Playing sharp below the pitch.

Sooner · Posted: Fri Feb 18, 2005 10:43 pm Post subject: Playing sharp below the pitch.

I know that the subject of this post doesn't make much sense on its own, but its the best way that I can think of to describe a problem that I've been having recently.

I have found that when leadpipe buzzing I have a tendency to play below the pitch. The thing that is frustrating me though is that when playing I will tend to go sharp. It still "feels" the same as when I am playing below the pitch and I've found that I can easily make the note much sharper, but in order to bring a pitch down I find that I have to make adjustments that are killing my endurance and sound. I should also mention that the tuning slide has little effect on this, as I will still tend to be sharp even with the slide out well over an inch.

I've been getting much better at playing in the center of the pitch and I know that as I learn to play in the center this problem will correct itself, but I was wondering if anyone has any specific advice on how to isolate this problem.

I've also wondered if this is normal as I would have expected that playing below the pitch would cause the intonation to go flat, not sharp.

I'm going to ask my private teacher about it on Tuesday, but I would still be interested in any opinions about this problem.
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Nonsense Eliminator · Posted: Sat Feb 19, 2005 11:03 am Post subject:

A few random thoughts...

This isn't a particularly Adamesque solution, but I find that doing some pitch bends can help with centring pitches. One of the exercises I sometimes use is playing something like this: G-F#-G-F#-G (rest) G-----. The first F# is played with the valves, the second is lipped down. The note after the rest is played being careful to match the sound and pitch of the note before the rest. You can expand this exercise outwards from the G. Another similar kind of exercise that may help is to play some chromatic neighbours at the beginning of your long tone practice: G-F#-A flat-G, etc.

The other thing to keep in mind is that you shouldn't be trying to drag the pitch down so much as trying to play the note in its resonant centre. If you're taking a note that's sharp and pulling it down you're likely to just end up playing "flarp". I suspect that you may find that in these situations your sound is somewhat pinched but rather flabby and unfocussed. Don't think about consciously adjusting the pitch downward; just make sure you have the right pitch and sound in your head and then play it.
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senea · Veteran Member Joined: 19 Mar 2003 Posts: 131

I have heard a lot of talk about resistance lately - about how you should meet the resistance, not back away from it or blow all the way through it. Could this have anything to so with this problem?

Bugler90 · Posted: Wed Mar 16, 2005 6:34 pm Post subject:

Look at this link. It has some good advice.

http://www.trumpetherald.com/forum/viewtopic.php?t=32983&highlight=sharp+side

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PH · Posted: Wed Mar 16, 2005 6:39 pm Post subject:

I think the NE & Senea hit a lot of the answers to your problem. Find the place where the tone sings and then keep a gentle feeling of accelerating the air right through that spot. Don't back away. We want to play with a relaxed sound and with no extraneous tension, but that doesn't mean that we don't put a gentle steady lean into the sound. We don't sit back on our heels, but up on our toes. Imagine the kind of energy you feel as you are getting ready to jump off the diving board.

Also, as I was evolving during my study with Mr. Adam I found that I would have to pull my slide out an inch or more for several months and then a few weeks later (as another adjustment was made in my evolution) I would push in so that my slide was only pulled a quarter of an inch or so.

As long as you are working with a qualified teacher who is steeped in the Adam philosophy I wouldn't worry. Just keep your mind in the sound and move the air through the sound you imagine.

Hack001 · Heavyweight Member Joined: 20 Jun 2004 Posts: 1685

aaah yes. it's all in your head.

you can play isolated pitches fine and in tune, so long as you're going up, right? when you play notes on the way down, or after a succession of higher notes, or a run, you're sharp, yes?

james stamp "think down on the pitch going up, think up on the pitch going down"

what you have is a medium range "set" embochure. you don't do a whole lot of work changing pitches, but, this minimum change has your mid notes sharp, and the higher ones more in tune. on the horn, let your bottom lip roll out just the slightest little bit. this will help lower the pitch nore consistantly, as well as help your sound darken. a good way to practice this is mouthpiece buzzing. try get get all the air out of your sound, and get the sound to really "quack". translate that EXACT same feeling to the horn.

does this help?
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PH · Posted: Wed Mar 16, 2005 6:54 pm Post subject:

Hack001 · Heavyweight Member Joined: 20 Jun 2004 Posts: 1685

whoopsie! yeah, ok.... disregard all of that.

ummm.... carry on.....
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Billy B · Posted: Thu Mar 24, 2005 10:19 am Post subject:

Who is your teacher and what does he have to say about this?
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