Sixth partial ( part one)
Hi everyone, I make some personal considerations on the sharp sixth partial in brass instruments in general and on euphoniums in particular. As far I know, the harmonic partials of brass instruments have a definite behavior with respect to the equal temperament: 1st, 2nd, 4th and 8th are in tune, 3rd, 6th, 9th and 12th plays lower slightly sharp, 5th and 10th raise lightly flat, and 7th and 11th plays very flat, normally unusable. Now, based on my experience which dates 56 years of practice playing brass instruments, but in total does not reach the ten among the various euphoniums, tenors, baritones and trombones, I noticed that the sixth partial was always very sharp in all instruments that I have played ( on some more than others and not on all positions, even on the trombone, which clearly matches perfectly with the coulisse, if it is held in position without moving it between the various partials, the sixth plays sharp.) Now, coming to the point, my latest addition, a 1973 Besson New Standard with three compensated valves, is perfectly in tune on all notes except the sixth partial which is very high. My 2007 2052 Prestige is also high on the sixths, but not as well as the new standard and can be easily managed with the trigger, but also with the lips or alternative positions. For the alternative positions it is necessary to distinguish between the instruments with three and four compensated valves; in those with four the alternative positions for the sixth partial are identical to those for the uncompensated instruments: the combination 1-3 can be used for F 5th staff which, being a 7th partial should give a very flat note but, having a combination of length of the tubes of the bore shorter than necessary, the result i a perfectly note in tune. The same reasoning applies to the G above the staff, obtainable with 1-2 (7th partial). The F# i generally acceptable with the correct position (2), or even 2-4 (8th partial), while 2-3 (7th partial) is very flat. With the New Standard ( 3 compensated valves), however, a problem arises: while for G above the staff, which played without operating any valves (6th partial) is 40 cent sharp, while if obtained with 1-2, having 1-2 a length of the tubes less than necessary, the G is tuned. The F# can be obtained with 1-2-3, normally very sharp in no compensated instruments (8th partial) but with the addition of the pipe portions of the compensation circuit, it is in tune.
Last edited by franz; 09-19-2021 at 01:16 PM.
2007 Besson Prestige 2052, 3D+ K&G mouthpiece; JP373 baritone, 4B modified K&G mouthpiece; Bach 42GO trombone, T4C K&G mouthpiece; 1973 Besson New Standard 3 compensated valves, 3D+ K&G modified mouthpiece; Wessex French C tuba, 3D+ K&G modified mouthpiece.