Alternate Fingerings

Discussion in 'Trumpet Discussion' started by AKtrumpet, Apr 28, 2012.

  1. AKtrumpet

    AKtrumpet Piano User

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    On the G and A above the staff I've been using alternate fingerings to bring the pitch down a bit. On the G I will use 1 and 3 and pull out the tuning slides while on the A I will use 3 and pull the tuning slide out just a tad most of the time.

    The G is the main culprit here.. without lipping it down with the normal fingering I sometimes get a tone as much as 30 cents sharp!

    I've noticed that these alternate fingerings, while good for getting in-tune, mess with the integrity of the timbre a bit. I don't seem to get as good a sound out of them as I would with the normal fingerings. It's a very slight difference in sound but a difference none the less.

    Is this just because I haven't integrated using these fingerings into my playing or is it specific to the trumpet? Should I just lip them down or use the alternate fingerings?

    Thanks!
     
  2. Phil986

    Phil986 Forte User

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    Difficult problem. Not sure there is a entirely satisfactory solution. I do not like "lipping" notes as a rule, it forces me to be away from the center of pitch. I find that this alters the sound in a worse way than anything else. My teacher strongly guards against lipping. Alternate fingerings are probably a better option, and/or using the slides. That's what they are for, after all.
     
  3. trumpetsplus

    trumpetsplus Fortissimo User

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    This is not a situation like the tuning of a synthesizer. This is a fundamental issue having to do with equipment and usage.

    What does your teacher say?
    If you have no teacher:
    What have previous teachers said?
    How long have you been playing?
    What playing experience have you had?
    What equipment do you use?

    Yes, there are all sorts of tricks available to move the intonation of a note, but in normal situations they are not necessary to the degree you state (unless your trumpet/mouthpiece are majorly unsuitable for you).
     
  4. Haste2

    Haste2 Piano User

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    You're lucky. On my C, my G, Ab, and my A are all sharp. Doing 3rd valve is excessively flat for A... Thus that is three consecutive notes where I must either lip or pull. I'm learning plog's Postcards, and I just said "to heck with it" with many of the high A flats and A's just so I could be more relaxed... I really shoulda learned it on my B-flat...
     
  5. Vulgano Brother

    Vulgano Brother Moderator Staff Member

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    G and a above the staff are a problem on plenty of otherwise good horns. Using 1st and 2nd valve for g sometimes helps, as does 2nd for a.

    Good luck!
     
  6. kingtrumpet

    kingtrumpet Utimate User

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    alternative fingerings -- or you need to open the aperture a touch up there to prevent the sharp note ------- OF COURSE, that is much easier to say than to do on a consistent basis -- at least for me!!!!!!!!!!
     
  7. AKtrumpet

    AKtrumpet Piano User

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    VB, 1 and 2 for G is working great. 3 for A still has some sound issues but I think I can work it out through practice - 1 and 2 is much too flat to be practical.

    Ivan, I reread my post and realized I should've put 15-20 cents sharp. Now that I think about it I only get this problem on my Selmer Concept TT Bb so I'd have to assume it's an equipment problem..

    I guess what my question should've been is "What do you all do to cope with intonation problems in the G-C on top of the staff range?" but it's largely solved now.

    Thanks.
     
    Last edited: Apr 28, 2012
  8. gmonady

    gmonady Utimate User

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    ANY alternate fingerings that are On-a-D... have got to be GREAT!
     
  9. gmonady

    gmonady Utimate User

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    SERIOUSLY... Alternate fingerings work best when the lines go by so fast, that the alternate fingering makes the passage run more smoothly. And with speed, intonation is forgiving.
     
  10. trumpetsplus

    trumpetsplus Fortissimo User

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    Rather than laying the blame on equipment I prefer to think of it as a relationship issue - how you are relating to that particular horn on those particular notes. For instance, and this is only a for instance, there may be something about the sound on those notes which makes you think it is a little dead (read "flat") in comparison to some other trumpet you have or used to have, and so you are compensating by pushing the note up.
     

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