Well William, Cheat on. First to let you know that I am so "right handed" that if I lost my right arm I would starve to death before I could learn to eat with my left. That said: Years and years ago I was playing first horn in the Brevard Faculty orchestra and that summer La Gazza Ladra came up. I was playing my 8d at the time, so I had Chuck Ward... who was working for Conn at the time... make me an E slide for my 8d. Now no problem playing the little call! No problem playing the E part now. Just wonderful F horn fingerings and man could I swing it! But!!!! when the first rehearsal arrived!!! It was an odd arrangement written in F horn. Dudddddddd. Guess what???? OOOOOOO did I ever need that right-handed horn! By the way, the E slide works like a charm. Wish I had "more" of those slides. Milton
Milton Kicklighter 4th Horn Buffalo Philharmonic Retired From: "[email protected]" <[email protected]> >To: [email protected] >Sent: Friday, August 12, 2011 8:57 AM >Subject: Re: [Hornlist] Triple horns > > > > >I've faced some stiff opposition this list from employing Schmid's method of >raising/lowering the horn a half step for pieces in E. Some people are trained >to play in F or Bb only and learning new 'fingerings' is too much for some >people to want to deal with, perhaps. > >Yet, I've been able to perform some very difficult pieces in E by taking the >horn up a half step and reading in E flat. Some consider that 'cheating', but >honestly I never considered it to be, because it still takes a very good ear >to think in a different key, to play in a different key that one isn't used >to, and to think along a different harmonic series. Yet, the advantages >outweigh the disadvantages. If you're not going to 'cheat', someone else will >on a competition or audition, and WIN because they won't consider it cheating. > >I have no problem with people using Eb horns to play Eb pieces (there has been >a very prominent soloist who won a very prestigious competition by playing >Strauss 2 on a custom built high Eb horn), or playing a specific horn for E >pieces (as I believe another very high profile performer has a specific horn >for JUST the Weber Concertino). > >Also remember, Ifor James and Tuckwell recorded the Neruda and Zelenka >Concertos on a high Bb horn - and I've played on one briefly and I don't see >why they wouldn't have chosen that instrument. > >I guess if you want to get technical though, you really don't have to learn >new fingerings for anything because you only have so many finger combinations, >and it only comes down to mental transposition. Frankly, I say use whatever >tools you have at your disposal. > >As far as a triple goes, judging by my descant, I probably wouldn't use the >high side but maybe 10% of the time on mostly 1st parts, and maybe some 3rd >parts, but that's it. But, those excerpts like Haydn and Bach and Beethoven 7 >in auditions are always going to be called, and audition committees 9 times >out of 10 will pick the person who didn't miss as long as they have a sound >that still sounds like a horn. > >-William > > > > > > >-----Original Message----- >From: Luke Zyla <[email protected]> >To: smh <[email protected]>; The Horn List <[email protected]> >Sent: Fri, Aug 12, 2011 8:24 am >Subject: Re: [Hornlist] Triple horns > > >I am afraid that I must disagree with this statement. Some triple horns are > >very light nowadays. The compromises are very slight and they are much easier > >to play. Granted, the adjustment to fingerings is a challenge, but the > >advantages far outweigh the compromise. If I were a young buck nowadays on >the > >audition trail, I would certainly enjoy the competitive edge that a high >quality > >triple affords. That is why I coughed up the money for a triple for my son, >the > >young buck on the audition trail. > > > >Luke Zyla, 2nd horn > >WV Symphony Orchestra > >www.wvsymphony.org > > > >On Aug 11, 2011, at 11:48 PM, Steve Haflich wrote: > > > >> Luke Zyla <[email protected]> wrote: > >> > >> Go for the triple. > >> > >>> Is my logic in thinking the Eb horn is useful because of the fact > >>> it is yet another key in the horn, useful for transpositions in > >>> some cases, sound? Or is it unfounded? This in addition to being a > >>> descant and all the benefits of having one? Essentially in a > >>> similar manner of the transpositions of the stop valve. > >> > >> I'm going to make a contrary observation. > >> > >> If you think the main purpose of a high Eb branch is to make > >> transposition easier, then you are not ready for a triple. A triple is > >> a heaveier horn than a double, has more inherent compromises, and is > >> therefore more difficult to play. Will this be your _only_ horn? Do > >> you want to make things more difficult for yourself? > >> > >> I'm not personally interested in debating these issues, but I urge you > >> to think about them for yourself. > >> _______________________________________________ > >> post: [email protected] > >> unsubscribe or set options at >> https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/lzyla%40suddenlink.net > > > >_______________________________________________ > >post: [email protected] > >unsubscribe or set options at >https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/valkhorn%40aol.com > > > >_______________________________________________ >post: [email protected] >unsubscribe or set options at >https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/kicklighgter%40yahoo.com > > > _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
