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Category Archives: Contemporary Techniques
I’d like to start this post by making it clear that I do prefer playing the trumpet with an actual trumpet mouthpiece! Nevertheless, there are some unique sounds that can be made by using an alternative mouthpiece on the trumpet. … Continue reading
When I first saw Marco Blaauw’s double-bell trumpet, I was fascinated but skeptical. The effects are great, but are they enough to justify this huge modification of the instrument? Not to mention the expense of having one built! I avoided … Continue reading
My good friend, tubist and author Jack Adler-McKean, will cringe at the title of this post. He rightfully insists that: “a multiphonic means the same thing regardless of whether its for string, wind, brass, keyboard instrument or voice: making multiple … Continue reading
Tongue Slap / Tongue Ram Whenever I have a gig with my horn colleague Samuel Stoll, we inevitably get into a heated discussion about the difference between tongue slap and tongue ram. In my opinion, this is one technique with … Continue reading
Glissandi on the trumpet are kind of a mixed bag. On one hand, the trumpet can produce the super cool falls and doits that are familiar from jazz music. On the other hand, it’s nearly impossible to produce a pure … Continue reading
In classical trumpet playing, half-valve sounds are usually unintentional and a sign that you aren’t fully depressing the valve, or that you seriously need to oil your valves because they aren’t coming back up fast enough. This “mistake” has been … Continue reading
Microtones are available throughout the trumpet’s range. In this post I will focus on the production of quarter tones, as these have become firmly established in contemporary music, but other microtones can be produced using the techniques I describe below. … Continue reading
My first encounter with pedal tones was in college, as warm-up exercises. I was taught that, in order to properly play the high register, I also had to learn to play super low. Though the connection between the two is … Continue reading
My first venture into split-tones was over ten years ago for a performance of the piece “Humans in Motion” by Canadian composer Annesley Black. If I remember correctly, there was one single split-tone in my part – one of the … Continue reading