An Alternate Fix for Low D and C#
We all know that low D and its neighboring C# are sharp and we all know that to play in tune, we are told to push either or both the third slide and or the first slide out in order to solve this intonation dilemma. At least we are supposed to. What if there was another less gymnastic way to correct the problem. But wait, someone has found a better way and due to the fact that I am responsible for this simple solution, I will tell you how it works.
Try this and let me know what you think. I have been using this easy solution now for a week in my own practice as well as some ensemble playing and will not go back to the old “push your third slide out on low D and C#” again.
If all of your slides are extended a proportionate distance, there is no need to push and pull your slides out to be in tune. I have found that if you extend each of your slides a proportionate distance you need only to lip a few notes up or down to play in tune. Here is how it’s done….
Extend your second slide a distance about 1/16th of an inch. Extend your first slide about 1/8 of an inch and your third slide ¼ of an inch. Due to the fact that you have lowered your valve slide you will now need to compensate by bringing “in” your tuning slide approximately ½ inch. All of these changes are only approximate for each instrument and each player will affect the outcome.
After you have played with these changes, you will need to adjust each slide so that the intonation adjustments will be done by slight adjustment of the lip either up or down. The use of chromatic scale works well for the exercise. Notice especially when you play the following notes as chromatic pitches- low D, C#, D#. What you need to look for is an added pop of air as you pass these notes. The added air to the third slide will tell you if you have extended your third slide far enough. If you feel a “bump” in the air stream, extend your third slide a little farther, until this “bump” flattens out.
Extending your slides in this manner will lower your “valved” notes but will not affect your open tones and that is why you need to compensate by bringing in your tuning slide. What you are essentially doing is making all of your notes a little out of tune and by compensating with your lip, you will be able to bypass the drudgery of sliding valve slides in and out. Extending your valve slides bring up another issue which I will show you how to make this major change in your playing.
Valve slide conversion rings
Valve slide conversion rings can be used to accurately establish the amount of extension on each of your slides. I made the first set of rings from plastic PCV pipe as seen in the photo. Another material which will work is the plastic hose used in outside water features. Either will work and will take you a very little time to fabricate. The most important issue is to know the correct amount of extension your valves will need. The PVC tubing will take about ten minutes to fit on each valve slide and the plastic hose material will require much less time for you only need a good pair of scissors to accomplish you task.
Instruction for fabricating valve extension rings-
1. Acquire a small length of ½” CPI “CPVC HOT & Cold Blue Line” tubing or plastic hose material.
2. Cut the length required to compensate on all three valve slides.
3. Drill, sand and polish the inside of the tubing until it slides easily onto your valve slides.
4. Play for about a week and shorten the tubing if necessary to adjust the lengths to get the best results.
5. Don’t forget to bring your tuning slide in about ½ inch also.
I no longer have to push and pull slides around in order to play in tune. With just the slightest lip change, I can play much more easily on my instrument. Try it and let me know how if it works for you.
This is an interesting article. Bottom line, is I would say, “If it works for you, then do it.” However, my teacher (Gerald Webster, author of a couple of well known books on piccolo trumpet) would probably disagree with its use. One of my teacher’s mantras is “play in neutral”, which means that you should attempt to keep your chops relaxed and in neutral. The rationale is that it sounds better to keep chops relaxed plus, it’s better to overwork the muscles in your hand (i.e. by extending slides) than it is to overwork the muscles in your lips — which creates endurance problems.
One technique that Jerry advocates (to illustrate the point) is to use 2-3 fingering plus slide to bring third space C down when playing in the key of A-flat. (The reason is that C is the third, which needs to be brought about 13 cents flat to bring it into tune – just intonation, not equal temperement) Another example is to extend the second valve slide as far as possible when playing in the key of A-natural for the same reason. (i.e. pull it out and leave it there — of course this technique doesn’t work in all performance situations.)
However, I’m sure that some people would support your proposed technique. Slide adjusting rings are a fairly recent development on trumpets. Trumpets built prior to approximately 1955 rarely had slides on the first or third valves. Slides were added on the third valve, but rarely on the first (except high end instruments) until maybe twenty years ago. I believe that one reason it was possible is that these older instruments didn’t slot as well (or poorly, depending on your point of view) as more modern instruments do. So, lipping into pitch was more possible. Rotary trumpets and flugel horns are often built without pitch adjusting valve slides because they don’t slot as well. (Did you know that Wynton Marsalis has his horns built WITHOUT a valve slide ring/saddle on the first valve? This just goes to show that different techniques work for different people.)
Comment #2 – continuing from my prior comment: Despite the fact that some people might disagree with the semi-permanent adjusting of valve slides suggested by the initial posting, it does seem that there are certain performance situations where it could be used without any argument.
One example might be when playing something fast and low (such as “Flight of the Bumblebee”). In this situation, notes are changing too fast to worry about moving valve slides, and much of the playing is in the low register where the intonation problems occur. I don’t see much argument against using the technique in this situation. Again though, if it works for you, then do it.
Thank you for your comments and I will try to adress them, one by one.
This is an interesting article. Bottom line, is I would say, “If it works for you, then do it.”
Thank you for your comment and I totally agree with the “If it works for you, then do it.” statement for the post was written as an alternative not a required usage.
However, my teacher (Gerald Webster, author of a couple of well known books on piccolo trumpet) would probably disagree with its use. One of my teacher’s mantras is “play in neutral”, which means that you should attempt to keep your chops relaxed and in neutral. The rationale is that it sounds better to keep chops relaxed plus, it’s better to overwork the muscles in your hand (i.e. by extending slides) than it is to overwork the muscles in your lips — which creates endurance problems.
Mr. Webster does have a very impressive list of accomplishments. If you are saying that he does not flex his embouchure while playing, please explain this video of him playing cornet…
https://www.facebook.com/video/video.php?v=3193951578177
One technique that Jerry advocates (to illustrate the point) is to use 2-3 fingering plus slide to bring third space C down when playing in the key of A-flat. (The reason is that C is the third, which needs to be brought about 13 cents flat to bring it into tune – just intonation, not equal temperement) Another example is to extend the second valve slide as far as possible when playing in the key of A-natural for the same reason. (i.e. pull it out and leave it there — of course this technique doesn’t work in all performance situations.)
Try to explain that to a fourth grader.
However, I’m sure that some people would support your proposed technique.
I need no support for I am only making a suggestion of a possible alternative.
Slide adjusting rings are a fairly recent development on trumpets.
Really!
Check this one out dated 1922.
Trumpets built prior to approximately 1955 rarely had slides on the first or third valves.
Really!
Did you mean slide “rings” on the valve slides for we have always had slides on every valve.
Slides were added on the third valve, but rarely on the first (except high end instruments) until maybe twenty years ago.
Really!!!
If you mean slide “rings” were added I still respect disagree for trumpets as well as cornets usually gave you the option of either using the attachment on the third slide to at add a lyre or a finger ring.
I believe that one reason it was possible is that these older instruments didn’t slot as well (or poorly, depending on your point of view) as more modern instruments do.
On this one a agree half way. The cornets were famous for this condition but the trumpets centered very well.
Rotary trumpets and flugel horns are often built without pitch adjusting valve slides because they don’t slot as well.
Few professional players buy flugels without some kind of adjusters because of their bad intonation.
(Did you know that Wynton Marsalis has his horns built WITHOUT a valve slide ring/saddle on the first valve? This just goes to show that different techniques work for different people.)
No! this just proves that when you can have your horn custom built by one of the best trumpet designers alive today, you can get a great trumpet.
Thank you for your comments and as I stated in my first post on this “Possible Alternative” to C# and D fingering intonation problems I would like some readers opinion on how it works or does not work, not comments on why it doesn’t work before you try it.
The very best to you and yours from Branson.
Is there some principle in the laws of physics(or engineering physics) that says it is impossible to design a cornet/trumpet that can play in tune within its range? Are there cornets that play better in tune than others without the tuning slides?
I asked Mr. Schilke that same question many years ago and he said that it IS possible to make a horn which is perfectly in tune, BUT the player would have to play the horn EXACTLY the same way EVERY TIME. Of course that would be impossible.
In addition to playing the horn the same every time, the temperature and humidity would also have to be constant.