VirusKiller
Well-Known Member
- Messages
- 444
- Location
- Milton Keynes (ish)
I've only been at it for a week, but tonight I couldn't resist having my first proper go at altissimo. Working from Raphael Ravenscroft's fingering diagrams, I got up to B♭. Quite chuffed as I thought it would be difficult with 1½ strength reeds.
Now whilst the F♯ key is great for going from F to F♯, it's seems a nightmare (for me on a YAS62) going from F♯ to the G fingering which works for me (LH1, LH3, RH1, RH3, RSK3). It looks easier going from the F♯ key to the other G fingering (F, RH1), but I couldn't get G with this fingering.
In fact, it seems easier to use the altissimo F♯ fingering (F, LH2, RSK3) instead of the F♯ key. Given how straightforward this fingering seems, the thought did cross my mind as to the real benefit of the F♯ key.
Sorry if I'm wittering on; I guess every instrument and person is different and a variety of keys are necessary. It just makes me wonder if the F♯ key is really necessary, given that I've read that some folk think it detracts from the tone of the horn.
Now whilst the F♯ key is great for going from F to F♯, it's seems a nightmare (for me on a YAS62) going from F♯ to the G fingering which works for me (LH1, LH3, RH1, RH3, RSK3). It looks easier going from the F♯ key to the other G fingering (F, RH1), but I couldn't get G with this fingering.
In fact, it seems easier to use the altissimo F♯ fingering (F, LH2, RSK3) instead of the F♯ key. Given how straightforward this fingering seems, the thought did cross my mind as to the real benefit of the F♯ key.
Sorry if I'm wittering on; I guess every instrument and person is different and a variety of keys are necessary. It just makes me wonder if the F♯ key is really necessary, given that I've read that some folk think it detracts from the tone of the horn.