> >Tim Cates: > >> what I was taught in an orchestration class was that the interlocked > >> parts had more to do with the physics of having the close harmony in > >> the player sitting next to you > > There's something to that. In fact, Berlioz recommended (speaking of > valveless horns, of course) that the players in each pair hold their > horns with the bells facing each other. > > John Howell
Are you sure about that Berlioz statement? Or was that just the infamous two-horns-blown-with-bells-held-tightly-together-to-produce-a-note-not-possi ble-any-other-way effect that Berlioz wrote about (and I've never yet seen two players brave enough to try). And the orchestration class statement was fairly silly. With horns, the hi-lo pairing was 100% historical, now it is 85% utilitarian. As an example of why the orchestration statement was fairly silly, if you ever write for four trombones, don't ever write hi-lo the same way, unless you label the parts 1 (tenor) 2 (bass) 3(tenor) 4(bass) like the antiphonal parts in the Corigliano 3rd Symphony. But trumpets pair up all sorts of ways. RH _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://lists.shsu.edu/mailman/listinfo/finale
