Jonathan, in all honour, who of the younger players is using
hand stopping ? If I look around, all use the stopping mute
& thus the trouble & complications. They never think about
the right use of the right hand. They learned it that way.
Why ? Because they play everything except low g on the
Bb-side, - at least here in Europe. 

Those who adopted the handhorn as a fun tool or a welcome
tool to make some extra money, they have no problems,
neither playing on the F-side nor with hand stopping. And
they know that hand stopping works well on the F-side only,
just with a very few notes on the Bb horn (if they master
the intonation problems then) & never on the high F-side, if
using a triple or Bb-high F.

Who is to be blamed ? The inadequate teachers, teachers with
inefficient experience in the professional orchestra - and
such teachers are abundant.
============================================================
=============================================== 

-----Original Message-----
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of Jonathan West
Sent: Wednesday, February 28, 2007 11:24 AM
To: The Horn List
Subject: RE: [Hornlist] Bartok question

As Steven said, I'm sure Bartok's intention was that you
hand stop alternate bars. Bartok I'm sure knew enough about
the horn to know about hand stopping and the effect that can
be achieved with rapid changed between stopped and open
notes.

I'm not familiar with the piece, but can you describe
exactly how those bars are notated? Do they say "con sord"
and "senza sord" or are the notes on alternate bars marked
with a + sign?

I rather suspect the latter, in which case Bartok's
intention is perfectly clear - he intended the notes to be
hand stopped.

Regards
Jonathan West

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