Dear Ricardo Matosinhos, Do not unsubscribe. For my own part, I shall not apologise for any rudeness on the list - or even discuss it, because that is up to the individual, but your point of view is important and valuable. As a visitor to Portugal and entranced by Fado and the fact that I can wander with my wife through a small town at a weekend and hear, through open windows, the sounds from a well attended music school wafting through the morning air - well this is wonderful and different from the twanging electric guitars (the Portuguese guitar is beautiful!), squawking clarinets etc that one hears elsewhere.
I agree with most that Hans says about horn playing but, as an Englishman living and working in Germany, I find in the North particularly, many play a double horn sitting in Bb. There was a famous televised broadcast from the Proms in London where Alan Civil played Dvorak's New World Symphony but had a misbehaving horn in the rehearsal. He had to borrow a different instrument from Paxman's but built the opposite from his own. Everything was OK until the arpeggio up to top B in the last movement - try it, inverting your thumb valve! Keep the mailings coming Ricardo - after all, this is the world wide web. Ralph R. Hall On 8 Jun 2011, at 17:14, Ricardo Matosinhos wrote: > Dear Mr. Hans Pizka, you understood wrong this topic. > First, I've posted this on the IHS forum, because I'm starting to be > a little bored of seeing people making jokes and insults on this > mailing list. > The issue was related to the nomenclature of the "T" for the thumb. > The topic was not "to play or not in F thats the question". I would > like to please ask you to avoid writing ALL CAPS, because on the > internet world this means I AM SCREAMING! > I had the care of giving some references for Joseph Pehrson on his > "Harmonic Etude"(1986) referes to the thumb as the 4th finger. > 14, 124, 4, 2 etc... and Esa-Pekka Salonen on his "Concert > Etude" (2000) uses Bb/12, F/13 Bb/3.... > My statements where very flexible and international and not "Latino" > as you said... F means the same in Germany and America and is quite > similar to al the french and al the "Latinos world" Fa. But the B is > not the same in America and Germany and for the "Latinos" system > does't mean anything. That's why I suggested to have regular numbers > for b-flat fingerings and F+numbers for the F fingerings. > To answer some questions I've made a quiz at > https://spreadsheets.google.com/a/ricardomatosinhos.com/spreadsheet/viewform?formkey=dHNlT2hDR0FCcmdnTEpWck1taHROa3c6MQ > And until now the answers gave 45% of the people playing on a Bflat- > F horn, and 76% said they play mostly in F (for these results only > 45% were european). > Even you replied this topic without using the "T" when you said > "Same with the octave Jump F1-F2 at the beginning of Strauss op.11 > Concerto as F1- Bb1 Fingering..." > I've started to play on a horn standing on F, after two years I made > the change and I'm glad I did. It was quite easy to change as I was > on my early stages, but I think would be difficult for some one > playing for several years. I fell that it makes sence since, now > people play more and more in Bflat. Also having a horn standing on > Bflat is logical since the more keys you press, larger will be the > tube length. I do play on the both sides of the horn deppending on > intonation, technique, sound coulor, but I play more in Bflat that > in F. > I didn't enjoyed your sad comments about the "Latinos" world, I > kindly asked for an opinion on the IHS forum, I didn't offended > anyone, but your depreciative commentary did in fact offended me and > all the "Latinos", believe or not the 2nd world war is over long > time ago... > You say "Latinos" don't use the full double horn, I've recently > published a small book with all the possibilities of the full double > horn ( http://www.youtube.com/watch?v=RvcxxBNenQU ) > You said "The Problem is just, that Most Latinos are INFLEXIBLE and > UNWILLING" I'm not inflexible, ou estaria a escrever em português, > isso seria inflexível, portanto dar-me ao trabalho de escrever numa > lingua que não é a minha é por si sinónimo de flexibilidade > (translate it please from portuguese, if you want to understand my > point) > You said the latinos "think their World As Be the Universe [...] > they are Forced to translate everything according to their > [...]Language & Grammar" the portuguese movies are not translated > like in spain or france, or even brazil. > Also you said "All this refusal of the F-Side or F-Horn is the > Source of so many Intonation Problems, which could Be so over so > easy, if Players would use both Sides , F & Bb Equally, according to > the particular Intonation & Sound requirements." I use both sides of > the horn for intonation, technique and sound requirements (see my > book http://www.youtube.com/watch?v=RvcxxBNenQU ) > You also said "Latinos also think "Concert" ." Thats not correct, I > think in F, even if I'm playing in B-flat horn. > Since I can remember I allways known Mr. Hans Pizka, from his > Playing and his editions, I have much respect for all your work and > I didn't really expected to have such depreciative and offensive > commentary from you. > I'f this kind of mood continues on this mailing list, I will have to > sadly unsubscribe it. > > > Regards from Portugal > > Ricardo Matosinhos > > > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/ralph%40brasshausmusic.com Ralph R. Hall [email protected] Ralph R. Hall http://www.brasshausmusic.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
