Experiment with other scales and arpeggios while “reading from” the corresponding tones (black dots) in the Chart. Also some lip-slurred chromatic scales “against the grain” in the upper treble clef-good for emboucher building! Also some lip-slurred diminished-seventh arpeggios, tracing minor-third increments between adjacent harmonics. While looking at the ETSP Chart, try playing some lip-slurred whole-tone scales: major-second increments between adjacent harmonics “against the grain” (up and down) from around the top of the bass clef up into the treble clef. Although different real instruments played by the same player (and the same instrument played by different players) will differ from this “theoretical” natural-harmonic model, the correct practical positions on well-designed instruments will not vary by more than a few millimetres. See the ETSP Chart for the Bb trombone (without attachment), below. A more precise graphical portrayal of Equitempered Tones (vertical axis) versus Slide Position extension (horizontal axis) results in a good representation of where to find equitempered tones-the ETSP Chart. So all these tones require slide-position adjustment for equitemperament, as shown precisely in Mark McDunn’s diagram.Īnders Larson’s Digitaltrombone chart (from the second to the twelfth harmonic) is qualitatively correct, but quantitatively fairly “approximate”. essentially half-way between reference positions) the thirteenth is 41¢ sharp the fifteenth is 12¢ flat (2¢ sharper than the fifth harmonic or 14¢ flatter than the third). twice as sharp as the third) the eleventh and twenty-second are 49¢ flat (i.e. In these fixed reference positions, compared to their nearest (in frequency) equitempered tones, the third, sixth, twelfth, and twenty-fourth natural harmonics are all 2¢ sharp the fifth, tenth, and twentieth are all 14¢ flat the seventh and fourteenth are 31¢ flat the ninth and eighteenth are 4¢ sharp (i.e. The reference positions correspond to fixed positions for natural harmonics one, two, four, eight, and sixteen. We must add seven new (different) positions for each odd harmonic above that. Mark McDunn’s “The 51 Positions” chart goes from the first natural harmonic (pedal) up to the sixteenth harmonic. When they get note-wise close there is just not enough room to display everything on paper, but the mind's eye can zoom in on the detail to follow the paths. And most charts do not well handle the compression of partials as they go up. The ear can then recognize in aural context there are position paths available for play, not just notes.Īnyway, this chart does not support that kind of thing. So melody becomes a path of connected positions in the chart. (Lower in his visual model is higher in pitch-don't get that part.)Īnyway, the internal visual model allows one to think visually about lines, and Greg does that in his chart. The best representation of such chart I have seen is in Greg Waits' book, but for some reason his internal model is upside down relative to mine. What I mean by internal model is an internal visualization of the position chart. It`s alright, but the slide became crap really fast.This chart does not align with my internal model, though it seems pretty accurate for someone with a horn that behaves in that way on his own face. I bought the Jupiter just because i thought it was cool. If you bought a Thein or Miraphone soprano and spent that kind of money on it, you`d know what you were doing with it before you ever shelled out that money. BUT i`m assuming you bought a Jupiter soprano for like 300 bucks. The slide positions will all be relatively the same as a tenor trombone in relation to the bell. A soprano trombone has a moving handslide and stationary bell. Most slide trumpets had a 4 note capacity to them. Slide trumpets were medieval instruments in which the bell moved back and forth, not the handslide. And waht he is talking about IS NOT A SLIDE TRUMPET. 3rd space on tenor clef reads as a B on tenor, but you move them up spaces and lines like you would treble. 3rd space on treble is a trumpet C which transposes to a trombone Bb. (and also add 2 flats to whatever the key signature is to make it bass)It`s also just like reading tenor clef. To convert treble into what you would see for bass clef, move any note on a space up 2 spaces, or if on a line move it up 2 lines and it will look like it should for bass clef. Soprano trombone can either transpose a trombone part up an octave, or you can read it treble from a trumpet. The only thing that really uses soprano clef is a Viola. Ummmm the soprano clef has nothing to do with the instrument being called soprano.
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