Very refreshing to hear that, Steve.  Prior to my playing and teaching
in Rome, Italy, I supplemented my scholarship at Juilliard by being a
teaching fellow in the solfegge dept.  (Ear Training Dept., actually).
When I got to Italy, I was amazed (and humiliated) by how much better at
clef reading my students were than I, all of whom applied clef
transposition to their horn playing.  Of course, they also thought
always in concert pitch, naturally reading normal F horn parts in
mezzo-soprano clef.  Their mental imaging of the proper key signature
was second nature.  The "old school" way works very well.

William Vacchiano, the legendary principal trumpet of the New York
Philharmonic, was a great advocate for "number" transposition, which
first requires very fluid command of scales.  He put numbers (scale
degrees) to each written pitch and mentally applies them to the new key.
He was quite brilliant at it.  It works well for horn with the exception
9at least for me) of the occasional Wagner Opera which sometimes
requires many changes in the course of a single piece.

What I like most about clef transposition, is that you are always
calling what you see the actual pitch that is sounding (minus
accidentals).  Half of my students in Italy had perfect pitch, partly I
believe due to their ability to recognize any given line as "DO" (always
fixed at C).

O.

-----Original Message-----
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Sent: Friday, January 14, 2005 12:55 PM
To: horn@music.memphis.edu
Subject: [Hornlist] Re: transposing


    When I taught 5th grade, we did transposition right from the
beginning.  
No problem, the students also did solfege, thus understood the
functions, 
root, 5th etc.

   The real secret of teaching something like that (anything really) is
to 
start with the sound FIRST, then show the student what it looks like
later.  Do 
it the other way round and you'll just have some very confused students.

- Steve Mumford
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