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You don't have to visit the Wilson Music Library to browse our shelves! The Library Catalog supports virtual browsing. Once you find a score that you're interested in, scroll to the bottom of the catalog record to see other scores shelved in the same row.
If you're looking for new repertoire to perform, it is often helpful to browse the Music Library's scores. The following call number ranges are for trumpet music; individual works within these numbers are arranged alphabetically by composer or arranger:
M85-M89, Trumpet alone
M260-M261, Trumpet and piano
M357.2, Brass trios
M557.4, Brass quintets
M1030, Trumpet with orchestra (full score)
M1031, Trumpet with orchestra (piano reduction)
M1130, Trumpet with string orchestra (full score)
M1131, Trumpet with string orchestra (piano reduction)
M1366, Jazz ensembles
Online Resources for Trumpet:
International Trumpet Guild- "A non-profit organization founded in 1974 to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet."
Historic Brass Society - "An international music organization of amateur and professional brass musicians and scholars concerned with the entire range of early brass music, from Antiquity to the present."
Selected Books on Trumpet:
In the first major book devoted to the trumpet in more than two decades, John Wallace and Alexander McGrattan trace the surprising evolution and colorful performance history of one of the world's oldest instruments. They chart the introduction of the trumpet and its family into art music, and its rise to prominence as a solo instrument, from the Baroque "golden age," through the advent of valved brass instruments in the nineteenth century, and the trumpet's renaissance in the jazz age. The authors offer abundant insights into the trumpet's repertoire, with detailed analyses of works by Haydn, Handel, and Bach, and fresh material on the importance of jazz and influential jazz trumpeters for the reemergence of the trumpet as a solo instrument in classical music today.
(Book). This engaging book unveils the personal and musical lives of 479 brilliant jazz trumpeters, past and present, through intimate biographical profiles that describe each artist's unique traits, intriguing life experiences, relationships with other influential players, career milestones and key recordings. Artist covered include: Dizzy Gillespie, Louis Armstrong, Miles Davis, Wynton Marsalis, Terence Blanchard, Arturo Sandoval, Red Allen, Chet Baker, Bunny Berrigan, Roy Eldridge, Freddie Hubbard, Freddie Keppard, Lee Morgan, Fats Navarro, King Oliver and hundreds of others plus jazz figures who seem unlikely to have recorded on trumpet but did, such as Benny Goodman and Mose Allison. A fascinating read!
The nineteenth-century English slide trumpet was the last trumpet with the traditional sound of the old classic trumpet. The instrument was essentially a natural trumpet to which had been added a movable slide with a return mechanism. It was England's standard orchestral trumpet, despite the dominance of natural and, ultimately, valved instruments elsewhere, and it remained in use by leading English players until the last years of the century. The slide trumpet's dominating role in nineteenth-century English orchestral playing has been well documented, but until now, the use of the instrument in solo and ensemble music has been given only superficial consideration. Art Brownlow's study is a new and thorough assessment of the slide trumpet. It is the first comprehensive examination of the orchestral, ensemble and solo literature written for this instrument.
Titles in Dictionaries for the Modern Musician series offer both the novice and the advanced artist key information designed to convey the field of study and performance for a major instrument or instrument class, as well as the workings of musicians in areas from conducting to composing. Unlike other encyclopedic works, contributions to this series focus primarily on the knowledge required by the contemporary musical student or performer. Each dictionary covers topics from instrument parts to playing technique and major works to key figures. A must-have for any musician's personal library Trumpeters today perform a vast repertoire of musical material spanning 500 years, much of it in a variety of styles and even on a number of related instruments. In A Dictionary for the Modern Trumpet Player, scholar and performer, Elisa Koehler has created a key reference work that addresses all of the instruments in the high brass family, providing ready answers to issues that trumpeters, conductors, and musicians commonly--and sometimes not so commonly--encounter.
The life of jazz trumpeter Roland Bernard "Bunny" Berigan (1908-1942) resembles nothing less than an ancient Greek tragedy: a heroic figure who rises from obscurity to dizzying heights, touches greatness, becomes ensnared by circumstances, and comes to a disastrous early end. Berigan was intimately involved in the commercial music business of the 1930s and 1940s in New York City. Berigan was a charismatic performer, one of the few musicians in the history of jazz to advance the art. His trumpet artistry made a deep and lasting impression on almost everyone who heard him play, while the body of recorded work he left continues to evoke a wide range of emotions in those who hear it.Too often writings about the Swing Era skip over the interrelationship between the music business and the music that the giants of jazz created. In Mr. Trumpet: The Trials, Tribulations, and Triumph of Bunny Berigan, Michael Zirpolo takes on this difficult task, exploring connections between the business of music and contemporary music makers and the culture of social dancing that drove it all.
In the history of brass instruments, few developments can rival the early nineteenth-century invention of the valve for enduring significance. Nevertheless, the acceptance of valved brass instruments proved controversial, as newspapers and other documents repeatedly attest. Christian Ahrens, (Ruhr-Universität Bochum) in his important monograph, Eine Erfindung und ihre Folgen: Blechblasinstrumente mit Ventilen (1986), devotes considerable attention to this heated controversy, as he traces the early use of valved brass instruments in the realms of art music, military music, and Volksmusik. Stressing social and aesthetic issues over the more familiar mechanical aspects, the author draws on a rich body of journalistic source material to detail a compelling reception history.
Afro-Cuban music evolved into one of the great musical traditions of the 20th century. This volume provides a comprehensive history of mainstream Cuban music, examining the music of all its eras from the perspective of two seminal trumpet players: Felix Chappottin and Alfredo Chocolate Armenteros. One or the other was present at almost every significant turning point in the stylistic development of Cuban music. An overview of the entire Afro-Cuban genre and its development is provided, as well as an in-depth examination of both Chappottin's and Armenteros' performance styles.
This study examines Armstrong's cornet and trumpet work during his most innovative period, 1923-1928, with a view to laying bare the sources of some of the impluses which contribute to the great outburst of emotion and variety of styles that inform that work. Analysis of the styles of contemporaries such as Bunk Johnson, King Oliver, Sidney Bechet, Bessie Smith, Bix Beiderbecke, Earl Hines and others reveals characteristics which affected Armstrong. Influences such as white bands, opera and radion, minor modality, other compositions and the desire for anonymity are also treated.
The Grano diary is one of the treasures of the Bodleian Library's Rawlinson collection of manuscripts. It was written by a musician who had worked under the direction of George Frederick Handel at the opera house in London's Haymarket. From 30 May 1728 to 23September 1729-the exact period of the diary-he was a prisoner for debt in the Marshalsea, that curious institution which gave the pensioned and relatively privileged inmates of the Master's Side a certain freedom to come and go-and to entertain the friends who were drawn here by sociability, compassion or the desire to test its louche reputation. Within this framework, John Baptist Grano's diary becomes a record of social manoeuvring, but with the underlying theme of a man's attempt to salvage his career and reestablish himself in the world outside the prison gate.
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