Trumpet

Bâ™­ trumpet
Brass instrument
Classification	Brass Wind Brass Aerophone
Hornbostel–Sachs classification	423.233 (Valved aerophone sounded by lip movement)
Playing range
Written range:
Related instruments
Flugelhorn, cornet, bugle, natural trumpet, bass trumpet, post horn, Roman tuba, bucina, shofar, conch, lur, didgeridoo, piccolo trumpet, baritone horn, pocket trumpet

The trumpet is the musical instrument with the highest register in the brass family. Trumpets are among the oldest musical instruments,^[1] dating back to at least 1500 BC. They are played by blowing air through closed lips, producing a "buzzing" sound that starts a standing wave vibration in the air column inside the instrument. Since the late 15th century they have primarily been constructed of brass tubing, usually bent twice into a rounded oblong shape.

There are several types of trumpet; the most common is a transposing instrument pitched in Bâ™­ with a tubing length of about 148 cm. Earlier trumpets did not have valves, but modern instruments 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.

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

History[link]

Ceramic trumpet. 300 AD Larco Museum Collection Lima, Peru.

The earliest trumpets date back to 1500 BC 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.^[2] Trumpets from the Oxus civilization (3rd millennium BC) of Central Asia have decorated swellings in the middle, yet are made out of one sheet of metal, which is considered a technical wonder.^[3] The Moche people of ancient Peru depicted trumpets in their art going back to 300 AD.^[4] The earliest trumpets were signaling instruments used for military or religious purposes, rather than music in the modern sense;^[5] 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.^{[citation needed]}

Trumpet player c.1660-1665

Reproduction Baroque trumpet by Michael Laird

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 modern players use a version of the natural trumpet dubbed the baroque trumpet 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.^[6]

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[link]

Trumpet valve bypass (depressed)

The trumpet is constructed of brass tubing bent twice into a rounded oblong shape.^[7] 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 manufacturers.^{[citation needed]}

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) 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.

Bâ™­ trumpet disassembled

Modern trumpets have three (or infrequently four) piston valves, each of which increases the length of tubing when engaged, thereby lowering the pitch. The first valve lowers the instrument's pitch by a whole step (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.^[8]

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.^[9] Most notes in the series are slightly out of tune and modern trumpets have slide mechanisms built in to compensate.

Types of trumpets[link]

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.

Piccolo trumpet in Bâ™­, with swappable leadpipes to tune the instrument to Bâ™­ (shorter) or A (longer)

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 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 and more recently Wayne Bergeron. 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.

Trumpet in C with rotary valves

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 most common keys for bass trumpets are C and Bâ™­ . Both C and Bâ™­ bass trumpets are transposing instruments sounding an octave (C) or a major ninth (Bâ™­ ) lower than written.

The modern slide trumpet is a Bâ™­ 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.^[10]

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 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.^[11]

Some slide trumpet designs saw use in England in the 18th century.^[12]

The pocket trumpet is a compact Bâ™­ 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.

The herald trumpet is a Bâ™­ trumpet with an elongated bell extending far in front of the player. Due to its showy appearance, this type of trumpet is mostly used for ceremonial events such as parades and fanfares.

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[link]

This unreferenced section requires citations to ensure verifiability.

Fingering[link]

On any modern trumpet, cornet, or flugelhorn, pressing the valves indicated by the numbers below produces the written notes shown. "OPEN" means all valves up, "1" means first valve, "1-2" means first and second valve simultaneously, and so on. The concert pitch that 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.)

A step = a tone; a half step = a semitone

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[link]

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: Simultaneously humming while playing a note creates two sets of vibrations that interfere with each other and create a characteristic 'growling' sound. Many jazz players use the technique—which is different from flutter-tonguing, where the tongue modifies the sound.

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 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. Claude Gordon assigned pedals as part of his trumpet practice routines, that were an systematic expansion on his lessons with Herbert L. Clarke. The technique was pioneered by Bohumir Kryl.^[13]

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.

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,^{[citation needed]} and often 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.

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.

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: 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 straightforward to execute, in the upper register.

Instruction and method books[link]

One trumpet method publication of long-standing popularity is Jean-Baptiste Arban's Complete Conservatory Method for Trumpet (Cornet).^[14] Other well-known method books include Technical Studies by Herbert L. Clarke,^[15] 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.^[16] Vassily Brandt's Orchestral Etudes and Last Etudes^[17] 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[link]

Jazz trumpeter Louis Armstrong in 1953

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 style was distinctive and widely imitated. Davis' phrasing and sense of space in his solos have been models for generations of jazz musicians.^[18] 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.^[19]

Jazz trumpeter Dizzy Gillespie in 1988

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, Ziggy Elman, Jon Faddis, Maynard Ferguson, Roy Hargrove, Tom Harrell, Erskine Hawkins, 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, Clark Terry, Allen Vizzutti, Miles Davis, 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[link]

Solos[link]

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,^[20] 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[link]

• Salpinx
• Clarion
• Compositions for trumpet
• GuÄ?a trumpet festival – The world's largest trumpet festival
• Keyed trumpet
• List of trumpeters
• Muted trumpet
• Piccolo trumpet
• Baroque trumpet
• Natural trumpet
• Trumpet repertoire
• Trumpets' Republic - documentary film

References[link]

Notes[link]

Bibliography[link]

• Barclay, Robert. The Art of the Trumpet-Maker: The Materials, Tools and Techniques of the Seventeenth and Eighteenth Centuries in Nuremberg , Oxford University Press, 1992, ISBN 0-19-816223-5
• Bate, Philip. The Trumpet and Trombone: An Outline of Their History, Development, and Construction, Ernest Benn, 1978, ISBN 0-393-02129-7
• Brownlow, James Arthur. The Last Trumpet: A History of the English Slide Trumpet, Pendragon Press, 1996, ISBN 0-945193-81-5
• Campos, Frank Gabriel. Trumpet Technique, Oxford University Press, 2005, ISBN 0-19-516692-2
• Cassone, Gabriele. The Trumpet Book, pages 352+CD, illustrated, Zecchini Editore, 2009, ISBN 88-87203-80-6
• Sherman, Roger. Trumpeter's Handbook: A Comprehensive Guide to Playing and Teaching the Trumpet, Accura Music, 1979, ISBN 0-918194-02-4
• Skardinski, Stan. You Can't Be Timid With a Trumpet: Notes from the Orchestra, Lothrop, Lee & Shepard Books, 1980, ISBN 0-688-41963-1
• Smithers, Don L. The Music and History of the Baroque Trumpet Before 1721, Syracuse University Press, 1973, ISBN 0-8156-2157-4.

External links[link]

Wikimedia Commons has media related to: Trumpet

Wikisource has the text of the 1911 Encyclopædia Britannica article Trumpet.

• 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
• A trumpet fingering chartPDF (43.2 KiB)

Tine Thing Helseth
Background information
Born	(1987-08-18) 18 August 1987 (age 24)
Origin	Oslo, Norway
Genres	Classical
Occupations	Soloist Trumpeter
Instruments	Trumpet
Website	http://www.tinethinghelseth.com/

Tine Thing Helseth (phonetic pron.Tin-eh Ting Hel-set) (Norwegian pronunciation: [ˈtiË?nÉ› tɪŋ hÉ›lsÉ›t]; 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).^[1] 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[link]

• National Soloist Championship of Norway no-age-limit open class 1st Prize 2004 ^[2]
• International Trumpet competition "Theo Charlier" Brussels, Belgium 2nd prize 2005 ^[2]
• Oslo Music Teachers Foundation Prize of Honour 2005 ^[1]
• Yamaha Music Foundation Europe Scholarship 2006 ^[1]
• Eurovision Young Musicians Competition 2006 2nd place ^[1][3]
• The Prince Eugen Culture Prize 2006
• NRK Radio P2 Prize for 2006/2007 ^[4]
• Borletti-Buitoni Trust Fellowship 2009

Concert and festival performances[link]

Tine has performed with such orchestras as the Wiener Symphoniker, Beethoven Academie, Capella Cracowiensis, The Norwegian Chamber Orchestra, Liverpool Philharmonic Orchestra, Shanghai Symphony Orchestra,^[5] 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.^[4]

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.^[6]

Tine is the leader of an all female brass ensemble tenThing^[7]

Discography[link]

• 2007: Trumpet Concertos, Haydn, Albinoni, Neruda, Hummel - with Det Norske Kammerorkester
• 2009: Mitt Hjerte Alltid Vanker
• 2011: Storyteller

References[link]

External links[link]

• Myspace Site
• Personal website in English
• Haydn Concerto 3rd mvt on YouTube

Chris Botti
Background information
Born	(1962-10-12) October 12, 1962 (age 49) Portland, Oregon, U.S.
Genres	Jazz Smooth Jazz
Occupations	Trumpeter Radio presenter
Instruments	Trumpet
Labels	Columbia Records
Website	www.chrisbotti.com

Christopher Stephen "Chris" Botti (pronounced /ˈboÊ?ti/ BOH-tee; born October 12, 1962), is an American trumpeter and composer.^[1] In 2007, Botti was nominated for two Grammy Awards^[2] including Best Pop Instrumental Album. On December 4, 2009, he was nominated for three 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[link]

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.^[3]

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[link]

Early career[link]

Botti left Indiana University during his senior year for short touring stints with Frank Sinatra and Buddy Rich.^[4][5] 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)[link]

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^[6] 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.^[7]

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.^[8]

Columbia recordings (2001-present)[link]

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.^[9]

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.^[10]

When I Fall In Love followed in 2004, which featured a more traditional sound^[11] 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.^[12]

In May 2005, Botti was invited to perform at Oprah Winfrey's Legends Ball weekend honoring her African American heroines.^[13] 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.^[14] 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.^[15]

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... outright elevator muzak ... Botti is capable of a lot more."^[16] That same year as well as the following year, Botti appeared as a Pennington Great Performers series artist with the Baton Rouge Symphony Orchestra.

In media[link]

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.^{[citation needed]}

Instrument[link]

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.^[17]

Discography[link]

Verve label[link]

• First Wish (1995)
• Midnight Without You (1997)
• Slowing Down the World (1999)

Columbia label[link]

• Night Sessions (2001)
• The Very Best of Chris Botti (2002)
• December (2002) #124 US
• A Thousand Kisses Deep (2003)
• When I Fall in Love (2004) #37 US
• To Love Again: The Duets (2005) #18 US
• Live: With Orchestra and Special Guests (2006)
• Italia (2007) #27 US
• Chris Botti in Boston (2009) #13 US
• This Is Chris Botti (2011)
• Impressions (2012) #32 US, #62 CAN

See also[link]

Jazz portal

• 20th century brass instrumentalists
• List of trumpeters
• List of jazz trumpeters

References[link]

External links[link]

Wikimedia Commons has media related to: Chris Botti

• Official website
• 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)

This article may be expanded with text translated from the corresponding article in the French Wikipedia. (March 2012) Don't speak French? Click here to read a machine-translated version of the French article. Click [show] on the right to review important translation instructions before translating. Google's machine translation is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into English Wikipedia. Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article. After translating, {{Translated|fr|Maurice André}} must be added to the talk page to ensure copyright compliance. For more guidance, see Wikipedia:Translation.

Maurice André (1969)

Maurice André (May 21, 1933 â€“ February 25, 2012) was a French trumpeter, active in the classical music field.

Biography[link]

André was born in Alès in the Cévennes, into a mining family. His father was an amateur musician. André studied trumpet with a friend of his father's, who suggested that André 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, André'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.^[1]Maurice 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.

André 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, André 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. André had over 300 audio recordings to his name, from the mid 1950s to his death.

He had two children: Nicolas, who plays the trumpet; and Béatrice, who plays the oboe. Both performed 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.^[2]

André spent the last few years of his life in retirement in the southern part of France. He died at the age of 78 in a hospital in Bayonne on February 25, 2012.^[3] He is buried in the cemetery of the village of Saint-André-Capcèze (in the Lozère).

References[link]

External links[link]

• 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
• Maurice André and Prague. Documents and reminiscences on the recording of the Brandenburg Concerto No. 2 in F major in 1965 (Maurice André, Milan Munclinger, Ars Rediviva)

Wynton Marsalis
Marsalis at the Oskar Schindler Performing Arts Center (OSPAC) Seventh Annual Jazz Festival in West Orange, New Jersey
Background information
Birth name	Wynton Learson Marsalis
Born	(1961-10-18) October 18, 1961 (age 50) New Orleans, Louisiana, United States
Genres	Jazz, post-bop, jazz poetry, Classical
Occupations	Composer, trumpeter, Artistic Director of Jazz at Lincoln Center Orchestra and Opera
Instruments	Trumpet
Years active	1980–present
Labels	Columbia, Sony, Blue Note
Associated acts	English Chamber Orchestra
Website	www.wyntonmarsalis.com

Wynton Learson Marsalis (born October 18, 1961) is a trumpeter, composer, teacher, music educator, and Artistic Director of Jazz at Lincoln Center in New York City, United States. Marsalis has promoted the appreciation of classical and jazz music often to young audiences. Marsalis has been awarded nine Grammys in both genres, and a jazz recording of his was the first of its kind to win the Pulitzer Prize for Music.

Marsalis is the son of jazz musician Ellis Marsalis, Jr. (pianist), grandson of Ellis Marsalis, Sr., and brother of Branford (saxophonist), Delfeayo (trombonist), Mboya, and Jason (drummer).

Life and career[link]

Wynton was born in New Orleans, Louisiana, on October 18, 1961, the second of six sons of Dolores (née Ferdinand) and Ellis Louis Marsalis, Jr., a pianist and music professor.^[1] At an early age, he exhibited an aptitude for music. At age eight, Wynton performed traditional New Orleans music in the Fairview Baptist Church band led by banjoist Danny Barker, and at 14, he performed with the New Orleans Philharmonic. During high school, Wynton performed with the New Orleans Symphony Brass Quintet, New Orleans Community Concert Band, New Orleans Youth Orchestra, New Orleans Symphony, various jazz bands and with a local funk band, the Creators.

He graduated from Benjamin Franklin High School with a 3.98 GPA.^[2] At age 17, Wynton was the youngest musician admitted to Tanglewood's Berkshire Music Center, where he won the school's Harvey Shapiro Award for outstanding brass student. Wynton moved to New York City to attend Juilliard in 1979, and picked up gigs around town. During this period, Wynton received a grant from the National Endowment of the Arts to spend time and study with trumpet innovator Woody Shaw, one of Wynton's major influences at the time. In 1980, Wynton joined the Jazz Messengers led by Art Blakey. In the years that followed, Wynton performed with Sarah Vaughan, Dizzy Gillespie, Sweets Edison, Clark Terry, Sonny Rollins, Ron Carter, Herbie Hancock, Tony Williams and countless other jazz legends.

In 1995, PBS premiered Marsalis On Music, an educational television series on jazz and classical music hosted and written by Marsalis. Also, in 1995, National Public Radio aired the first of Marsalis’ 26-week series, entitled Making the Music. Wynton's radio and television series were awarded the George Foster Peabody Award. Marsalis has also written five books: Sweet Swing Blues on the Road, Jazz in the Bittersweet Blues of Life, To a Young Musician: Letters from the Road, Jazz ABZ (an A to Z collection of poems celebrating jazz greats), and his most recent release Moving to Higher Ground: How Jazz Can Change Your Life.^{[citation needed]}

In 1987, Wynton Marsalis co-founded a jazz program at Lincoln Center. In July 1996, Jazz at Lincoln Center was installed as new constituent of Lincoln Center. In October 2004, Marsalis opened Frederick P. Rose Hall, the world's first institution for jazz containing three performance spaces (including the first concert hall designed specifically for jazz) along with recording, broadcast, rehearsal and educational facilities. Wynton presently serves as Artistic Director for Jazz at Lincoln Center and Music Director for the Jazz at Lincoln Center Orchestra.^{[citation needed]} One of his most recent releases was a 2011 collaboration with blues-rock guitarist Eric Clapton, a Jazz at Lincoln Center concert that produced the live album Wynton Marsalis & Eric Clapton Play the Blues.

In December 2011, Marsalis was named cultural correspondent for the new CBS This Morning.^[3]

Awards and recognition[link]

Marsalis has won nine Grammy Awards. In 1983 and 1984, he became the only artist ever to win Grammy Awards for both jazz and classical records, and he is the only artist to win Grammy Awards for five consecutive years (1983–1987).

Honorary degrees Marsalis has received include those conferred by New York University,^[4] Columbia, Harvard, Howard, the State University of New York, Princeton and Yale. Marsalis was honored with the Louis Armstrong Memorial Medal and the Algur H. Meadows Award for Excellence in the Arts. He was inducted into the American Academy of Achievement and was dubbed an Honorary Dreamer by the I Have a Dream Foundation. The New York Urban League awarded Marsalis with the Frederick Douglass Medallion for distinguished leadership and the American Arts Council presented him with the Arts Education Award.

Time magazine list of promising Americans under the age 40 selected Maralis in 1995, and in 1996, Time celebrated Marsalis as one of America's 25 most influential people. In November 2005, Marsalis received the National Medal of Arts. United Nations Secretary-General Kofi Annan proclaimed Marsalis an international ambassador of goodwill for the United States by appointing him a UN Messenger of Peace (2001).

In 1997, Marsalis became the first jazz musician ever to win the Pulitzer Prize for Music for his epic oratorio, Blood On The Fields. In a personal note to Marsalis, Zarin Mehta wrote, "I was not surprised at your winning the Pulitzer Prize for Blood On The Fields. It is a broad, beautifully painted canvas that impresses and inspires. It speaks to us all ... I’m sure that, somewhere in the firmament, Buddy Bolden, Louis Armstrong and legions of others are smiling down on you."^{[citation needed]}

Marsalis won the Netherlands’ Edison Award and the Grand Prix du Disque of France. The Mayor of Vitoria, Spain, awarded Wynton with the city's Gold Medal – its most coveted distinction. In 1996, Britain's senior conservatoire, the Royal Academy of Music, made Marsalis an honorary member, the Academy's highest decoration for a non-British citizen. The city of Marciac, France, erected a bronze statue in his honor. The French Ministry of Culture appointed Wynton the rank of Knight in the Order of Arts and Literature, and in the fall of 2009, Marsalis received France's highest distinction, the insignia Chevalier of the Legion of Honour, an honor that was first awarded by Napoleon Bonaparte.

Statue dedicated to W. Marsalis in Vitoria-Gasteiz, Spain

Marsalis, with his father and brothers, are group recipients of the 2011 NEA Jazz Masters Award.^[5]

Marsalis has toured 30 countries on every continent except Antarctica, and nearly five million copies of his recordings have been sold worldwide.

Music awards[link]

Pulitzer Prize for Music

• 1997 Blood on the Fields, oratorio

Grammy Award for Best Jazz Instrumental Album, Individual or Group

• 1986 Black Codes (From the Underground)
• 1987 J Mood
• 1988 Marsalis Standard Time - Volume I

Grammy Award for Best Instrumental Soloist(s) Performance (with orchestra)

• 1983 Raymond Leppard (conductor), Wynton Marsalis & the National Philharmonic Orchestra for Haydn: Trumpet Concerto in E Flat/L. Mozart: Trumpet Concerto In D/Hummel: Trumpet Concerto in E Flat
• 1984 Raymond Leppard (conductor), Wynton Marsalis & the English Chamber Orchestra for Wynton Marsalis, Edita Gruberova: Handel, Purcell, Torelli, Fasch, Molter

Grammy Award for Best Jazz Instrumental Solo

• 1983 Think of One
• 1984 Hot House Flowers
• 1985 Black Codes (From the Underground)

Grammy Award for Best Spoken Word Album for Children

• 2000 Listen to the Storyteller

Criticisms[link]

Several jazz notables have unfavorable views of Marsalis' musicianship. Jazz critic Scott Yanow viewed Marsalis as talented but criticized his "selective knowledge of jazz history" and his regard for "post-1965 avant-garde playing to be outside of jazz and 1970s fusion to be barren" as the unfortunate result of the "somewhat eccentric beliefs of Stanley Crouch.^[6] Trumpeter Lester Bowie said of Marsalis, "If you retread what's gone before, even if it sounds like jazz, it could be anathema to the spirit of jazz."^[7] In his 1997 book Blue: The Murder of Jazz, Eric Nisenson argues that Marsalis's focus on a narrow portion of jazz's past stifled growth and innovation.^[8] In 1997, pianist Keith Jarrett criticized Marsalis saying "I've never heard anything Wynton played sound like it meant anything at all. Wynton has no voice and no presence. His music sounds like a talented high-school trumpet player to me."^[9] Pierre Sprey, president of jazz record company Mapleshade Records, said in 2001 that "When Marsalis was nineteen, he was a fine jazz trumpeter...But he was getting his tail beat off every night in Art Blakey's band. I don't think he could keep up. And finally he retreated to safe waters. He's a good classical trumpeter and thus he sees jazz as being a classical music. He has no clue what's going on now."^[10] Bassist Stanley Clarke said "All the guys that are criticizing—like Wynton Marsalis and those guys—I would hate to be around to hear those guys playing on top of a groove!"^[11] In his autobiography, Miles Davis – who Marsalis said had left jazz and "went into rock"^[12] – hedged his praise of Marsalis by suggesting that he was unoriginal. He also found him too competitive, saying "Wynton thinks playing music is about blowing people up on stage." In 1986, in Vancouver, Davis stopped his band to eject an uninvited Marsalis from the stage. Davis said "Wynton can't play the kind of shit we were playing", and twice told Marsalis "Get the fuck off."^[13]

Some critical exchanges have included insults. Besides insinuating that Davis had pandered to audiences, Marsalis said Davis dressed like a "buffoon." Trumpeter Lester Bowie called Marsalis "brain dead", "mentally-ill" and "trapped in some opinions that he had at age 21... because he's been paid to."^[7][12] Marsalis in reply said Bowie was "another guy who never really could play."^[12]

Marsalis was criticized for pressing his neo-classicist opinions of jazz as producer and on-screen commentator in the Ken Burns documentary Jazz (2001). The documentary focused primarily on Duke Ellington and Louis Armstrong among others, while ignoring other jazz artists. David Adler said that "Wynton's coronation in the film is not merely biased. It is not just aesthetically grating. It is unethical, given his integral role in the making of the very film that is praising him to the heavens."^[14]

Discography[link]

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Wynton Marsalis

Wikimedia Commons has media related to: Wynton Marsalis

• Official website
• Profile at Jazz at the Lincoln Center (click 'more')
• Wynton Marsalis at the Internet Movie Database
• Works by or about Wynton Marsalis in libraries (WorldCat catalog)
• Wynton Marsalis at the Notable Names Database
• Wynton Marsalis collected news and commentary at The New York Times
• Wynton Marsalis on The Tavis Smiley Show, March 15, 2011 (23:31 video)
• Post-Katrina Tulane University Speech
• USA Today Q&A, January 14, 2007
• Wynton Marsalis: Reader's guide