Salsa Trumpet Study Guide:
Salsa Trumpet Study Guide
The lead trumpet, or 1st trumpet, role is to lead the band and create a rhythmic and stylistic connection with the drummer; in Salsa music, this would be the Timbales. 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. The following guide provides a framework for study for a lead trumpet player interested in playing salsa band music with stylistic accuracy. There are eleven stylistic elements that any lead player must account for: 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 the recording until you can sing the part perfectly, making octave adjustments as needed.
2. If possible, obtain a printed copy of the lead trumpet part of said recording. If a chart is unavailable, transcribe the part with the highest possible accuracy.
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. I find that working on maintaining consistent time is essential in the role of lead trumpet, and I aim to keep that consistency no matter where I place the melodic line within the beat. This helps bandmates to be able to follow your leadership, as stated before.
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 a flutter tongue or growling in the throat while playing. I work on my tonal color by playing familiar melodies in all keys. I think 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; take note of this within the part. Pay special attention to how they phrase, including rests and breaks in the melodic line. I work on my phrasing by practicing long melodies in all keys and styles. Phrasing gets overlooked because it is synonymous with all forms of music. However, know that it is what separates professionals 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 are generally 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 is an accent and 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 among the most personal trademarks a lead player uses, and they are determined by the era.
6. Observe the use of vibrato, and focus on the speed, width, and where it occurs. A more rapid vibrato is generally used on longer notes in the 1950s- '70s 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. 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 a melody and make it sound like it was from Colombia with faster, narrow vibrato, and then play it again and stylize it like it was from Cuba, where vibrato is less prevalent.
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 they change over time.
9. Observe any falls or glissandos, the duration, and the 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 other effects to melodies I practice in all keys to become more comfortable with their musical use.
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 the note is bent into the center of the pitch. Notice when a valve is used to achieve this effect, or when it is 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 the 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, making your stylistic interpretations accessible to the informed listener.
The tables below outline the stylistic nuances and the differences between each studied group and the stylistic performance of each lead player. This is a reference table; it does not outline all eleven stylistic elements that any lead player must account for, time, tone-color, phrasing, articulations, dynamics, vibrato, shakes, glissandos, falls, bends, and scoops, but it does provide an at-a-glance tool for performance practice when playing the music of these groups.
The following recommended listening lists contain artists who are all available on modern streaming music platforms. This list is not a complete list of artists to be familiar with, but it is a good start for any trumpet player interested in Salsa music.
Check out the complete PDF of this guide with musical examples in the body of my website…
Key Trumpeters of Salsa: (This is a partial list)
· Alejandro “El Negro” Vivar
· Alfredo “Chocolate” Armenteros
· Arturo Sandoval
· Bobby Rodriguez
· Bryan Lynch
· Chano Pozo
· Charlie Sepulveda
· Chico O’ Farrill
· El Guajro Mirabal
· Felix Chappotin
· Jerry Gonzales
· Jesus Alemany
· Jorge Varona
· Luis “Perico” Ortiz
· Luis Gasca
· Luis Valisan
· Mario Bauza
· Michael Philip Mossman
· Piro Rodriguez
· Ray Vega
· Sal Cracchiolo
· Teddy Mulet
· Victor Paz
· Willie Colon
· Yaure Muiniz
Recommended Salsa Artists: (This is a partial list)
· Adalberto Santiago
· Celia Cruz
· Cheo Feliciano
· Eddie Herrera
· Eddie Palmieri
· El Gran Combo De Puertro Rico
· Fina All Stars
· Frankie Ruiz
· Gilberto Santa Rosa
· Grupo Niche
· Guayacan Orquesta
· Hector Lavoe
· Isaac Delgado
· Ismael Miranda
· Jerry Rivera
· Joe Arroyo
· Joese Feliciano
· Johnny Pacheco
· LA India
· La Verdad
· Lalo Rodriquez
· Luis Enrique
· Luis Florez
· Marc Anthony
· Oscar D’Leon
· Pete Rodrequez
· Ray Barretto
· Rey Ruiz
· Roberto Roena
· Ruben Blades
· Santos Colon
· Tito Puente
· Tito Rodriguez
· Tony Succar
· Tony Vega
· Victor Manuelle
· Wilie Rosario
· Willie Colon
