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  • Intonation Problems of The Euphonium

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    90 visualizações4 páginas

    Intonation Problems of The Euphonium

    Enviado por

    api-429081840

    Direitos autorais:

    © All Rights Reserved
    Baixe no formato PDF ou leia online no Scribd
    Sinalizar o conteúdo como inadequado
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    Instrumentalist Classic Intonation Problems of the Euphonium This gem from ow archives originally appeared in the May 198] issue of The Instrumentalist thorough discussion of the ‘euphonium’ intonation prob- sms, along with their possible Solutions is a lengthy and_ complex undertaking. Such a discussion involves an. examination of several interrelated factors common to all brass instruments, especially those with valves. Instrument manufacturer and design considerations, the concept of compromise tuning, the individual player's intonation tendencies, mouth- piece size, temperature, and. several other variables are a part of this com- plexity. Running throughout this entire discussion is a thread of logic and related ideas that will enable both teachers and performers to handle the problems in a knowledgeable and con- fident manner. The intent of this arti- cle is to condense as much information as possible into simpler concepts ~ information that can be filed away in the immediate memory and used on recall. The more a performer knows about the intonation tendencies of the euphonium, whether a student or experienced teacher, the more easily he can deal with day to day tuning problems. It is much easier to react quickly and confidently when know ing what to expect ina given situation. One of the first concepts a teacher or performer must understand is that of compromise tuning, Instrument manu- facturers are faced with the fact that intonation on all brass instruments is inherently imperfect. They can only try to minimize or balance out the tun- ing problems. In designing an instru- ment, the maker has to decide how sharp he ean allow a given note to be, realizing that if he lowers ie any more he will make some other note too flat. Problems of this type fall into two 38. meoesMIETALIST /NOWEMRER 203 By Royce Lumpkin basic categories: natural: overtone series discrepancies and valve combi- nation discrepancies ‘Overtone Series Discrepancies The overtone series, also known as the harmonic series, can best be defined as the various frequencies, from lowest to highest, that may be generated in a given length of rubing ‘The overtone series for euphonium displays the characteristic pattern of intervals that is common to all the other brasses: the octave, perfect 5th, perfect 4th, major 3rd, minor 3rd, tminor 3rd, and major 2nd, ete. = SSS The frst note or partial isthe funda- mental and is also referred to as a pedal tone, The second note is the second partial as well as the first overtone. Because the notes of an overtone series are derived from laws of physics, vari ous frequencies do not agree exactly with our man-made system of equal temperament, the division of the ‘octave into twelve equal pars. When compared with equal temperament, the following results are obtained: Partials 1, 2, 4, and 8 are in tune with each other and coincide with equal tempera ment (all Bis). Partials 3, 6,9, and 12 are sharp co varying degrees (Fs and high C). Partials 5, 7, 10, and 11 are flat to varying degrees (Ds, A®, and E). ‘Because the bulk of the euphonium’ standard playing range falls between partials | and 8, a performer can sim plify and condense this information: Partials 1, 2, 4, and 8 (all Bs} are in tune. Partials 3 and 6 (Fs) are sharp. Partials and 7 (Dand As) are flat. Of these, partial 3 is so slightly sharp it can ‘be comrected easily by the cembouchure, while partial 7 is too fla to be used, This leaves only partial 5 (moderately flat) and partial 6 (notice ably sharp) that are of concem, Te is helpful to remember that the partials are out of tune to a degree thar corresponds to their numerical onder: partial 3 is the least out of tune, fol lowed in order by partials 5, 6, and finally 7 Harmonic Modes Another term needs to he defined in coder to grasp the implications of the cout-of-tune partials. A harmonic mode results from the lowering of any open tone chromatically through the normal descending chromatic valve sequence. Each note of the harmonic mode is the respective 4th partial of that valve setting’s overtone series. For example, the G is the 4th partial of the 1-2 over- tone series. Each note in a given har ‘monic mode assumes the same intona- tion characteristic as the open valve note because they are all derived from the same respective partial Valve Combination Discrepancies ‘The second major area of inherent tuning problems on the euphonium is that of valve combination discrepan- cies, Manufacturers of valved instru- ments have long wrestled with the problem of compromise tuning. They kknow that they can make che separate valve slides the correct length to lower each valve an exact amount. The second valve slide lowers the ‘open tone one-half step, the first valve slide lowers a whole step, and the third valve slide lowers the open horn one and one-half steps. It is not until che valves are used in combina- tion that serious fntonation problems Valve Slide Length Examples ieee ling Eee I ont se ‘for Individually Correct Intonation witha longer pece of tubing than the

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