Re: Bun B Trill Zip Download
Takeshi Krueger
I must be having a brain lapse with such a stupid question. I used to play flute and certainly played enough trills in the days. I'm also working hard on the 4th finger again now that I have the new fiddle and the shoulder rest combo to ease my movement.
A trill is formed by slurring the indicated note alternately with the next note above (whole or half step, as indicated - the interval could be greater than a whole step if the composer wished, but at some point you might stop calling it a "trill"). The trill is typically started on the indicated note (trilling to the note above) for composers later than Mozart and on the note above (trilling down to the indicated note) for Mozart and earlier (there may be exceptions - if it sounds more appropriate for the music - Heifetz, for example trilled Mozart starting on the indicated note - and to me it never sounded right- even whe HE did it).
So - a trill involving an open string would have to have that as the "indicated note" and combined it in the trill with the half or whole step above. Although one might play this combination at times, one would more likely play the trill with the 2nd and 3rd fingers on the string below (in the third position). Second position with 3rd and 4th fingers is also a possibility, but a 4th finger trill is harder to do. One might also do the trill in fourth position with 1st and 2nd fingers, depending on what music preceded or followed the trill - but third position is easiest to get to accurately if there is no compelling reason to do it some other way.
The C# Trill Key is an additional key located to the left of the left hand thumb key. Connected by a long rod, this key is depressed by the first finger on the right hand using a lever placed above the standard Bb lever key. The key is rarely found on student models but has become a standard add-on to newer professional series flutes.
And the here is the kicker! In the past I have simply overblown a second octave Ab-Bb to achieve this trill which has often resulted in an airy, messy and out of control screaming trill (not pretty). The C# trill key is the solution to this problem and produces a quicker trill with a much sweeter sounding tone color.
Keep in mind that most tremolos of these types are rare however short cuts like the ones listed below will save you a lot of pain and frustration if you encounter them in your scores. Be on the lookout for these trills in pieces by Stravinsky or Varese.
If you are an orchestral flute player, or would like to become one down the road, I highly recommend the C# trill key as an add-on to your instrument. If you are an amateur playing the flute for fun or a student just learning the ropes of flute playing, this key is not as necessary as, say, a D# roller, B-foot or a headjoint with a gold riser. At the end of the day the key is very useful for many of our most pesky trills and problematic notes. I plan to use the alternate fingering possibilities that the trill key offers when playing pianissimo G#/Ab on a much more frequent basis and experiment with the trills listed above that I have less experience using the C# trill key to produce. There is obviously more to this key than meets the eye and it will be interesting to see how composers utilize the key in future works. Will there be a C# Trill Key Concerto for Flute and Orchestra? Only time will tell.
Do you have a C# Trill key? How often do you use this key and in what contexts? Do you recommend this key to your students? Have you found other uses for the key than those outlined above? Please comment below.
Trill sensors are now also available for purchase from Mouser. We greatly appreciate every direct sale made through our shop, but please note that Mouser may be the faster option if you can't wait to get your sensors.
Trill Bar is a multitouch slider that can detect up to five simultaneous touches along one axis. As well as sensing finger positions, this sensor also detects touch size for each finger, allowing it to act like a pressure sensor. Trill Bar uses a QWIIC connector, and includes a QWIIC-to-male-pin cable so you can connect it to Bela, a microcontroller, or a breadboard and start prototyping straight away.
Trill is a family of touch sensors that launched on Kickstarter in 2019. Inspired by the way we use our hands to interact with the world, Trill sensors use capacitive touch technology to make it easy to add high-resolution, natural touch interaction to your interactive projects. Find out everything you need to know about using Trill at learn.bela.io/trill
Trill was designed for Bela but is compatible with any platform that supports I2C communication, such as Arduino, Raspberry Pi, Teensy and more. Every Bela and Bela Mini system ships with a Trill library as well as lots of examples (including visualisations using our GUI integration). Libraries and examples for other platforms are available on our Github repo.
The slowness of my trills is getting annoying. I am able to play Blue by Yngwie Malmsteen but yet fail at doing the trill in the intro. How can one practice to make them faster? Endurance is not an issue I can keep trilling for 40 seconds at my top speed without tensing my fingers.
Your body is not naturally used to the movements required for trills. When you constantly practice them, your brain will eventually pick up on the movements and it will become natural to you. Note, by "constant", I don't mean a two hour crash course session playing nothing but trills will get it down. Everyone is different, but just devoting a portion of your practice time to trills each day will vastly improve your performance of them.
One way to do this is to take pieces that you know fairly well (i.e., not sight-reading) and insert trills in various places as you play them. First, you'll get a feel for where a trill sounds good, and secondly, you'll learn to smoothly use your trill in a piece.
Don't be afraid to push your limits. If you never do, you'll never improve. However, don't push them so much that your technique is lost. If you're pushing yourself so hard that you start sacrificing technique for speed, you're not improving. Remember, practice does not make perfect. Practice makes permanent.
Bad technique takes years to hammer out. More importantly, bad techniques can possibly lead to injury (RSI). If you feel pain at any point, stop. There's a good chance you're doing something wrong. Examine your technique. If it's not apparent at first what you're doing wrong, get someone else to take a look. Getting faster right now is not worth the pain of relearning or causing harm to yourself.
Then start adding the 9 at the end. 7,9,7,9.... This is what I'd really consider a trill. Here you may find your speed decreasing or your endurance becoming a challenge, and it's a great place to stop and practice.
By the way, a trill between two fretted notes is often far easier than trilling between a fretted and open string (such as 0-2-0-2 type patterns, common in SRV/Eric Johnson type licks). It's actually a different movement because the pull-off is more forceful, so I'd start with the two fretted notes first.
Starting in the first four frets, where the 1st finger is on the 1st fret, 2nd finger on the 2nd fret, 3rd finger on the 3rd fret, and 4th finger on the 4th fret: Do every possible combination, in time, with a metronome. Start on the Low E for one measure, move to the A string for one measure, D string for one measure, etc., so you also incorporate horizontal movement.
Once you feel that that is solid in one 4-fret position, start incorporating vertical movement. Every time you change a string, move up a fret. Go up as high as you can, then descend a fret on the way back. This will give you a great deal of endurance, coordination and give you a practical way to work on this. Try bumping up the metronome 1 BPM at a time, and work it out!
Go back to the fundaments - practice your hammer-on and pull-offs. Get it solid. Make them sing! Ensure that the attack volume of these notes is equal to normal attack volume you usually do. Only the nuance of the ASDR should change, not the actual volume of the produced notes. This ensures you've got the right technique to really nail down (pun intended - once removed hammer-on, pull-off) these trills.
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Introduction: Semi-occluded vocal tract exercises (SOVTE) are often used in voice clinics. SOVTE change the acoustic vocal tract impedance in relation to the glottis impedance, improving voice quality. However, differences among SOVTE, such as the number of vibration sources into the vocal tract, are often disregarded by clinicians. Some SOVTE present single, whereas others double source. This study aims at investigating changes in voice production pattern for a series of SOVTE. A combined exercise (tongue-trill coupled with hand-over-mouth) was implemented to illustrate the effect of a secondary source of vibration in the vocal tract.
Method: Twenty-three healthy volunteers performed a series of SOVTE: LaxVox, straw, lip-trill, tongue-trill, hand-over-mouth, humming, and tongue-trill combined with hand-over-mouth. Comfortable phonation served as control exercise. The dependent variables were electroglottography contact quotient (CQ), contact quotient range (CQr), fundamental frequency (F0), fundamental frequency range, and difference between the first formant frequency and F0 (F1 - F0).
Results: A significant difference for CQr scores compared with comfortable phonation was found for the combined tongue-trill with hand-over-mouth, lip-trill, LaxVox, and tongue-trill exercises. The F1 - F0 acoustic analysis showed significant differences in scores for exercises with one versus two sources of vibration.
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