Elsa jean band plays the trumpet

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Elsa jean band plays the trumpet

ROCK AND POP TRUMPET SHEET MUSIC LESSONS CHORD CHARTS. sense and sensibility let it go frozen summer nights grease''sheet Music Songs Include Can You Feel The Love Tonight Instrumental Play Along Some pop songs songs include another brick in the wall billie jean dust in the wind easy free. FABER MUSIC PLAY HOLLYWOOD TRUMPET + CD - Play Hollywood MARGO JEAN-LOUIS - LA CLARINETTE A L'ECOLE DE MUSIQUE VOL.1 + CD​. Oktoberfest, Kunst, Musik Illustration, Jazzkunst, Band Poster, Musikposter, Christie's is set to auction off a unique 'Moon and Stars' trumpet designed and played by jazz mood indigo ELSA ARMENGOU DICK OATTS SANT ANDREU JAZZ BAND (JOAN The trumpet player Painting by Jean-Marc JANIACZYK. Elsa jean band plays the trumpet

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Elsa Jean Band Plays The Trumpet Video

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Elsa Jean Band Plays The Trumpet Video

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Elsa Jean. Primarily used in Viennese brass ensembles and orchestras such as the Vienna Philharmonic and Mnozil Brass. The trumpet is often confused with its close relative the cornet , which has a more conical tubing shape compared to the trumpet's more cylindrical tube.

This, along with additional bends in the cornet's tubing, gives the cornet a slightly mellower tone, but the instruments are otherwise nearly identical.

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

Another relative, the flugelhorn , has tubing that is even more conical than that of the cornet, and an even richer tone. It is sometimes augmented with a fourth valve to improve the intonation of some lower notes.

On any modern trumpet, cornet, or flugelhorn, pressing the valves indicated by the numbers below produces the written notes shown.

The sounding pitch depends on the transposition of the instrument. Engaging the fourth valve, if present, usually drops any of these pitches by a perfect fourth as well.

Within each overtone series, the different pitches are attained by changing the embouchure. Each overtone series on the trumpet begins with the first overtone—the fundamental of each overtone series cannot be produced except as a pedal tone.

Notes in parentheses are the sixth overtone, representing a pitch with a frequency of seven times that of the fundamental; while this pitch is close to the note shown, it is flat relative to equal temperament , and use of those fingerings is generally avoided.

The fingering schema arises from the length of each valve's tubing a longer tube produces a lower pitch.

Valve "1" increases the tubing length enough to lower the pitch by one whole step, valve "2" by one half step, and valve "3" by one and a half steps.

This scheme and the nature of the overtone series create the possibility of alternate fingerings for certain notes. For example, third-space "C" can be produced with no valves engaged standard fingering or with valves 2—3.

Alternate fingerings may be used to improve facility in certain passages, or to aid in intonation. Extending the third valve slide when using the fingerings 1—3 or further lowers the pitch slightly to improve intonation.

Some of the partials of the harmonic series that a modern Bb trumpet can play for each combination of valves pressed are in tune with tone equal temperament and some are not.

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

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

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

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

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

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

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

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

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

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

Growling : Simultaneously playing tone and using the back of the tongue to vibrate the uvula, creating a distinct sound. Most trumpet players will use a plunger with this technique to achieve a particular sound heard in a lot of Chicago Jazz of the s.

Double tonguing : The player articulates using the syllables ta-ka ta-ka ta-ka. Triple tonguing : The same as double tonguing, but with the syllables ta-ta-ka ta-ta-ka ta-ta-ka or ta-ka-ta ta-ka-ta.

Doodle tongue : The trumpeter tongues as if saying the word doodle. This is a very faint tonguing similar in sound to a valve tremolo. Glissando : Trumpeters can slide between notes by depressing the valves halfway and changing the lip tension.

Modern repertoire makes extensive use of this technique. Vibrato : It is often regulated in contemporary repertoire through specific notation.

Composers can call for everything from fast, slow or no vibrato to actual rhythmic patterns played with vibrato.

Extreme low pedals are produced by slipping the lower lip out of the mouthpiece. Claude Gordon assigned pedals as part of his trumpet practice routines, that were a systematic expansion on his lessons with Herbert L.

The technique was pioneered by Bohumir Kryl. Microtones : Composers such as Scelsi and Stockhausen have made wide use of the trumpet's ability to play microtonally.

Some instruments feature a fourth valve that provides a quarter-tone step between each note. The jazz musician Ibrahim Maalouf uses such a trumpet, invented by his father to make it possible to play Arab maqams.

Valve tremolo : Many notes on the trumpet can be played in several different valve combinations. By alternating between valve combinations on the same note, a tremolo effect can be created.

Berio makes extended use of this technique in his Sequenza X. Noises : By hissing, clicking, or breathing through the instrument, the trumpet can be made to resonate in ways that do not sound at all like a trumpet.

Noises may require amplification. Preparation : Composers have called for trumpeters to play under water, or with certain slides removed.

It is increasingly common for composers to specify all sorts of preparations for trumpet. Extreme preparations involve alternate constructions, such as double bells and extra valves.

Split tone : Trumpeters can produce more than one tone simultaneously by vibrating the two lips at different speeds.

The interval produced is usually an octave or a fifth. Lip-trill or shake : Also known as "lip-slurs". By rapidly varying air speed, but not changing the depressed valves, the pitch can vary quickly between adjacent harmonic partials.

Shakes and lip-trills can vary in speed, and in the distance between the partials. However, lip-trills and shakes usually involve the next partial up from the written note.

Multi-phonics : Playing a note and "humming" a different note simultaneously. He became an associate professor of Jazz Trumpet at Oberlin Conservatory for the academic year.

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

Sean Jones. Retrieved Namespaces Article Talk.

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Some slide trumpet designs saw use in England in the 18th century. The bell is usually smaller than a standard trumpet and the tubing is more tightly wound to reduce the instrument size without reducing the total tube length.

Its design is not standardized, and the quality of various models varies greatly. It can have a tone quality and projection unique in the trumpet world: a warm sound and a voice-like articulation.

Since many pocket trumpet models suffer from poor design as well as cheap and imprecise manufacturing, the intonation, tone color and dynamic range of such instruments are severely hindered.

Professional-standard instruments are, however, available. While they are not a substitute for the full-sized instrument, they can be useful in certain contexts.

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

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

Another variant of the standard trumpet is the Vienna valve trumpet. Primarily used in Viennese brass ensembles and orchestras such as the Vienna Philharmonic and Mnozil Brass.

The trumpet is often confused with its close relative the cornet , which has a more conical tubing shape compared to the trumpet's more cylindrical tube.

This, along with additional bends in the cornet's tubing, gives the cornet a slightly mellower tone, but the instruments are otherwise nearly identical.

They have the same length of tubing and, therefore, the same pitch, so music written for cornet and trumpet is interchangeable. Another relative, the flugelhorn , has tubing that is even more conical than that of the cornet, and an even richer tone.

It is sometimes augmented with a fourth valve to improve the intonation of some lower notes. On any modern trumpet, cornet, or flugelhorn, pressing the valves indicated by the numbers below produces the written notes shown.

The sounding pitch depends on the transposition of the instrument. Engaging the fourth valve, if present, usually drops any of these pitches by a perfect fourth as well.

Within each overtone series, the different pitches are attained by changing the embouchure. Each overtone series on the trumpet begins with the first overtone—the fundamental of each overtone series cannot be produced except as a pedal tone.

Notes in parentheses are the sixth overtone, representing a pitch with a frequency of seven times that of the fundamental; while this pitch is close to the note shown, it is flat relative to equal temperament , and use of those fingerings is generally avoided.

The fingering schema arises from the length of each valve's tubing a longer tube produces a lower pitch. Valve "1" increases the tubing length enough to lower the pitch by one whole step, valve "2" by one half step, and valve "3" by one and a half steps.

This scheme and the nature of the overtone series create the possibility of alternate fingerings for certain notes. For example, third-space "C" can be produced with no valves engaged standard fingering or with valves 2—3.

Alternate fingerings may be used to improve facility in certain passages, or to aid in intonation. Extending the third valve slide when using the fingerings 1—3 or further lowers the pitch slightly to improve intonation.

Some of the partials of the harmonic series that a modern Bb trumpet can play for each combination of valves pressed are in tune with tone equal temperament and some are not.

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

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

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

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

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

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

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

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

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

Flutter tonguing : The trumpeter rolls the tip of the tongue as if rolling an "R" in Spanish to produce a 'growling like' tone.

This technique is widely employed by composers like Berio and Stockhausen. Growling : Simultaneously playing tone and using the back of the tongue to vibrate the uvula, creating a distinct sound.

Most trumpet players will use a plunger with this technique to achieve a particular sound heard in a lot of Chicago Jazz of the s. Double tonguing : The player articulates using the syllables ta-ka ta-ka ta-ka.

Triple tonguing : The same as double tonguing, but with the syllables ta-ta-ka ta-ta-ka ta-ta-ka or ta-ka-ta ta-ka-ta.

Doodle tongue : The trumpeter tongues as if saying the word doodle. This is a very faint tonguing similar in sound to a valve tremolo.

Glissando : Trumpeters can slide between notes by depressing the valves halfway and changing the lip tension. Modern repertoire makes extensive use of this technique.

Vibrato : It is often regulated in contemporary repertoire through specific notation. Composers can call for everything from fast, slow or no vibrato to actual rhythmic patterns played with vibrato.

Extreme low pedals are produced by slipping the lower lip out of the mouthpiece. Claude Gordon assigned pedals as part of his trumpet practice routines, that were a systematic expansion on his lessons with Herbert L.

The technique was pioneered by Bohumir Kryl. Microtones : Composers such as Scelsi and Stockhausen have made wide use of the trumpet's ability to play microtonally.

Some instruments feature a fourth valve that provides a quarter-tone step between each note. The jazz musician Ibrahim Maalouf uses such a trumpet, invented by his father to make it possible to play Arab maqams.

Valve tremolo : Many notes on the trumpet can be played in several different valve combinations. By alternating between valve combinations on the same note, a tremolo effect can be created.

Berio makes extended use of this technique in his Sequenza X. As a bandleader, Jones has released seven albums under the Mack Avenue Records label.

He performs with his own groups both nationally and internationally. Among Jones' first musical experiences were the gospel music he heard while attending Saint James' Church of God in Christ in Warren, Ohio , where he sang and performed with the choir.

As a beginning musician, Jones started on the drums and switched to trumpet in the fifth grade after his grandmother told him about his grandfather playing the instrument during World War II.

Jones developed an interest in jazz music around the same time, after receiving two Miles Davis albums from his band instructor, namely Kind of Blue and Tutu.

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

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