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bman485
New Member
Joined: 06 Nov 2019
Posts: 9
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 Posted: Wed Nov 06, 2019 8:38 pm Post subject: |
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| I have seen videos of Arturo Sandoval playing as well where he doesn’t use his slide for low D and C#. I believe I heard him say once that he just hears the pitches in tune and bends it down in tune to match. I personally try to avoid bending pitch with the lips/air when I can as I feel it messes with the tone, but who am I to tell someone like Arturo that he needs to use his slide? |
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Don Herman rev2
'Chicago School' Forum Moderator
Joined: 03 May 2005
Posts: 8951
Location: Monument, CO
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| Posted: Thu Nov 07, 2019 5:05 am Post subject: |
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Arturo posts here so feel free to let him know. 
A number of players/teachers suggest learning to hear and adjust instead of using slides. It really helps with fast or muted passages.
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"After silence, that which best expresses the inexpressible, is music" - Aldous Huxley |
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Seymor B Fudd
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Joined: 17 Oct 2015
Posts: 1466
Location: Sweden
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| Posted: Fri Nov 08, 2019 8:11 am Post subject: |
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| JoeLoeffler wrote: | In a symphonic/ classical situation, it is not an option. You must use your slides to maintain an even timbre through the range of the horn. Bending pitches around, even if they end up “in tune”, sound different to the notes around them. Also, bending makes it very hard to play cleanly in passages where you move across notes needing correction in a string of notes that do not (in both fast and slow tempi). The preparation to bend can mess up the note before and the unbending can mess up the note after causing chips and other funnybusiness.
If you are accustomed to using the horn to do the majority of the adjusting for you, it is second nature and allows you great freedom and flexibility in just “how” you play a note. |
I can certainly agree with that. Bending "by the lips"might affect the sound quality. In the brassband I play it´s necessary at least in the front row with so many player on the same note, that we listen extremely carefully to each other say somebody´s playing a F# and I play the D below - sounds better if I compensate with first valve trigger. But is is possible to play without compensating manually - it took me some years to learn that the band now used A=442, not 440. No one thought I played out of tune - I didn´t - but I must say I felt relieved when told and then could make the transition from lips to finger the slide (having adjusted the main slide). Also- this is relative, the guy next to me might have a trifle low F# - so the compensation should be in accordance. Then, as you´ve noticed, some horns seem to demand more compensation. Both my trumpets, the old King, and the new Yamaha 6335 RC seem to require less compensation per se, the King outstanding in this respect. My Getzen custom seems to play better if I compensate with 3:rd valve trigger (C#, not G#) than with 1:st valve trigger. So you will have to diagnose your horn! One of the variables I test with new horns. What´s the general outlook on that?
Sitting in a section where the guy next to you seems to lack a sense of pitch might result in heavy compensation - the section then might sound in tune internally but out of tune with the rest of the band. Hard to stand....
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Cornets:
Getzen Custom Series Schilke 143D3/ DW Ultra 1,5 C
Getzen 300 series
Yamaha YCRD2330II
Yamaha YCR6330II
Getzen Eterna Eb
Trumpets:
Yamaha 6335 RC Schilke 14B
King Super 20 Symphony DB (1970)
Selmer Eb/D trumpet (1974) |
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Rod Haney
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Joined: 22 Aug 2015
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| Posted: Sat Nov 09, 2019 3:21 pm Post subject: |
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I can only say that the act of bending is not conscious it’s simply where the note is and my lip plays it. But I have never played with slides but have always been very picky about playing in tune. As a fact moving the slides causes a difference in tone for me, “lipping never does cause I learned to play it in its place. I learned in the 60s
Rod |
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