79connvictor

I was wondering if there is any standard recommendation for when to use the third valve slide? Are there certain notes in certain octaves that it is usually needed, or is it all related to the individual player and intonation? I've got to say, somewhat hesitently, that I never really ever see much use for it. If I made better friends with it could it make a difference in my playing?

Dale Proctor

Mainly C# and D below the staff. Most any horn will play these two notes better in tune when you throw the slide out a little. Sometimes when using 3rd valve to play the A above the staff, if it's still sharp using that fingering, the slide will bring it down.

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Trumpet Dad

Here is a very good fingering chart that lists all the possible uses of the 3rd slide, but it is mainly used for C# and D below the staff like Dale said as these tend to be very sharp: http://www.lyricbrass.com/spang/fctrumpet.pdf

All trumpets have different intonation characteristics so you have to use what works best on your trumpet. I pull out about 1/2" for the low D and 1" for the low C#.

There seems to be a lot of debate in the use of the 3rd slide between "legit" players and mainly the Bill Adam camp. My former teacher (a Bill Adam student) told me not to use the 3rd slide. My present teacher (a Vacchiano student) rides me if I don't use the 3rd slide. I am 100% "for" the use of the 3rd slide and from a purely "physical" point of view it makes sense. Dave Monette perhaps explains it best here: David G. Monette Corporation

Tip: To facilitate passages that require frequent use of the 3rd slide, you can just leave the slide extended until it needs to come back in (that is to say until you use a 3rd valve combination that requires the 3rd slide in).

rowuk

The math about slide lengths proves that we need to vary them to get the theoretical correct frequencies for each note. Nobody can argue with the math. What is also fact is that the trumpet is most efficient when played on the acoustic center of each note.

That means my sound, projection and intonation are the most consistent when I USE the slides. Of course we can lip everything into tune - at the sacrifice of tone quality and projection. That is what cursed the baroque era and most likely caused the trumpet to become a soprano tympani for most of the classical era. Ever wonder why Mozart never wrote a trumpet concerto? Ever wonder why slide hooks and rings were invented in the first place? (hint: it was not for the wimps)

I think Bill Adams supposed claims here are either misunderstood (very probable), or irresponsible.

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