Just another thought...Every individual instrument that is manufactured, has it very own "pitch center" on every valve combination.
Unfortunate that many brand of instruments, limited by its construction and design, natually will not play in pitch in every note combination.
If we are to stay in tune or pitch with other players....it is of PRIME importance that we carefully LISTEN, LISTEN, LISTEN to each other and take the care to BLEND by either lippin' up or down....utilizing slide pulls and even on some brands of instruments (ala' my long lost old beloved Besson Soveriegn Cornet) we might have to use false fingerings, just to accomplish this task---just to stay in tune with each other.
I have found it amazing that so many wonderful soloists sometimes are the most lacking, when it comes to BLENDING. When they get into musical situations with other players, they often forget to listen and blend together. Not only it is so equally important to blend and listen to each other...it is even more important to learn to blend or meld that power together to form that special coloring of sound that is required.
Some brands very greatly from indiviual instrument from another of the same model. Natually we can texurize the voicing by utilizing various mouthpieces, etc.
However, all this aside...I have heard seasoned players, MIKE VAX, for example gave us a wonderful rendition of sound colorization during one of his performances last year.
He started out the performance on one song. It was a velvety-warm-dense beginning...(pure lush warm fat sound) and then on the next passage...with that same Signature model trumpet and mouthpiece, played the ending of that song with such an amazingly BRIGHT-BRASSY projective sounding trumpet voice.
HOW-DE-DO-DAT??? I asked Marvin Stamm when he was here in the NW and he grinned and said...
Hey, you remember Stan Kenton don't you? "CONTRASTS", and listening to each other.
This is off the subject...however for a good illustration of resultant tones.
Simply go to the piano, put the loud petal down, take your trumpet and blow a good stacatto sort fff note. Stop: LISTEN, as the piano responds in sound vibration with that same note. Sorry for the dumb illustration, this is old basic science stuff. But so many horrifical things can happen if we don't live by these basic rules, whether it be in music or life.
My long time friend and fellow musican is the principle acoustical Engineer for the Boeing Company. RAYMOND.C.KLEIN at BOEING(A died in the wool Bach-a-holic) is really in touch with sound.
For example on the old Boeing 757 during flight tests...the metal skins of the airplane, would suddenly began vibrating, due to the sound pitch of the engines during take offs and in some flight modes...the airplane's outter skin would begin to vibrate in tune when the engines would give off this high pitch whine.
Talk about annoying to the passengers? However the big concern was outter skin fatique from the vibration would cause damage at the attach points.
Ray Klein was the hero of the day, year when he made the corrections to the metal bracing at the proper attach points...which changed the nodel pitch points of the alumn. skins, which STOPPED COLD , those damaging resultant overtones, that the engines had beenproduing those distructive and annoying vibration noise sounds.
Sorry for the drivel...I am NO SOUND ENGINEER, however Ray being both a sound genius and a really great trumpet player...really OPENED MY EYES AND EARS, to the power and science of sound. But again, that same year, at the Monette Open house in Portland, CHARLY SCHLEUTER, really put the illustration in sharp focus, with that playing of THE THEME FOR THE COMMON MAN.
