Naming of the High Notes

Discussion in 'Trumpet Discussion' started by John Mohan, Feb 14, 2013.

  1. Ed Lee

    Ed Lee Utimate User

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    I'm sure, if I were a conductor and speaking only to Bb trumpeters, cornetists, or other Bb instrumentalists I would, and as such I would be cheating you by not having you learn a full rounded musical education. Music gets tough for a trumpeter when playing in unison with an Eb alto sax, a French horn in F all from the Eb or F music when the trumpeter lacks the ability to transpose
     
  2. pops

    pops Pianissimo User

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    All you have to do is look in a textbook or a dictionary of music. This was settled decades ago.

    Composers, arrangers and musicologists already decided on this, and the ITG took a vote 35 years ago and decided to adopt the same system that composers use.
    This was done because to have every instrument use a different system is very confusing.

    So regardless of what an instruments lowest note is the registers always start and change at C.

    The ITG Journal uses HD#1 (as have most people, apparently) where middle C is "one-line C" or c' (I had previously called this c-prime, as I have heard said.)

    Harvard Dictionary of Music (HD) (14th printing, 1962. I used this one to prove 51 years of common usage.)
    ...admits the UNFORTUNATE lack of uniform practice in naming octaves, and displays three systems:
    ALL of those 3 systems change registers at C but uses names numbers or '''' to denote which C they are talking about.

    Colleges have taught the C as the changing point for at least 60 years.

    So for trumpet every note from High c to the B below double high C, is High. The doubles start at double high C.
     
    Last edited: Feb 18, 2013
  3. Dale Proctor

    Dale Proctor Utimate User

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    Which leads me to one of my favorite truisms that a lot of players (and bands) fail to recognize: It's better to play something that's simple very well than it is to play something that's very difficult not-so-well. The audience would rather hear something played well than something you can almost play. They don't appreciate how difficult the piece is, only how it sounds.

    While I'm on my soapbox, if your band is playing an outdoor concert, in a park for example, DO NOT play a long, slow, drawn-out piece of music. I don't know how many times I've been on both ends of one of those, and the audience hates it. If you're lucky, they will just stop listening and will talk quietly, and if you're unlucky, you'll lose half your audience. Keep the pieces short, peppy, and interesting, and convince the bull-headed director not to program stuff like that.
     
  4. Ed Lee

    Ed Lee Utimate User

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    Dale, You are absolutetly right. Were I in the audience it would be time for the loudest a-a-a-a- choo I could make and then stare at those sitting around me with my aloof cornered eyes with eyebrows raised.

    It was a USO performance but who was performing or where I was I can't remember (I was drunk as a skunk, and most likely smelled like one also), but the audience was interactive in picking the music from the bands repertoire of about two hundred songs and everyone had a great time. With a program repertoire like that, you know it was a great band. (Truly, USO musicians were always great!)
     
  5. kingtrumpet

    kingtrumpet Utimate User

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    G i C what you are all talking about -- and I will let it B now ---- ROFL ROFL ROFL for my Canadian friends A
     

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