TromboneChat

My current horn has an option to switch between Gb/G tuning. I currently use the Gb but will try out the G and wondered what people's thoughts are. It seems like a lot of people who make the switch are happy with it. I know Denson Paul Pollard uses it and Blair Bollinger has a flat G version of it.

Technically flat G. Been using it since the mid-1980's.

WeekendWailer wrote: ↑Mon Oct 01, 2018 10:12 pm My current horn has an option to switch between Gb/G tuning. I currently use the Gb but will try out the G and wondered what people's thoughts are. It seems like a lot of people who make the switch are happy with it. I know Denson Paul Pollard uses it and Blair Bollinger has a flat G version of it.

Denson Paul Pollard made a video explaining the G valve - here https://youtu.be/nYlrtuarya0 for anyone interested

I can't get on board with how far out low C and low B are.

There's a piece I keep telling myself I should learn that has a fast two-octave Ab arpeggio and with a G trigger I can do it all in 3rd position.

Other than that...?

I just find having g flat turning even without trying g would make more sense to me. Especially with low arpeggios.

Tetraphosphate wrote: ↑Mon Oct 01, 2018 11:22 pm

WeekendWailer wrote: ↑Mon Oct 01, 2018 10:12 pm My current horn has an option to switch between Gb/G tuning. I currently use the Gb but will try out the G and wondered what people's thoughts are. It seems like a lot of people who make the switch are happy with it. I know Denson Paul Pollard uses it and Blair Bollinger has a flat G version of it.

Denson Paul Pollard made a video explaining the G valve - here https://youtu.be/nYlrtuarya0 for anyone interested

I really appreciate Denson Paul Pollard's providing context for his use of the G valve. Good lesson on how to explain something succinctly. And I could clearly see his left hand to monitor his use of the valve. Good on ya!

Burgerbob wrote: ↑Mon Oct 01, 2018 11:37 pm I can't get on board with how far out low C and low B are.

This always stopped me.

G > Gb

BUT

D >>> Eb (for me, YMMV)

I have always wanted to build a section that slides can swap around to make both valves configurable from G, Gb, F, E, bE to see what would work in practice. The G/bE/D has always intrigued me, but I don't know if that bE valve will be very useful.

Cheers,
Andy

Tetraphosphate wrote: ↑Mon Oct 01, 2018 11:22 pm Denson Paul Pollard made a video explaining the G valve - here https://youtu.be/nYlrtuarya0 for anyone interested

I watched that video and it is what tempted me to try it out.

Burgerbob wrote: ↑Mon Oct 01, 2018 11:37 pm I can't get on board with how far out low C and low B are.

Yeah, I thought is was ok but in the spear motif, you have to go from a low B natural to pedal A. It is a bit of a jump.

elmsandr wrote: ↑Tue Oct 02, 2018 6:51 am D >>> Eb (for me, YMMV)

I think I agree with this. The F-attachment provides Eb in 3.5 and you are only going through one valve.

After trying it out for a few days, I have gone back to Gb. I like having the option but I think it isn't for me. I also noticed that I use C in 2nd with the Gb trigger fairly often for A-minor and C-major arpeggio type things.

WeekendWailer wrote: ↑Sat Oct 06, 2018 4:27 pm I also noticed that I use C in 2nd with the Gb trigger fairly often for A-minor and C-major arpeggio type things.

^^^ This! And B in 3rd !

Plus it is nice to have F valve same as a tenor (unless you are using G or Gb tuning on tenor), which means Bb/F/G/Eb, and having C and B too far out on the slide.

And Bb/G/Eb/Db tuning is just too esoteric if one also plays tenor in Bb/F, imho.

elmsandr wrote: ↑Tue Oct 02, 2018 6:51 am
D >>> Eb (for me, YMMV)

Yep. This is the kicker. I love using my Gb valve alone for C, B and low F and Gb sometimes. But the thought of the double-trigger range being even further out is too frightening.

I've thought about doing something crazy, lie Bb/G/D/flat-C-ish.

I have tubing for my bass that creates a G 2nd valve. It was very useful when I had an old brass band contest piece (Edward Gregson's 'Essay') with exposed glissandi G-Eb, written for the G bass trombone (probably? Gregson was writing in the time period (1970) where G was giving way rapidly to Bb/F).

I also have tubing that creates Bb/F/Ab/E tuning. It was very useful for the B-F# glissando in the Nielsen flute concerto when it came up on the schedule.

Day to day - happy with my usual unusual set-up (second valve long D).