Sharp, flat and bekar are signs of alteration in music. How to play high notes on the trumpet Random and key marks

Greetings dear readers of the blog site. In this part, we will look at what sharp, bekar, flat are, but first we will need to recall the materials of this. This is the octave structure:

In the figure above, we see the main seven steps - these are do, re, mi, fa, sol, la, si. Now notice that a black key is adjacent between the white keys do and re. This key is located to the right of the key before and on the left side of the key re. We deliberately emphasize this moment, since the same key (note) is either on the right side or on the left side: it all depends on which adjacent key to look at.

Now we will consider this neighborhood of keys (i.e. notes) from the point of view of music in the Fl Studio program or using the piano (piano, midi keyboards), etc. Most importantly, we need to see these keys. Run the program and in add (i.e. piano) or if you have a piano, then you can test us by pressing the keys and listening to the pitch.

In Fl studio, to see all the notes you need to go to .

So: now we are considering notes that are within the 1st octave. Note ( before) by the sound below the note ( re). And accordingly, the note ( re) by sounding higher than the note ( before). Well, between these notes (do) and (re) there is another note, which is represented by a black key on the keyboard. The sound of this black key is above the note (to) and below the note (re), i.e. middle of these sounds.

What is Diez? A sharp is an increase in the main stage by half a step. For example, consider the sound of a black key that is next to a note (C). The sound that the black key makes will be higher by half a tone - this phenomenon is called the word sharp. Remember that raising the sound by half a tone is called the word sharp. This sound is considered to be a derived stage, and therefore it does not have its own name. In this case, the name of the main stage is used. In our example, it will be -C-sharp.

Sharp denoted by a hash symbol, look at the figure below:

Sharp notation

In this figure, the note is C-sharp. Without a lattice will be (to), and with a lattice (to-sharp).

What is Bemol? A flat is a lowering of the main step by half a tone. For example, consider the same black key relative to the note (D). The sound of the black key will be lower by a semitone of the sound (D). This phenomenon is called, the word flat. It is also a derivative stage and does not have its own name and uses the name of the main stage. In our case, it will be D-flat.

The figure below shows the designation of the flat:

Flat designation

I think that you have already understood that the same note i.e. the black key may have different names depending on which step to watch. In our example, as I wrote above, the black key can be called either “C-sharp” or “D-flat” - it depends on the note that we take as a basis.

What is double flat and double sharp? With an increase in the main step by two semitones (i.e. tone) is called a double-sharp. And when the main step is lowered by two semitones (i.e. tone) is called a double-flat. Rarely used, but you need to know that this is also there.

Here's a simple example for you: C-double-sharp is the note D. A D-double-flat is a note to.

What is Bekar? Bekar's symbol cancels the action sharp or flat. In the figure below, in each measure, this symbol is placed before the third note. It is indicated by a hash similar to, but different from, a sharp.

Natural

Now let's read these notes. It is necessary to read from left to right, the first measure: do, re-flat, re (here the note is preceded by the becar sign - which we cancel the flat, which was set by the second note), and again re. The second measure: re, C-sharp, C (here also the Bekar sign canceled the action of the sharp, established by the second note), note C.

What is Alteration? Alteration is the rise and fall of sounds.

Let's consider a zone of action of signs of alteration.

The zone of action of the accidental sign, which is in front of the note, affects the entire bar. These signs are called random. This random character will apply to all note data of the same octave within the current measure, either until the next random character or until the key changes.

Area of ​​validity of accidentals

Let's read the notes. Also from left to right, the first measure: C, D-flat, D-flat, D-flat (here, the first note of D is preceded by a flat sign. It will remain in effect until the end of the measure, and lower the following D notes by a semitone). The second bar: D, C-sharp, C-sharp, C-sharp (the zone of the flat sign from the first measure ended in the first measure, and therefore the second measure begins with the note D. Further, before the next note to there is a sharp sign, which is valid until the end of the second measure and will raise subsequent notes up to a semitone).

Important note.

The action of the sign will apply directly to the note before which it is placed. In our case, in the 1st measure, the flat sign acts only on the D note of the 2nd octave. But if in the first measure there would also be a D note of the 1st or 3rd octave, then the flat sign would not affect them.

These accidentals (flat and sharp) can appear not only before the note, but also at the key. These accidentals are called key.

Key accidentals are located at the beginning of each staff to the right of the key and act on all notes that are written on the corresponding rulers in this staff, until the change of key signs. Also, within a measure, the action of key signs can be canceled by random signs. The action of the key signs will apply to the entire work.

Here is an example of using sharps in the key:

Use of sharps in key

Key signs show us that all notes that are located in the corresponding lines of the staff of the accidentals present in the key will have to be played with an increase or decrease by a semitone.

In this article, we will continue talking about musical notation Let's study accidentals. What is alteration? Alteration- this is a change in the main steps of the scale (the main steps are do re mi fa sol la si ). What exactly is changing? Their height and slightly the name changes.

Sharp- raises the tone by half a step flat- lowering it by half a tone. After the note is changed, then one word is simply added to its main name - respectively, sharp or flat. For example, C-sharp, F-sharp, A-flat, E-flat etc. In notes, sharps and flats are indicated by special signs, which are also called sharps and flat. Another sign is also used - natural, it cancels any alteration, and then, instead of sharp or flat, we play the main sound.

See what it looks like in sheet music:

What is a semitone?

Now let's look at everything in more detail. What kind of semitones are these? Semitone is the shortest distance between two adjacent sounds. Let's take a look at the piano keyboard as an example. Here is an octave with signed keys:

What do we see? We have 7 white keys and the main steps are located on them. There seems to be a rather short distance between them, but, nevertheless, there are black ones between the white keys. We have 5 black keys. It turns out that in total there are 12 sounds in an octave, 12 keys. So, each of these keys in relation to the nearest neighbor is located at a distance of half a tone. That is, if we play all 12 keys in a row, then we will play all 12 semitones.

Double sharp and double flat

In addition to simple sharps and flats, in musical practice, double sharps and double flat. What doubles are are double step changes. In other words, double sharp raises the note by two semitones at once (that is, by a whole tone), and double flat- lowers a note by a whole tone ( one tone is two semitones).

Natural- this is a sign of the cancellation of alteration, it acts in relation to doubles in exactly the same way as to ordinary sharps and flats. For example, if we played f-double-sharp, and then some time before the note F bekar appears, then we play a “clean” note "F".

Random and Key Signs

So, let's sum up.

We talked about accidents: we learned what accidents are and what signs of accidents are. Sharp- this is a sign of increasing by half a tone, flat- this is a sign of lowering a note by a semitone, and natural- a sign of cancellation of alteration. In addition, there are so-called duplicates: double sharp and double flat- they raise or lower the sound at once by a whole tone (a whole tone are two semitones).

That's all! I wish you continued success in learning musical literacy. Come to us more often, we will analyze others interesting topics. If you liked the material, click "I like" and share the information with your friends. Now I suggest you take a break and listen. good music performed by the brilliant contemporary pianist Yevgeny Kissin.

Ludwig van Beethoven - Rondo "Rage over the lost penny"

(it.— thrombus, fr.— trompette, German— Trompete, English— trumpet)

The history of the origin of the pipe goes back to the distant past and at present it is difficult to establish which of the ancient peoples owns its invention. The natural pipe was used as a signal instrument.

In the era of the Middle Ages, a straight metal pipe was used not only as a signal instrument, but also to accompany all kinds of solemn ceremonies and rituals. Only nobles and knights used this tool. The European pipe was called elder (old French - buisine). The first mention of the use of pipes in Russia dates back to the 10th century.

Already in early XIII in. there was a division of pipes into high (treble) and low (bass). Subsequently, pipes, like horns, began to be divided into low, medium and high different systems. In the 17th century more often than others, instruments were used in D, C, later B-flat, made by German music masters Schmidt, Nagel, Heinlein, Feit and English masters Dudley and W. Buhl. At the turn of the XVII-XVIII centuries. some of the best were the pipes of I. Has from Nuremberg. Tools were made of copper, bronze, silver. In the XVIII - early XIX in. the most common were pipes in the F order with additional crowns in the E, E-flat, D-flat and C orders. During this period, pipes made at the Moscow factory were widely used. musical instruments Russian masters N. P. Kotelnikov, D. and S. Mikhailov and I. S. Khrapovitsky.

With the invention at the beginning of the XIX century. valve mechanism, natural pipes began to be gradually replaced by chromatic ones, and at the end of the century they completely fell out of use. Of the numerous family of pipes, instruments of medium tunings were most often used: E-flat, E and F. Their lower and middle registers were distinguished by a wide full sound, the upper one sounded tense and presented a great difficulty for performers.

At the end of the 80s of the XIX century. new chromatic trumpets of high tunings were designed: A, B-flat and C. On them it became possible to extract all the sounds of the second octave. The most successful of these instruments was the B-flat soprano trumpet, which is still in use today. In France, Belgium, Switzerland and some other countries, the C trumpet is the most widely used in performing practice. in Russia at the beginning of the 20th century. more often than others, valve pipes of the firm Yu. G. Zimmerman were used.

At present, the instruments of the French firm Selmer and the American Bach-Stradivarius are widely used. For pop and jazz orchestras pipes of special designs are made, adapted to extract high sounds.

Or soprano tube made of brass or tombac (copper-zinc alloy). It consists of a cylindrical tube about 1.5 m long, about 11 mm in diameter, turning into a conical one, and a crescent-shaped mouthpiece. The trunk is double bent and is integral with the bell. The fingering of the trumpet is similar to the fingering of the cornet (see example 97). The B-flat trumpet is a transposing instrument. Notated in treble clef, sounds big second below what is written. The range and characteristics of the registers (by letter, see example 92).

The trumpet is the tallest of the brass instruments. Her sound is distinguished by strength, brilliance and at the same time lightness and mobility. The valve mechanism of the instrument allows you to brilliantly perform all kinds of passages, arpeggios, jumps, valve trills, single, double and triple staccato. It is also possible to receive frulyato, which has some similarities with the shot of the snare drum. Often used during execution different kinds mutes, which serve mainly to artificially change the timbre of the instrument.

Pipe types.

piccolo trumpet in B-flat and A was designed for solo performance early music(Clarino style, etc.), as well as for the performance of high register trumpet parts in the orchestra (“The Rite of Spring” by I. Stravinsky, “Bolero” by M. Ravel, “Mischievous Chastushki” by R. Shchedrin, etc.).

The piccolo trumpet in B-flat sounds an octave, and in A - a large seventh above the main instrument. The tool has four valves. The fourth valve is used to extract the four lower sounds (to expand the range of the instrument down), as well as to more accurately intonation of some discordant sounds.

small trumpet building D and E-flat. The instrument was designed to play parts high pipes in some works by Bach and Handel. This instrument was also used in their works by Rimsky-Korsakov and Wagner. The small trumpet in D is tuned by a major third, and in E-flat it is tuned a perfect fourth above the main instrument. The design and technical capabilities of the small trumpet are similar to those of the soprano trumpet.

viola trumpet building F and G. The instrument was designed on the initiative of Rimsky-Korsakov in order to achieve greater fullness of the sound of the low register. Rimsky-Korsakov first used this tool in opera ballet"Mlada" and a number of other works. Then Glazunov used it in some of his works. The alto trumpet in F is tuned with a perfect fourth, while in G it is tuned in a minor third below the soprano trumpet. Technically, this tool is less mobile than the main one.

bass trumpet building to, re, mi-flat. The instrument was built on the initiative of R. Wagner, who used bass pipes in the tetralogy "Ring of the Nibelung". Ioted in the treble clef. Subsequently, a B-flat bass trumpet was built, sounding an octave below the main instrument. Technical capabilities bass trumpet compared to soprano - more limited. This instrument has a timbre similar to trombone and horn at the same time. It is used very rarely.

• Never put pressure on the pipe. Keep the pressure of your lips on the mouthpiece to a minimum.
• Don't limit yourself to scales when you get to the upper registers. Practice arpeggios, chromatic scales, and cold attack (after a long rest) on these notes.
• Give air not only with the lungs, but also with the stomach to increase the air flow.
• Practice belly breathing, not chest breathing. This will give you more pressure to hit higher notes. Maintain interaction with your belly, not your diaphragm.
• When you are about to play a higher note, lift your tongue up. This changes the air pressure, making the air move faster, creating high pitches.
• Try to play major modes octaves without removing the trumpet from the lips between octaves. If you can play from the lowest C to the highest C while maintaining the embouchure, then your range will start to increase dramatically.
• Rest as often as you play. Only when you good vacation- your muscles train and recover. If you play too much and too often, you are tearing off muscles without building anything.
• Always play with a straight posture, never slouch.
• When playing in the upper registers, avoid puffing out your cheeks to keep the air flowing faster. If you can't do it yourself, ask someone to squeeze your cheeks while playing in the upper register to teach your cheeks to stay that way. It will take some time.
• Never take high notes by pressing the lips on the mouthpiece. This can lead to problems with your ear cushion (bruising, irritation, abrasions). If the highest note comes out fuzzy, or half as quiet as necessary, check all the components of your playing to identify errors and correct them. Your lips should be set in the mouthpiece in a small circle so that your breath is fast and focused. Tighten your lips to form a "smile". Sit up straight with your hands resting lightly on the pipe. If you strain in an attempt to reach a certain note, then reach it with a scale. It is very important not to overblow (it is very difficult to recreate a tone that has been overblowed); then rest for no more than 5 minutes.
• Avoid piano tuning. The piano is well tempered. Instead, use an electronic (preferably with a strobe) tuner. Learn to hear the tone, especially when you're in the band you're playing with.
• Never change your ear pads to play high notes. As you ascend, so must you descend. By doing this, you will save good quality sound in all registers.
• Think about the letter "o", round the flow through the throat and head, even when playing high notes.
• Hold the ear cups clearly (relaxed in the middle, firm in the corners).
• Practice in front of a mirror. This will help you understand what kind of lip posture you are in when you strike a note correctly.
• As you breathe, let your tongue hang like a dog's when he's panting. This will open your throat wider and let you in. more air.
• Breathe deeply, filling your lungs with enough air to hit the notes.
• Sit down to even out your breathing.
• Buzz your lips a lot, both with and without a mouthpiece. Buzz from the bottom of the lower register to the top of the upper. Do this without changing the mouthpiece with your jaw. This will train your muscles to produce sound on their own, without a trumpet.
• Take care not only to expand the upper limit of your range, but also the lower one, using lip tightening and legato. This will allow you to not only reproduce a clear sound throughout the entire range, but in general will make your playing easier and more variable.
• Try to relax your ear pads as much as possible and appropriate. If you try to play high notes with the same embouchure as low ones, then your range and your sound, in the upper register, will improve.
• At first, try to keep your lips static, manipulating only the air flow. Only then tighten your lips to determine how high you can go.

School of trumpet playing by Rosati, free translation

Trumpet lessons. Breath

An important step in the act of breathing is purification and careful analysis.
There are three main types of inspiration:
1) Nasal - only through the nose; slow, good for long and controlled sounds and whole phrases when playing the trumpet.
2) Oral - through the corners of the mouth; general and experienced for speed. Helps hold the ear pads when playing the trumpet.
3) Combined - through the mouth and nose; for more confident performers, which gives an enhanced result, unlike the first two.

NOTE: It is also advisable to breathe through the instrument or mouthpiece - inhale, exhale; this method will help in training the lips and exposed teeth.

Trumpet lessons. Combination of pipe valves or fingers

Retreat:
How many positions can there be on a pipe if it has 3 valves? For those who are familiar with combinatorics, this is elementary: the pressed positions of the valves P = 3! = 1x2x3 = 6, taking into account the not pressed valves, there will be 7 positions in total.
They need to be remembered:

1 position - no valve is pressed;
2 position - the second valve is pressed;
3 position - the first valve is pressed;
4th position - valves 1 and 2 are pressed;
5 position - valves 2 and 3 are pressed;
6 position - valves 1 and 3 are pressed;
7 position - 1 and 2 and 3 valves are pressed.

Trumpet lessons. Staccato

Sequence of actions:
- take a good breath, pushing the jaw forward;
- take a breath by placing the tongue between the lips;
- release a stream of air under pressure;
- imitate "spit" with the tongue.

When playing the trumpet, the sound should be distinct with good air pressure, loud and sonorous. At the same time, it is as if you are pronouncing a short syllable "Ta". Choose the right moment to understand the mechanism of the action of the tongue and airflow when playing staccato on the trumpet. Position the tongue between the lips (like a valve), blocking the path of air, then quickly remove it, back and forth with air supply.

This is a natural movement, familiar to everyone and similar to the “spitting” movement, but first you need to complete the following sequence:
- keep the jaw pushed forward;
- inhale through the nose or corners of the mouth;
- stick out the tongue, almost touching the mouthpiece;
- hold air before blowing;
- slightly rest your lips on the mouthpiece;
- pronounce the word (for those who own English language it's simple).

This arrangement of the tongue gives space in the sky for the passage of air. The mouth and tongue in shaping the attack of sound when playing the trumpet.

For country performers former union it will be more clear to position the tongue as if “spitting”. If we dwell on pronunciation in more detail, the first consonant in a syllable is a slotted sound with a voice - a gap should be formed between the front edge of the tongue and the upper teeth. The second vowel [a] - an obscure sound similar to the Russian "a" under stress. And the last consonant [h] is just exhale. Differences in performing schools of playing brass instruments.

Staccato is a difficult trumpet exercise, but no more so than other exercises. Remember, however, that there are different types of staccato. The physiological structure of the jaw and mouth also plays important role, so you need to look for your own embouchure setting. In order to determine how easy it is to play the staccato trumpet, you need to experiment with the position of the tongue and lips.

For example:
- the tongue exactly in the middle is not too advanced;
- tongue slightly below the middle;
- the tongue is pushed forward exactly in the middle;
- the tongue is slightly above the middle.

All of the above options, when playing the trumpet, are suitable for different types staccato. Pick up notes for staccato and do exercises, resting between them. Breathe evenly and slowly. Listen to yourself and other artists by comparing and analyzing. Give air from the lower abdomen, do not play with laziness!

There are alternatives with a lighter language staccato - position the tongue over the end of the arch of the teeth, inside and attached to the gum, pronouncing the sounds and. In practice, you will find that a light staccato (inside) is better for precise, clean and fast trumpet playing than a heavy staccato (outside) which the best way suitable for military or jazz style trumpet playing.

Sequence and posture when approaching staccato:
- bring the instrument to the prepared jaw;
- take a breath, locking the ear pads and tongue;
- release air immediately by removing the tongue;
- Free vibration of the lips will give a full sound when playing the trumpet.

Trumpet lessons. Valuable remarks

It is very useful to use a metronome to start playing the trumpet and play music. Make sure you can hear it and set it to a speed between 60 and 80. Get into the habit of using the metronome all the time while playing the trumpet in any exercise, changing the speed as needed. Try to do the exercise using all 7 positions from top to bottom. You need to learn how to read sheet music. Pick up the notes and practice.
At first it will be a little difficult to play the "correct sounds". Need to learn how to use exact amount and speed air flow for each specific note. The essence of trumpet playing is the quality of your airflow, and therefore it is essential to create a stable and consistent column of air to fill the instrument with sound. The air flow must be collected in a jet and not splashed on the sides.

Keep your lips tight, especially at the corners of your mouth. Vibration should occur between the lips - the air - the mouthpiece, and not just between the two lips! Remember: if you put pressure on your lips, you will have a bad sound, and they get tired very quickly. Know how to create, as necessary, more or less pressure of the air column.
Of decisive importance is the formulation of how you observe the position of the muscles of the face, chin, head, teeth and body position. Learn to read and sing notes, make sure they match real sounds, and distinguish them not only by their names.

To be continued