Way back when I took my first lessons, and dinosaurs roamed the earth, I was taught that 3rd space C was the proper switch point. Lately I've been taught that 2nd line G is the proper one, on the theory that you're staying on the same harmonic up to C. This is the default fingering before you have a chance to think about it. Hans said it right: do what's musical and what makes fingering sense. Sometimes 3rd space C# is better F2. Sometimes a fast arpeggio starting at the bottom of the staff is cleaner on the Bb side.
Herb Fostr --- Bill Gross <[EMAIL PROTECTED]> wrote: > 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? > > > > _______________________________________________ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/herb_foster%40yahoo.com > __________________________________ Yahoo! Music Unlimited Access over 1 million songs. Try it free. http://music.yahoo.com/unlimited/ _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
