Dear Ralph, you forgot a very important point:
there are so many so-so-amateurs here on our list, who still struggle with the fingerings on both sides of the horn & who do not have any idea about what alternating fingerings exist "to make survival" easier. The problem is the inadequate teaching most from hear-say-horn- trumpeters or band-teachers and some useless online-teaching or self teaching by using a book, not following a real didactic method, which seems to be boring. But these old methods make sense, going forward step by step, one after the other, not skipping any. But the progress seems to be too slow for them. So many problems remain unsolved. The acquired "half-truths" often makes them "half-or-less-informed", but they often build up a very, very big mouth with nothing behind, instead to listen to those who are or who were successful as professional players. These players tend to refuse any correction, no matter how bad or weak they might sound, never caring about objective auto- critic. ###################################################### Am 09.05.2011 um 10:28 schrieb Ralph Hall: > > Ralph R. Hall > [email protected] > Ralph R. Hall > http://www.brasshausmusic.com > > Hornlisters, > > Hans is right about (general) tuning. Reading this topic on the list > reminds me of a common conception amongst British players that U.S. > hornists are obsessed somewhat with the minutiae of horn playing; > whereas, to be frank, most British players just wing it. I remember on > tour with CBSO in Italy, after a late 9 pm concert in the beautiful > theatre in Modena, all we wanted was something to eat and a glass of > vino but we were gripped by two American horn players from the Modena > orchestra who wanted to know about our instruments, mouthpieces, > mutes, backbores, rim sizes etc. > > My point is that all the minute details being discussed on this post > are at worst obfuscating, and at the least, mostly unnecessary. Every > concert I've played, each ensemble and section I've played with, is a > blank canvas with its own peculiarities to be circumvented there and > then. As a second horn, I've always realised that I don't have a > legitimate claim on my own intonation. My tuning is hijacked by the > that of the person on my left in particular and the intonation of the > broader ensemble around me. If the principal plays 'G' second line on > the Bb side, I would always play the 'E' minor third below on the F > side. If I'm involved in a chord where the first player plays either > 'G' sharp or 'A' I might change to playing my 'E' second on the Bb > side. Very often the problems of tuning a particular chord can be > solved, especially in concert circumstances, by a quick change of > fingering. Intonation is a moveable feast, particularly for second and > fourth. If this concept is difficult for you and you are unsure of > your own ability to be this flexible, rather than drown in a technical > and scientific sea of partials and the harmonic series, go for some > aural training - it will be much more useful both to you and the > people you play with. > > Hans is also right about the balance of chords - an aspect of playing > very often disregarded by players and conductors alike. A poorly > balanced chord may sound out of tune and adjustment of internal > dynamics can quickly cure the problem. A properly balanced chord also > brings about acoustic benefits. > > I have always considered my right hand as a fifth valve - and it is > used almost as much as the other four! > > Ralph > > > > > > > > > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/hpizka%40me.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
