Trumpet Intonation file:///C:/Documents%20and%20Settings/Adam%20Metzler/Desktop/T...

A SEVEN NOTE TUNE-UP

TO MAKE YOUR CORNET/TRUMPET PLAYING SPARKLE
by

Prof. Carter Eggers

Professor of Trumpet

Eastern Michigan University

SETTING THE INTONATION SCENE (and in the process causing fewer "scenes" like, "Hey, trumpets,
you're peeling the paint off the wall there. Can't you adjust those things?"

There are two categories of intonation problems faced by cornet/trumpet players: 1) seven notes which are
out-of-tune due to the instrument and 2) notes which are out-of-tune due to the player. Dealing first with
those seven instrument-problem notes is largely a mechanical situation and can be improved quite easily in
the short term. This process also builds a pitch awareness which begins the more long-term development of
solving the intonation tendencies of the player, notably playing sharp in the upper register and playing flat in
the lower register.

Ohmigosh! Did you know that we're all stuck with exactly the same old pitfalls? That it doesn't matter what
kind of trumpet or cornet you have? ... and that the whole thing is really quite predictable and actually quite
simple? Piece 'a cake! Read on. You'll see.

Pitch problems of cornets and trumpets are solvable because they are consistent. Whatever the setting,
individual practice, private lesson, ensemble or solo rehearsal or performance, the specific same problems are
present. Consequently, solving the problems requires constant reinforcement in all settings. There is beauty in
simplicity. The beauty and simplicity of our quest for in-tune playing (and the consequent growth and
development which results) is that we are all involved together seeking the same goals. There is no mystery.
The problems are specific and fixable.

Now, he-e-e-e-e-r-r-r-e-e-e-e's those notes...

THE FIRST AND THE WORST--D and C#

This certainly will be no surprise but, as you know, the two notes that usually are the first to be dealt with and
which are the worst of our intonation humdingers are the very sharp low D and C#. Just change your
fingerings from 1-3 and 1-2-3 respectively to 1-3X and 1-2-3X with the X following the 3 meaning that the
third valve slide is extended...at least an inch to be safe for D...and even more for C#.

Oh, oh!

As soon as you try to do that, another sticky wicket becomes apparent, "How the heck do I get that darned
slide to work?"

If your slide does not work smoothly, first try cleaning the slide and then coating it with slide grease. My

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recommendation is Schilke Slide Grease, available from The Woodwind and The Brasswind; Southbend,
Indiana ($2.50). If the slide is completely frozen, a repair person may be necessary.

SOME HINTS:

The 2nd or 3rd finger of the left hand operates the 3rd valve slide, although the 2nd finger probably
works better because it is stronger and it usually fills the ring space more completely that the 3rd finger.
The fingers (left hand) should all go on top of the third valve slide. Maybe later you can try the 3rd and
4th fingers below the slide, but that should happen much later, if at all.
3) The fingers should not open up when you extend the slide. The finger tips should remain pointing at
you. The hand merely stretches and that expansion is the motive force which moves the slide, not the
throwing out of the fingers.

OK, what is your question?

"What if my slide is stuck? Is it OK just to leave it stuck?"

Good question. The answer is kind of like asking your doctor if you should quit smoking. Of course, you both
know the answer. So, yes, we both know the answer. Some stuck slides may need a repairman. If the slide is
not freed, because of the "very sharpness" of D and C#, you will be an impediment to your ensemble. It is one
thing to be out-of-tune by yourself, but if your stuck slide keeps an entire ensemble from the clarity of well
tuned notes and chords, then. ...well you know that answer, too. Just get it fixed.

Remember to replace the marching band lyre with your third valve slide ring after marching season is over if
you instrument has that feature.

You're doing well so read on.

LESS THAN THE WORST BUT MORE FREQUENT--E and A

Bottom line E and second space A are both slightly sharp.

MORE HINTS

If your instrument has a 1st valve slide trigger or U-shaped saddle, then extend the third valve slide
about a quarter inch. Your ear can let you know when you need to push it out more or less.
The left hand thumb works the 1st valve slide. If your thumb is too small to fill the saddle, then just
squeeze the saddle and bend the side of the "U" farthest from the 1st valve in toward the 1st valve to
reduce the amount of space or "play" between the thumb and the metal.
If you do not have a first valve trigger or saddle, then just use the 3rd valve alone (no 3rd valve slide
extension) as a substitute fingering which will slightly lower the pitch of E and A.

FINALLY, THE FLAT NOTES

Change of pace. You've heard of the terrible 2's? Well, here are the terrible 5ths.

High E, Eb and D are slightly flat, a tendency which is due to their being the fifth partials in the harmonic
series. Let me explain the harmonic series. You can understand how it is constructed by visualizing all the
open notes on your cornet or trumpet. Our low C is actually the 2nd partial of the series because the
fundamental or bottom note of the series is an octave lower. That fundamental note is not possible as a
playable note, but it still is the basis for our harmonic series. 2nd line G is the 3rd partial. 3rd space C is the
4th partial and and 4th space E is the 5th partial. Each fingering has its own harmonic series so there are

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seven harmonic series in all: 0, 2, 1, 1-2, 2-3, 1-3, and 1-2-3.

5th partials are always a little flat, hence E, Eb, and D are a little flat.

EVEN MORE HINTS

Singing the vowel "A" or "E" helps to arch the tongue and help to raise the pitch.
Singing the pitch to yourself will help your body react instinctively to raise the pitch.
Playing the notes softly helps to focus them more precisely.
Think of raising the pitch as "sweetening" them.
It is OK to substitute 1-2 (E), 2-3 (Eb), and 1-3 (D) only when all else fails. These fingerings are higher
in pitch, true, but there is a deterioration of the sound, hence the "last resort" suggestion.

I thought I was finished--but, if you glance back at the "SETTING THE INTONATION SCENE", I
mentioned the two intonation player problems: playing sharp in the upper register and playing flat in the
lower register.

Rats. It looks like we're stuck. Can't finish undone, but hang on, this won't take long.

THE "ME SHARP, YOU SHARP, EVERYBODY SHARP SHARP" UPPER RANGE

A large percentage of players are sharp in the upper register (above the staff). Many of these players have
their heads ducked too low and the instrument bell aimed too high. This causes a smile type of embouchure,
excessive mouthpiece pressure on the upper lip and a thin, sharp sound.

Hints:

Raise your head and lower your bell. It will not feel comfortable at first. That does not mean that it is
bad. It just means your muscles are working incorrectly and need to readjust. When you make that
head/bell adjustment, your corners will want to come forward some. They also may want to frown a bit.
This is all good because it brings your muscle tissue forward towards the mouthpiece rather than to
stretch away from the mouthpiece as it does in the smile embouchure.
Sing the vowel "OO" as in "Pooh". This also helps to shape your muscles and to open up your throat
rather than to close it in the upper register.
Sing the vowel "OO" with your head voice rather than your real voice. You will learn to get
"over-the-break" from your lower/mid register to your upper register by switching from your regular
voice to your head voice. As you progress, keep projecting your head voice down into your chest and
your throat will open more and more as will your upper register sound.

Employing the techniques just described will not only help you to play your sharp upper register lower and
more in-tune, but they will open up your sound at the same time. This is also how you build your upper
register.

Remember:

Head up/bell down

"OO"
Head voice

Drag yourself along just a bit more...the end is in sight.

THE "OH, NO, I'M TOO YOUNG TO BE SAGGING LIKE THIS" FLAT LOWER RANGE

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I'm only going to deal with one cause for low range flatness here. Many Times, Arial, Verdana, sans-serif the
flatness is due to an aperture which is too large because an insufficient amount of lip tissue is in the
mouthpiece. Remember that the fleshy center portions of both lips must be completely inside the inner rim of
the mouthpiece. Here's an exercise to help you find the correct mouthpiece placement.

Close your teeth gently.

While your teeth are together, roll your lips in while saying "DIM". Try to make all of your lips
disappear. Feels like it does when you put your teeth in the glass on your nightstand just before going to
bed and then rubbing your gums together.
Place the mouthpiece on your lips (Try for 50% upper lip and 50% lower lip). Also make sure the rim
is completely over your two Bugs Bunny teeth.
Play. Let your teeth open slightly but keep your lips stay in place. It helps to feel that you are exhaling
or sighing rather than blowing the air. Blowing tends to blow your lips back out of the mouthpiece.
Sing "E" or "A" and do all the same stuff that was suggested for raising the fifth partial flat notes.

That's the end of the road. What a long road that was. Consider all these ideas. Some are short-term
and some are long-term. All will make you a better player. I'm always glad to answer your questions.

Intunally yours,

Carter Eggers

Carter Eggers, Professor of Trumpet

Eastern Michigan University
carter.eggers@emich.edu
734.487.4335

Return to: Wind/Percussion Homepage

Visit: EMU Music Homepage
Visit: Eastern Michigan University's Homepage

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