Slide 14
In their respective “Instrumentalist” articles, Phillips (1999), Stone (1999) and Crider (1990) discussed the importance of young instrumentalists learning the pitch tendencies of their instrument. Phillips (1999) and Rush (2014) advocated that students be aware of inherently out of tune pitches on their instrument, while Stone (1999) and Crider (1990) recommended that teachers help students create intonation charts. For references purposes, Crider (1990) suggested that students keep the chart in their band binder. Additionally, Crider (1990) recommended that teachers offer students suggestions for alternate fingerings and slide compensation to improve intonation.
Jagow’s book, “Tuning for Wind Instruments: A Roadmap to Successful …show more content…
On saxophone, the extreme low and high registers are sharp. Additionally, students should be aware of third space C# and fourth line D. Since these successive notes have opposite pitch tendencies, C# being flat and D being sharp, students must make an adjustment. For the C#, Rush (2014) recommended adding the bottom Bb and C side keys and for D, he recommended adding the low B key.
For trumpet, students should learn that low F#, G, C#, and D are inherently sharp. As mentioned in an earlier, the third valve slide should be used to correct those pitches. Additionally, students should be aware that fourth line D and fourth space Eb and E are inherently flat and should be adjusted using alternate fingerings. Furthermore, the combination of (12) for E and A in the staff are almost always sharp. These can be corrected by using the third valve. (Click)
Slide …show more content…
On horn, like trumpet and all other valved brass instruments, the combination of (12) with the trigger, in the staff, is almost always sharp. Depending on the model of the horn, this can be corrected by using the third valve and trigger. On trombone, the fifth partial C, C#, and D are inherently flat. Alternate slide positions like flat 6, flat 5, and flat 4 should be used. For euphonium: Low E, F, B and C are inherently sharp. If students are using a four-valve euphonium, the fourth valve can be used to correct those pitches. Again, the combination of (12) for D and G in the staff are sharp and can be corrected by using the third valve. And finally, on the tuba, Low F, E, B, and C are inherently sharp. If students are using a four-valve tuba, the fourth valve can be used to correct those pitches. The combination of (12) for D and first line G in the staff are sharp and can be corrected by using the third valve only.
In their respective “Instrumentalist” articles, Phillips (1999), Stone (1999) and Crider (1990) discussed the importance of young instrumentalists learning the pitch tendencies of their instrument. Phillips (1999) and Rush (2014) advocated that students be aware of inherently out of tune pitches on their instrument, while Stone (1999) and Crider (1990) recommended that teachers help students create intonation charts. For references purposes, Crider (1990) suggested that students keep the chart in their band binder. Additionally, Crider (1990) recommended that teachers offer students suggestions for alternate fingerings and slide compensation to improve intonation.
Jagow’s book, “Tuning for Wind Instruments: A Roadmap to Successful …show more content…
On saxophone, the extreme low and high registers are sharp. Additionally, students should be aware of third space C# and fourth line D. Since these successive notes have opposite pitch tendencies, C# being flat and D being sharp, students must make an adjustment. For the C#, Rush (2014) recommended adding the bottom Bb and C side keys and for D, he recommended adding the low B key.
For trumpet, students should learn that low F#, G, C#, and D are inherently sharp. As mentioned in an earlier, the third valve slide should be used to correct those pitches. Additionally, students should be aware that fourth line D and fourth space Eb and E are inherently flat and should be adjusted using alternate fingerings. Furthermore, the combination of (12) for E and A in the staff are almost always sharp. These can be corrected by using the third valve. (Click)
Slide …show more content…
On horn, like trumpet and all other valved brass instruments, the combination of (12) with the trigger, in the staff, is almost always sharp. Depending on the model of the horn, this can be corrected by using the third valve and trigger. On trombone, the fifth partial C, C#, and D are inherently flat. Alternate slide positions like flat 6, flat 5, and flat 4 should be used. For euphonium: Low E, F, B and C are inherently sharp. If students are using a four-valve euphonium, the fourth valve can be used to correct those pitches. Again, the combination of (12) for D and G in the staff are sharp and can be corrected by using the third valve. And finally, on the tuba, Low F, E, B, and C are inherently sharp. If students are using a four-valve tuba, the fourth valve can be used to correct those pitches. The combination of (12) for D and first line G in the staff are sharp and can be corrected by using the third valve only.