Some of the contents of the pages on this site are Copyright © 2016 NJH Music | [Date Prev][Date Next][Thread Prev][Thread Next][Date Index][Thread Index] the wonderful thing about triggers
"The wonderful thing about triggers is triggers are wonderful things" (With apologies to Winnie the Pooh) I've often wondered why Tenor Horns and Baritones don't have triggers, but can you tell us all where they might be placed, Les? I'm sure we've all seen 1001 playing positions for the Horn, but, presumably the triggers will be mounted on the same position on the instrument as the cornet ones. Is there any favoured position of the left hand amongst the Horn and Baritone fraternity? The more valves go down, the sharper the instrument gets, and I can remember being told that the note starts off in the mind. A strong sense of relative pitch, and an ability to listen should be the best cure for bad intonation, but triggers can help if they are used correctly. I'm sure that if they are not, and the whole of the cornet section are going for a low C#, with different ideas of the pitch, and different extents of trigger extension they might as well be playing on a load of Larks! When were triggers first introduced? On the Horn will there be a distance over speed problem to overcome, because of the length of the valve slides? Will they have to put water keys on the 1st and 3rd valve slides? Once the tuning slide is moved on an instrument, the valve slides need moving as well, and many players are not able to take responsibility for their own tuning, so just imagine the fun that triggers will bring. Lots of practise.........."O.K. - Db major, Soprano, Horns and Eb basses please.....!" Nigel -- -- unsubscribe or receive the list in digest form, mail a message of 'help' to listserv@xxxxxxxxxxxxxxxxxxx
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