Quote:
Originally Posted by flint-wwrr
Actually, QC, since the score is in C, the Horn part is actually at the farthest extremes of it's range, extending to a written D6.
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I generally like to think of written high C (sounding F, top line of the treble staff) as the upper-most limit for the horn in F. I know many performers are capable of notes higher than that, but it just seems more realistic to treat the instrument in a more felicitous register, keeping those extreme notes for, well, something like a cadenza in a concerto, and only when specifically asked for them by a performer?
To my eye, for a score in C, the horn part goes past its upper limit with that high G. I'm not sure if that's what you were saying, Flint.
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"Those that know, do;
Those that understand, teach."
-Aristotle-
"toute audace engendrée par l'ignorance cesse d'être une audace et devient une maladresse"
-Debussy-
In musical criticism, when issues of craft and technical consideration are set aside, what remains is more subjective. However, until technical issues are dealt with, the subjective portion bears considerably less weight.
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