Blog Comments

  1. davewerden's Avatar
    bhodson: If packed properly in the Bonna case it should be as well protected as in any hard case. Use the wide leather strap that is at the end of the case to pull the horn "into" the padding there. This will keep the bell from hitting the end of the case if it is dropped.
  2. bhodson's Avatar
    HI Dave
    Quick question. I know this is probably not the right place to ask... I have an Adams with the Bona case. I'm going to be flying to NYC with it and was wondering if you think the case is 'good enough' to protect my horn? Or if not, do you have any recommendations on another case I should use? Thanks very much.
  3. iiipopes's Avatar
    I agree that the distribution of mass makes a difference. I noticed similar differences on tuba between the two versions of the Wick 1 tuba mouthpiece. I also found, not only from the comparison of the different Wick models, classic and heritage, but also from as far afield as a Kelly mouthpiece needing a ring of golfer's lead tape around the throat to stabilize the dynamic extremes and provide better flexibility.
  4. John Morgan's Avatar
    Beautiful! Nicely done Dave and Sara!
  5. davewerden's Avatar
    Quote Originally Posted by Tubaryan12
    I find if you raise the arm where the bell rests to its full height, the bell will sit comfortably there and make the euphonium rest in a more stable position without needing to have the lower cradles be any tighter.
    Good point! I just assumed the smaller setting would be best, but I'll play around with the arms a bit. Thanks!
  6. Tubaryan12's Avatar
    I find if you raise the arm where the bell rests to its full height, the bell will sit comfortably there and make the euphonium rest in a more stable position without needing to have the lower cradles be any tighter.
  7. Eupher6's Avatar
    I'm just not fond of cases with zippers, except for gig bags, which don't lend themselves well to a traditional case catch. Eventually - it's inevitable - that zipper will fail.

    My grumping aside, Dave, that looks like a great solution.
  8. ghmerrill's Avatar
    Clever and effective (and quick). What I've done in similar circumstances is to cut off the original pull tab and replace it with a small split ring that a pull can be attached to. I suppose it helps if you have split ring pliers to take that approach -- or a lot of patience and commitment.
  9. micromat's Avatar
    Quote Originally Posted by RachaelB
    Seems odd.
    They're just two different approaches, each with their own (dis)advantages (same fingering for different instruments vs. accurate concert pitch). It can all be explained historically. There is no universally good system.

    And if you think this situation is odd, imagine how French horn players must feel when they get pieces marked 'Horn in A' (or E or D or whatever) to play on their Bb/F instruments. And what about BC notation in Bb... the worst of both worlds...
  10. RachaelB's Avatar
    My wife plays trumpet and we've had arguments about why I'm playing a Bb on my baritone and when she plays a Bb on her trumpet it's not the same note at all. But what's she's doing is playing a Bb from the musical note in her mind - not a real Bb at all. It was very confusing until I started looking into it. I'm still not really sure why music for a Bb instrument is written differently in treble clef, though. Why not just write it all in the same key so when the director says, "Play a Bb", then everyone plays the same note. I know that they say, "Play concert pitch", and everyone plays the same note but it just seems to me that if a brass instrument is in the key of Bb than all Bb brass instruments should have the same fingering for the same notes so a person wouldn't have to learn how to read music all over again to play a different 3 valve instrument. Seems odd.
  11. RickF's Avatar
    What 'micromat' wrote explains why musicians in "British style brass bands" read from treble clef music. In wind bands or concert bands the treble clef baritone player is used to Bb trumpet fingerings (or transposed parts) that trumpet players learned where notes are transposed up an octave and a full step (major 9th).
    Updated 07-27-2017 at 10:59 AM by RickF
  12. micromat's Avatar
    Quote Originally Posted by RachaelB
    Why is it necessary to transpose the notes in a Bb instrument from bass clef (Bb is open valving) to treble clef where the same sounding note is now written as a C?
    Treble clef notation allows you to play every instrument from Eb soprano cornet all the way down to Bb tuba using the same fingering (yes, there are TC parts for Bb tuba) except French horn. Being able to read both BC and TC is a great advantage. It will also allow you to play e.g. Eb TC parts (baritone sax) on a euphonium or trombone by just mentally changing the clef and adding 3 flats, similar to the procedure above).
  13. RachaelB's Avatar
    I play bass clef baritone horn in a local concert band with two other baritone horn players. The other two play treble clef music. I am constantly amazed that we're both playing exactly the same music but the treble clef music is written in a totally different key with different notes altogether. But we're playing exactly the same musical notes, not the same written notes. Why is it necessary to transpose the notes in a Bb instrument from bass clef (Bb is open valving) to treble clef where the same sounding note is now written as a C? Why is this done so that a virtual Bb is actually shown as a Bb in both clefs?