How to Sound Like a Professional Lead Trumpet Player.
The lead trumpet's role is to be the band's leader and create a rhythmic and stylistic connection with the drummer. The lead trumpet's ability to lock in with the rhythm section is of utmost importance because the rest of the horn section will look to the lead trumpet to set the stylistic standard. It falls on the lead trumpet player's shoulders to interpret a chart correctly and consistently so that a band can follow its lead. This guide aims to provide a framework of study for a lead trumpet player interested in playing anything from big band music to any commercial music with stylistic accuracy. As previously mentioned, the eleven stylistic elements that any lead player must account for our time, tone color, phrasing, articulations, dynamics, vibrato, shakes, glissandos falls, bends, and scoops.
The process is as follows:
1. Select a recording or lead trumpet player that you would like to study. Listen to said recording until you can sing the part perfectly, with octave adjustments if needed.
2. If possible, obtain a printed copy of the lead trumpet part of said recording. If a chart is not available, then transcribe the part with the highest accuracy possible.
3. Observe how the lead trumpet player places the musical figures within the musical time. Note the locations where they push or pull the time and how it relates to the rhythm section and the rest of the band.
4. Observe how their tone sounds: is it laser-like? Is it broad and warm? Is it raspy or played with a growl? Make a note of this on the part. If it is raspy, identify if a growl is being applied by either flutter tongue or growling in the throat while playing. I work on my tonal color by playing common melodies in all keys. It is essential to emulate our favorite-sounding trumpet players in what they play and how they play it. Observe the points where they break or extend the phrase, and note this within the part. Pay special attention to how they phrase to include rests and breaks in the melodic line. Phrasing is something that gets overlooked because it is synonymous with all forms of music. However, know that it is what separates professionals apart from others. I feel like I can continually refine my approach to phrasing through singing and listening to others.
5. Observe all articulations; this is a time-consuming process but an essential one. Listen to how and when they articulate. Take note of any articulations that are emphasized or different from others. There generally are four different articulation markings within a chart but many shades within these markings. The first is ( - ). This dash above the note means legato, and a longer note is usually a "doo" like articulation. The second is ( > ). This accent is traditionally played with a "ta" like articulation. The third is the marcato or "housetop" accent ( ^ ), which is played with a "dot" like articulation. Lastly is the staccato articulation ( . ), usually played with a "dit" like articulation. These articulations have many shades and are one of the most personal trademarks that a lead player uses and is determined by the era. Older charts from the swing era tend to have shorter articulations, whereas later periods will be longer.
6. Observe the use of vibrato, and focus on the speed, width, and where it occurs. Fast and frequently used vibrato is a trait of the swing era. It is usually done with hand vibrato, which is quicker and more intense. More rapid vibrato is generally used on more extended notes in the 1950s – 60s styles. The note is established in the said eras of music, and then the vibrato is added, take note of this nuance. In more modern pieces, vibrato is slower, wider, and frequently not there. When there is no vibrato, take note of the harmonic chord structure around the lead player; if it is a cluster voicing, take note of that and avoid using vibrato at that point in the chart. I work on vibrato by playing the same melodies or tunes and making them sound like they are from different eras. For example, I would play the melody to Stardust and make it sound like it was from the 1920s or '30s with fast narrow vibrato and then play it again and stylize it like it was from the 21st century.
7. Observe the use of dynamics and focus on how the dynamics are shaded with the phrasing. Take note of any overdramatized dynamics and listen to how the lead trumpet dynamics are locked in with the comping of the rhythm section. I work on my dynamics when playing melodies in all keys and styles.
8. Observe all shakes and pay attention to speed, width, and occurrence. In general, shakes in older styles, just like vibrato, the notes are established, then a fast narrow shake is applied. Notice how the shake informs the time being played. In more modern era charts, note the shake's width and speed, and how it changes as the shake goes on.
9. Observe any falls or glissandos, their duration, and their velocity. These may be added beyond the notated part and come in various shading. Take note if a ½ valve sound is present. I add falls and the other effects to melodies that I practice in all keys to become comfortable with their usage musically.
10. Observe any bends/scoops that are applied and take note of the intended overall effect. Note if the pitch is being established and then bent or if the note is bent into the center of the pitch. Notice when a valve is being used to achieve this effect or being executed with the embouchure. I add bends and other effects to melodies that I practice in all keys to become comfortable with their usage.
11. The last step is to play and sing along with the record matching all these nuances. Being able to reproduce these nuances without reference to the recording is the actual test. Repeat this process with as many charts as possible. After studying multiple lead players, you will develop your stylistic approach rooted in this music's history. This will make your stylistic interpretations accessible to the informed listener.
