I’ve been using more or less the same B flat horn fingering ever since I learnt the horn as a teenager. My teacher, Patrick Brislan, was luckily a pro- B flat player, which suited my learner’s model horn which had a very poor compensating F layer. As a matter of fact, while I do have an understanding of the reasons for playing an F horn, I can’t see the benefit at all of a compensating F horn. The compensating approach means that any of the double fingerings like 1&2 or 2&3 insert eight abrupt changes of direction, and surely no amount of good machining will make that a nice clean path. For those that don’t know, a compensating horn saves weight and metal by adding the extra slide length required for the F side to the B flat side, so F = “B flat + extra” instead of a full sized extra layer.
Patrick Brislan also had a slightly unusual idea about fingering. We carefully tuned the valves on my horn so that I used 3 for all Ds and As, but 1&2 for the middle F#, whereas I think many other horn players I know use 1&2 throughout. The top register is likely to be unique to each horn: I use F#: 2, G: open, G#: 2&3, A: 1&2, Bb: 1, B: 2, C: open.
I think the reason I’ve adhered to this fingering over the years, apart from the fact that it seems to work, is that it appeals to my engineering viewpoint. Valve combinations tend to be even more of a compromise in pitch than a single valve, and so why voluntarily use 1&2 when 3 will do?
B flat horn tuning process, with Ds and As played using 3rd valve, using a tempered scale tuner
At all times it is critical to hit the note dead centre with no lip adjustment, and with the right hand in a neutral position. Two or three entirely separate tuning sessions, with the results of earlier sessions carefully recorded, will hopefully iron out differences.
- Exactly tune top F on open using main slide
- Exactly tune top E, 2nd valve. This is the most important valve slide to be correctly adjusted because it is the concert A tuning note.
- Tune 1st valve to a compromise between Eb and Bb
- Tune D, 3rd valve, a tiny amount flat, so that C#, (2&3) is a tiny amount sharp. Check also for A and G#, which may be different.
I’m aware that the horn adjusted like this is more difficult to play in tune in some keys, in particular A major (concert D major). In this case it may be due in part to the fact that the C# has been tuned slightly sharp, but as the major third should be played low.
It makes me realise that I only have a very dim idea of which notes sound “wrong” in certain keys, and it’s worth thinking it through more methodically: fore-warned is fore-armed. I also wonder if a slightly different tuning slide arrangement is worth choosing for some keys. Time to do some Googling to see if anyone has thought of it before me. Stay tuned!
My fingering for single B flat Paxman horn with F loop
| Pedal octave | Low octave | Mid octave | High octave | |
|---|---|---|---|---|
| F | O | O | O | O |
| F# | L123S | L2 | 12 | 2 |
| G | L123 | L | 1 | O |
| G# | L 23 | 23 | 23 | 23 |
| A | L3 | 3 | 3 | 12 |
| Bb | L 1 | 1 | 1 | 1 |
| B | L 2 | 2 | 2 | 2 |
| C | L | O | O | O |
| C# | 23 | 23 | 23 | 23 |
| D | 3 | 3 | 3 | 3 |
| Eb | 1 | 1 | 1 | eek |
| E | 2 | 2 | 2 | ouch |
| F | O | O | O | oooo |