Chris, again I say that you didn't read my original post. The section I refer to has no F#s, Es, or G#s! It is the section after the two scaler runs: b/a#/b/c#/b/c#/d/c# in sixteenths repeated three times, the last time the final c# is replaced with a b. It is here, where most players use the Bb horn, that the F horn can faciliate fingering.
Cordially, Scott --- Chris Tedesco <[EMAIL PROTECTED]> wrote: > Sorry, I didn't mention that I use alternate fingers > galore on the B-side to > eliminate almost all cross fingerings. > > I use an alternate fingering of T2 and T1 for the > ending section. Admittedly, > at first it sounded terrible, but with a little > elbow grease, it sounds no > different from playing it with normal fingerings. > By using T2 for E, T12 for > F#, and T2 for G#(in scalar passages), the only > possibly treacherous cross > fingerings are from C# to D and C# to D#. > > Chris > > > > --- Scott Pappal <[EMAIL PROTECTED]> wrote: > > 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. > > > > > > > > > > > > > > > === message truncated === __________________________________ Do you Yahoo!? Protect your identity with Yahoo! Mail AddressGuard http://antispam.yahoo.com/whatsnewfree _______________________________________________ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
