FYI There is a movement to change the "international" system, prompted by the very strong current of digital music whereas c1 is also referred to as c4. Great C now becomes C2 and so on. This is becoming a source of confusion for those of us who use the "old" system and Hans describes. Perhaps we now need to be "bilingual". Not unlike fixed and movable "DO", is it? I am wondering which if any solfegge system our Prof. Pizka uses.
-----Original Message----- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of [EMAIL PROTECTED] Sent: Tuesday, January 11, 2005 2:50 AM To: 'The Horn List' Subject: RE: [Hornlist] Playing the fundamental Hello Steve, you initiated a confusion with your question, because mixing naming the pitches (F)-horn-wise & concert-pitch-wise. So did other. There is an international system, which applies to all tonalities. The so called middle c is equal to c1 (or c´), which represents the c on the first ledger line below staff. Upwards we find c2 (or c´´) at 2nd space from top & c3 (or c´´´) on the 2nd ledger line above staff. Going downwards we find "c" (small c, little c, low c) below the 4rth ledger line below staff or at the 3rd space from top in the bass clef, except in the old horn bass clef, where it would be on the 2nd ledger line below staff. This is the "c" commonly referred to as "low c". But there is the fundamental again, also named the "great C" or just "C", as capital letter. It is written on the 2nd ledger line below staff in real bass clef. Sound wise (concert) we are in the "Contra octave" already, as it will sound as ",F" - contra F. noted at the 4rth ledger line in bass clef. As we "think" F-horn-wise, as horn players, we find, that the lowest octave requires the combination of the 2nd natural pitch of F, E, Eflat, D, D-flat, C & B-natural horn, so the fingerings 0, 2, 1, 3, 32, 13, 123, before we reach the fundamental of the Bb-horn & continue the same way down with fingerings 0, 2, 1, 3, 32, 13 to reach the fundamental of the F-horn (Bb-horn plus 13 equals F-horn). If one uses the right equipment (mouthpiece not too tight & not too small in diameter), if one can control the low frequencies without just "farting", one might continue downwards on the F-horn until reaching "contra C" concert , our "great G", noted below the 3rd ledger line below staff in double bass bass clef (one octave below real bass clef or two octaves below horn bass clef old notation). It is quite clever to find relax in this "deep sea diving experiments", when the embouchure is getting stiff after high climbs. Steve, do not expect to hit these pitches on the nail in your early stage of horn playing. It is not necessary either. It might be much, much better to improve the middle range first. Leave the higher range (higher than g´´ on top of the staff) & the lowest range alone. The majority of horn players is not able to play a secure fundamental on the F-horn. Very few can enter directly with the fundamental & have to crawl down very slow to get it. And it is not found in the literature with extremely few exceptions (Suttner concerto reaches down to concert "contra E", noted as "contra B-nat." for F-Horn. Some Strauss operas require pitches at the bottom of the "great octave" or higher contra octave (concert pitch). BUT WE SHOULD STICK WITH THE INTERNATIONALLY UNDERSTOOD NAMING OF THE NOTES to avoid permanent confusion. ======================================================= -----Original Message----- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Steve Freides Sent: Tuesday, January 11, 2005 6:26 AM To: 'The Horn List' Subject: RE: [Hornlist] Playing the fundamental My understanding of musical instrument acoustics agrees with Paul. _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/pandolfi%40deerfield.edu _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
