Ethnic Inspirations in the Development of Trumpet Playing Techniques within Jazz Aesthetics and Their Examples

Today, jazz performance is no longer the exclusive domain of American artists. The improvised language of musical expression has become a universal communication tool for jazz musicians worldwide. Over the past century, trumpet playing techniques and the tonal spectrum achieved by performers have evolved significantly, thanks largely to ethnic musical influences, imitation of other instruments, and the incorporation of scales derived from traditional music, such as those from the Middle East.

Increasingly studied and appreciated, ethnic, folk, and world music genres are impacting the performance techniques of modern jazz trumpeters. This influence extends beyond genre boundaries and incorporates regional and microtonal elements. Through these examples, I aim to demonstrate the tonal diversity of the jazz trumpet, achieved through specific playing techniques, and to highlight the geographical origins of these influences.

Imitative Techniques


It’s widely recognized, especially in the jazz world, that the sound of the trumpet can be incredibly surprising. Scandinavian trumpeters, for example, often aim to mimic other instruments or even the human voice. A striking example of such imitation is the sound of Arve Henriksen, whose playing is inspired by the Japanese shakuhachi flute.

Microtonal Scales


Microtonal scales are commonly played on the trumpet using alternative fingerings. This approach is often inspired by Middle Eastern music, particularly scales based on the maqam system. Such techniques are seamlessly integrated into contemporary jazz. Leopold Tyrmand famously said that jazz music is a meeting of classical European music with non-tempered ethnic music. I believe that the ethnic connections in jazz make it easy for traditional musical elements to permeate modern jazz. Below is an example of Itamar Borochov performing on a four-valve trumpet.

Throat Singing


Many contemporary jazz trumpeters enrich their musical language with techniques that incorporate the use of the voice, such as multiphonics. Depending on how the voice is used during performance, a player can move from harmonious intervals like fifths, fourths, thirds, sixths, or octaves to dissonance, creating what is called a “harsh sound.” This technique is particularly interesting, as it allows trumpeters to make the instrument sound as though a distortion effect has been added in post-production. Below is an example of a solo by Tomasz Stańko, utilizing these techniques.

Conclusions


In today’s jazz world, and especially among trumpeters, we find a wealth of creative approaches to shaping one’s own sound and musical language. This sound becomes the performer’s signature, like a fingerprint. Sometimes, after just one note, we can recognize who is playing. Listening to the above examples, we see the extreme variations that the trumpet’s sound can take. When I play recordings of Arve Henriksen for my students, they often can’t believe that he is playing the trumpet. My goal in raising this topic is to make trumpet players and musicians of other similar instruments (voice, saxophone, trombone, flute, etc.) aware of how vast the realm of sound is and how significantly it can influence the message we convey. I hope my research will inspire interest and a desire to explore one’s own favorite sound.

18.09.2024

Patryk Rynkiewicz