This has been a most interesting discussion. I've picked up a lot of good information. One question does come to mind about the "switch point" for double horns. If the F horn has the more desired horn sound, why is the "commonly accepted switch point" g1 sharp (second line treble clef)? As Dr. Pizka points out the F horn can " Notes above g1 (2nd line from bottom) are still best on F-horn up to written c2 or d2 or e2. Note that the d1 as open F-horn-note is a perfect lucid note, full of light. If one does switch to the Bb-side above c2, why not." Is this one of those things that just happened? Was the a valid reason initially, but over time that rationale was lost and the "switch point" got stuck in horn lore?
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