QUOTE(fabnt @ Feb 15 2009, 05:10 PM)
Umm...I'm not completely sure on the fingering for the upper register of the french horn, and i'm too embaressed at this stage to ask my teacher.
Would anyone be able to give me a fingering chart for the higher notes with the Thumb valve fingerings included?
You ought to be able to work out all the fingerings (some have several) of each note, and to know the better ones, so as to choose the right one in context.
The following discussion assumes that you have a double horn in F and Bb, with the thumb valve shortening the instrument to the Bb pitch. Other designs exist and are used, but I won't write about them here.
On the full double, your teacher will recommend that you use the F side about to G in the middle of the treble clef. C space is open on the F and on the Bb (i.e its fingering can be 0 or T). The corollary of this is that each note from G# up to C can be produced with the same finger valve settings, either with or without the trigger. From there upwards:
. . . . main . alternatives (in descending order of usefulness and reliability)
C# . . T23 . 2, 12, 3, 123, T123
D . . . T12 . T3, 0, 1, 13, T13
D# . . T1 . . 2, 23, T23, T123
E . . . T2 . . 0, 12, T12, 3, T3, T13
F . . . T . . . T1, 1, T23
F# . . T2 . . T12, 2, T3, T123, 123
G . . . T . . . T1, 0, T13, 13
G# . . T2 . . T23, 23
A . . . T . . . T12, T3, 12, 3
A# . . T1 . . 1, 12, 23, 2, etc.
B . . . T2 . . 2, 0, 1, 12, etc.
C . . . T . . . 0, 2, 1, etc.
C# . . T23 . . 0, 2, 1, etc.
D . . . T12 . . 0, 2, 1
I don't remember all of these, but I can work them out by knowing the harmonic series to which the resonances of well-designed brass instruments approximate. E.g., the resonances of the open C horn, as notated for horn in F and starting with the C below the bass staff (new notation); H is the harmonic number, S the number of semitones above the fundamental:
Note Number Comment
. . . . .H . . S
C . . . 1. . .0 . Fundamental
C . . . 2 . .12 . Octave
G . . . 3 . .19 . 12th
C . . . 4 . .24. 15th or double octave; written middle C
E . . . 5 . .28 . 17th; slightly flat to ET
G . . . 6 . .31. 19th
Bb . . 7 . . 34. flattened 21st; very flat to ET, but usable on a hand horn
C . . . 8 . .36 . 22nd or triple octave
D . . . 9 . .38 . 23rd
E . . .10 . .40 . 24th; slightly flat again
F+ . 11 . 41.5 half way between F and F#; Scottish bagpipe tuning
G . . 12 . 43 . 26th
A- . 13 . 44.5 . between Ab and A
Bb . 14 . 46 . . flattened 28th; very flat again
B . . 15 . 47 . . 28th; a good diatonic major seventh above H8, but not a diminished octave
C . . 16 . 48 . . 29th or quadruple octave
The effect of fingering is to transpose this series, with the intervals retaining their characteristics.