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March 05, 2008
The Trumpet
Time to warm up your mouthpieces, empty your spit valves, and get your brass on. Composer and Pandora music analyst Gene V. Baker shows the ranges, tones and techniques of trumpet and cornet. We look at how partials allow multiple notes to come from the same finger position, and show ways to get different timbres and effects. Jen Baker, Gene's bandmate in the R&B Freejazz Gospel Supreme 80, drops in to play some trombone for us as well. (10 mins.)MUSICAL TERMS INCLUDED IN THIS PODCAST
| Horn | Valve | Articulation | Mute |
| Key | Partial | Tonguing | Harmon mute |
| Clef | Embouchure | Slurring | Plunger |
| Pitch | Mouthpiece | Double-tonguing |
TRUMPET STARS OF THE SWING ERA
by Harry James |
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by Roy Eldridge |
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by Cootie Williams (with the Duke Ellington Orchestra) |
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by Dizzy Gillespie |
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by Louis Armstrong |
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by Bix Beiderbecke (cornet, not trumpet) |
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by Bunny Berigan |
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Gene V. Baker with his trumpet. |
GREAT BRASS ARRANGERS
by Count Basie |
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by Duke Ellington |
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by Billy Strayhorn |
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by Artie Shaw |
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by Gil Evans |
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by Oliver Nelson |
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by Quincy Jones |
TROMBONE SLIDES AND SLURS
by J.J. Johnson |
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by Slide Hampton |
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by Tommy Dorsey |
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by Glenn Miller |
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by Kai Winding |
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by Curtis Fuller |
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Here's a woodwind mouthpiece. The sliver of wood vibrates to produce the sound, rather than the vibration on the lips that we see with trumpet and cornet. |
BRASS IN SOUL AND FUNK
by the Memphis Horns |
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by James Brown and the JB Horns |
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by the Horny Horns (with Parliament) |
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by Earth, Wind & Fire |
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by Kool & the Gang |
BRASS IN ROCK
by Sly and the Family Stone |
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by Chicago |
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by Blood, Sweat and Tears |
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by Elvis Costello |
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by Ozomatli |
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Three mutes. |
by Preservation Hall Jazz Band |
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by Dirty Dozen Brass Band |
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by Elvis Costello (with the Dirty Dozen Brass Band) |
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by Rebirth Brass Band |
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by Drums & Tuba |
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by New Birth Brass Band |
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Gene with a Harmon mute. |
by the Specials |
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by Madness |
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by Fishbone |
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by the Mighty Mighty Bosstones |
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by Johnny Socko |
Comments
My goodness! Who knew horn playing was so HARD! Glad to hear new podcasts, Kev. Thanks!
Posted by: Puddleglum at March 5, 2008 12:52 PM
would love to listen to live music!!!!!!!!!!Play something from kottonmouth king's
Posted by: Lee at March 5, 2008 10:26 PM
I second that Puddleglum! Wow! You have to keep the overtone series in mind whenever you blow into the instrument. It's totally different than piano or guitar. I'm intrigued to learn more -- good stuff.
Posted by: Ryan at March 6, 2008 02:53 PM
The music is a blessing and it's free. Oh! what a belssing and I enjoy the sounds of Third day. I will tell all of my family members and friends. Thank you and God bless you all.
Posted by: mrsbren at March 9, 2008 07:07 PM
There can never be enough of these musicology podcasts. Keep up the good work!!!
Posted by: ***nick*** at March 10, 2008 04:43 AM
No one knows your out there. I work with 500 people and no one has heard of your website. I happened across it by mistake and I've told several about you. I work with a bunch of App. students they go to rhapsody. I don't know if your interested in a younger group or a older group but you've got me listening.
Posted by: Tammy at March 11, 2008 10:55 PM
Interesting that the primary overtone can't be played as a note on the trumpet... Do you know if it is this way on all brass instruments?
Posted by: bryce at March 12, 2008 10:08 AM
Good question, Bryce... I will ask Gene himself, as I don't know the answer to that. Gene?
Posted by: Kevin Seal at March 12, 2008 11:45 AM
It's great that you are back!! Thanks!!
Posted by: Nano at March 13, 2008 12:42 PM
Hello Bryce,
The reason the fundamental is difficult to produce on a trumpet is entirely because of the mouthpiece. As trumpet playing evolved and style became more standardized (over hundreds of years) mouthpieces were shaped to meet these demands. If you put a trombone mouthpiece (which is much larger) on the trumpet (if you could get it to fit, which it traditionally doesn't) the fundamental would be quite easily produced. Likewise, if you take a piccolo trumpet mouthpiece and put it on the trumpet (which does often fit and is common these days for "lead players") the extreme high register would be far easier to produce, yet the 2nd or even 3rd partial becomes difficult, and the fundamental is impossible.
But to answer your question (finally) other brass instruments can more easily produce their fundamental, particularly the trombone and tuba. This will vary based on the mouthpiece a player chooses, but it just so happens that playing the fundamental is more "desirable" or common; partly because of the way music has evolved, but also because of the instrument itself: When a tuba plays its fundamental, it stands alone: there is no other instrument that can sound like that. Hope that answers your question and thanks for listening!
Posted by: Gene at March 13, 2008 03:20 PM
Love the whole Pandora website - will continue to tell my friends for sure!
Posted by: Patti at March 24, 2008 10:07 AM
Hello
nice site
Posted by: Kebrieree at March 25, 2008 05:38 AM
Am just a novice on this computer and possibly do
not know where to click or perhaps it is that I am
on slow dial up but I cannot get the music to play
but thanks any way. Pat C.
Posted by: pat at March 25, 2008 05:12 PM
Re: Fundamentals - There is another issue. Even if you can play the fundamental on a trumpet, you wouldn't be able to play all the notes leading down to it. You can go from C down to the F# on the first partial, but the notes between that and the fundamental C don't "exist".
Posted by: Martin Eyles at April 1, 2008 06:15 AM
The good convenient site is made.
Posted by: Utenueacuth at April 9, 2008 06:25 PM
Thanks, Martin -- as I don't play trumpet, this talk is educational to me as well. Happy to pick up some new knowledge.
Posted by: Kevin Seal at April 18, 2008 02:23 PM
Hello, excellent site, very rich in content and correctly carefully thought out
Posted by: QueesyBeaut at May 6, 2008 06:54 PM



