dbacon

"Tommy T." <thomas.w.taylor@att.net> wrote in message > "Peter Bond" <crbpcb@aol.com> wrote in message
> > In the beginning, flat pedals are indeed case for many people, but if
> > you play correctly, the pedal C, (and B and Bb) will be perfectly in
> > tune. >
>
> Sorry old man, but that C does not exist as a resonance in the modern
> trumpetat any place near an octave below the C one ledger line down. The
> resonance is actually more than a fourth lower.

Hey, I'm not THAT old (gray hair notwithstanding).

It is true that one way of
> using pedals in practice is to dramatically lip it up into tune, but being
> able to bend a pitch doesn't change the physics. See, Backus, The
> Acoustical Foundations of Music (2nd, ed., 1977), Figure 2, p. 263.
>

Are we talking about the same note? I am speaking about the
fundamental of the instrument; the fifth space below the treble clef
staff. What is usually referred to as "low C" is it's first harmonic
(one line below treble staff). These fundamentals are clear and in
tune on every (modern)horn I own, and the production is the same as
for the more conventional range. An octave below THAT (advocated as
benificial by some methods) would indeed be "fake city." A deeper
mouthpiece (flugel, cornet) makes producing these even easier,
because-just as in the normal register playing-they are more
"forgiving."
The tendency for some to play the fundamental flat on the trumpet
seems irinically to be a product of too much tension. As one relaxes
the chops, the sound "floats" into tune (the opposite, if you will, of
'bending'). The lip and wind function used in obtaining these
"fundamentals" is identical to that for the upper octaves, but they
can be "muscled," and pedals cannot; thus the usefullness of
practicing them.


> Because of these problems, recognized and respected teachers and writers on
> trumpet pedagogy differ as to whether, how and to what purpose pedals should
> be practiced.

This would be one recognized and respected teacher that believes them
to be useful for the reasons I cited earlier.

>
> As for the "false pedals," I agree that my use of the term "embouchure
> distortion" is causing semantic problems. It is clear, however, that
> playing those notes does not use the lips and air stream in the same way as
> playing the higher notes.

Not to be deliberately contrary, but I believe the function to be the
same, albeit a little more forced (one can buzz these notes on the
m'piece alone with no trouble) because the instrument does not
resonate (or reinforce the standing wave) at these frequencies.

Respectfully,
Peter Bond

__________________
Dave Bacon