William I was thinking of Beethoven 7 in terms of volume as much as The sound quality that I want to hear (or personally produce) is different when talking about Brandenburg and Beethoven 7. So in terms of equipment I would pick 2 different instruments to play those pieces.
Debbie Schmidt Sent from my iPhone On Aug 12, 2011, at 10:45 PM, [email protected] wrote: > Good point. I hadn't thought about airlines either. > > Regarding Beethoven 7, the descant that I have (an older, much heavier Schmid > descant possibly built in the late 1980s) seems to do fairly well in the high > register in terms of loudness - that is to say if I use an older, much > thicker bell on it. > > I'm on the fence about that excerpt though on my descant, so maybe one day > I'll have a blind test. I've never really liked Beethoven 7 being too loud > though. Some do, some don't. > > -William > > > > > > > > > -----Original Message----- > From: Debbie Schmidt <[email protected]> > To: The Horn List <[email protected]> > Cc: The Horn List <[email protected]> > Sent: Fri, Aug 12, 2011 8:19 pm > Subject: Re: [Hornlist] Triple horns > > > A couple of additional thoughts: > > 1. Airlines no longer allow you to carry 2 horns on board unless you buy an > > extra seat. Many first horn auditions have Brandenburg for which a descent/ > > smaller horn is called for from a sound perspective . So those on the > audition > > circuit are choosing triples to deal with the demands of audition lists. > > > > 2. Those of us that play in settings that are amplified and have in some > cases > > 16 shows a week pick horns for not missing and ease of execution over pure > sound > > quality. Many times there is no mix between house and amplified because you > are > > in a room backstage. > > 3. I have been on recording dates for jingles where the composer said let's > move > > this up a step to a brighter key. > > We had done 7 or 8 takes and in the new key my notes were written high D's > the > > triple was very useful. > > I do own a Schmid double and triple hands down the low F side is better on > the > > double. > > The high Eb side on the triples is a learning curve against the fingerings we > > grew up with it has no advantages for transposition. > > If you can find a triple that the meat of the range sounds great the high F > side > > allows additional sound colors and variations much more than added security. > > I just do not have a sound concept of Beethoven 7 that is consistent with a > > descant. That is a big heroic call not a small Brandenurg fleeting phrase of > > 16ths. So although I would play the bminor and Brandenburg at an audition or > at > > work on a small horn I always play Beethoven 7 on my double. > > > > > > > > > > Debbie Schmidt Sent from my iPhone > > > > On Aug 12, 2011, at 7:15 PM, Robert Ward <[email protected]> wrote: > > > >> Hi Steve, > >> > >> Thanks for your reply - you take a very evenhanded and fair approach, and of > > course there is a lot of truth in what you write. We are all different. My > point > > in writing was to pass along some of my thoughts as to what the consequences > of > > certain choices are, since I've had a lot of experience along the way, in > hopes > > that it will help someone make a better choice. Many times players choose > > equipment to rectify technical problems, a strategy which has no chance of > > success. There are no shortcuts. I also think that when we stray too far from > > our roots on the instruments, the results are not what we intend sometimes. > >> > >> In the SFS we do not force people to play certain instruments. But at our > > auditions, we choose people who sound like we do, and more often than not, > they > > are already on that path. It's pretty easy to hear, and we have chosen > players > > that are terrific musicians and who fit in. > >> > >> Best of luck - and enjoy the rest of your summer. > >> > >> B > >> > >> > >> Robert N. Ward > >> Principal Horn > >> San Francisco Symphony > >> [email protected] > >> > >> > >> > >> > >> > >> On Aug 12, 2011, at 2:56 PM, Steve Freides wrote: > >> > >>> I take a very simple approach to all these things - would you tell > >>> your automobile mechanic, or the carpenter building your new kitchen > >>> cabinets which tool to use? Of course not - both know it's their > >>> responsibility to select the right tool for each part of the job and > >>> that, in the end, it's the results that matter, not how they got > >>> there. > >>> > >>> Same thing here, IMHO - find a horn that lets you play the music you > >>> want or need to play and that's that. Some people will do best with a > >>> triple, others won't, and some really smart horn players will bring > >>> out the triple when they need it but use another horn when the other > >>> horn is best suited to the job at hand. > >>> > >>> I realize that if you play in the horn section of a professional > >>> orchestra, you often are required to make equipment choices along the > >>> same lines are your colleagues, but for most of us, I think job one is > >>> to play the music. If a triple helps you get there, then by all > >>> means, use a triple. > >>> > >>> The harder question is whether or not someone who hasn't used a triple > >>> ought to try one, and there's simply no answer to that question that > >>> can be had - you won't know until you try it whether or not it's for > >>> you. This is a great reason to purchase a used instrument, IMHO - you > >>> can, if you're patient and if you don't overpay to begin with, sell it > >>> a few months down the road for exactly what you paid for it, coming > >>> away from the entire experience none the poorer but some the wiser. > >>> > >>> Me, I'd be happy to have such problems in my horn playing - I'm > >>> thrilled when I play the right notes, in tune, at the right times. > >>> But I think the principles here are pretty universal - the horn is a > >>> tool, playing the music is the job, and one should use the best tools > >>> one can afford to own that aid in getting the job done as well as > >>> possible. > >>> > >>> Just my opinion, your mileage may vary. > >>> > >>> -S- > >> > >> _______________________________________________ > >> post: [email protected] > >> unsubscribe or set options at >> https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/jasoncat%40aol.com > > _______________________________________________ > > post: [email protected] > > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/valkhorn%40aol.com > > > > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/jasoncat%40aol.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
