Tuning, Centre Slotting - The Harmon Trick

It is very important to always pitch each note in the centre of your instruments slot band.
If you pitch a note too low, or too high there will be a loss of resonance resulting in a significant loss of power and tone. Having the right equipment to help with this centre pitch slotting, i.e. a trumpet that has been designed to have well defined slotting, coupled with a balanced mouthpiece, is obviously beneficial, but not a complete solution in itself.
When you need to be in tune with other players; i.e. when playing in a band or orchestra, it is very important not to get pulled out of the centre slot band for your instrument, hence your instrument's tuning needs to be set correctly to enable you to play in tune and on resonance. Often players hear the tuning note they need to match, and their ear locks on to this enabling them to play ‘in tune’ even though the instrument tuning is not set correctly, hence the note can be forced (pulled) off slot centre. Playing like this will significantly reduce endurance, as the player has to work harder at producing a good sound with sufficient power.
A very neat and simple way to help ensure you are pitching in the centre of each note on the trumpet is to use a good quality Harmon mute with the stem removed. With the stem removed, the Harmon mute will only buzz loudest when you play in the centre of the pitch. If you bend the note up or down from centre, the buzz will get quieter, and if you bend it far enough it will stop completely, making a dull sound.
When tuning up at the start of a rehearsal or concert, I recommend you test your tuning in this way, and re-check occasionally, especially with changes in ambient temperature.

4 comments:

Anonymous said...

Hi there, great blog.

I'm an ex-pro who got back into playing and am trying out the Callet TCE method (DVD on the way, my teacher had a lesson with Callet in Dec, so I got a bit of stuff from him as well), your site is very useful, but I have one question, please tell me this:

You say that the tongue must be 'touching the cutting edges of the top teeth at all times'. I am stuck with getting my head around this! I understand the tongue and BOTTOM lip must always touch, but if the tongue is always in contact with the top teeth, where does the air go, through the teeth? Any help would be appreciated.

Cheers

Dave

David said...

Hello Dave,
Thanks for your feedback. I’m very pleased to hear that you have found my blog helpful.
When you blow a sound the tongue pressure on the upper teeth shifts slightly to allow the air to pass over it. You should still be able to very lightly feel the top teeth with your tongue when you blow a note. Without the instrument (spitbuzz) try pushing the tongue hard and forward against the inside of the top teeth and then blow to create the spitbuzz sound. You will feel the air passing over the tongue, and feel it being pushed back slightly away from the teeth, but you will still slightly feel the teeth with your tongue.
Hope this helps. Please let me know how you get on.

David.

walfer said...

Allah's okay.
First I apologize for spelling errors because I can not speak English and I'm using
google translator to communicate.
Would you like to contact my email because I had this class here in Brazil with tecinca representative Jerome Callet financially more a matter I had to stop lessons, would you give me some pointers as>
what position the tip of Ligua should be in the attack of the note. (behind the teeth or on top of the lower lip.
The tip of the tongue to strike the note he can not enter inside the mouthpiece?

Please contact my e-mail - w_davilla@hotmail.com

walfer said...
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