Sorry, I have to interfer here: The most stupid way< is it, that the teachers start way too early with a Mozaret concerto, when the student is not trained properly to do so.
To prevent this, go the slow way all through the Schantl method, skipping everything above high g2 & below g (the first g below staff), increase to higher notes step by step most carefully, means the second year reaching not higher than g2 also, but improving the g2. the third year reaching out for a2 & bb2 & improve it. Get for high c3 in the 4rth year & improve it. Higher notes are not necessary for the student, but if he or she will get them clearly, well, the better. To make the rather dry, very dry Schantl more interesting, get the student playing little songs, little classical & romantic pieces, some easy contemporanean piece too for the feeling of atonal music. Do a lot of "ear development". Send them to the school choir or the church choir. Sound rather obsolete, but it isnīt. Singing the right notes, integrate oneself into a "musical" community brings great benefits verse balancing, blending, ear sharpening, phrasing, breathing, etc. It is the fault of the teachers, when the student does not master the single F or the F-side of the double first before using the Bb-side. This results in rather boring colorless uniform sound far away from clear & mellow & sometimes heroic horn tone. Later on, the teacher should develop his students ability to switch back & forth between the two sides as necessary to get the advantage of better intonated pitches, better phrasings, better security, easier slures, faster technique, easier fingering, typical horn slures, etc. But the problem is the teachers inability or their missing knowledge about these things. The other problem is the ambitiousness of the teachers & parents, trying to make their children be stars. We do not need stars. We need solid players in all fields of the music, from home music groups to community orchestras, school bands to high class symphony orchestras, all at their particular level. Stars will incarnate themselves. ============================================================ =================================================== -----Original Message----- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Greg Campbell Sent: Wednesday, April 20, 2005 8:44 AM To: The Horn List Subject: Re: [Hornlist] re; beginner equipment Mark J. Syslo wrote: > I know that the best fingerings for the double horn are not all on the > Bb side. The reality is that every kid who starts on a single F horn > has to relearn some fingerings. If he/she starts on a Bb, it comes > out even, right? This discusssion always causes holy wars, but here goes.... In my experience, most beginners who start with either a single Bb or a double horn will NEVER use the F side, even with lots of pleading. They also struggle more with creating a good tone quality in my experience. The other perspective: many players who start on a single F horn will find it too difficult to play the notes, and will possibly quit. The exception: if the beginner studies with a horn teacher who will teach the student proper fundamentals, intelligent use of the double horn, and provide imitatable models of good horn tone, the beginning instrument should make little difference. Greg _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans%40pizka.d e _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
