I would rather opt for the invention of a multi tonality baroque horn, but not the type on the picture in Morley-Pegges book (radius French horn), as it must be something of a certain weight so to be worth being carried on to the stage to satisfy the ideal bodies built up in the gyms.
On the other hand, the horn in Morley-Pegges book would improve one´s BE, as the embouchure could stay the same at all times nearly, just the right hand being busy switching the expandable central slide around to plug it into the right hole. Legato bows might be reduced to "gliding through overtones of one tonality only" as hole change would split the legato bow. < changing the crook on a regular natural horn would do the same service but create less fun while watching.> There is just a limitation for the highest tonality, perhaps concert-c-horn, as there the harmonics would be such distant each other, just permitting primitive short signals - and it would resist tone production more than other lengths. Your expectations could be filled by a quadruple horn F-Bb-high F-high-Bb soprano. Here the difficulties are in the weight of the four story valves or extra connected valves, together with the functional obstacles. To make it more difficult but for better intonation & easier fingerings we might add additional half tone valves also, special designed for the four horns each and another stop valve for the Bb-horn only, perhaps an echo-valve connected to the low F. The absolute highlight would be the newest invention of the "tilt"-valve. What would that be ? If the four horn sides could be constructed "adaptable", allowing changing the F-side to E, the Bb-side to A & G, the high F to regular F by an octave slide & the high Bb soprano to F# - perhaps, it would be a great step forward - to arrive at the "TOTAL CHAOS". But it would be a great fun to watch the confusion & get the feedback by the desperate users.. ################################################################# Am 17.08.2011 um 11:44 schrieb Steve Haflich: > The interesting discussion so far has been whether normal players should > mostly stick with a double, or whether it makes sense to walk on stage > daily with a triple. Although I have previously contributed to the > triple thread, I'd like to shut it down out of embarassment with this > post. > > It is certainly true that many skilled players use triples these days. > Someday some brasswhacker will invent a quadruple horn, and these same > artists will rush out to buy one. Meanwhile, I call your attention to > these two youtube links: > > http://www.youtube.com/watch?v=rs3UtfOpi1k > > http://www.youtube.com/watch?v=neq0xsvaRUQ&feature=related > > The second link has a helpful follow-along horn part, but the first is > more impressive, despite being a noisy poor-quality dub from vinyl. It > wasn't played on a triple. It wasn't played on a double. It wasn't > even played on a single. Evidence is that it was played on a steenking > Bb alto baroque horn without valves. You tripleholics may have to wait until > someone invents a quintuple horn before any of you replaces Baumann... > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/hpizka%40me.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
