![]() On trombone, pedal B ♭1 is frequently seen in commercial scoring but much less often in symphonic music. The resulting tone relies heavily on overtones for its perception, but in the hands of a skilled player, pedal tones can be controlled and can sound characteristic to the instrument. The higher resonances of the new series help the lips vibrate at the fundamental frequency and allow the pitch to sound. The new fundamental can be played, however, as a pedal tone. ![]() The original fundamental resonance is not raised all the way to the new fundamental pitch, and is not used in playing. This new series is similar to that of a stopped conical tube, with the exception of the fundamental, which is no longer incorporated in the harmonic series. The resulting compressed set of pitches resembles a new harmonic series that includes the even members. The bell significantly raises all pitches in the series, particularly on the low end, while the mouthpiece lowers the higher harmonics, limiting the amount to which higher harmonics are raised by the bell. ![]() This set of pitches is too sparse to be musically useful for brass instruments therefore, the bells and mouthpieces of brasses are crafted to adjust these pitches. ![]() Spectrogram of the above recording.Ī closed cylinder vibrates at only the odd members of its harmonic series. Problems playing this file? See media help.
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