Ralph, I think we're basically in agreement, but I don't think you need feel too ambivalent. Again, I think we overplay (;-) the right hand. As for our traditional right hand trick to adjust intonation, should that be essential? Do euphonium players use their right hand? Do Wagner tuba players? (...I wish they could!!). Back to the missing right arm thing, I would suggest that right-handed intonation control should still be quite possible by a player if they have an appropriate prosthetic hand. In fact, true stopping might very well be quite practical, though I have not explored this yet with my student. (Also, maybe I should have explained that the student in question is not one of my university students, but rather a young junior high age student in our community.) She does have a prosthesis, and can pick up all sorts of objects, though she dislikes using it on a day to day basis. As for the 'false hopes' point, one need only frankly discuss the realities about the professional music world with the student and with the parents, so that nobody is under any illusions. If the student still wants to play the French horn, then by all means let the student pursue the joy of playing an instrument of her choice. The horn is a good selection since most of the action is in the left hand fingers (not forgetting the embouchure of course). Not everyone who takes up an instrument plans to make it a profession, nor should they, necessarily.
Bob Dickow Lionel Hampton School of Music University of Idaho -----Original Message----- From: [email protected] [mailto:[email protected]] On Behalf Of Ralph Hall Sent: Saturday, January 15, 2011 2:40 AM To: The Horn List Subject: [Hornlist] Right Arm Ralph R. Hall [email protected] Ralph R. Hall http://www.brasshausmusic.com Dear Bob (Dickow), I am ambivalent about teaching, or giving hope to, someone not 100% physically equipped for both the physical and musical demands of any instrument, not just the horn, which does demand the use of the right arm. I say hope but I really mean 'false' hope in the case of someone maybe wanting to enter the profession. Obviously there are all sorts of caveats about writing on a subject like this but at least I have some experience. When I joined the BBC orchestra in Wales in the early '70's, the 3rd player was a young lady whose LEFT arm terminated just below the elbow. Without re-opening the debate about playing next to timps, playing bell to bell was the most uncomfortable experience. Nor, I have to say, was the intonation of the section helped by someone whose tuning was inflexible. I insisted, from my lowly position as 2nd horn, that we sat two and two, but the intonation issue was left unresolved until she moved on. The point I would like to make is that, no matter how perfect the individuals intonation is, we do not spend our playing lives in a bubble - we have to constantly adjust to others and in the case of the horn this is usually done with the right hand in the bell. In fact, I say to my pupils that the right hand is the instrument's fifth valve, so important is it. And all this without discussing tonal considerations. If there is 'hope' of this young lady becoming a very good player, a prosthesis of some kind should be investigated. It sounds to me as if she is under the care of an intelligent and considerate teacher and, naturally, I wish her all the good fortune she deserves. Sincerely, Ralph _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/dickow%40uidaho.edu _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
