{"id":76,"date":"2021-04-09T18:49:21","date_gmt":"2021-04-09T22:49:21","guid":{"rendered":"https:\/\/blogarchive.utc.edu\/erika-schafer\/?page_id=76"},"modified":"2021-04-09T18:49:21","modified_gmt":"2021-04-09T22:49:21","slug":"trumpet-tuning-tendencies-relating-to-the-overtone-series-with-solutions-2","status":"publish","type":"page","link":"https:\/\/blogarchive.utc.edu\/erika-schafer\/trumpet-tuning-tendencies-relating-to-the-overtone-series-with-solutions-2\/","title":{"rendered":"Trumpet Tuning Tendencies Relating to the Overtone Series with Solutions"},"content":{"rendered":"\n

The fundamental of the overtone series does not exist as a real note on the trumpet.  The first member of the overtone series that exists on the trumpet is the first overtone, or second harmonic.  I refer below to the open\/valveless overtone series as a reference point, but these tuning tendencies apply to valved series as well.  In relation to equal temperament, the notes in the overtone series are out of tune as follows:<\/p>\n\n\n\n

First overtone (low C)        <\/td>in tune<\/td><\/tr>
Second overtone (second line G)   <\/td>2 cents sharp<\/td><\/tr>
Third overtone (middle C)  <\/td>in tune<\/td><\/tr>
Fourth overtone (top space E)   <\/td>14 cents flat<\/td><\/tr>
Fifth overtone (top of the staff G) <\/td>2 cents sharp<\/td><\/tr>
Sixth overtone (Bb above the staff, played open) <\/td>31 cents flat<\/td><\/tr>
Seventh overtone (high C)   <\/td>in tune<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

These numbers vary slightly from trumpet to trumpet, but the tendencies are the same, except for a rare exception.<\/p>\n\n\n\n

Because it is so out of tune, the sixth overtone is never played open; it is played first valve.  Therefore, this is technically an alternate fingering, but has become standard.  Refer to fingering charts for how to play the sixth overtone in each overtone series.<\/p>\n\n\n\n

To make it easy, here are some other notes that tend to be out of tune on the trumpet, mainly because of the presence of valves, which makes it impossible for the trumpet to be completely in tune.<\/p>\n\n\n\n

Low C#, D  <\/td>very sharp<\/td><\/tr>
Low E     <\/td>sharp<\/td><\/tr>
Second space A   <\/td>sharp<\/td><\/tr>
A above the staff       <\/td>sharp<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

Here is a summary of the typically out-of-tune notes on the trumpet:<\/p>\n\n\n\n

Low C#, D  <\/td>very sharp<\/td><\/tr>
Low E<\/td>sharp<\/td><\/tr>
Second line G <\/td>sharp<\/td><\/tr>
Second space A    <\/td>sharp<\/td><\/tr>
Fourth space C# through top space E   <\/td>flat<\/td><\/tr>
Top line F through top of the staff G<\/td>sharp<\/td><\/tr>
A above the staff    <\/td>sharp<\/td><\/tr><\/tbody><\/table><\/figure>\n\n\n\n

Use slides to fix sharp notes whenever possible.  The third valve slide should be used for the low C# and D.  The first valve slide should be used for all other sharp notes that use the first valve (low E, second space A, top line F, and A above the staff); the first valve slide will probably only need to be moved slightly for these notes.  This leaves the flat notes and some sharp notes (second line G, top line F#, top of the staff G) that one must now \u201clip\u201d in tune.  This involves directing the air stream upwards for flat notes and downwards for sharp notes.  The challenge then also becomes to play these notes with as beautiful a sound as though you are playing through the center of the horn.<\/p>\n\n\n\n

Some other thoughts:<\/p>\n\n\n\n