Well it only stands to reason also. If you're lipping up (or even lipping down) for a slight millisecond I can understand it a little bit but if you have to adjust - as was in this case - for an extended period of time what is going to happen if you rely on your lips alone? You'll get tired and the more and more you play the harder it will be to bring the pitch to where it needs to be.
D is always going to be very sharp and rightly so. It is the eigth partial on the Bb horn, but it is a combination fingering. Valve one or valve two alone are always going to be in tune (on the partials that are in tune) and depending on the way you tune your horn Valve three alone is generally close if not a little high. Why is valve three like this? Well the way I tune is that I never tune valve three alone. Valves one and two are great to tune alone since you will have a lot of fingerings that utilize just one or two alone. Secondarily you will also have a lot of 1,2 fingerings but these are always going to be sharp on when you need them unless you're on a flat harmonic (5,10) and it might cancel out. I tune 2,3 together because one rarely uses three alone except as an alternate fingering and 2,3 are very common. Plus since you're dealing with a much longer slide on 3 it is better to get it to adjust to the 2nd slide simultaneously than doing it alone. Tuning 3 alone can lead to 2,3 being slightly sharp as well. 1,3 are even sharper because the total length increases, and 1,2,3 are the nastiest fingerings you can have intonation wise - and in fact we only use that typically for the pedal F# which is a note one can always lip anywhere without any degree of difficulty. It is very interesting how the fingerings work out and how tradition has taken over convenience and ease of fingering. Thank the gods we don't have to do a lot of transition from 1,3 to 2 (try that sometime) or even worse 2 on a treble clef F# above the middle C to thumb and 1 and then to thumb and 23 and back down the arpeggio. That's funky :P -William In a message dated 11/10/2003 8:27:21 AM Pacific Standard Time, [EMAIL PROTECTED] writes: > Subj: [Hornlist] RE: hand for tuning > Date: 11/10/2003 8:27:21 AM Pacific Standard Time > From: <A HREF="mailto:[EMAIL PROTECTED]">[EMAIL PROTECTED]</A> > Reply-to: <A HREF="mailto:[EMAIL PROTECTED]">[EMAIL PROTECTED]</A> > To: <A HREF="mailto:[EMAIL PROTECTED]">[EMAIL PROTECTED]</A> > Sent from the Internet > > > > Hans and the list - I actually use my hand when tuning in a band or > orchestra situation. I find that I can determine my relative flatness or shaprness > much more quickly that way and then I can adjust my tuning slide correctly the > first time. Use your standard hand position for normal playing as your > reference point, and go from there. > paxmaha > > Hans Pizka <[EMAIL PROTECTED]> wrote: > Has anyone ever thought, that the right hand (bell hand) can be used to > adjust pitch ????? I have never heard any word about this here on the > list. Funny, isnīt it ? > ============================================================ > _______________________________________________ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
