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RE: Issiah 40

To: "'brass-band@xxxxxxxxxxxxxxxxxx'" <brass-band@xxxxxxxxxxxxxxxxxx>
Subject: RE: Issiah 40
From: "Woodsworth,Eric [Sas]" <Eric.Woodsworth@xxxxxxxx>
Date: Wed, 18 Jun 1997 09:06:24 -0600
Priority: low
Reply-to: brass-band@xxxxxxxxxxxxxxxxxx

Assuming we are talking about cornets (though I thought 113 would be
closer to a low B), I use a different technique for pedal tones, and
this seems to slot in better than anything else I've tried. I just
finger the pedal tones as I normally would for the major seventh higher.
 So, 
Pedal F:	1+2
E:		2+3
Eb:		1+3
D:		1+2+3
Db:		1+2+3 (lipped down)
C:		open (lipped up slightly)
B:		open (lipped down slightly)

You can continue down from there, but generally it gets pretty tough
after that.  Note that these settings work on my Yamaha cornet, and each
instrument has slightly different pitch on the pedal C. The pedal C and
B have much better tone usually than Db up to F.

Eric Woodsworth
Solo Cornet
Saskatoon Brass Band

>----------
>From: Phil Green[SMTP:goaty@xxxxxxxxxxxxxx]
>Sent: June 17, 1997 6:05 AM
>To: brass-band@xxxxxxxxxxxxxxxxxx
>Subject: Re: Issiah 40
>
>On 16 Jun 97 at 12:47, Alastair Wheeler wrote:
>
>> We played this through last night.  Yeeks!
>> 
>> Anyone got advice for the low Fs in the back row (around 113)?  Do you
>> tune down a la Arban, or give them to horns/trombones?
>> 
>> -- 
>This is a good place to use the Priviledged Harmonics.  These are 
>available on most combinations of valves and are also known as False 
>Harmonics.  Many people find they can play bottom F on Open.  If you 
>can find the note with false fingering practise it, and it can become 
>as strong (or stronger) than a correctly fingered note.  All notes 
>from f# down to pedal C are available using this technique.	
>I only learnt about it recently from the Tuba-Euph mailing list but 
>it really does work and can be mastered pretty quickly.
>
>
>Phil Green.
>EEb Bass
>Britannia BS (Foden) Band.
>
>
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