I don't know why that struck me as so funny. I had just returned from rehearsal and was reading seriously through this thread when suddenly blind-sided by VB's dry wit. Really? With a tuning fork? How does that work?
Man! I love those overtones when they start screaming. I only wish I could play some of those notes that I hear. I wonder, too, if anyone else can hear them, or if it's just me? Sometimes it's like having one or two more guys in the section.
Man, I really LOVE medicine. Things are so simple to understand, and with this understanding, we can be creative. This is just about the best use of a tuning fork, which is one of many tools I carry in my little black bag.
The more we home in on the resonant pitch centers on our trumpets the more we produce a full set of harmonics. This is a sign of progress in your playing.
I had a king cornet 602 or 608 I can't remember the model. It had some weird overtones, I could also generate a high pitch whistle by blowing without buzzing. I think it was turbulence cause by a combination of horn and mouthpiece, and maybe Helmholtz resonance, caused by the air in the volume of the horn acting like a spring, which is subtly different than the traveling waves that form the primary tone. I think it made the horn sort of sour overall.
I know the ringing sound may change because of the surrounding if you are playing this in a big hall so it's different as compare to your private room or where you do practice.
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I first noticed it with the practice mute IN so i doubt room acoustics are part of the picture. My daily routine includes ascending scale in soft long tones where I try to center my pitch. That is when I first noticed it. I actually appreciate all the input because I didn't know if I had picked up a bad habit. I checked both trumpets because I didn't know if the Strad -gasp- was damaged somehow.
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Bach Stradivarius in C
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