I got the range...now let's tackle the fingerings!

Discussion in 'Trumpet Discussion' started by xelaris, Apr 14, 2009.

  1. Sofus

    Sofus Forte User

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    I discoverred that my "list" was made
    in a too big of a haste, so I try again:


    PedalC (one octave below C on the ledger line below the staff)

    C on the ledger line below the staff
    G on the second line

    C on the third space
    E on the fourth space
    G above the staff
    Bb just below High C (a bit out of tune)

    HighC
    HighD
    HighE
    HighF# (a bit out of tune)
    HighG

    ETC.


    Sorry . . .
     
  2. xelaris

    xelaris New Friend

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    Jan 19, 2009
    4 of my answers in this discussion are gone!

    I try to reinstate the major points made in this post:
    It seems that the double C I was referring to is not the double C commonly referred by more experienced trumpet players...
    The "double C" I'm confortable with is the one which is 2 ledger lines above the staff - I've just realized the real Double C is an octave above that - my current range scrapes about a 3rd below that double C.
    Then, what really matters to me right now is that I'm in control of the normal range (2 octave and a half) and start moving forward to have some real fun/music in my trumpet practice....so, the first step would be to find a system to memorize the fingerings.
    I didn't know there was a bottom C (Pedal C)...I've tried to play that yesterday and yes it played but it sounds horrible - any way of getting a proper musical Pedal C?
    It appears is it possible to go 2 extra octaves above Double C!!!
    How relevant is that and what percentages of players manage to cover that sort of range?
    I've met this trumpet player in a local shop and told me he can play the whole range without using the 3rd valve...does he bends the pitch somehow?
     
  3. Sofus

    Sofus Forte User

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    Jul 26, 2008
    Xelaris, if you want a system, you´ll have to
    be content with the system there is! Check
    my list of the notes you can play WITHOUT
    valves. Then understand that by pressing one
    or more valves you will lower the notes in my
    list more or less. THIS is the only system there
    is, and this system also explains why certain
    notes can be played with more than one
    combination of valves. You have to study it
    in order to understand it . . .


    Practise, practise . . .:D
     
  4. SpiritDCI08

    SpiritDCI08 Piano User

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    Feb 11, 2009
    Fort Campbell, KY
    The only way to truely learn fingerings is practice.
    What I find weird is that your range is as developed as it is
    and you still don't know fingerings.
    This could just be me.

    My first instructor told me
    that certain valve order will do certain things.
    From the open position the 2nd valve
    will always lower the note an half step.
    and the 1st a whole step.
    So 2(half step) + 1(whole step) = 1 1/2 steps.
    This is a cool way to look at it and it helped me
    Find a chart and just start sight reading.
     
  5. Sofus

    Sofus Forte User

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    Jul 26, 2008
    Is there an echo in here? :D
     
  6. xelaris

    xelaris New Friend

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    Jan 19, 2009
    The reason why I don't know the fingering is because I was focused on finding the range! I was using a fingering chart (Amro Music Stores, Inc.) as a reference....now the next step is trying to memorize that chart and start playing some proper music.
    Your description of how the valves works is what I was looking for...there were plenty of clues just by relating valve pressing to notes, I just needed a confirmation.
     
  7. oldlou

    oldlou Forte User

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    I have been watching this thread since its inception and wondering at the 'musicianship' involved. To be able to screech out any given high note is simply unstructured racket. To be able to play a simple scale or to play an elemental tune is true music. 'If' you have the upper limit range that you claim, you are long overdue for becoming intimate with the valves and learn to play music from a chart. To do this effectively will absolutely require a private teacher. Your background in sax should have told you this when you took up the trumpet. Keep in mind that those extreme high range notes by themselves are MOST UNPLEASANT to the ear of most of us. Something melodic is delightful. Another thing to keep in mind is that the trumpet is an instrument to make music, not just be a racket maker.



    OLDLOU>>
     
  8. tedh1951

    tedh1951 Utimate User

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    The Wide Brown Land
    ... :thumbsup:
     
  9. xelaris

    xelaris New Friend

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    Jan 19, 2009
    OldLou...
    I'm a musician myself and I know the difference between noise and music. The high C sounds very good and the whole range up to a high C is musical (apart from pedal C)...beyond high C I can go up about an extra 3rd and still being musical....from then on up to a major 6th from high C isn't very reliable and definetly not musical.
    I've played melodies by checking the chart and it all sounds very musical apart from the need to bend here and there...still I have to rely on keeping an eye to some fingering charts, hence the origin of this thread.
     
  10. xelaris

    xelaris New Friend

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    Jan 19, 2009
    The main issue is that when dealing with fingerings, trumpet/brass playing requires a completely different approach than other instruments.
    In purely melodic terms, the Piano is probably the most linear and intuitive....the guitar follows closely except that one has to deal with 6 rows, the Sax is fairly linear too although the player can't see the fingers and the positioning of certain is not that natural, but most of the time we know the next semitone is only a key up or down and in general there is a geometric way of interacting with intervals and scales.
    All these clues are gone when facing a tipical brass instrument (except for the trombone).
    Fingering on the sax is rather physical/graphical while on a trumpet is more "brainy" and logical....at the same time, simply because the trumpet is so "less physical" than a sax, this should also be reflected in a certain independency from the limitations imposed by physics....in other words: certain key/scales in sax playing are easier than others simply because of the way the keys related to one another in purely physical terms...this issue is minimal on the trumpet (I guess).
    I'm prepared to bet on my last statement, but I've haven't yet reached that level of competence to come to a certain conclusion...got to get there first.
     

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