, Jill Scott and Renee Olstead.

On September 25, 2007, Botti released an album entitled ''Italia''. The album places focus on Botti's Italian roots through such songs as "Ave Maria", "Venice", "Estatè", and the title track "Italia", on which he partnered with Andrea Bocelli. In December 2007, the album was nominated for the Grammy Award for Best Pop Instrumental Album. Botti also performed the song with Bocelli during the 2007 edition of the Teatro del Silenzio, which was released on ''DVD'' titled ''Vivere Live in Tuscany'', in 2008.

Early in 2009, Botti released his second CD/DVD PBS project, ''Chris Botti in Boston''. Performing with the Boston Pops Orchestra, Botti shared the stage with Yo Yo Ma, Steven Tyler, Josh Groban, Katharine McPhee, John Mayer, Sting and others.

By June 2009, Chris Botti had released twelve solo albums. His first few releases are often classified as smooth jazz, though critic Alex Henderson argues that Botti's music was a cut above much of the genre; reviewing his 1999 album, ''Slowing Down the World'', Henderson writes "it would be a major mistake to lump it in with the outright elevator muzak that Kenny G, Dave Koz, Najee, and Richard Elliot were known for ... Botti is capable of a lot more."

In media

Botti was the leader of the house band on the nationally syndicated daytime talk show ''The Caroline Rhea Show'' for its only season in 2002-2003. He was named one of People Magazine's ''50 Most Beautiful People'' of 2004.

For several years, Botti also hosted a radio show called ''Chill with Chris Botti'', that focused mainly on "chill" music, which is described as "smooth jazz with a touch of cool jazz." In 2007, saxophonist Mindi Abair took over the hosting duties, and the show, using the same format as before, is now called ''Chill with Mindi Abair''. With the success of ''To Love Again'', Botti hosted a special concert at the Wilshire Theatre in Los Angeles in December 2005 with many of the guest artists from the CD. It was recorded for airing on PBS in Spring 2006 as ''Chris Botti: Live with Orchestra and Special Guests'', which also was released as a DVD.

Instrument

Botti plays a Martin Committee large bore Handcraft trumpet made in 1939, and uses a #3 silver plated mouthpiece from Bach made in 1926, having recently retired his 1920 3C Bach mouthpiece. He uses a Leblanc Vacchiano Harmon mute from the 1950s.

Discography

Verve label

''First Wish'' (1995)

''Midnight Without You'' (1997)

''Slowing Down the World'' (1999)

Columbia label

''Night Sessions'' (2001)

''The Very Best of Chris Botti'' (2002)

''December'' (2002)

''A Thousand Kisses Deep'' (2003)

''When I Fall In Love'' (2004)

''To Love Again: The Duets'' (2005)

''Live: With Orchestra and Special Guests'' (2006)

''Italia'' (2007)

''Chris Botti in Boston'' (2009)

See also

20th century brass instrumentalists

List of trumpeters

List of jazz trumpeters

References

External links

Discography

''Chill with Chris Botti'' Radio Show

About.com Interview with Chris Botti

Chris Botti interview with Joanna Gulbinska

Music Man Chris Botti's Playlist - ''Nightline'', May 29, 2009 (lists his 5 favorite musical influences)

Category:American radio personalities Category:American jazz trumpeters Category:Smooth jazz musicians Category:American jazz musicians of Italian descent Category:Musicians from Oregon Category:People from Corvallis, Oregon Category:Indiana University alumni Category:1962 births Category:Living people

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Maurice André (born May 21, 1933) is a French trumpeter, active in the classical music field.

Biography

He is a classical virtuoso trumpeter, born in Alès, France in the Cévennes into a mining family. His father was an amateur musician.

He studied trumpet with a friend of his father's, who suggested that he be sent to the conservatory. In order to gain free admission to the conservatory, he joined a military band. After only six months at the conservatory, he won his first prize.

At the conservatory, Maurice's professor beat him out of frustration and told him to return when he could excel in his playing. A few weeks later, he returned to play all fourteen etudes found in the back of the Arban's book without a single mistake.

André won the Geneva International Music Competition in 1955 and the ARD International Music Competition in Munich in 1963. He was made an honorary member of the Delta chapter of Phi Mu Alpha Sinfonia at Ithaca College in New York in 1970.

He rose to international prominence in the 1960s and 1970s with a large series of recordings of Baroque works on piccolo trumpet for Erato and other labels. Not content to limit himself to the standard Baroque trumpet repertoire, he also performed many transcriptions of works for oboe, flute, and even voice and string instruments. These recordings were (and remain) very popular, and were a strong component of the rebirth of interest in Baroque music in the 1960s. Fellow trumpeters and music lovers the world over have praised André for his clear, bright, ringing tone on the piccolo trumpet.

His flawless and graceful performances have inspired many brass musicians, young and old. (Wynton Marsalis, for example, was strongly influenced by André's style and tone in his own recordings of Baroque trumpet pieces.) He has over 300 audio recordings to his name, from the mid 1950s to the present.

He has two children: Nicolas, who plays trumpet; and Béatrice, who plays oboe. Both perform with their father in concert.

One of André's students, Guy Touvron wrote a biography on him entitled ''Maurice André: Une trompette pour la renommée'' (Maurice André: A Trumpet for Fame), which was published in 2003.

References

External links

Maurice André website, part of the French Ministry of Culture's portal (French/English)

Webpage with rich information about Maurice André

A French documentary about Maurice André by Alain Duault. 2009

Category:1933 births Category:Living people Category:French classical musicians Category:French trumpeters Category:Trumpeters Category:Cornetists Category:Alumni of the Conservatoire de Paris Category:Honorary Members of the Royal Academy of Music

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