Klaus: I am well aware of all fingerings for all brass instruments including trombone, as this knowledge is mere exercise if one knows 1.) one's harmonic series and 2.) the valve alteration potential of each valve/slide per given instrument. Any idiot can do this - you're not a "Walking encyclopedia" just because you have this knowledge. Most of my junior high students have this figured out! I make a significant amount of money playing the horn (not my exclusive source of income though, as I teach and arrange as well) and believe me, I don't ask for fingerings because I don't know the damn things. I'm interested in somebody else's way of doing things. Any time somebody like Kendall Betts, Bob Ward, Lowell Greer, or Hans Pizka speaks up, I listen - because if it works for them, there's a good chance it's gonna work for me. You're interpreting my message incorrectly due to English/Germanic syntactic issues. Most of us on this list are interested in different styles and philosophies regarding making music - if you think you have nothing else to learn, then you're on your way into technical and musical decline. And if you can't pull off Han's system, perhaps you should start thinking about fingering issues! Han's fingering system is based on being able to play anything on either side of the horn, and then combining them in the fashion that gives the best 1.) sound color, and 2.) response. Make no mistake: I'm no student nor an amateur, asking "Gee, how do I make this horn work?" And you think professionals don't think about fingerings...Hell, Louis Stout, a top-rank player who was associate principal horn in Chicago Symphony, no less, has a book out about alternate fingerings. I often try tricky passages with three or four alternate fingering systems while practicing, just to be prepared and to find what I like best.
Good Day to You Sir, Scott in Altoona --- Klaus Bjerre <[EMAIL PROTECTED]> wrote: > 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/hornhog%40yahoo.com > _______________________________ Do you Yahoo!? Declare Yourself - Register online to vote today! http://vote.yahoo.com _______________________________________________ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
