From: Scott Pappal <[EMAIL PROTECTED]> Klaus:
I was aware of the article, but I'm sure others will benefit from your mentioning it - Phil is not real specific here about different fingering options. Knowing of der Perfesser's plentiful plethora of knowledge, I figured he'd have some enlightening info. Scott -------------------------------------------------- Scott: I came lately to the horn. As a general brassist only the trumpet, the euphonium, the bass tuba, and the contrabass tubas came later to me. For me it is acceptable for students to ask for specific fingerings. But anybody claiming even basic proficiency on any brass instrument NEVER should ask about fingerings or slide positions. Everybody should develop his/hers own fingering strategy. I even will allow for fingering tactics in special situations. I am considered a walking encyclopedia on fingerings and positions, but I never understood, why my knowledge was not a general knowledge. Better than any fingering table is a profound understanding of the overtone system of brasses. Hornwise I was extremely lucky with my first horn, a 5 valve Bb Hoyer. 1st finger concert C (written 1st line G) is perfectly in tune. And so is 3rd finger concert G ( written D). I love this horn, but when I got the chance to get a Conn 28D in a sale situation, where a friend and I combined our acquisition talents and made the seller eat the VAT, then I went infidel (my friend carried away two trombones, which I had selected for him). The Bb side of the 28D is a disaster intonationwise and it sounds like a euphonium. That's all right with me, just not in a horn. So I developed a strategy about a very fixed shift point, as the 28D Bb side was perfect in intonation from the 9th partial and up: F horn up to written 4th line D. >From there on D# on the Bb side fingered 2+3. The first open note on the Bb side being G on top of the staff. Hans Pizka (in my interpretation) advocates using the Bb or F sides depending on the optimal sound on any given note. I am not clever enough to manage that approach, so I stick with my fixed shift point. Phil Myer's approach is not that mysterious at all: The #2) paragraph at <http://www.osmun.com/reference/Myers-Schmid/Myers3.html> is pretty specific, but of course you have to spell out the fingerings yourself. Klaus _______________________________________________ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
