The trumpet has always been an integral part of the traditional big band, both as a lead instrument and as a soloist. The section consists of four players, with the first chair called the “main” chair and the second part generally considered the “jazz” chair. Although any of the four musicians can play improvised solos, the second trumpet is generally relied upon to cover the solos within the section when necessary.

It is the “main” trumpet that carries the melody over all other musicians during the entire sections of the band. This important position carries great responsibility, mainly because it is he / she who is called upon to play the highest notes within the ensemble sections.

Melodic and harmonic roles

In the traditional big band repertoire, the trumpet section provides both melodic and harmonic roles. The melodies can be played by one or up to four players at the same time. Melodic roles are often paired with instruments of similar timbre, such as the alto saxophone. As a melodic instrument, the trumpet is generally in the mid-range when combined with other instruments. The upper register is used for the full ensemble sections where the lead player must carry the melody over the rest of the band.

When a harmonic function is fulfilled, the section is usually expressed in three or four different parts. Since the trumpets are set in the upper register of the ensemble, they have the responsibility to cover the upper extensions of the given chord. In harmonic roles, the section often extends the basic chord tones (i.e. root, third, seventh) that are played by the trombone and saxophone sections. These top extensions often take the form of a simple triad when played alone, but create sophisticated extended chords when played with saxophone and trombones.

Silencers and utility instruments

Today’s modern trumpeters are expected to own and carry a variety of mutes to alter the sound of the instrument. In each trumpeter’s bag there is a direct mute, a goblet mute, a harmonic mute, and a plunger. Each of these “tools” is designed to alter the color and sound of the instrument by bringing out the low (cup and plunger) or high (straight and harmonic) nuances. The use of silencers can significantly alter the overall sound of the section with a wide variety of colors. Gil Evans was a famous arranger who used silent trumpets extensively in his arrangements and compositions.

Also, most of today’s professional trumpeters own a flisol horn. This instrument looks like a great trumpet, but it sounds much smoother and has a limited high range. Flugel horns are primarily used for melody, but can also be used as harmonic pads with the big band. Modern writers like Maria Schneider use flugel horns in this role quite often.

Famous Big Band sections and trumpeters

Trumpeters and big band trumpet sections can be found throughout jazz history. Maynard Ferguson, for example, debuted with the Stan Kenton Orchestra during the 1950s. Maynard played the lead trumpet and stood out as a high note virtuoso at a young age. He later went on to lead his own bands large and small for more than half a century. High note artists like Stan Mark and Lynn Nicholson were members of Maynard Ferguson’s famous trumpet sections.

Bill Chase conducted one of the most famous trumpet sections of the 1960s with the Woody Herman Orchestra. Known for his high range, Bill Chase provided high note excitement for the band. In 1974, Chase suffered an untimely death in a plane crash near a small airport in Minnesota. Among the most famous trumpet sections of all time could have been in the Duke Ellington Orchestra. Cootie Williams and Cat Anderson held solo and high-note roles, respectively, for Duke’s band for many years. Duke used to write complete compositions to present Cootie (Concerto for Cootie) on trumpet.

The trumpet will always play an integral role within the realm of big band jazz ensemble music. Because of this, skilled leading musicians and talented soloists will always be in demand in the jazz and commercial music industry.

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