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alternative fingering for high register...



 
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Welk
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Joined: 04 Jan 2002
Posts: 348
Location: Montreal,Canada

PostPosted: Fri Feb 14, 2003 7:09 pm    Post subject: Reply with quote

Ok here is What I use starting from G above the staff

G 0, G# 2-3, A 1-2, A# 1, B 2, C 0, C# 1-2, D 1, D# 2, E 0, F 1..that is it for what I need to play in Independance day... I matter if there is any alternative fingering for G#, A and C#

Thanks
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tpetplyr
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Joined: 24 Jul 2002
Posts: 1669
Location: Boston

PostPosted: Sat Feb 15, 2003 3:07 am    Post subject: Reply with quote

The G# (Ab) can be fingered 1 (I did it on the Arutunian concerto...that nice little run..) and the A can be fingered (quite flat) open (which i ly did on the Arutunian...overshot the G). I cant play high enough to give you any more advice:)

Stuart
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Emb_Enh
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Joined: 29 Oct 2002
Posts: 455

PostPosted: Sat Feb 15, 2003 3:11 am    Post subject: Reply with quote

Alternate fingerings above High C....

Hiya! the numbers in brackets are my other favoured alternatives for ease of operation and tuning.....

If the music requires a high passage at speed then I use normal fingerings in a fast run.

The make / model Tpt. you play makes a difference too of course, as does mpc / chop method and physiology. Also the combination of all these things.

However for those that are interested in a starting point of discovery....
...Use the bracketed ones to lip trill/shake on! [easier]

C3 fingers = 0 [23] High C
C# fingers = 12
D fingers = 1 [13]
Eb fingers = 23
E fingers = 12
F fingers = 1 [13]
F# fingers = 2 [123]
G fingers = 13 [0]
Ab fingers = 23
A fingers = 3 [1] [123] [12]
Bb fingers = 23 [1]
B fingers = 23 [2]
C4 fingers = 23 [0] Double high C
C# fingers = 12
D fingers = 1 ------ as is on up...
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Jon Arnold
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Joined: 07 Jan 2002
Posts: 2026

PostPosted: Sat Feb 15, 2003 6:15 am    Post subject: Reply with quote

You can also play High 'D' open.
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musicmonkey
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Joined: 01 Jan 2002
Posts: 344

PostPosted: Sat Feb 15, 2003 6:24 am    Post subject: Reply with quote

I think there gets to be a certain point when if oyu can hear the note, you can make it come out of the horn, no matter what fingers you press down.

My teacher demonstrated this to me by playing some really high note (don't remember what it was) and then randomly, rapidly pressing down different valve combinations without changing the pitch of the note. So, my point is that there are a lot of alternate fingerings for the high notes, the most important thing is that you can hear the pitches and play in tune.

mm
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