Editing Trumpet (section)

==Extended technique==
Contemporary music for the trumpet makes wide uses of extended trumpet techniques.

'''[[Fluttertonguing|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 [[Luciano Berio|Berio]] and [[Karlheinz Stockhausen|Stockhausen]].

'''[[Growling (wind instruments)|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 ''{{Not a typo|ta-ka ta-ka ta-ka}}''.

'''[[Tonguing|Triple tonguing]]''': The same as double tonguing, but with the syllables ''{{Not a typo|ta-ta-ka ta-ta-ka ta-ta-ka}}''.

'''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{{Music|sharp}} 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]].<ref>Joseph Wheeler, "Review: Edward H. Tarr, ''Die Trompete''" ''The Galpin Society Journal'', Vol. 31, May 1978, p. 167.</ref>

'''[[Microtonal music|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 maqam]]s.

'''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.

'''[[Multiphonic#Brass instruments|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 [[Arban Method|''Complete Conservatory Method for Trumpet (Cornet)'']].<ref>[[Jean-Baptiste Arban|Arban, Jean-Baptiste]] (1894, 1936, 1982). ''[[Arban method|Arban's Complete Conservatory Method for trumpet]]''. Carl Fischer, Inc. {{ISBN|0-8258-0385-3}}.</ref> Other well-known method books include [[Clarke Studies#Technical Studies|''Technical Studies'']] by [[Herbert L. Clarke]],<ref>[[Herbert L. Clarke]] (1984). ''Technical Studies for the Cornet'', C. Carl Fischer, Inc. {{ISBN|0-8258-0158-3}}.</ref> ''Grand Method'' by Louis Saint-Jacome, ''Daily Drills and Technical Studies'' by [[Max Schlossberg]], and methods by [[Ernest Williams (conductor)|Ernest S. Williams]], [[Claude Gordon]], Charles Colin, [[James Stamp]], and Louis Davidson.<ref>Colin, Charles and ''Advanced Lip Flexibilities''.{{Full citation needed|date=December 2013}}<!--The author citation looks incomplete, and a place and publisher are needed. Presumably this source will verify all of the preceding publications.--></ref> 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]].<ref>{{cite web|url=http://www.vizzutti.com/AllenBio.html|title=Allen Vizzutti Official Website|website=www.vizzutti.com|access-date=21 October 2016|archive-date=29 October 2016|archive-url=https://web.archive.org/web/20161029022515/http://www.vizzutti.com/AllenBio.html|url-status=dead}}</ref> [[Merri Franquin]] wrote a ''Complete Method for Modern Trumpet'',<ref>{{cite web|url=https://qpress.ca/product/methode-complete-de-trompette-moderne-merri-franquin-translation-pdf|last=Franquin|first=Merri|title=Complete Method for Modern Trumpet|website=qpress.ca|year=2016|orig-year=1908|url-access=subscription|editor-last=Quinlan|editor-first=Timothy|translator-last=Jackson|translator-first=Susie}}</ref> which fell into obscurity for much of the twentieth century until public endorsements by [[Maurice André]] revived interest in this work.<ref>{{cite web|url=http://www.gshamu.com/trumpet/Scholarship_files/ShamuDissertation.pdf|title=Merri Franquin and His Contribution to the Art of Trumpet Playing|last=Shamu|first=Geoffrey|page=20|access-date=11 August 2017}}</ref>