| Trumpet: | 1200 |
| Trombone: | 326 |
| Alto Sax: | 227 |
| Tenor Sax: | 114 |
| Baritone Sax: | 15 |
| Other horns: | 4 |
| Author | Message | |
|---|---|---|
|
skaman31689
User |
Posted: 2006-07-17 18:17 CEST | |
|
I casually browsed the rest of the topics in the "Trumpet" section and I didn't see a thread started on this already. So, the simple question is: What are the alternate fingerings for some notes? I believe any note that's played with 1-2 can also be played with just 3. But I was wondering if there were any more. Keasbey Nights is kind of hard to play because my fingers are moving pretty fast so I was wondering if it was possible to play it to make it less stressful on the fingers. Alternate fingerings include...? |
||
| Web Mail | ||
|
Skow
User |
Posted: 2006-07-18 06:37 CEST | |
| There are many Alt Fingerings, but it is too late and I am too tired to list them all. If you play around with em youll discover a lot of em. You are on track for 12 being 3 as well. E in the space can be fingered 0,12 or 3. 13 can be used for G B D natural. A cool effect you dont come to that often in regular band music but do in Brittish brass band literature are tremlos. You play the note written and trill with the alternate fingering to get a very cool effect. A popular trumpet move with that is when it is used on E in the space and tremlo with 3 and open to produce a one of a kind sound. I wouldnt suggest using alt fingerings for playing tunes that are tricky for your fingers. I would reserve them only for tremlo/effect and lip drills. I hope that helps. | ||
|
skaman31689
User |
Posted: 2006-07-18 21:37 CEST | |
|
Thanks mate! Anyone else want to give an extensive reply with a list of them all? Maybe it should be posted in the 'Articles' section if Sander ever gets back. |
||
| Web Mail | ||
|
SeverFire
User |
Posted: 2006-07-19 02:03 CEST | |
|
I have a pretty easy method for figuring out alternate fingerings. Start with an open fingering, and play the lowest note you can (so it would be a C below the staff in this case), then slowly lip slur up to the next interval (which would be a G, C, E, G, etc.) Do this for each fingering going down the line -- 2, 1, 12, 23, 13, 123. So the last one for example, using 123, you'd start on the low F#, and slur up to a C#, then the alternate fingering F# in the staff (I think), then just keep on slurring up and at every interval you'll have to tell by ear (or mess around with notes around it or whatever) which note you're playing. Hope that made sense, and I'd probably take the time to list them all, but I still can't play yet because I got my wisdom teeth pulled. |
||
|
skaman31689
User |
Posted: 2006-07-19 06:45 CEST | |
| I understand. That makes /perfect/ sense too. I'll have to try it out and see if I can make a chart or something. I don't want to have to keep on doing that to figure it out. Thanks though. | ||
| Web Mail | ||
|
Faulk
User |
Posted: 2006-07-19 11:38 CEST | |
| Ayup, these are cool. But some of them are slightly out of tune so remember to be careful if you're using these with accompaniment (spelling?). Sometimes you might be able to cancel that out with your slides but I don't know because I never use my slides anyway. | ||
|
Spaminator 3000
User |
Posted: 2006-07-23 19:00 CEST | |
| Yeah, I agree with Skow--don't use alternate fingerings for tricky passages, just work on them with regular fingerings and improve your dexterity. As you move into the upper range, valves almost aren't necessary to get different pitches. (I figured all this out from missing notes :)). For instance both F#3 and Ab3 can be played with valves 2 and 3. A pitch somewhere between A3 and Bb3 can be played open and a G3 can be played with 1 and 2. I can play a B3 using 1 and 2, just 2, or just 3. And once you get above C3, valves don't change the pitch very much any more. Anyway, I hope this was somewhat helpful. | ||
|
SeverFire
User |
Posted: 2006-07-24 05:12 CEST | |
| True; supposedly in the very high range, you can play an entire scale all open fingered. | ||
|
Spaminator 3000
User |
Posted: 2006-07-26 17:42 CEST | |
|
That'd be crazy...I'd love to see someone play an entire scale without valves. Just some more random info for your alternate fingering quest: Pushing a given valve always drops the pitch the same interval from the next highest open note. The first valve lowers the pitch a whole step, the second lowers it a half step and the third lowers it a minor third (3 half steps--though, as people have mentioned, it's slightly out of tune). Anyway, that's why 1 and 2 are the same as just 3--they both lower the pitch a minor third. (A whole step + a half step = a minor third.) So the most one can lower the pitch from a given open note (without changing embouchre, airflow, etc.) is a dimished 5th (e.g. C1 to F#1, G2 to C#1, E2 to Ab2, etc.) Anyway, the only thing I really use alternate fingerings for are trills (like Ab to A...nearly impossible without using just 3rd valve for A) and arpeggios. In any two octave scale, the entire arpeggio can be played using only two different fingerings. For instance, take G-- G1 (1+3), B1 (2), D1 (1+3), G2 (1+3), B2 (1+3), D2 (1+3), G3 (1+3). The second note in the arpeggio is always the oddball. Anyway, hope this helps. |
||
|
therat
User |
Posted: 2006-08-14 22:03 CEST | |
|
[quote="Spaminator 3000"]That'd be crazy...I'd love to see someone play an entire scale without valves. [\quote] My trumpet teacher can play the chromatic scale with no fingers at all. It's amazing. |
||
|
Asian Man
User |
Posted: 2006-08-27 05:30 CEST | |
| Therat, I can also do the chromatic scale without fingerings but haven't gotten up to past high G ( top of staff) Okay the thing about alternate fingerings is yes they can help you play some tricky stuff, trills and shakes but in the most case they aren't in tune or have a unacceptable tonal quality. You can see by playing high G with just open, 12, 13, 3 and play it with a tuner. You'll notice with just your ears they'll sounds brighter and thinner and with the tuner they'll either be sharp or flat. | ||
| Web |
||
|
SeverFire
User |
Posted: 2006-08-27 08:47 CEST | |
| True - alternate fingerings will almost always make the note tuned differently. But this can be an advantage for some players, for example, if their E is always out of tune, they can use 12 to make it more in tune. | ||
|
trumpeteer
User |
Posted: 2006-09-17 06:04 CEST | |
simply for keasby nights, to answer your question, to make it easier to play that first line make the b natural played as 1 and 3 and the b flat as 1 2 and 3, so its much much easier on the fingers (you're only pushing down the middle valve) 
|
||
|
marty
Moderator |
Posted: 2006-09-17 18:36 CEST | |
|
That's senseless. You're going to be out of tune for something you can easily do with regular fingering. Just practice it slowly, speed it up and you'll be set. |
||
|
skajunkie
User |
Posted: 2006-10-26 03:09 CEST | |
| yeah....im not quite sure....but i thought i did keasby nights just fine...with regular fingerings...a long time ago. anywho. i use alternates....when i desire...like...sometimes sluring from an A to G# ill use the third valve for A ..and ...i was curious...on my trumpet i can lipslur between A and G above the staff fairly simple...by holding 1 and 2...is this just me? ...or am i alone...sometimes when im cold it pisses me off cause i hit the G when i want the A ....but in jazz it sounds rad! | ||
| Web |
||
|
SeverFire
User |
Posted: 2006-10-26 05:39 CEST | |
| Yeah, it's weird when it's cold, it's a lot easier to crack up to higher notes by accident. | ||
|
mgtrumpet
User |
Posted: 2008-04-07 05:50 CEST | |
|
All the upper notes that have different fingering for the note in the lower oct. can be played using the fingering from the lower note. Like d2 can be played with the d1 fingering of 1,3.
|
||