All professionals are constantly making minor adjustments. Never treat the slides as if they are «set forlife«. From this point, you may choose to make minor adjustments to suityour particular instrument, your particular playing/intonation needs or to suit aparticular musical selection or passage. This method for tuning should result in a good starting point fortuning your instrument. (Note: With the major third 5th valve, many find it lessnecessary to use the extra length on the 3rd slide.) Before moving on, check the 4 and 5combination for intonation. The 5th valve as a major third (2 and 3 combination), should be tuned to asolid major third below the open 2nd partial. The 5th valve as a flat whole-step, should give the perfect fifth below theopen 2nd partial when used in combination with the 4th valve (CC tuba, F F tuba, BBb).With the 5th slide pulled adequately to play the 4 and 5 combination in tune, this shouldgive enough length to play other low tones which use the 5th valve in combination withother valves in tune. In fast passages, eitherfingering should work. With a slight adjustment to the 1st valveslide when this fingering is used, this should work well. Ifthe 3rd valve has slightly more length as with the previous tuning procedure, then the 1and 3 combination should be only slightly sharp. If this leaves the whole-step above the open 2ndpartial slightly flat, then the 1 and 3 combination should give a usable alternative. This low note is always important in typical tubaparts and should be solidly in tune. The fourth valve is now tuned to a perfect fourth below the open 2nd partial(BBb tuba,F CC tuba, G F tuba, CC). The compensated length should still allow for performing the 1 and 1/2 stepbelow the open 2nd partial with 3rd valve alone rather than 1 and 2. In our country, the 3rd is seldom usedalone and the additional length will help intonation when 3rd is used in combination withother valves. Before moving on, however, check the 2 and 3 combination in the low register.If this is sharp, pull the 3rd slide to compensate. The 1 and 2combination in this register is invariably sharp and the 3rd should give a betteralternative. This is tuned to a clear 1and 1/2 steps below the open 2nd partial (BBb tuba, G CC tuba, A F tuba, D). The third slide tuning is particularly important. Next adjust the 1st valve to a clear whole-step below the open 2nd partial.Check the upper harmonics. Then check the upperharmonics and make adjustments only if absolutely necessary. This should be an accurate half-step thatsettles solidly in tune in the low register with a rich open sound. This compromisemust be worked out separately for each instrument and each player.Īfter arriving at a workable compromise on the open tuning, tune the 2nd slideto a true half-step below the open 2nd partial. In some instances, additional adjustment to the slide maybe necessary to help overcome intonation deficiencies of the instrument. Tune this note with the main tuning slide,then check the other open notes. In order toassure the instrument«s best performance in this register, it is of particular importancethat slides are correctly tuned.įor these reasons, I prefer to tune to the open 2nd partial (on BBb tuba, lowBb on CC tuba, low C on F tuba, low F) first. Also, it is generallyeasier to adjust intonation upward by lipping slightly in the upper register than it is to«lip down« in the lower register and preserve power and tone centering. A slide that is too short will cause the greatest trouble in the lowregister where most players tend to play sharp more often than flat. One must think so muchabout air flow, tone and projection, it is helpful not to be concerned with adjustingintonation radically. Also, since many of our louder volumes in ensemble situations are done in the lowregister, it is an asset to have this register tuned accurately. «Lipping«in this register often results in more distortion of sound, particularly with youngerplayers. The primary register for tuba use is the low register as this is the onlyinstrument capable of performing the lower notes with power and a broad tone. Without refuting any method, I offer mypreferred method. Properadjustment of all slides is essential for the best response, intonation and evenness ofthe instrument.Īll tunings are a series of compromises - no system results in a perfectlytuned instrument. Tuning must involve more than merely adjusting the main tuning slide. This is particularly important in order to evaluate aninstrument. (Either click on the above link or close the browser window with the x to close this window)Īn organized and orderly tuning method is essential for optimalperformance of an instrument.
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