1) 2/3 on Bb, but it works also on 1 on the F-horn (single F, Viennese type)
2) no specific point to change from F to Bb, all depends on easy fingering, better intonation, better response; sometimes switching forth & back even in a rapid scale, just for faster action & better intonation; just my habit & it works at least for me; colleagues watching my fingering getting troubles - sometimes. Ha-ha ! One has to be perfect on both sides anyway, or should be perfect, if a professional. See Strauss 2, 3rd mov. the double octave jump down, it works just good on the Bb-side, otherwise the lows e (concert a) would be sharp always. Kindest regards Hans ################################################ Am 21.08.2011 um 18:57 schrieb Robert Dickow: > Hi all. I'm doing a little, informal and totally unscientific survey: > > > > (1) What fingering do you prefer to use most of the time for high > G#/Ab ? > > 1a Fingering on F horn: _________ 1b. on Bb horn: ___________ > > (2) At what point do you like to switch from F horn to Bb horn > side, when playing an F/Bb double horn? > > > > Thanks! > > > > Bob Dickow > > Lionel Hampton School of Music > > > > _______________________________________________ > 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
