[TPIN] Against the grain pitch change

[George Rawlin]

I am originally a trombone player and I think what you are referring  
to is "contrary motion" moving backwards through the modes of  
resonance to get that snap. The only way it helps on trumpet is with  
alternate fingerings and most Clark, Arban, et al have alternate  
fingerings marked on those tough spots

However there is a much better way to deal with that, and either you  
have it or you don't have it.\:
  Back in he 60's I asked a strong symphonic player how he handled the  
mid staff C to D trills so effortlessly. His reply that he never had a  
problem with them on his 229 C.

So I figured there was a way to set up a horn to emulate that feature  
and I did. All my horns since about 1970 have had the weirdness there,  
and also either had a high A (double) or not. The same fix takes care  
of both.

It surprises many repair folks only repair and do not "set up" horns -  
they miss a ton of money.

It is fixed by adjusting the resistance in the lead pipe or the tuning  
slide itself. In some cases the problem is also solved by some third  
valve slide adjustments.

I would have to have the horn in my hands to tell you what to do for  
that instrument, but surely there are some repair guys out there that  
can speak up if they read this list .This was a serious problem with  
my Schilke B6 and the solution was as simple as removing the bottom  
second valve slide little button, and moving it to the lower tuning  
slide just above the brace with the screw. I had to adjust it to what  
seems the 1000th of an inch but the horn handles the trills as if they  
were F# to G.

So there is more than one way to skin a cat's horn. Work smarter and  
not harder.
gR
George Rawlin
gRawlin.com
gwrawlin at att.net
HomeTown Music



On Oct 17, 2009, at 1:49 PM, James Klages wrote:

> I did not originate the concept- but did notice it.  There ha been  
> some
> discussion when I first posted it. The description came when I studied
> trombone pedagogy and saw here they an make against the grain slurs  
> with the
> slide without tonguing or producing  gliss.
> Attention to this with careful practice is transformative.
>
> Enjoy,
> Jim
>
> On Sat, Oct 17, 2009 at 12:34 PM, BOB ZACK <bzack at prodigy.net> wrote:
>
>> TPIN"ers
>>
>> Long before I became a TPIN'er James Klages wrote about "against  
>> the grain
>> pitch change".  Was this subject discussed at length on TPIN?
>>
>> James Klages writes "Even when the fingerings are clean, accurate and
>> fast---a turbulence is created by the lengthening of the air path  
>> through
>> the horn".
>>
>> I understand the physical concept of moving from shorter tubing to  
>> the
>> longest amount of tubing available on brass instruments.  I have  
>> always
>> considered this in my practicing and just intuited the need to work  
>> harder
>> to solve these "Break points" (my unknowledgble definition of this
>> phenomenon).
>>
>> Trilling from C-D, and E to F in the staff without alternate  
>> fingerings is
>> still a chore for me.
>> I get by okay for the most part, but can't feel that natural ease  
>> that
>> comes with really nailing a passage without thinking about it.
>>
>> I would like innermost thoughts and comments regarding this personal
>> peccadillo from beginners thru advanced players.  Offline  
>> discussion often
>> produces more candid opinions
>> and are welcome.
>>
>> Sincerely,
>>
>> Bob Zack
>>
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>
>
>
> -- 
> Dr. James L. Klages
> Professor of Trumpet
> School of Music
> University of Central Oklahoma
> Edmond, OK 73034
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