Author: EaubeauHorn
Date: 2024-06-04 05:37
I read by concert pitch. Always have on many instruments. That means I read quite a few clefs, all of them in concert pitch. That is because I have what I call "pitch recognition" which others refer to as perfect pitch. It is highly confusing to me to give a note the wrong name. I started on piano with an in-tune piano and learned those pitches' names. And two clefs at the same time. I find that highly desirable in starting students, because the dot on the page refers to a pitch, not a fingering. You can play it with your nose if you want. As opposed to how many students come up through a band program, where the notes on transposing instruments have the wrong names AND are associated with a fingering and not a pitch, at least to start with. Brass players have a more complex job of finding and producing the pitch.
So what you run into with people who learned to read by fingering, is that they are resistant to learning an instrument that doesn't use the same fingering, and that's how we got the clefs in brass bands. Tuba players, the ones who aren't specifically (only) brass band players, have four sets of fingerings to learn, eventually, for the four different keys of tubas, all reading conert pitch bass clef.
That's just how I do it (and I play tuba too, as well as horn and strings) -- and I find that reading by concert pitch makes one almost infinitely flexible, able to read viola music on clarinet, clarinet music on violin -- just by not associating the dot on the page with a specific fingering but instead with a specific pitch.
End diatribe.
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