That's definitely true: with my King I actually found that playing sitting down seemed to bring the left pinky into a better position. What I've been experimenting with--although without much success--is a whole different way of using the pinky that seems to be demanded by the design. I learned to play on a Selmer, and on that horn I play that key with the tip of my finger--a sort of lift and press motion. These keys, by contrast, seem to want me to use the flat part of the finger nearer to the knuckle--basically the idea is that a heavy key needs more meat/bone to move it. So, to go from Bflat to C# the idea is not to lift and press with the tip but a more lever-like action in which I lift the tip of the pinky off the Bb key but push the C# down with the flat part of my finger between the knuckle and the first joint.Swampcabbage said:It's certainly a greater issue on tenor. The alto's are a little easier to navigat. Also, experimenting with different arm positions (keeping the elbows raised and playing with the body of the horn turned slightly left or right) may alleviate some of the difficulty.
That pretty much says it all (even if that's not a Bebop parade you're talking about )Swampcabbage said:I have a Martin Tenor (and alto and bari) and the larger the horn, the more pronounced the difference in this design. I also have a Mark VI tenor. After playing the martin tenor for awhile (specifically in parades) I'll pick up my VI and fly around that left pinky structure for what seems to be at least 20 minutes just for the sheer fun and relief of it.
Hey Crescent:crescent said:The King is a sleeper. Crazy tone and certainly at least the quality of the Conn.
On selmer horns (I can't speak about martins--I've only played a martin curvy, and that was a LONG time ago), I don't ever really need to go from the C# to the G# key. You can play g# using the C# key. It really makes certain passages easier (I'm thinking of the Cadenza at the beginning of the Dubois Concerto, but I'm sure there are others).rleitch said:I didn't find learning to slide my pinky up from the C# to the G# key hard to master at all--in fact I still do it on my Martin. I would consider altering the horn, but only with much fear and trepidation.
Yup, that's right. On my King, however, the C# and the G# are not connected (or articulated) so that if you don't slide your pinky up to the G# key as you go up you'll get a G natural. The reason for disconnecting the G# key is that it makes the C# key a lot lighter. Some horns apparently have a lever that gives you the option--I wish my Martin had that!hakukani said:On selmer horns (I can't speak about martins--I've only played a martin curvy, and that was a LONG time ago), I don't ever really need to go from the C# to the G# key. You can play g# using the C# key. It really makes certain passages easier (I'm thinking of the Cadenza at the beginning of the Dubois Concerto, but I'm sure there are others).