Hi Euphonium friends, I play on a Besson Sovereign and I have noticed recently that my C on the staff and F below the staff (bass clef) are more in tune when played with 1st and 3rd valve and wicked flat when played with 4th valve. Is this a common issue? I know besson has really wonky tuning so I think this could be the main perpetrator of this issue.
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1+3 vs 4
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That is not all that unusual. For me I find 13 works a little better sometimes, depending on context. I think I've seen David Childs do the same thing. Whether it works for any player would be a combination of player, mouthpiece, instrument, context, and possible temperature (because sharp/flat tendencies can get a little wacky when the instrument gets quite warm or cold). If it works, don't sweat it!Dave Werden (ASCAP)
Euphonium Soloist, U.S. Coast Guard Band, retired
Adams Artist (Adams E3)
Alliance Mouthpiece DC3, Wick 4AL, Wick 4ABL
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As Mr. Werden said, it seems to depend on context quite a bit. I've found something similar with my horn too, I've been using 4th on those 2 notes, and 3 for the G on the staff. In the past month, I've noticed that I can use the typical fingering of 1+3 and 1+2 respectively and still get notes that are in tune. But most of those notes are towards the sharp side with around 2 notes that are stubbornly flat.
The only notes that I have to use alternative fingerings to be in tune seems to be the upper ranges, the high Eb especially (1+3 instead of 1)."Never over complicate things. Accept "bad" days. Always enjoy yourself when playing, love the sound we can make on our instruments (because that's why we all started playing the Euph)"
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I asked David Childs about his doing this, and he says he thinks it has a little less resistance than 4th valve and he does it with full trigger. I think that if your 1st, 3rd, and main tuning slides are set in the right place, this should be a little bit sharp. But some instruments have tendencies that are a little bit different, especially with some player & mouthpiece combinations.
Have you set the 2+3 combination so that Gb and Dd are in tune? Often players of 3-valve non-compensating instruments will set the 3rd valve a little bit long so that 2+3 combos are flat but so that 1+3 combos are in tune and 1+2+3 are closer.--
Barry
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Originally posted by John the Theologian View PostOn my Mack Brass the low B natural is very flat with a 2+4 combination, but is much more in tune with 123. It doesn't seem to make as much difference with the low C if I use 1+3 or 4 alone.John Morgan
The U.S. Army Band (Pershing's Own) 1971-1976
Adams E3 Custom Series Euphonium, 1956 B&H Imperial Euphonium,1973 F. E. Olds & Son Studio Model T-31 BaritoneAdams TB1 Tenor Trombone, Yamaha YBL-822G Bass Trombone
Year Round Except Summer:Kingdom of the Sun (KOS) Concert Band, Ocala, FL (Euphonium)Summer Only:
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I was thinking the same thing as Barry (4th valve tubing too long). Try this:
Play your middle F concert (G in treble) open. Then play it with 4. You should be able to make the pitch with 4 match the pitch with open. If the 4th valve version is too low to match, then for sure the 4th valve slide tube is too long.Dave Werden (ASCAP)
Euphonium Soloist, U.S. Coast Guard Band, retired
Adams Artist (Adams E3)
Alliance Mouthpiece DC3, Wick 4AL, Wick 4ABL
YouTube: dwerden
Facebook: davewerden
Twitter: davewerden
Instagram: davewerdeneuphonium
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