I had no idea that some normally open notes could have fingerings. Very informative video, thank you.

This is an amazing resource that will be used for many years to come. Thank you for putting the time and effort into making this video and sharing this knowledge with us. I have been a viewer for a few months now and was happy to hear you joined Seton Hill. I am a community member of the Westmoreland Symphonic Winds and will be using this to avoid wearing out my tuning slides whenever I can. Hope to see you around sometime.

If I can add, for TC 'middle' G (just above the staff), I use 1+2 on my old (non-trigger) Besson/B&H Sovereign. Open makes it 25 cents sharp and 1+3 makes it flat, whereas 1+2 brings it down perfectly. The only annoyance is that the A above is also perfect in tune with 1+2 so it can get dicey with that, so you really have to watch your centring.

Nice video about alternate fingerings Algirdas. I even learnt a few that I never use. I do use some fingerings that are not listed in your video. These are in t.c.: 2-3 for F sharp, 1-2 for high G to bring it down and high B to bring it up slightly. 1 for high C also to bring it a touch down and sometimes centers better then 0. Thought i would just add it here in the comments :-)

This was great! Still being relatively new to brass, and really new to a 3 valve euphonium, I am encouraged by seeing that I am on the right track! Thanks!

Great resource, thanks!

Very rarely 1 +4 can be used for 2nd line Bb. I actually had to use it this year in a measure for the Reel in the Irish Trilogy arr. by Larry Deahn as the notes before and after it is a C. I found it easier keeping the 4th valve down then add the 1st valve down for the Bb. The passage is fast if played up to tempo.

i always found the high C# very much out of center, but always considered that i just needed more practice to perfect it. Good to know that is not just my technique that lacks hahaha. Ty so much

Thank you for this. I undersstood the combination variations, but this give a much greater and better explanation.

16:53 when playing fast, the open fingering sometimes works better for me. E.g.: in Sparke‘s Harlequin There are passages that go Ab Bb Ab G Ab (TC) really fast and the transition from 2/3 (Ab) to 1 is much harder than to open. The intonation is not too accurate but in that case this was never an issue to me due to the speed. It sounded great and nobody notices it despite being much easier to play

Very helpful

Do these differentiate for non compensating euphoniums even when there is still a 4th valve?

I play tuba, I've gotten so used to lipping everything down. The way my Tuba is makes it to where I can't adjust the tuning slides while playing. So I know to lip down G, Gflat, everything below a low Eflat, and everything above a high D. Then I lip up middle and high D and Dflat, and middle E and Eflat. Other notes I'll adjust embouchure for, especially for middle F.

I didnt see you list 2 as a possible combination for high G. it flattens the note but in some fast passages is viable.

Using 1+2 for F4 is always in tune for me, if I do it open then it’s almost an F# (if i’m fatigued)

Some upper notes to aspire to there for me :)

I use one of the intermediate compensating euphoniums that you mentioned, do you have any tips to help the tuning for low Eb that doesn't involve the alternate fingering?

Thanks! But, would it ever be a good idea to play in the staff Bb as 1+4?

i use 1+2 for the high A on the euphonium. it is more in tune for me.

@Euphonium_boi

5 ай бұрын

Wait that works for an A? I thought that was just a really unstable G, thanks lol

@jamessmith6333

5 ай бұрын

@@Euphonium_boi yes it works! no problem.

For Ab 2 it is very out of tune on my tuba and it plays in tune on 2+4

8:07 F♯は3+4でもできるきがするけどないの？

@Matonizz

8 күн бұрын

3+4 could work but probably not the most efficient combination :)