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A chromatic scale exercise from Arban's Method. Arban's series on scales includes studies of major, minor, and chromatic scales, as well as numerous variations thereof. Arban admits to giving minor scales "limited treatment," but Gordon refutes this by citing the nonexistence of "limits on the use of the Trumpet and Cornet." [3]: 57
List of musical scales and modes Name Image Sound Degrees Intervals Integer notation # of pitch classes Lower tetrachord Upper tetrachord Use of key signature usual or unusual 15 equal temperament: 15-tet scale on C. Play ⓘ — — — 15 — — — 16 equal temperament: 16-tet scale on C. Play ⓘ — — — 16 — — — 17 equal ...
On a Bb trumpet, the chromatic scale from F# below middle C to high C, is identical to the piccolo's F# below high C to double high C fingering. (Above that is a matter of chops, not fingering.) Going down from F# is a matter of goofing around for a few minutes to figure out which ones work.
The very first designs of keyed trumpet were intended to correct the intonation of the notes in the harmonic series, rather than to extend its capabilities to a full chromatic scale. [5] The harmonic trumpet, a silver trumpet in E♭ with crooks for D, C, and B♭ and four keys, was made by London instrument maker William Shaw for King George ...
Chromatic scale drawn as a circle The diatonic scale notes (above) and the non-scale chromatic notes (below) [2] The twelve notes of the octave—all the black and white keys in one octave on the piano—form the chromatic scale. The tones of the chromatic scale (unlike those of the major or minor scale) are all the same distance apart, one ...
The diatonic scale notes (above) and the non-scale chromatic notes (below) [13] Medieval theorists defined scales in terms of the Greek tetrachords. The gamut was the series of pitches from which all the Medieval "scales" (or modes , strictly) notionally derive, and it may be thought of as constructed in a certain way from diatonic tetrachords.
This group of lessons ends by introducing accidentals for the chromatic scale. The remaining 51 exercises in the last sixteen lessons introduce sixteenth notes and triplets while visiting all major keys in order of increasing number of flats and sharps. At the end of the thirtieth lesson, there is a 63-measure comprehensive study in 3
The bottom line, indicating first-partial pedal tones, is not usually used by trumpet or horn. The seventh partial (B♭ on trumpet) is flat relative to equal temperament, and thus its use is also avoided. This method is impractical in the altissimo range, because of fingering differences between horns. [citation needed]