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JE: Some specific things I like just looking at the new model are the location of the high-F tuning and also the hollow rotors and overall weight.
GK: Not only High F, but a dedicated Bb, and F and a dual F/Bb. All three sides can have their own main tuning slide. Which means less pull on all our slides and making our horn even longer! I think it helps for an even more well balanced horn from top to bottom. As for the rotors, it’s hard to imagine that they are lighter then the solid double rotors that Jim uses but they are! And that does not mean that there is a sacrifice on playability. Jim has built a natural feel and response in the horn that you feel no issues within the valve cluster. Also, the rotors have a wonderful feel and response in your hands. The benefit is no lag time in the return of the rotor regardless of the fact that you are now turning a rotor with 3 ports instead of 2. It feels as smooth as you would expect any horn to feel.
JE: Another thing to ask about is the ergonomics of the new Patterson triple overall, and does it stand in low F or Bb?
GK: Regardless of any instrument that one chooses to use, ultimately the instrument needs to feel connected to the player. It’s a marriage. And now we are adding another thumb level to that relationship. So the question of ergonomics was at the forefront of the design. Good ergonomics are essential to allowing the instrument to function and do what it needs to for the performer. The thumb levers are easy to access on Jim’s horn and feel natural in the hand. He has them well placed so that the instrument doesn’t feel uncomfortable and awkward for the left hand position or put your hand in any kind of tense position. We worked hard to make sure that the ergonomics of this instrument are one of the first things you will notice. And yes, you can have it stand in F or Bb depending on your preference.
JE: That is great, to stand in F as an option is I think essential to a horn intended for the market in the United States. Personally I have owned two different triple horns and when I won Third Horn in Nashville in 1991 I used a double and a descant horn in the audition, a setup I continued using as long as I was in the orchestra. Then I used a triple for several of the summers that I was performing first horn in the Brevard Music Center Orchestra. It is a topic that any serious aspiring professional player must confront in relation to auditions and a career, and could you share with readers some of your personal thoughts to using one horn instead of bringing 2 on stage?
GK: Well, I bet you can tell I am partial to using one triple horn. Personally I don’t feel the need to have to get used to 2 instruments during the course of a stressful audition or for a quick high solo on stage. Some people feel that you can hear the High F too easily on a triple and find it to be distracting. Personally, if the artistry in the player delivers the wanted affect to the piece, I could care less what instrument they choose to achieve it on. As for triples specific, it’s my personal avenue that best suits me for the job at hand. I like to have the consistency on the stage. So learning my triple, knowing its tendencies and having them be in one instrument is my personal choice. I understand the mentality towards descants and switching. But, for me it becomes more of a distraction to use 2 horns. Such as needing to warm the instrument up, making sure we are using the correct fingering for the different instrument, the instrument is going to blow differently then what we are used to. I like having it all built in to one. And what this new triple has achieved is all there for my personal taste in making music.
Part III will continue with more on the development of the new horn design. Photo courtesy of Patterson Hornworks; for more see their Facebook page.
