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Pitch Accuracy - Sight Reading


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JayKosta
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PostPosted: Thu Jun 23, 2022 5:27 am    Post subject: Pitch Accuracy - Sight Reading Reply with quote

I'd like your views about how to teach, learn, and improve 'pitch accuracy' (hitting the correct note) - especially when playing written material that is not familiar, or which has 'difficult' pitch changes.

I've been thinking that for learning and training, it is important to actually see the written notes even when playing very simple things such as long tones, scales, arpeggios, etc.
SEE the written note, and be AWARE of what is being done to produce the best sound for that note.

My reasoning is that a player needs to develop the the 'unconscious reactive' skill of producing the correct physical and mental adjustments to play the proper note as the written note is observed - and that actual observation of the written note on the page is important - to unite the 'seeing' and the 'doing', with a minimum of 'thinking'. Doing that 'seeing' while 'playing' even simple material can help the training process.

Perhaps some players visualize those written notes, even if they do not have them available to see. But my guess is that many players just 'play the notes' as a matter of routine without the visual part.
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Dayton
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PostPosted: Thu Jun 23, 2022 5:55 am    Post subject: Reply with quote

A few quick thoughts. First, know what the note sounds like. Too often the emphasis is simply on the right fingering. That may work ok within and below the staff, but above the staff, where the partials get closer and closer together, you really need to know what an Ab or C# sounds like, not just what valves to push down, to make sure you get the note right.

Second, is understanding the relationship between notes, and what it takes to move from one to the other. A good way to do that is to work on intervals and arpeggios. Arban, Vizzutti and many, many other method books offer exercises to help you with that. And, of course, you can augment time on the trumpet with time on the keyboard to help with that. This is where more contemporary methods like Vizzutti's can be particularly useful as he doesn't limit himself to what was common in the late 19th century....
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kehaulani
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PostPosted: Thu Jun 23, 2022 6:27 am    Post subject: Reply with quote

Sing-play isolated and random pitches.
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falado
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PostPosted: Thu Jun 23, 2022 6:29 am    Post subject: Reply with quote

Hi, working on ear training can help and singing the the notes before playing the piece or exercise. This takes some practice. Also, I'm going through some of the exercise, etudes, in a book called Advanced Studies of Aaron Harris. Some of the exercises are interesting and are taken from violin pieces. It can be a fun and challenging book.

Dave
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Vin DiBona
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PostPosted: Thu Jun 23, 2022 6:43 am    Post subject: Reply with quote

I'm always reminded of Bud Herseth's usual comment was about "how do you do that"?
His answer was simple: Go Practice.
The Arban book has interval studies as does many other method books. Use a tuner or an in-tune keyboard to learn what the pitch sounds like. Ear training anyone?
The only way one gets to be a good player on any instrument is to practice.
Once one knows what the note is supposed to sound like, everything becomes easier.
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jairo_saade
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PostPosted: Thu Jun 23, 2022 7:05 am    Post subject: Reply with quote

Hi,

This is a very interesting topic, my initial reaction was "the obvious answer is practice" but then I realized it is not that simple because a lot of people including myself practice without a tuner or a reference such as a piano.

I think that practicing intervals and arpeggios is great to understand the relationship between notes, but you could be playing the right intervals but flat/sharp in reference to a 440 Hz Concert A.

I would suggest that the practice routine should include an initial tuning when the horn is warm and also dedicating some time to practicing the feel of the different keys and notes. Something that I have found particularly helpful is practicing with drones (similar to the Shruti Box) and this helps me be more accurate with pitch in general.

Regards,

Joe
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kehaulani
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PostPosted: Thu Jun 23, 2022 7:22 am    Post subject: Reply with quote

About the importance of practice - practice, yes, but listen intently to what you play. If training the ear for pitch recognition, don't just play the note, listen to it critically.
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jairo_saade
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PostPosted: Thu Jun 23, 2022 7:26 am    Post subject: Reply with quote

Hi,

Here is a link to a youtube video from Ingrid Jensen explaining the concept more in depth.

https://www.youtube.com/watch?v=VXBiH5EL8x8

regards.
Joe
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falado
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PostPosted: Thu Jun 23, 2022 8:19 am    Post subject: Reply with quote

kehaulani wrote:
About the importance of practice - practice, yes, but listen intently to what you play. If training the ear for pitch recognition, don't just play the note, listen to it critically.


1+ Yes, listening is the key. Years ago in an ear training class (which I later taught at the Armed Forces School of Music) we did exercises where we memorized tunes that started with or had the same intervals as all the intervals within an octave and then more. Sing the tune, sing the interval ie augmented 4th = Maria, Somewhere over the Rainbow = perfect octave, Taps = perfect 4th. Practice sounding the first note, sing the song, sing the interval. Practice singing these up and down, remember, a major 3rd inverted is a minor 6th, etc.

I know this sounds simplistic, but it works. When I'm sight reading and I see an interval, I already internally hear it and I'm already singing it in my head before I play it. But, practice intervals in Arban, sing them then play them. This is called audiation. With enough practice you will see it, hear it (internally), play it.
Hope this helps,
Dave
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kehaulani
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PostPosted: Thu Jun 23, 2022 8:25 am    Post subject: Reply with quote

LOL. Yes, relatively:
Maria
Somewhere
My Bonnie Lies Over the Ocean

Singly, I find something like the expanding intervals in Adams' Warm-up, helpful.
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Rapier232
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PostPosted: Thu Jun 23, 2022 10:38 am    Post subject: Reply with quote

Lots of advice about singing. Doesn’t help if you can’t sing.
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kehaulani
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PostPosted: Thu Jun 23, 2022 10:57 am    Post subject: Reply with quote

I can't. I have only one working vocal cord. Use your inner ear. Hear it in your mind, don't ignore it.
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falado
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PostPosted: Thu Jun 23, 2022 11:18 am    Post subject: Reply with quote

kehaulani wrote:
I can't. I have only one working vocal cord. Use your inner ear. Hear it in your mind, don't ignore it.


I have a paralyzed vocal cord from some thoracic surgery I had 2 years ago and I'm all but deaf in my left ear. Audiation, I can still kind of sing the intervals, I can play them on guitar, I can play them on piano, I can play them on my trumpet, I can memorize them through repetition (practice) and I can internally hear them. Why, practice, practice, practice.

The armature practices until he/she can play it. The professional practice until she/he can't miss it.

Practice: slow, deliberate, hear it, internalize it, gradually speed it up, but don't over analyze it. Play each interval exercise until you don't miss. I'm still working on it. It's the journey.

Dave
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Don Herman rev2
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PostPosted: Thu Jun 23, 2022 11:37 am    Post subject: Reply with quote

Play it on a piano (which could be an app on your PC or phone), use solfege if at all possible, pick up a book on sight singing. Transfer to trumpet.
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falado
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PostPosted: Thu Jun 23, 2022 1:45 pm    Post subject: Reply with quote

Garage Band
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cheiden
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PostPosted: Thu Jun 23, 2022 3:21 pm    Post subject: Reply with quote

I've learned to enjoy just reading. Open up a collection of not-too-hard etudes and read them down all in one sitting.
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shofarguy
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PostPosted: Thu Jun 23, 2022 3:49 pm    Post subject: Reply with quote

Rapier232 wrote:
Lots of advice about singing. Doesn’t help if you can’t sing.


Anybody can sing. It's just like talking, you just elo-o-ongate the to-o-o-o-ne. Matching pitch is something more. Yes, some people have more natural ability, but most people have more latent ability than they think they have.

I've raised six sons. All of them matched pitch beautifully and perfectly in tune when they were toddlers. It was only later as they became self-aware that that ability vanished. It is almost certainly a self-image issue, not a physical or mental ability issue.

Using drones to harmonize with is a great way to increase one's awareness of vocal pitch and make the required brain connections to sing adequately.
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There is one reason that I practice: to be ready at the downbeat when the final trumpet sounds.
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JoseLindE4
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PostPosted: Thu Jun 23, 2022 5:39 pm    Post subject: Reply with quote

1. Sing in tune. If you can’t sing in tune, learn to do so. College students learn to do this every year, even the ones who can’t do it well coming in (drummers).

2. Learn your musical vocabulary — scales, arpeggios, intervals. Virtually nothing should be new when you read. Read the “words” (groups of notes) rather than trying to sound out “letters” (individual notes). You must be able to hear and sing this too, not just play it. Live with the arpeggio section in Arban and wear out your Clarke book. Make sure you can sing this, not just that lay it.

3. Fix your ears, not your feelings. Clams start in your ears and aural imagination (or lack of one) rather than in lack of feeling the note.
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falado
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PostPosted: Thu Jun 23, 2022 6:01 pm    Post subject: Reply with quote

I taught theory and ear training on the adult/college level for several years. There are books and websites out there on ear trading and sight reading too. I found that most people can sing arpeggios (triads major, minor, diminished, and augmented) and scales with practice. I only had one student in 7 years who could not do the ear training and he had a performance degree. He played piano. My first arranging instructor was a percussionist and he could sing all the melodic ear training exercises.

Further, I have been a band director, military musician and presently direct a community band. I in some of the military bands I’ve played in we sang our parts in rehearsals. I made my middle and high school band students sing parts when fixing player problems, etc. it’s all about how we learn. Yes, when I first introduced singing your part and as a section/group some people/students were apprehensive about singing in front of their peers, but I explained they were all in the same boat so there was no need for embarrassment. Most people can learn to sing. Maybe not always on pitch or the best tone quality, but you can do it. Besides, if you can sing the pitch, it makes it easier to center the pitch and tone on your instrument. I also preach to play as if you are singing. Repeat after me: if I can sing it I can play it. Well, maybe with some concentrated practice.
Dave
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PostPosted: Sat Jun 25, 2022 3:38 pm    Post subject: Reply with quote

I've been taking solfege lessons for about a year and half. It's been a game changer.
https://dougamostrumpet.wordpress.com/solfege-and-theory/

Best
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