I must admit I'm a rookie in the bass bone arena. So, I hope this question isn't too basic for this forum.

The second last measure in this Wolpe arrangement of Makin' Whoopee has a descending line of 8th notes - Db,C,pedal Bb,landing on pedal Ab.

Should I play the low C in 7 1/2, or should I work it up playing low C as a ghost tone in 2end?

<YOUTUBE id="5IMrCYGShn8" list="RD5IMrCYGShn8">https://youtu.be/5IMrCYGShn8?list=RD5IMrCYGShn8</YOUTUBE>

Initially you will find that the long 7th (assuming your slide is long enough; not all are) will feel better.

But the falset tone will make slide motion a lot easier.

I think you have said that you play a Yamaha so an E pull is not an option, but with an E attachment you move the two trigger notes in a little to make them easier to hit. Of course now you have to play all the low Fs in open 6th.

On a single you have to learn the factitious notes to get by. Even if you pull to a flat E (bE) tuning you will not be able to solve every situation on the single unless you learn the fake tones. At least this is true if you plan to play modern big band music. You need a double or you need the fake tones to work because it will be to much slide work if you don't. I guess you will soon discover you are slow on the long positions

/Tom

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[quote="BGuttman"]Initially you will find that the long 7th (assuming your slide is long enough; not all are) will feel better.

But the falset tone will make slide motion a lot easier.

I think you have said that you play a Yamaha so an E pull is not an option, but with an E attachment you move the two trigger notes in a little to make them easier to hit. Of course now you have to play all the low Fs in open 6th.[/quote]

Actually I sent the Yamaha back and picked up a 72H. Love the horn so far.

I had an Eb attachment made for a 70h, which made the horn chromatic all the way down, but required you to use a lot of 6th and 7th positions. Also, don't forget the E pull on some horns (72h a good example of that).

And you can always get crazy with it:

<YOUTUBE id="Arb4u40iNxs">[media]https://www.youtube.com/watch?v=Arb4u40iNxs</YOUTUBE>

:!: [quote="hyperbolica"]I had an Eb attachment made for a 70h, which made the horn chromatic all the way down, but required you to use a lot of 6th and 7th positions. Also, don't forget the E pull on some horns (72h a good example of that).

And you can always get crazy with it:

<YOUTUBE id="Arb4u40iNxs">[media]https://www.youtube.com/watch?v=Arb4u40iNxs</YOUTUBE>[/quote]
Great!<EMOJI seq="1f44d" tseq="1f44d">👍</EMOJI><EMOJI seq="1f642" tseq="1f642">🙂</EMOJI>

The problem with fake tones is long sustained notes. For some reason the air does not last as long as when I play a normal note on the trigger. This trigger of yours looks smooth enough to be used on those occasions where a fake tone would be difficult.

I'm used to fake tones now on my single which means that to me that is faster because it looks like it takes some time to push that trigger, but your trigger in combo with the fake tones would solve every situation I can think of.

I'm close to let the tech here do something similar on one of my horns <EMOJI seq="1f914" tseq="1f914">🤔</EMOJI> ... but it needs to be a f-valve that has a tuningslide long enough to tune bE.

/Tom