tpter1

I'm making this book a priority in my daily practice schedule.

My question is this: there are alot of pedal E's and even a few Eb's below the staff. Knowing that I'll begin transposing these, it won't be much of a problem once I start doing that, but it makes reading them as written quite difficult. How do you handle them? Kick the 3rd and 1st slide all the way and bend the pitch or finger them normally? How do I make them sound good?

ZeuSter

The notes in the Sachse book that are below the normal register are not really meant to be played on the Bb trumpet .
What he (Sachse) really intended for the player to do is jump right in and transpose, kind of a "baptism by fire".
When I was in undergrad school my teacher made practice out of the Sachse book 'til I thought I was gonna puke.
But years later when I began working all kinds of jobs (mostly commercial)
I was very happy that he made me work in that book.
All professional trumpet players should master the art of transposition, because you WILL be called on to use it , whether you are an "orchestral player " or a "commercial player"
Very important.
It is a good idea to practice the scales in the front of the book , to get a good grasp of transposing by intervals.

trpt2345

There is no substitute for transposing. It is an essential skill. Sachse is a terrific book for that.

Michael McLaughlin

I, not events, have the power to make me happy or unhappy today. I can choose which it shall be. Yesterday is dead, tomorrow hasn't arrived yet. I have just one day, today, and I'm going to be happy in it.
Groucho Marx

Vulgano Brother

Arban mentioned the trick that the Germans used -- pulling the third slide so that the extended third valve alone sounded the same as second and third valves together so as to play a low F (sounding Eb) on the Bb trumpet. This is as low as I've ever seen anything written in the orchestra -- a pedal c in Heldenleben for example. Written Ebs pop up often for F trumpet (Enigma Variations for example) and are much more frightening to read than to play. I've found it a help to think of such transpositions like this: figure out what the first note is (low Eb, uh, that's, oh yeah, Ab on this horn!) and then transpose the intervals from there. If the second note is notated as F, rather than go through the process again (low F, uh, that's, oh yeah, Bb!) I'll look at the interval (in this case a whole step from the first note to the second) and pretty much play a Bb automatically (because of all those scales they made me practice in band) because that is the second note in an Ab major scale.

Transposition exercises are designed to make our brains hurt, and if you want to inflict even more pain on yourself try transposing Bass Cleff pieces up a major third or a tritone, or something like that.

If the transposition is real hard, 23 is more often than not the correct valve combination (unless you pulled your third slide out for the low Ebs)

If you want to hurt your brain without making noise try the following:

8+2=?
6/3=?

and any other beginner math flash card exercises, but "transposing" the math symbols so that (for example) "+" means divide, "x" means minus, and do them as fast as you can.

Ouch!

Have fun!

tpter1

Thanks, Everyone. Vulgano- that actually makes a lot of sense. I wanted to play through them first as written to get a sense of what they sond like. But, like the Bordogni, you have to transpose.

rowuk

I am pretty sure that the Sachse was written for the deep toned trumpet in low Eb or F (common orchestral instrument in Germany back then). They, like a french horn today, had those notes playable. Transposing would make everything playable for us today, just at a higher pitch.
Around the turn of the 19th/20th century, the Bb trumpet we know today was called the "high Bb trumpet".