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Tone Centering for Trumpet

Randy Adams

Overtones and Tone Color highs and lows. When describing a desirable trumpet

“High, fast and loud” are all great fun, but the fundamental sound, for instance, we may say that we want to hear
aspect of any musical endeavor is a beautiful tone‚—pure, a “dark” sound or a “bright” sound. But a dark sound
resonant, warm, clear and in-tune. The quest for a beautiful without highs is dull, “woofy” and lacking in projection.
tone should always be first and foremost in the musician’s A bright sound without lows is thin, edgy and difficult to
thinking no matter what the tempo, volume or technical play with. And both extremes are difficult to tune. Most of
challenge. This is our job as musicians—part of our overall us want to hear a “Bright/Dark” sound—something with
“musical hygiene” [Howard Snell, The Art of Practice (New highs for clarity and projection and lows for warmth and
Generation Publishing, Ltd., 2015)—and our listeners power. These perceived highs and lows embody the whole
expect it of us. As daunting as the task may seem when overtone series sounding in each note we hear.
standing in front of a student ensemble or grading the Each note produced on a brass instrument consists of a
weekly chair test, this quest may not be as elusive as combination of overtones perceived by the human ear as
many believe. Understanding the resonance/intonation fundamental pitch (the lowest of the overtones produced
connection and some basic concepts of embouchure for that note) and tone color (individual overtones
formation, airflow, sounding above that lowest frequency in varying degrees
posture and balance of amplitude). For instance, a C on the trumpet contains
between player and the C we hear along with the other pitches in the harmonic
instrument can help series for C – C (in several octaves), G, E, Bb, D, etc.
remove the mystery (See “Overtone Series” below.) Most of us can’t hear these
of tone production pitches in the note, but we can see them on the wheels of
and give teachers a chromatic strobe tuner. When you are tuning concert
and players a clear C with the strobe, you can also faintly see the G wheel
advantage in achieving standing still and sometimes even parts of the E wheel.
musical goals. A good example of an instrument that produces strong
enough overtones to be distinguished from the primary
pitch is the orchestral chimes. If you listen closely to the
ring in the sound you will notice at least one additional
Fundamentals of Tone Production pitch a 6th higher and/or lower, and sometimes these
How does one define a beautiful tone? Whether it be pitches clash with the harmony the fundamental pitch
a brass instrument, woodwind or even voice, the sounds is meant to fit into. This is all part of the color of the
we find most appealing have warmth, body, focus, depth, chime’s sound.

Bandmasters Review • June 2019 23 Texas Bandmasters Association