[Trombone-l] How to learn about F attachment

[Michael D McLemore]

Same here.  Not only does it give you a more usable low C, but it keeps the
valve positions closer to the Bb positions.  To compensate for the f being
flat in first, I never play my 1st position "all the way in." I guess it
goes back to the old Conns with the springs at the top of the slide. 

Mike 

Michael D. McLemore
mmclemore at charter.net
 
 
 
-----Original Message-----
From: trombone-l-bounces at maillists.samford.edu
[mailto:trombone-l-bounces at maillists.samford.edu] On Behalf Of Gabriel
Langfur
Sent: Wednesday, March 07, 2007 6:27 AM
To: Trombone-L List
Subject: Re: [Trombone-l] How to learn about F attachment

I do. Mostly they are bass trombone players who commit to playing low Fs on
the 2nd valve or in 6th - but I also know tenor players who use 6th for the
low F and keep their valve slide long enough to get a usable low C.

Gabe

----- Original Message ----
From: Wayne Dyess <TexasTbone at gt.rr.com>
To: Walter Barrett <walttrombone at optonline.net>
Cc: Trombone-L List <trombone-l at server5.samford.edu>
Sent: Wednesday, March 7, 2007 12:32:15 AM
Subject: Re: [Trombone-l] How to learn about F attachment


Actually, I don't know of any players who tune their F attachment on  
the C.

It ain't called the "F" attachment for nuttin', ya know.  Like why is  
it a Bb trombone?  Do we tune best on an "A"?  I think not.


On Mar 6, 2007, at 9:26 PM, Walter Barrett wrote:
>
> Tuning the F attachment usually falls into 2 camps- tune it so 2nd
> space C is in tune. (One disadvantage to this is that F in Valve 1st
> is then flat, and you have to play it in 6th all the time.) The other
> camp says to tune it so that low F is in tune. The 2nd space C will
> be sharp, but you can bring it down with the handslide, usually about
> 1/2-3/4 inch out from regular 1st. The disadvantage to this tuning is
> that low C (2nd leger) is more sharp than when you tune the other
> way, and has to be lipped down even more. (That low C is usually
> sharp, no matter which way you tune it. It's just more sharp with the
> F in tune method.)
>
> I like the low F in tune method, myself. I find myself wanting the
> availability of F in 1st AND 6th.
>
>
> Walter Barrett

========

But yeah, the "C" will be somewhat sharp.  Overtone series... same  
reason the 2nd line "F" is sharp on the Bb side of the horn.  Duh.

Al Lube laid out the overtone series great (a fine teacher I had at  
UofH).  All numbers.  Physics, but we won't go there.  Acoustics...   
whatever you want to call it.

1 - fundamental.  Gotta start somewhere.  This pup better be in  
tune!  Pedal Bb.
2 - the octave above.  Another "in-tune" note.
3 - here is the F in the staff.  It's sharp.  Note the odd number.
4 - another Bb.   Another note "in-tune."  Note the pattern of the  
Bb's and the numbers
5 - the D above the staff.  Flat.  Another odd number.
6 - the F above that.  An even number, but divide it in half and you  
get the 3.  Also sharp!
7 - Do we really want to go there?  VERY flat.  Rarely do we want to  
play the Ab in 1st.  Avoid it babe.
8 - The high Bb.  Another note "in-tune", if we aren't pinching to  
get it.

1,2,4,8 = Bb's, in tune.
3,6 = F (and sharp)
5,7 = flat and very flat.


It's all a numbers game.

Translate those numbers to the F attachment, beginning with the "F"  
as your fundamental, and you find the C is sharp.  It's just gonna be  
that way.  But mercy -- don't TUNE the thing to C.

That's another topic of discussion since I hear a LOT of bands tuning  
their brass to "F".  In my book, that's just flat out wrong and their  
bands don't play well in tune.  Can't imagine why.

It's a Bb Trombone!!!
Sometimes with an F attachment.

So tune it that way.

My two cents.
Rant over.

:-)
--Wayne Dyess



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