And this is he wrong technique, dear Chris, regarding New World Symphony, as we have the Bb-trigger exactly fort hat purpose. Playing the triplet section on the E-horn (F plus 2nd valve), but using the advantage of the A-hornīs 12th harmonic step (Bb-horn plus 2nd valve, so just a nearly invisible action on the trigger) for the high B-natural. So the whole thing comes out in the right way like a rapid call on a natural horn. - ==========================================================
-----Original Message----- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Chris Tedesco Sent: Monday, November 03, 2003 2:23 PM To: The Horn List Subject: RE: [Hornlist] F horn/Bb horn Well.. I use pretty much only Bb on Mozart 1 to eliminate most cross fingerings. Having small hands and a Schmidt wrap, I have little choice. I think there is nothing more tedious than practicing licks just for fingerings. Having saved myself from that, I can spend the time on other areas, i.e. sound, were it an issue. I like to think that I use whatever makes a lick easier and sound better. And it often is on the F side. I played the New World Symphony recently, and I always use F horn on the duet at the end, rising to the high B's on the f-side. For me, it's much easier. Chris --- Scott Pappal <[EMAIL PROTECTED]> wrote: > This is fascinating advice, Professor. May I > (respectfully) ask why Strauss 1 as a test piece? In > my studio, I've been using Mozart 1 & 3, "concert > rondo" and Beethoven Sonata as my "test pieces" before > allowing a student to study Bb horn. I can't think of > any other "plan of study" as complete or thorough as > the plan outlined in the "Vienna study plan" on your > website. I've done my best to create something similar > to it with my own studio. > > I was judging horn auditions for a local university > "honors band" today. The repertoire was Mozart 1. > Terrible to see how nearly ALL the young players held > the thumb valve down the whole time. Where is the F > horn sound - the horn's going to turn into a trombone > soon? F horn makes some passages in sharps so much > easier in my experience. All you B-flatters: Try the > last B-A#-B-C#-B-C#-D-C# (in sixteenths in the Mozart > 1) on Bb horn, and on F horn. Its so much easier on > the longer horn, with no finger contortions. > > I was really lucky. I had a horn teacher who insisted > that I know every alternate fingering on both sides of > the horn, and the reasons for using various > fingerings. I never use an "arbitrary swith point" > when playing, and neither do my students! > > Scott > > --- Hans Pizka <[EMAIL PROTECTED]> wrote: > > I dont think this a good idea, as all horn players > > should be firm in > > using both sides of the horn in all ranges to take > > advantage of better > > tuned notes of both sides, better sound, easier > > arpeggios, easier & > > precise attack, etc. > > > > Yes, I agree, that starting the students on the > > Bb-side would result in > > less cracked notes, but just for a while. But it > > will be terrible > > difficult to teach the BB-beginners the right tone > > quality later by > > using the F-side then. The "malaise" will be then > > for sure. And > > Bb-beginners will complain about the difficulty > > fingering #-tonalities, > > life long complain, life long squeezed fingers. > > > > So there is just one solution to reach the top > > target: > > Start on the F-side & stay with it until can play > > Strauss no.1 (nearly) > > perfect. Find out how much easier #-tonalities are > > on the F-side. Switch > > to the Bb-horn use in the 5th year, but cultivate > > the "combined" horn > > (fingering in a way, taking advantage of both sides > > without no > > limitation to range) after a four to six weeks > > introduction to the > > Bb-horn, by playing every note on the Bb-side. > > > > >From then, start cultivating the "right use of the > > double horn" - see > > many examples on my Web Site. But this requires that > > the teacher does > > the same, but I doubt this, as too many teachers are > > stubbornly staying > > with the exclusive F (Vienna) or (nearly) exclusive > > Bb (Germany, GB, > > Scandinavia except Finland, Russia, Czech Rep., > > Japan, etc.) or > > breaking at a certain point e.g. c2 (USA & related). > > > > Reason for the (Most) use of the Bb: recordings, > > safety, clarity - > > sound doesnīt seem to matter any more. But this > > should be our great > > chance with the sound. > > > > > =========================================================== > > > > -----Original Message----- > > From: > > > [EMAIL PROTECTED] > > > [mailto:[EMAIL PROTECTED] > > On Behalf > > Of Scott Pappal > > Sent: Sunday, November 02, 2003 8:13 AM > > To: [EMAIL PROTECTED] > > Subject: [Hornlist] F horn/Bb horn > > > > Someone, I don't recall who, remarked earlier today > > that they start beginning hornists on the Bb horn, > > citing easier pitch-targeting as the reason. While > > I'm > > firmly in the F horn camp, I'm not going to argue or > > open up another discussion about something which has > > already been kicked around the list before. Rather, > > I'd like to ask if there has been any serious > > research > > into the F vs Bb horn question. (I do recall one > > Instrumentalist article from the '50s in which some > > rather well-known American principal horns, > > including > > Phil Farkas, debate this very question.) While this > > is > > rather academic, it would be quite fascinating...we > > could start two classes of beginning horn players of > > approximately the same age, with similar physical > > and > > mental characteristics. One class would use F horn, > > one would use Bb horn. After five years of > > instruction, we could have them play for a panel of > > ten professional horn players and teachers for an > > adjudication, and see who comes out ahead. Or, we > > could wait and see which group has more students > > reach > > the professional level. Any researchers want to try > > this project? I would, but I'm too busy teaching my > > F > > horn players:) > > > > Cordially Yours, Scott Pappal > > > > P.S. I wonder what all the professional horn > > players/teachers on this list started on? Of course, > > we all know professor Pizka started on the F and > > natural horns, but what of the others of you who > > play > > and teach professionally? As a matter of fact, what > > did you amateurs all start on, F or Bb? > > > > > > > > __________________________________ > > Do you Yahoo!? > > Exclusive Video Premiere - Britney Spears > > http://launch.yahoo.com/promos/britneyspears/ > > _______________________________________________ > > post: [EMAIL PROTECTED] > > set your options at > > > http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de > > > > > > _______________________________________________ > > post: [EMAIL PROTECTED] > > set your options at > http://music.memphis.edu/mailman/options/horn/hornhog%40yahoo.com > > > __________________________________ > Do you Yahoo!? > Exclusive Video Premiere - Britney Spears > http://launch.yahoo.com/promos/britneyspears/ > _______________________________________________ > post: [EMAIL PROTECTED] > set your options at http://music.memphis.edu/mailman/options/horn/tedesccj%40yahoo.com __________________________________ Do you Yahoo!? Exclusive Video Premiere - Britney Spears http://launch.yahoo.com/promos/britneyspears/ _______________________________________________ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de _______________________________________________ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
