If one has had adequate horn training from the beginning, he would not have to practise much to get "something into his fingers" anyway, but most amateurs did not pass this training. I did never say so about you. - I have colleagues who practise even afterbeats in Verdi operas, just because of the transposition & related fingerings. Had they received (and they had not as far as I know about their teacher) the proper instruction on the multi-use of the double horn & about the relations of the different tonalities etc., they would not waste their time with such silly & obsolete practising.
But you again evaded the question: why spending too much energy on a task which could be solved the simple way, by using the F-side, at least partly ???? -----Original Message----- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Graeme Evans Sent: Monday, December 29, 2003 11:09 PM To: The Horn List Subject: Re: [Hornlist] horn in C# Rubbish, Hans! You have been "blah"ing (to quote!) about this fingering business for years! It IS NOT "unfair use of the list" to comment on it! I have no argument with the rest of the posting, so I did not feel any need to refer to it; and by the way, when have I EVER complained about fingering problems? Conscientious practising of difficult fingering sequences is NOT, in my opinion, a "waste of time". Cheers, Graeme Evans (Principal Horn, Melbourne Symphony Orchestra) +61 3 9318 0690(H), +61 419 880371(B), +61 3 93180893(Fax) E-mail: [EMAIL PROTECTED] ----- Original Message ----- From: "Hans Pizka" <[EMAIL PROTECTED]> To: "'The Horn List'" <[EMAIL PROTECTED]> Sent: Tuesday, December 30, 2003 12:31 AM Subject: RE: [Hornlist] horn in C# > Blah-blah-blah, dear Graeme, but tell me, why so many horn players, > amateurs & professionals, do complain so often about their fingering > problems ?? Any answer except "they should practice more" ? > > Hammering in the fingerings, what a waste of time ? Wouldn�t it be much > better, to have prepared everything during the first three or four years > of the horn study ? Learning all the scales e.g. by using Josef Schantls > "Great practical & theoretical horn method", this really dry but best > stuff ? And on both sides of the horn !! > > And, why stubbornly staying on the Bb-side, if the F-side would give > more advantage, - for certain things, in a similar way as the Bb-side is > an advantage for other things ? Please, answer to this precisely, but > without the usual polemics. > > And also, take in account, that amateur players, such players without > academic music training (conservatory or music university), do not have > the time "to hammer everything into their brain (fingers)", as they > struggle more with rhythmic, intonation & hitting the right note at the > right time. And not to speak about style here. That is worth another > letter, how to prepare understanding the style & understanding what�s > right & not right in a piece. I will come back soon, to provide some > information how to prepare oneself to musical style and what is not > suited to that task. > > And again, dear Graeme, you just picked out just three sentences from my > letter, but you did NOT comment to the essence of the problem or the > question, which was about "Si # alto" or "C # alto" or "G # alto". > > That is the usual "unfair" use of the list. Picking just one thing, but > avoiding the right answer or statement, so not to provide anything > another member could response in a negative way. > ============================================================ > -----Original Message----- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On Behalf > Of Graeme Evans > Sent: Monday, December 29, 2003 11:01 AM > To: The Horn List > Subject: Re: [Hornlist] horn in C# > > Hans wrote: > > But if the players involved just know their Bb-fingerings, they will > run > > into BIG SHIT, but that�s their own problem because of their laziness > & > > inadequate training. If Bb-(near exclusive) players have to read up > for > > one sharp (#) for every note, they are in trouble. Players with a > > preference for the F-fingerings do not have this problem. > > I'm sorry but I simply can't agree with this opinion regarding fingering > difficulty. > > I do accept that Bb horn will require more awkward use of the 3rd finger > in > combination, but this is surely a basic skill which is able to be > mastered > with practice. It has been proved time and time again by the players in > brass and military bands, who face regularly fingering challenges rarely > encountered in the horn repertoire. > > I know one euphonium player who can shame many of us by the speed he can > play "Cosi" at, and his facility simply makes nonsense of most horn > fingering problems. He is not particularly unusual in the brass band > movement. They are just used to playing florid parts in awkward keys. > > Fingering facility can certainly be gained with practice, as thousands > of > other brass players round the world have proved. It is simply a matter > of > practice. > > Cheers, > > Graeme Evans > (Principal Horn, Melbourne Symphony Orchestra) > +61 3 9318 0690(H), +61 419 880371(B), +61 3 93180893(Fax) > E-mail: [EMAIL PROTECTED] > > > _______________________________________________ > post: [EMAIL PROTECTED] > set your options at > http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de > > > _______________________________________________ > post: [EMAIL PROTECTED] > set your options at http://music.memphis.edu/mailman/options/horn/graev%40comcen.com.au > > _______________________________________________ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de _______________________________________________ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
