Trumpet Etude #2
This piece was an attempt to explore different sonic possibilities of the trumpet, using ranges and sounds not usually associated with the instrument.
I leave the third valve slide extended. When kicked out, notes using the 3rd valve will be a half step flat. I use this to play low F, and create sliding effects. I decided to experiment some with pedal tones in a more musical setting. Pedal tones are interesting to me because few (especially jazz) trumpet players have accepted it as anything more than a practice tool. Peter Evans and Arturo Sandoval (artistically disparate but obviously share virtuosic technique) both use them in pure musical contexts, but they are exceptions to the rule.
I've had an off and on interest in multi-phonics for a few years. These are created by singing a second note above the the low note. The sung note has to be on top, if they are switched they become one note, I don't really know why. I am still experimenting with ways to record this technique so that the sung notes come out properly.
This was also an interesting experience for me to notate. I'm sure there are more clear ways I could have notated the techniques in this piece. But I'm happy with this for the time being.
Aaron Bahr
I leave the third valve slide extended. When kicked out, notes using the 3rd valve will be a half step flat. I use this to play low F, and create sliding effects. I decided to experiment some with pedal tones in a more musical setting. Pedal tones are interesting to me because few (especially jazz) trumpet players have accepted it as anything more than a practice tool. Peter Evans and Arturo Sandoval (artistically disparate but obviously share virtuosic technique) both use them in pure musical contexts, but they are exceptions to the rule.
I've had an off and on interest in multi-phonics for a few years. These are created by singing a second note above the the low note. The sung note has to be on top, if they are switched they become one note, I don't really know why. I am still experimenting with ways to record this technique so that the sung notes come out properly.
This was also an interesting experience for me to notate. I'm sure there are more clear ways I could have notated the techniques in this piece. But I'm happy with this for the time being.
Aaron Bahr
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