The 

trumpet is a brass instrument commonly used in classical and jazz ensembles. The trumpet

group ranges from the piccolo trumpet with the highest register in the brass family, to the bass
trumpet, which is pitched one octave below the standard B♭ or C Trumpet.
Trumpet-like instruments have historically been used as signalling devices in battle or hunting,
with examples dating back to at least 1500 BCE. They began to be used as musical instruments
only in the late 14th or early 15th century.[1] Trumpets are used in art music styles, for instance
in orchestras, concert bands, and jazz ensembles, as well as in popular music. They are played
by blowing air through nearly-closed lips (called the player's embouchure), producing a "buzzing"
sound that starts a standing wave vibration in the air column inside the instrument.[2] Since the
late 15th century, trumpets have primarily been constructed of brass tubing, usually bent twice
into a rounded rectangular shape.[3]
There are many distinct types of trumpet, with the most common being pitched in
B♭ (a transposing instrument), having a tubing length of about 1.48 m (4 ft 10 in). Early trumpets
did not provide means to change the length of tubing, whereas modern instruments generally
have three (or sometimes four) valves in order to change their pitch. There are eight
combinations of three valves, making seven different tubing lengths, with the third valve
sometimes used as an alternate fingering equivalent to the 1–2 combination. Most trumpets have
valves of the piston type, while some have the rotary type. The use of rotary-valved trumpets is
more common in orchestral settings (especially in German and German-style orchestras),
although this practice varies by country. Each valve, when engaged, increases the length of
tubing, lowering the pitch of the instrument. A musician who plays the trumpet is called a trumpet
player or trumpeter.[4]

Contents

 1Etymology
 2History
 3Construction
 4Types
 5Playing
o 5.1Fingering
 6Mute
 7Range
 8Extended technique
o 8.1Instruction and method books
 9Players
 10Musical pieces
o 10.1Solos
 11In art
 12See also
 13References
o 13.1Notes
o 13.2Bibliography
 14External links

Etymology
Trio of trumpeters in Toledo, Ohio, approximately 1920

The English word "trumpet" was first used in the late 14th century.[5] The word came from Old
French "trompette," which is a diminutive of trompe.[5] The word "trump," meaning "trumpet," was
first used in English in 1300. The word comes from Old French trompe "long, tube-like musical
wind instrument" (12c.), cognate with Provençal tromba, Italian tromba, all probably from a
Germanic source (compare Old High German trumpa, Old Norse trumba "trumpet"), of imitative
origin."[6]

History
Main article: History of primitive, ancient Western and non-Western trumpets

Silver and gold plated trumpet and its wooden mute from the tomb of Tutankhamun (1326–1336 BCE)

Ceramic trumpet, CE 300, Larco Museum Collection Lima, Peru

Trumpet, 17th century

The earliest trumpets date back to 1500 BCE and earlier. The bronze and silver Tutankhamun's
trumpets from his grave in Egypt, bronze lurs from Scandinavia, and metal trumpets from China
date back to this period.[7] 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.[8]
The Shofar, made from a ram horn and the Hatzotzeroth, made of metal, are both mentioned in
the Bible. They were played in Solomon's Temple around 3000 years ago. They were said to be
used to blow down the walls of Jericho. They are still used on certain religious days.
[9]
 The Salpinx was a straight trumpet 62 inches (1,600 mm) long, made of bone or bronze.
Salpinx contests were a part of the original Olympic Games.[9]
The Moche people of ancient Peru depicted trumpets in their art going back to CE 300.[10] The
earliest trumpets were signaling instruments used for military or religious purposes, rather than
music in the modern sense;[11] and the modern bugle continues this signaling tradition.

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 change crooks of the
instrument.[9] 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. Many modern players in Germany and the UK who perform
Baroque music use a version of the natural trumpet fitted with three or four vent holes to aid in
correcting out-of-tune notes in the harmonic series.[12]
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.[13]

Construction
Trumpet valve bypass (depressed)

The trumpet is constructed of brass tubing bent twice into a rounded oblong shape.[14] 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.

B♭ 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 (two semitones), the second valve by a half step (one semitone), and the
third valve by one and a half steps (three semitones). When a fourth valve is present, as with
some piccolo trumpets, it usually lowers the pitch a perfect fourth (five 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.[15]
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.[16] Most notes in the series are slightly out of tune and modern
trumpets have slide mechanisms for the first and third valves with which the player can
compensate by throwing (extending) or retracting one or both slides, using the left thumb and
ring finger for the first and third valve slides respectively.

Types
The most common type is the B♭ trumpet, but A, C, D, E♭, E, low F, and G trumpets are also
available. The C trumpet is most common in American orchestral playing, where it is used
alongside the B♭ trumpet. Orchestral trumpet players are adept at transposing music at sight,
frequently playing music written for the A, B♭, D, E♭, E, or F trumpet on the C trumpet or
B♭ trumpet.

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

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 less common. 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 trumpet players known for their additional
virtuosity on the piccolo trumpet.
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.[4] 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 B♭. Both C and B♭ bass trumpets
are transposing instruments sounding an octave (C) or a major ninth (B♭) lower than written.
The historical slide trumpet was probably first developed in the late 14th century for use in alta
cappella 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.[17]
Some slide trumpet designs saw use in England in the 18th century.[18]
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. 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 1989 for jazz musician Art Farmer. It is a hybrid instrument with
elements of trumpet and flugelhorn, sharing the three piston valve design and with a pitch of B♭.
[19]

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.

Playing
See also: Embouchure

This section does not cite any sources. Please help improve this

section by adding citations to reliable sources. Unsourced material
may be challenged and removed. (February 2010) (Learn how and
when to remove this template message)

Fingering
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 hello my
name is emily and i am not a trumpet player i play the GUITAR thank you for your time

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 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.
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.
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 12-tone equal temperament and some are not.
[citation needed]

Mute
Main article: Mute (music) §  Brass

Trumpet with "stonelined" straight mute inserted. Below, left to right: straight, wah-wah (harmon), and cup
mutes.

Various types of mutes can be placed in or over the bell, which decreases volume and changes
timbre.[20] Of all brass instruments, trumpets have the widest selection of mutes: common mutes
include the straight mute, cup mute, harmon mute (wah-wah or wow-wow mute, among other
names[21]), plunger, bucket mute, and practice mute.[22] When the type of mute is not specified,
players generally use a straight mute, the most common type.[21] Jazz, commercial, and show
band musicians often use a wider range of mutes than their classical counterparts,[20] and many
mutes were invented for jazz orchestrators.[23]
Mutes can be made of many materials, including fiberglass, plastic, cardboard, metal, and "stone
lining", a trade name of the Humes & Berg company.[24] They are often held in place with cork.[20]
[25]
 To better keep the mute in place, players sometimes dampen the cork by blowing warm air on
it.[20]
The straight mute is conical and constructed of either metal (usually aluminum[21])—which
produces a bright, piercing sound—or another material, which produces a darker, stuffier sound.
[26][27]
 The cup mute is shaped like a straight mute with an additional, bell-facing cup at the end,
and produces a darker tone than a straight mute.[28] The harmon mute is made of metal (usually
aluminum or copper[21]) and consists of a "stem" inserted into a large chamber.[28] The stem can be
extended or removed to produce different timbres, and waving one's hand in front of the mute
produces a "wah-wah" sound, hence the mute's colloquial name.[28]

Range
MENU
0:00
Sound of a trumpet – Warsaw Castle, Poland.

Using standard technique, the lowest note is the written F♯ below middle C. There is no actual
limit to how high brass instruments can play, but fingering charts generally go up to 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, Doc
Severinsen, and more recently Wayne Bergeron, Thomas Gansch, James Morrison, Jon
Faddis and Arturo Sandoval. It is also possible to produce pedal tones below the low F♯, which is
a device occasionally employed in the contemporary repertoire for the instrument.
Extended technique
Contemporary music for the trumpet makes wide uses of extended trumpet techniques.
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 1950s.
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.
Pedal tone: Composers have written notes as low as two-and-a-half octaves below the low F♯ 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 a systematic expansion on his lessons with Herbert L. Clarke. The technique was
pioneered by Bohumir Kryl.[29]
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. For example,
sustaining a middle C and humming a major 3rd "E" at the same time.
Circular breathing: A technique wind players use to produce uninterrupted tone, without pauses
for breaths. The player puffs up the cheeks, storing air, then breathes in rapidly through the nose
while using the cheeks to continue pushing air outwards.

Instruction and method books

One trumpet method is Jean-Baptiste Arban's Complete Conservatory Method for Trumpet
(Cornet).[30] Other well-known method books include Technical Studies by Herbert L. Clarke,
[31]
 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.[32] 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.[33] Merri
Franquin wrote a Complete Method for Modern Trumpet,[34] which fell into obscurity for much of
the twentieth century until public endorsements by Maurice André revived interest in this work.[35]

Players

Gottfried Reiche, chief trumpeter for Johann Sebastian Bach in Leipzig

Main article: List of trumpeters

In early jazz, Louis Armstrong was well known for his virtuosity and his improvisations on the Hot
Five and Hot Seven recordings, and his switch from cornet to trumpet is often cited as heralding
the trumpet's dominance over the cornet in jazz.[4][36] Dizzy Gillespie was a gifted improviser with
an extremely high (but musical) 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. 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.[37] Cat Anderson was a trumpet player who was known
for the ability to play extremely high with an even more extreme volume, who played with Duke
Ellington's Big Band. 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.[38]

Musical pieces
Solos
Anton Weidinger developed in the 1790s the first successful keyed trumpet, capable of playing
all the chromatic notes in its range. Joseph Haydn's Trumpet Concerto was written for him in
1796 and startled contemporary audiences by its novelty,[39] a fact shown off by some stepwise
melodies played low in the instrument's range.

In art
 

The Last Judgment (workshop of Hieronymus Bosch) [nl], c.1500-1510

 

Trumpet-Player in front of a Banquet, Gerrit Dou, c.1660-1665

 

Illustration for The Trumpeter Taken Prisoner from Baby's Own Aesop, a children's

edition of Aesop's fables
 

Louis Armstrong statue in Algiers, New Orleans

 

Miles Davis statue in Kielce, Poland

See also
  Compositions for trumpet
 Muted trumpet
 Wind controller

References
Notes
1. ^ "History of the Trumpet (According to the  New Harvard Dictionary of Music)".
petrouska.com. Archived from  the original on 2008-06-08. Retrieved 2014-12-17.
2. ^ "Brass Family of Instruments: What instruments are in the Brass
Family?".  www.orsymphony.org. Retrieved 2020-05-12.
3. ^ Clint McLaughlin, The No Nonsense Trumpet From A-Z (Dallas, Texas: Trumpet
College, 1995), 7–10.
4. ^ Jump up to:a b c Koehler 2013
5. ^ Jump up to:a b "Trumpet".  www.etymonline.com. Online Etymology Dictionary.
Retrieved 20 May 2017.
6. ^ "Trump". www.etymonline.com. Online Etymology Dictionary. Retrieved  20 May  2017.
7. ^ Edward Tarr, The Trumpet (Portland, Oregon: Amadeus Press, 1988), 20–30.
8. ^ "Trumpet with a swelling decorated with a human head," Musée du Louvre
9. ^ Jump up to:a b c "History of the Trumpet | Pops' Trumpet College".
10. ^ Berrin, Katherine & Larco Museum. The Spirit of Ancient Peru:Treasures from
the  Museo Arqueológico Rafael Larco Herrera. New York: Thames and Hudson, 1997.
11. ^ "Chicago Symphony Orchestra  – Glossary  – Brass instruments". cso.org.
Retrieved 2008-05-03.
12. ^ John Wallace and Alexander McGrattan, The Trumpet, Yale Musical Instrument Series
(New Haven and London: Yale University Press, 2011): 239. ISBN 978-0-300-11230-6.
13. ^ Berlioz, Hector (1844). Treatise on modern Instrumentation and Orchestration. Edwin F.
Kalmus, NY, 1948.
14. ^ "Trumpet, Brass Instrument". dsokids.com. Retrieved  2008-05-03.
15. ^ Bloch, Dr. Colin (August 1978). "The Bell-Tuned Trumpet". Archived from  the
original on 25 December 2008. Retrieved 25 February 2010.
16. ^ D. J. Blaikley, "How a Trumpet Is Made. I. The Natural Trumpet and Horn", The Musical
Times, January 1, 1910, p. 15.
17. ^ "IngentaConnect More about Renaissance slide trumpets: fact or fiction?".
ingentaconnect.com. Archived from the original  on 2012-09-22. Retrieved  2008-05-03.
18. ^ Lessen, Martin (1997). "JSTOR: Notes, Second Series".  Notes.  54  (2): 484–
485.  doi:10.2307/899543. JSTOR 899543.
19. ^ Koehler, Elisa (2014). Fanfares and Finesse: A Performer's Guide to Trumpet History
and Literature. Indiana University Press. p.  55. ISBN 978-0-253-01179-4. Retrieved  7
December 2017.
20. ^ Jump up to:a b c d Ely 2009, p. 109.
21. ^ Jump up to:a b c d Ely 2009, p. 111.
22. ^ For the "widest selection of mutes", see Sevsay 2013, p. 125.
 For the list of common mutes, see Ely 2009, p. 109.
23. ^ Boyden, David D.; Bevan, Clifford; Page, Janet K. (January 20, 2001). "Mute". Grove
Music Online. doi:10.1093/gmo/9781561592630.article.19478. Retrieved 16
September  2020.
24. ^ For the list of materials, see Ely 2009, p. 109.
 For the origin of "stonelined mutes", see Koehler 2013, p. 173.
25. ^ Sevsay 2013, p. 125.
26. ^ Sevsay 2013, p. 125: "plastic (fiberglass): not as forceful as the metal mute, a bit darker
in color, but still penetrating"
27. ^ Koehler 2013, p. 173.
28. ^ Jump up to:a b c Sevsay 2013, p. 126.
29. ^ Joseph Wheeler, "Review: Edward H. Tarr, Die Trompete" The Galpin Society Journal,
Vol. 31, May, 1978, p. 167.
 30. ^ Arban, Jean-Baptiste (1894, 1936, 1982). Arban's Complete Conservatory Method for
trumpet. Carl Fischer, Inc. ISBN 0-8258-0385-3.
31. ^ Herbert L. Clarke (1984). Technical Studies for the Cornet, C. Carl Fischer, Inc. ISBN 0-
8258-0158-3.
32. ^ Colin, Charles and Advanced Lip Flexibilities.[full citation needed]
33. ^ "Allen Vizzutti Official Website".  www.vizzutti.com. Retrieved 2016-10-21.
34. ^ Franquin, Merri (2016) [1908]. Quinlan, Timothy (ed.).  "Complete Method for Modern
Trumpet".  qpress.ca. Translated by Jackson, Susie.
35. ^ Shamu, Geoffrey. "Merri Franquin and His Contribution to the Art of Trumpet
Playing"  (PDF). p.  20. Retrieved 2017-08-11.
36. ^ West, Michael J. (3 November 2017). "The Cornet: Secrets of the Little Big
Horn".  JazzTimes.com. Retrieved  17 August 2018.
37. ^ "Miles Davis, Trumpeter, Dies; Jazz Genius, 65, Defined Cool". nytimes.com.
Retrieved 2008-05-03.
38. ^ "Ferguson, Maynard".  Encyclopedia of Music in Canada. The Canadian Encyclopedia.
Retrieved 2008-01-02.
39. ^ Keith Anderson, liner notes for Naxos CD 8.550243, Famous Trumpet Concertos,
"Haydn's concerto, written for Weidinger in 1796, must have . At the first performance of
the new concerto in Vienna in 1800 a trumpet melody was heard in a lower register than
had hitherto been practicable."

Bibliography
 Barclay, R. L. (1992). The art of the trumpet-maker: the materials, tools, and
techniques of the seventeenth [sic] and eighteenth centuries in Nuremberg. Oxford
[England]: Clarendon Press. ISBN 0-19-816223-5.
 Bate, Philip (1978). The trumpet and trombone : an outline of their history,
development, and construction (2nd ed.). London: E. Benn. ISBN 0-393-02129-7.
 Brownlow, James Arthur (1996). The last trumpet: a history of the English slide
trumpet. Stuyvesant, N.Y.: Pendragon Press. ISBN 0-945193-81-5.
 Campos, Frank Gabriel (2005). Trumpet technique. Oxford: Oxford University
Press. ISBN 0-19-516692-2.
 Cassone, Gabriele (2009). The trumpet book (1st ed.). Varese, Italy:
Zecchini. ISBN 978-88-87203-80-6.
 Ely, Mark C. (2009). Wind talk for brass: a practical guide to understanding and
teaching brass instruments. Oxford: Oxford University Press. ISBN 978-0-19-
532924-7.
 English, Betty Lou (1980). You can't be timid with a trumpet: notes from the
orchestra (1st ed.). New York: Lothrop, Lee & Shepard Books. ISBN 0-688-41963-1.
 Koehler, Elisa (2013). Dictionary for the modern trumpet player. Lanham, Maryland:
Scarecrow Press. ISBN 978-0-8108-8658-2.
 Sherman, Roger (1979). The trumpeter's handbook: a comprehensive guide to
playing and teaching the trumpet. Athens, Ohio: Accura Music. ISBN 0-918194-02-4.
 Sevsay, Ertuğrul (2013). The Cambridge guide to orchestration. New York:
Cambridge University Press. p. 125. ISBN 978-1-107-02516-5.
 Smithers, Don L. (1973). The music and history of the baroque trumpet before
1721 (1st ed.). Syracuse, N.Y.: Syracuse University Press. ISBN 0-8156-2157-4.