But Benjamin Britten new how & when to use these effects very well,
but it is rather "muted" than "stopped". If played stopped, there would
be a "click" between the open & stopped note, while there would be 
no "click" (valve action) if played "muted". But it works on the
F-side only. When I say "muted" it may be "half stopped" (what a wrong term,
as stopped or closed is full anyway & cannot be done half way; "hand
muted" would be the better term in your language).

Use F-2 on the d#, close the bell half way for the d & open gradually
to the final d#. The switch from open to "con sord." at the end of the Nocturne
is more difficult as it requires most precise action from the open f1 to 
the con sord. f1. There is no chance to use a device. Play the first measure f1 
on the F-side with 1, change the right hand position to the exact "hand muted"
position, but also finger an f1# with 2. Do it exactly on the downbeat
to meet the strings.

Again you might see, that the F-horn has several advantages. By the way,
the Nocturne is much easier on the F-side than the Bb-side (except perhaps the 
written top a2), if the d2 is also played as F0.

Has anybody played Brittens opera "Billy Budd" ? Be aware of a half page
long quite nasty solo, which you feel like sitting in the pit - "naked" .....

############################################################# 
Am 21.05.2010 um 01:02 schrieb Daniel B. Hrdy:

> 
>> 
>> I would point out the one issue not addressed that was brought up in
>> original thread.  Some works require one note stopped, next one open.
>> I think Peer Gynt was mentioned. Hard to do with a mechanical device.
>> 
> 
> Or the last note of the Elegy of the Britten Serenade, which goes from open 
> to stopped to open as an effect.  At least you have the feeling that Britten 
> knew what he was doing.  Unlike the pointlessly complex Penderecki Sextet, 
> which opens with a stopped Eb below the staff, and is loaded with non-horn 
> friendly writing.
> 
> Dan
> 
> 
> 
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