Alan Dismukes

Would somebody explain exactly what is meant when a trumpet is labeled a "peashooter"?

screamingmorris

It is not as tall as a regular trumpet, and is often longer than a regular trumpet, and usually has a very small bore size such as .438 or smaller.

You know how a trumpet looks compared to a cornet, the trumpet valve casing is not as tall as on a cornet, but the trumpet is longer than a cornet?
A peashooter trumpet takes that one step further.

Here are some examples:

The Conn Loyalist

The Conn Loyalist

The Conn Loyalist

- Morris

Alan Dismukes

Thanks, Morris!

Was there a "peashooter era" in which this design was popular, or does anyone still make them? I see the Conn folks described it as a modern (modern in 1928!) look.

screamingmorris

They were apparently made by many companies in the 1930's.

Here is a cornet one made in the 1940's:
The Conn Loyalist

- Morris

stchasking

Blessing also made tight valve casings. I tried a trumpet that had to be played one up and three down. It ends up being long with tight curves in the tubing.
I am guessing that this was a marketing trend to delineate between the cornet and the trumpet.

oldlou

Actually, the reason for the peashooters was a poor attempt at making the horn look "racy", and that the musical taste at the time was for a more brilliant and projecting trumpet than we find on the current market.


OLDLOU>>

screamingmorris

I'll swallow my pride and prove how much of an amateur I am.

What is meant by "had to be played one up and three down"?

It will probably be so obvious that I will feel like a fool when I hear the answer...

- Morris

MFfan

Not all that foolish, Morris. the ups and downs refer to the left hand grip on the horn with how many fingers normally placed over the usual third slide, and under it, depending on the size of the wrap and the comfort of the player. Variations are possible, as were mentioned. There was a thread somewhere recently about this subject. I usually use 3 up and one down, the ring finger used for the 3rd valve ring or adjustable ring,if any, and the thumb within the 1st slide saddle, if any.

screamingmorris

I have contributed to many such threads about left hand grip, but I never heard of it being put that way before.
As I have said in the past, I could never use the Maynard Ferguson 1970's grip of one finger above the 3rd slide because it was uncomfortable and because it caused the trumpet to tilt in slightly the wrong direction.
Most fingers above the 3rd slide is more comfortable and also helps the correct trumpet tilt for me.
I have wondered if upstream players and downstream players tend to use different left hand grips because of their different needs in tilting the trumpet slightly differently.
Downstream Ferguson had most fingers under 3rd slide, while upstream Severinsen had most fingers above the 3rd slide.
But you mention needing to use those slide adjustments, something I had not considered affecting left hand grip because I tend to think of "let 'er rip" jazz rather than "legit" playing.

Maybe you can answer a question for amateur me:
Under what circumstances do you use 1st and 3rd slide tuning adjustments, and under what circumstances do you just forget about it?
It it based on speed of the music making such adjustments possible or impossible, or is it based on the style of music such as jazz versus classical?

- Morris

MFfan

That's a good question, Morris. My Roth and Holton cornets do not have 3rd slide rings of any sort. The slide was built longer to make adjustments in pitch for the ususal suspects, c #, d, a, etc. fairly easy just by "lipping" the pitch in tune as fast as possible. In most music I do I have time to get a quick mental picture of the pitch and adjust accordingly. After playing those horns often, I have a feel for how the notes are going to be pitched. The Olds cornet has an adjustable ring which I use some times, but find the horn is pretty well in tune without using much compensation.

My Barrington trumpet has both the adjustable ring and saddle. I have found it easier to use the saddle most often with my thumb, as it seems to cause less disruption and movement of the horn.
The Besson has an adjustable ring only, so I make do, but prefer the use of my thumb on a saddle. The old Czech trumpet I got recently, has no adjustment gadgets, but the 3rd slide is extra long, so compensates like the cornets by it's design.

Some musical passages are faster, so you have to plan your move ahead as best you can, or just lip the notes as well as possible , if necessary, sometimes there is no time to do much adjusting except by lipping and listening to the chords of the music.

I don't play jazz, as such and the music in the concert and swing bands are written out for the most part. I don't think the style matters, You want to be in tune with yourself and certainly every one else in the group. A lot of that is instinctive after many years of playing and also your capacity to "hear" what is going on around you and adjust on the fly. I try and do that, even when I am doodling around the house. I have many years experience as a choir singer also, and that sure helps.