In a message dated 10/5/2003 3:00:15 AM Pacific Standard Time, [EMAIL PROTECTED] writes:
> I was wondering what other people had found most useful in > practising low notes. (I feel suddenly inspired to practise them > especially, what with Shostakovitch Symphony No.5 pedal E coming up > in January.) > First, make sure your horn has a strong low register. If it doesn't, you might consider a leadpipe change. A good horn should have a strong low register. Talk to some of the suppliers, they are very sophisticated in their ability to improve horns in specific ways. My son is a bass trombonist as well as being very knowledgeable about acoustics. What I've learned from him is the horn is not really a bass instrument, it just has that octave available. To maximize the access to that octave: A. Use the Bb horn as much as possible. The shorter air column is much easier to get moving. The bore to length ratio more resembles a true bass instrument. You will quickly find crisp articulation is much more important than 'F' horn tone. You'll develop a fine tone as you learn the register. B. Don't use a deep mouthpiece. A large diameter, shallow, bowl shape will give much better results. A deep mouthpiece is better for producing bass, but a French horn is not a bass instrument. You don't want to waste energy producing bass nor energy feeding the first harmonic. My son prefers a bass trombone that is small enough to still sound like a trombone. For big band, he switches to a very shallow Eb tuba mouthpiece with a pop tone about the same as his Giardinelli. He can bury a bari sax, and still have great tone. He also uses a shallow mouthpiece for playing Sousaphone outdoors. Bass doesn't carry, so why waste energy making it. He can be heard for miles. I used to specialize in forth horn and found a Bach 3 worked well. A few years ago. I've switched to a Schilke 31B derivative, and find it as good, or better. If you're not used to a larger mouthpiece, it will take a couple of weeks to regain your high register, but then you'll be playing with embouchure strength instead of pressure. My wife switched to a 31B a few months ago, and can't believe the range and endurance she's developed. C. Start playing the "Gallay Etudes for Second Horn" in conjunction with your other practice. They are very good for developing the flexibility to shift down to the low register smoothly. D. You don't want a tiny bore, but boring out too large ruins the mouthpiece. If you really have to try it, I've got one you can have, somewhere around. _______________________________________________ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
