Scott, I just do the opposite, using a single high F for those pieces requiring extremely light tone (Haydn, Bach, Haendel), but with my regular deep conical small rimmed 5 mms bore mouthpiece, to achieve an acceptable tone quality (for my ears). When I had not adapted to that 5 mms bore mouthpieces, I used them on the high F exclusively to compensate the loss of overtones. Try it once & know the difference.
There are pieces requiring high f3 (played), annotated as g3 (four ledger lines above staff, treble clef, in E-flat) in cadenza, well, then I used a shallow cuplike wide rimmed mouthpiece, as the pieces were like trumpeter or clarino pieces with the horn swirling in the stratospheres. This was for recordings only, 4 very high baroque horn concertos within one day. The effect of the mps worked, but I had noticed that one cannot risk a break during the sessions & must trust the sound engineer, as the lips tend to swell if you stop playing. This comes as one tries to compensate the loss of overtones by more energy resulting in quite some more pressure. So it is dangerous for the inexperienced. =========================================================== -----Original Message----- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Scott Pappal Sent: Wednesday, November 12, 2003 5:32 AM To: The Horn List Subject: Re: [Hornlist] high D in Haydn symphony N.99 When playing music like this (high Haydn or Bach) with a smaller, lighter-sounding orchestra, you should use a double-descant or high F horn. The double's sound is too "present." I use a screw-rim mouthpiece, and so I change the cup to a shallower, smaller-bore size for lighter, soft, high material. There are those out there who scream "cheat, cheat" when the descant is brought up. Don't worry about them - just use the best tool for the job. You don't see trumpet players playing the Brandenburg on a Bb trumpet do you? Best of luck, Scott --- Daniel Canarutto <[EMAIL PROTECTED]> wrote: > I received the parts for our next program and saw, > for the first time > in my amatorial carreer, a high D (written E, horn > in Eb) in the > menuetto of Haydn Symphony N.99. > > Frankly, I'd prefer not to risk that in a concert. I > listened to a > Concertgebouw recording (Harnoncourt), and I'm sure > that their 1st > horn is not playing that note. How to manage it? > Since it's an > ascending arpeggio Bb-D-F-Bb-D, I plan to play the > last two notes one > octave lower. Suggestions? > -- > Daniel Canarutto > mathematical physicist & dedicated amateur hornist > http://www.dma.unifi.it/~canarutto/ (professional > home page) > http://www.corno.it (Il Club del > Corno) > http://www.amadeusorchestra.org (orchestra > Amadeus - Firenze) > _______________________________________________ > post: [EMAIL PROTECTED] > set your options at http://music.memphis.edu/mailman/options/horn/hornhog%40yahoo.com __________________________________ 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/hans.pizka%40t-online.de _______________________________________________ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
