Um...my point was (in the section that I mentioned from Mozart 1) that the Bb horn entails many cross-fingerings, whereas the F horn doesn't. Maybe I was unclear about the section to which I was refering.
Scott --- Chris Tedesco <[EMAIL PROTECTED]> wrote: > 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 doesn´t 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:) > > > > === message truncated === __________________________________ Do you Yahoo!? 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