tuning

[Jack Denniston]

If you want to download (free) for a "test drive" something very similar to the tuning cd mentioned by Mr Chisham, check out http://members.cox.net/jazztrombone/tuningcd.htm.



I downloaded this and enjoyed the "test drive". I have a question about the instructions for its use-

The trombone/euphonium instructions, step 2, say to play track 11 (Ab) and then. steps 4-7 play a Bb on your instrument. Is that correct, or should the instructions say to click on track 1 (Bb) and then play a Bb on your instrument?

Thanks,

Jack

[JB]

If you want to download (free) for a "test drive" something very similar to the tuning cd mentioned by Mr Chisham, check out http://members.cox.net/jazztrombone/tuningcd.htm.



I downloaded this and enjoyed the "test drive". I have a question about the instructions for its use-

The trombone/euphonium instructions, step 2, say to play track 11 (Ab) and then. steps 4-7 play a Bb on your instrument. Is that correct, or should the instructions say to click on track 1 (Bb) and then play a Bb on your instrument?

Thanks,

Jack

The two discs serve the same purpose, but the “Test-Drive disc is arranged better for brass (at least Bb fundamental brass), and the order of the tracks is slightly different.

Your Downloaded……………………Similar (but not exactly the same)
“Test-Driveâ€

[Rick Denney]

There's actually a deeper philosophical question here that I find interesting. We live in a world basically made up of square waves; either an electron is there or it isn't; either a neuron fires or it doesn't;a molecule impinges on our eardrum or it doesn't.

The question is granularity, of course. If the grains are small enough, they are too small to detect in the singular, in which case can only be detected en masse. The result appears to be a smooth curve.

On the question of overtones, I agree. A true square wave is not particularly listenable because of the energy in the upper harmonics, but the approximations to which we are accustomed might peel off enough of that crispiness to make it acceptable. And, yes, it might be that such a sound blends better than something with the mix of even-order harmonics that brass instruments have. It is true that the harmonics that are present in tubas are tightly linked to the taper design--some tapers can produce a sound with even-order harmonics, and others with dissonant harmonics.

The true sine wave, though it is the most efficient tone (providing the highest sound pressure level for a given input power), is not particularly listenable. That's why I don't like the phrase "rich in fundamental"--I don't want a sound like a pure sine wave.

A good sound is always a matter of opinion, but most symphony tuba players I know want a sound with enough complexity to maintain its characteristic tone to the back row. That is not a "blend" objective, but then too much blend robs orchestrated music of the color that is the reason for having different instruments. Wind ensembles blend better, and don't have that same wide color palette.

Rick "who doesn't mind counting rests as long as the tuba part, when if finally arrives, does something only the tuba can do" Denney