Salsa Trumpet Study Guide

The lead trumpet or 1st trumpet role is to be the leader of the band and to create a

rhythmic and stylistic connection with the drummer; in the case of Salsa music, it would be the

Timbales. The lead trumpet's ability to lock in with the rhythm section is of utmost importance

because the rest of the horn section will look to the lead trumpet to set the stylistic standard. It

falls on the lead trumpet player's shoulders to interpret a chart correctly and consistently so that a

band can follow its lead. The following guide aims to provide a framework of study for a lead

trumpet player interested in playing big band music with stylistic accuracy. There are eleven

stylistic elements that any lead player must account for: time, tone color, phrasing, articulations,

dynamics, vibrato, shakes, glissandos, falls, bends, and scoops.

The process is as follows:

1. Select a recording or lead trumpet player that you would like to study. Listen to said

recording until you can sing the part perfectly with octave adjustments if needed.

2. If possible, obtain a printed copy of the lead trumpet part of said recording. If a chart is

unavailable, transcribe the part with the highest possible accuracy.

3. Observe how the lead trumpet player places the musical figures within the musical time.

Note the locations where they push or pull the time and how it relates to the rhythm

section and the rest of the band. I use the following exercise to help me develop my time

feel: I use a metronome and practice Exercise 1, listed below in all keys and tonalities,

with the metronome clicking on varying beats. I also use a metronome app called Tempo

for iOS that turns the metronome off and then on again in random succession. I find that

working on maintaining consistent time is essential in the role of lead trumpet, and I aim
 to maintain that consistency no matter where I place the melodic line within the beat.

This helps bandmates to be able to follow your leadership, as stated before.

Musical Exercise 1: Keyed Time Drill

4. Observe how their tone sounds: is it laser-like? Is it broad and warm? Is it raspy or

played with a growl? Make a note of this on the part. If it is raspy, identify if a growl is

being applied by either flutter tongue or growling in the throat while playing. I work on

my tonal color by playing familiar melodies in all keys. I think it is essential to emulate

our favorite sounding trumpet players in what they play and how they play it. Observe

the points where they break or extend the phrase, take note of this within the part. Pay

special attention to how they phrase to include rests and breaks in the melodic line. I

work on my phrasing by practicing long melodies and playing them in all keys and

styles. Phrasing gets overlooked because it is synonymous with all forms of music.

However, know that it is what separates professionals apart from others. I feel like I can

continually refine my approach to phrasing through singing and listening to others.

5. Observe all articulations; this is a time-consuming process but an essential one. Listen to

how and when they articulate. Take note of any articulations that are emphasized or

different from others. There generally are four different articulation markings within a

chart, but many shades within these markings. The first is ( - ); this dash above the note
means legato, and a longer note is usually a "doo" like articulation. The second is ( > );

this is an accent and is traditionally played with a "ta" like articulation. The third is the

marcato or "housetop" accent ( ^ ), which is played with a "dot" like articulation. Lastly

is the staccato articulation ( . ), usually played with a "dit" like articulation. These

articulations have many shades and are one of the most personal trademarks that a lead

player uses and is determined by the era. I use the following Exercise 2 and Exercise 3

in all keys and tonalities to work on my articulations. I vary my articulations to include

all the mentioned articulations. With Exercise 3, I will also change the rhythm to work

on my specific needs. Be creative in your practice and compose the exercises that target

your weaknesses.

Musical Exercise 2: Articulation Range Study

Musical Exercise 3: Syncopated 5ths through the horn

6. Observe the use of vibrato, and focus on the speed, width, and where it occurs. More

rapid vibrato is generally used on more extended notes in the 1950s - '70s styles. The

note is established in the said eras of music, and then the vibrato is added, take note of

this nuance. In more modern pieces, vibrato is slower, wider, and frequently not there. I

work on vibrato by playing the same melodies or tunes and making them sound like they

are from different eras. For example, I would play a melody and make it sound like it

was from Colombia with faster narrow vibrato and then play it again and stylize it like it

was from Cuba, where vibrato is less prevalent.

7. Observe the use of dynamics, and focus on how the dynamics are shaded with the

phrasing. Take note of any overdramatized dynamics, and listen to how the lead trumpet

dynamics are locked in with the comping of the rhythm section. I work on my dynamics

when playing melodies in all keys and styles.

8. Observe all shakes, and pay attention to speed, width, and occurrence. In general, shakes

in older styles, just like vibrato, the notes are established, then a fast narrow shake is

applied. Notice how the shake informs the time being played. In more modern era

charts, note the shake's width and speed and how it changes as the shake goes on. The

way that I work on my shakes is with the following Exercise 4. I do these shakes, both

narrow in width and wide in width. I transpose these into all keys and tonalities

throughout the range of the horn.

Musical Exercise 4: Shakes Narrow and Wide

9. Observe any falls or glissandos, the duration, and the velocity. These may be added

beyond the notated part and come in various shading. Take note if a ½ valve sound is

present. I add falls and the other effects to melodies that I practice in all keys to become

comfortable with their usage musically. I also use Exercise 5, listed below, to help me

discover the range needed to execute the physicality of the glissando effect. I do this

exercise 3 times for each set of glissandos at three dynamic levels. I play this exercise C

through G above, the D through A above, and continue this pattern as high as possible.

Musical Exercise 5: Glissandos

10. Observe any bends/scoops that are applied and take note of the intended overall effect.

Note if the pitch is being established and then bent or the note is bent into the center of

the pitch. Notice when a valve is used to achieve this effect or executed with the

embouchure. I add bends and other effects to melodies that I practice in all keys to

become comfortable with their usage.

11. The last step is to play and sing along with the record matching all these nuances. Being

able to reproduce these nuances without the reference of the recording is the actual test.
 Repeat this process with as many charts as possible. After studying multiple lead

players, you will develop your stylistic approach rooted in this music's history, making

your stylistic interpretations accessible to the informed listener.

The tables below outline the stylistic nuances and the differences between each studied

group and the stylistic performance of each lead player. This is a reference table; it does not

outline all the eleven stylistic elements that any lead player must account for: time, tone-color,

phrasing, articulations, dynamics, vibrato, shakes, glissandos, falls, bends, and scoops, but it

does provide an at a glance tool for performance practice when playing the music of these

groups.

Salsa Music Sub- Time feel: Articulations: Shakes: Vibrato:

styles: 1930-1950
Charanga On top of the beat, Short N/A Not very much at
do not swing all
Danzon On top of the beat, Less short, a little N/A Not very much at
do not swing longer, except all
when playing
syncopated
rhythms
Conga On top of the beat, Short and punchy Minor third's and Not very much at
do not swing in time all
Rumba On top of the beat Short, more N/A No Vibrato
Spanish Flamenco
style than Cuban
Son Montuno A little behind the Legato but Minor third's and Not very much at
beat punchy, solo parts in time all, if any, only on
are more staccato the emphasized
part of the musical
line
Guaguanco On top of the beat Short and punchy N/A Not very much at
all
Bolero On top of the beat Short N/A Not very much at
all
Cha-Cha-Cha Laid back Short staccatos Minor third's and Fast and only to
and longer notes in time add resonance at
when not notated the end of a note
Mambo Music Era Time feel: Articulations: Shakes: Vibrato:
Sub-styles: 1950-
1970
Mambo On top of the beat, Very short Minor third's and No vibrato
do not swing in time
Guaracha On top of the beat, Less short, a little N/A Not very much at
do not swing longer, except all
when playing
syncopated
rhythms
Bomba On top of the beat, Longer like jazz Minor third's and Not very much at
do not swing articulations in time all
Plena On top of the beat Short, more N/A No Vibrato
Spanish Flamenco
style than Cuban
Pachanga Almost rushing Very short Minor third's and No Vibrato
in time
Mozambique On top of the beat Longer like jazz N/A Not really any
articulations
unless notated
short then very
short
Merengue Almost rushing Very short N/A Not very much at
all

Modern Salsa Time feel: Articulations: Shakes: Vibrato:

Music Sub-styles:
1970 - 1990
Latin Rock On top of the beat, Longer like Varied lengths Not very much at
do not swing modern jazz depending on all
tempo
Salsa On top of the beat, Less short, a little Varied lengths Not very much at
do not swing longer, except depending on all
when playing tempo
syncopated
rhythms
Cumbia On top of the beat, Short and punchy N/A Not very much at
do not swing all
Songo On top of the beat Less short, a little Minor third's and Not very much at
longer, except in time all
when playing
syncopated
rhythms
Latin Pop A little behind the Punchy, with Varied lengths Not very much at
beat varied lengths that depending on all
mimic all top 40 tempo
music
 The following recommended listening lists contain artists that all are available on modern

streaming music platforms. This list is not a complete list of artists to be familiar with, but it is a

good start for any trumpet player interested in Salsa music.

Key Trumpeters of Salsa: (This is a partial list)

• Alejandro “El Negro” Vivar

• Alfredo “Chocolate” Armenteros
• Arturo Sandoval
• Bobby Rodriguez
• Bryan Lynch
• Chano Pozo
• Charlie Sepulveda
• Chico O’ Farrill
• El Guajro Mirabal
• Felix Chappotin
• Jerry Gonzales
• Jesus Alemany
• Jorge Varona
• Luis “Perico” Ortiz
• Luis Gasca
• Luis Valisan
• Mario Bauza
• Michael Philip Mossman
• Piro Rodriguez
• Ray Vega
• Sal Cracchiolo
• Teddy Mulet
• Victor Paz
• Willie Colon
• Yaure Muiniz
Recommended Salsa Artists: (This is a partial list)

• Adalberto Santiago
• Celia Cruz
• Cheo Feliciano
• Eddie Herrera
• Eddie Palmieri
• El Gran Combo De Puertro Rico
• Fina All Stars
• Frankie Ruiz
• Gilberto Santa Rosa
• Grupo Niche
• Guayacan Orquesta
• Hector Lavoe
• Isaac Delgado
• Ismael Miranda
• Jerry Rivera
• Joe Arroyo
• Joese Feliciano
• Johnny Pacheco
• LA India
• La Verdad
• Lalo Rodriquez
• Luis Enrique
• Luis Florez
• Marc Anthony
• Oscar D’Leon
• Pete Rodrequez
• Ray Barretto
• Rey Ruiz
• Roberto Roena
• Ruben Blades
• Santos Colon
• Tito Puente
• Tito Rodriguez
• Tony Succar
• Tony Vega
• Victor Manuelle
• Wilie Rosario
• Willie Colon
Salsa Music Excerpts for Study and Practice:

Performance Notes: Eighth notes on up beats should be short, accented, and punchy.
Performance Notes: Eighth notes should be long and connected except when on up beats
surrounded by rests like in measure two.
Performance Notes: All notes are connected and flowing in a lyrical sense except for accented
eighths on the second line.
Performance Notes: Quarter notes are short and not long. Eighth notes on up beats are short and
punchy. Triplets are long and legato. This is an example of the typical song form of a salsa chart.
Intro, melody A-D, Coro with Guia response, Mambo, Coro and Guia 2, Mona, Coro with solo
trumpet response, Coda aka ending. Some charts vary these details, but the essential elements are
all represented. It is not marked here, but usually, the mambo is four times and always starts with
bone and sax with the trumpet the last two times. The last time is usually 8va. Coro y solo de
trumpet; means Coro and solo the trumpet. It is a call and response and can be as intricate of a
call and response as imaginable but usually is trading four measures.
Performance Notes: These Merengue and most Merengue charts feature staccato notes that
cannot be played short enough. The triplets are accented quarters of medium length.
Performance Notes: This is another Merengue the 16th is very short, along with the 8th notes.
The falls are fast, and the shake at 37 is a minor third and fast.
Performance Notes: The A section and all 16ths are double-tongued and played almost like
Mariachi with firm, short articulation. The syllables Ta and Ka should be used. There is vibrato
on the long notes; it is narrow and fast.
Performance Notes: Salsa music, like other genres, has crossed over and collaborated with
other genres. Tony Succar's unity project mashes the traditions of Michael Jackson and Salsa
Music.