Posted: Tue Nov 30, 2010 12:49 pm Post subject: Exploring Pedal Tones by Charlie Porter
Often times I see trumpeters practicing "pedal notes" as fake, anemic sounds with false fingerings rather than as the fundamental pitches they really are (at least C to F#, anyway). Of course there are times when you need to lip the notes but some of the "Pedal Tones" are actually real notes and learning how to play them correctly on the trumpet can yield great benefits.
I recently posted this video on YouTube to help demonstrate some of the benefits of practicing correctly in the pedal range.
Posted: Tue Nov 30, 2010 6:29 pm Post subject: Thanks for the post
That's well presented and it's an area I have not 'explored' due to lack of information and some 'warning' videos re pedal tones in some of the forums. The examples were great and it certainly seems to have done you no harm!
Incidently, I enjoyed your jamming with George on Cantaloop ... and it reminded me of a funny night here in Hong Kong at a club I sometimes jam at. I walk in trumpet in hand ... guy in the band asks me if I want to play (and thankfully I say 'next sey bro...'). Owner approaches and says 'there's a trumpet player from Russia here. He points to a guy (around 6'6" with shoulders an axe handle wide and arms BIGGER than my legs. Guy turns out to be Vadim Eilenkrig ... my god what a player! I was privileged to hear him that night. Check out this vid of him on Cantaloop ... it's a few years ago and he was significantly better when I heard him live.
Posted: Thu Dec 16, 2010 2:59 pm Post subject: Pedal Tones
I have been playing the the "false" pedal tones since college and have felt I did benefit from them some in relaxing my lips and sort of a cool down. I could tell that my upper range (tone quality and ease of playing without excessive pressure) did improve but I had not heard what he was saying about the false pedal tones. I am anxious to give it a try...since I saw some benefit from the "false" tones maybe I will see great benefit from the true pedal tones.
I have always used the pedal tones in warm up and cool down and my wife always says I sound like a sick cow. Oh well, you've got to love them anyway...
I read an article that talked about Herbert L. Clarke and the pedal tones (false ones -- F down to C#). Clarke used a different fingering for the lower tones to get a better sound. The fingering he used was 1/2 step lower than the same note up an octave for most notes. Also, you will see that Clarke provided fingerings for another whole octave to the C on the 2nd ledger line below the bass clef.
F - 120 rather than 100 in octaves above
E - 023 instead of 120
Eb - 103
D - 123
C - 000
B - 123
A - 120
G - 103
F - 120
E - 023
D - 103
C - 123
This information was taken from an article in The Instrumentalist Magazine by R. Dale Olson and written in 1964.
According to this article Herbert Clarke was reported to be able to play "a full tone range of 6 Cs." _________________ Tim
Joined: 13 Nov 2001 Posts: 5673 Location: Chicago, Illinois
Posted: Thu Dec 16, 2010 10:08 pm Post subject:
Can you describe the technique of sharpening the bottom (pedal) C.
Mine is quite flat. As I sharpen the note it jumps back to the middle C.
Is it a combinations of Jaw and tongue?
It takes time (monthes, even years) to properly get the Pedal C through Pedal Gb in tune. Basically, you get it into tune by using lots of air, not by tightening the lips.
To be honest, it's really not important to get the Pedal C through Gb into tune. The benefit is derived from playing them with a good, open sound.
John Mohan _________________ Trumpet Player, Clinician & Teacher
14 Year Claude Gordon Student
1st Trpt for "Cats", "Phantom of the Opera",
"West Side Story", "Evita", "Grease",
Disney's "Hunchback of Notre Dame", etc.
Burbank Benge 6x
Copy of a Mt Vernon 3C
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