For the flute low B, you can always just roll up a piece of paper and stick it in the end with enough sticking out to give you low B. Works fine, as long as you don't also have to play low C. Same with low A on the Bassoon, which is written in a few pieces. I think there's some trick of holding the bell against your leg to get a low A on the bari sax as well. I heard somebody scoffing about those sissies who need an actual key to get that note. What we need are some cool tricks to extend the range of the horn below pedal F#. Somebody told me a long time ago that if you play a low note, then you flutter tongue at exactly the right frequency, it would cut out every other vibration and drop the pitch by an octave. Still working on that one. I'll let you know in a few years.
- Steve Bear wrote: I am also curious as to WHEN most composers switched to writing for Modern Valved Horns. Dvorak wrote this Cello Concerto in 1895, and included at least one spot where the Second Flutist had to play the Low B-Natural, which began being manufactured in 1877! I would think it was a bit risky for Dvorak to expect that all orchestras in the Late 1890's to have a "B-Foot Extension" for their Second Flute Players (who also have to switch to Piccolo a few times), but his Horns are still using Crooks?!? Wasn't Wagner writing for Valved Horns in the 1880's? _______________________________________________ post: [email protected] unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
