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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
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