“Jazz” vs “Classical” styles on the trumpet
Thomas M. Palance 9/20/05, rev 2014, 2021
tpalance@berklee.edu
www.tompalance.net

Knowledge:

     As a working freelance trumpet performer, the more convincing in all styles, the more work you will obtain, and get called backs! All styles must be realized through listening to respected players in all idioms and identifying subtle nuances in sound, articulation, vibrato, etc. 
These concepts are somewhat subjective, but there are some noticeable and obvious differences between “jazz” and “classical” techniques. Please note that the terms “jazz” and “classical” are very lose descriptions of many styles within a very broad spectrum. A more accurate description of different styles should be specific to the genre in which you are emulating. For example, if you are on a big band gig playing 1940s swing era music improvising a solo, you may not want to use the style of Don Cherry who is a “go-to” when performing the music of Ornette Coleman. If you were called to perform the music of McCoy Tyner you should study Woody Shaw or Freddie Hubbard and not try and emulate Ruby Braff! If you are called to play a Mahler Symphony you would not want to emulate the style of Edward Tarr. Even though Baroque music and the music of Mozart may be called “classical music” they demand very different trumpet styles. 
The understanding of history is vital. Certain techniques differ depending on era of music. It is important to listen and internalize many known players according to the era in which they belong. Vibrato, sound, and harmonic differences need to be implemented appropriately. Again, always refer to many recordings to build aural repertoire.

Classical

Articulation:

•	Tah, Tee tongue for short or medium length notes, doo or dah for legato and connected passages.
•	Tongues rapid recoil is important to unaltered sound and “clean” articulation.
•	 Double and triple tonguing technique important for this idiom. Some “modern classical” pieces may require “jazz” like articulations, but mostly a clear, unbroken sound is desirable.

Sound:

•	A centered and consistent clear tone should be achieved.
•	 Brightness varies slightly with instrument, and individuality. 
•	 Vibrato slight and consistent. Tone even and full in high and low register. 

Jazz

Articulation:

•	Used to alter and color sound	
•	Used to “swing”						
•	Doot, Dat, Zoot, Zat, Dahn, Doodaliddle

Sound:
•	Many types, and widely varied
•	Not necessarily centered all the time
•	Vibrato wide and varied								
•	Possible change in timbre when moving from note to note and register to register.
•	Sound is colored depending on mood of song