Well, the quoniam is played on a descant horn because of the desired light sound as it should be just like ornamentation to the Bass Voice. It Must Not Be played as "Some Kind of a Horn Show up" by no means, as heard too offen. Regarding the A2, well friends, if One has difficulties with that note, he or she should not play it, simply. Ambition is not all. Xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx Von meinem iPad gesendet
Am 15.08.2011 um 07:01 schrieb Steve Haflich <[email protected]>: > [email protected] wrote: > > Just out of curiosity, if a candidate used a descant for only a > small handful of excerpts, like the Bach Quonium, Brandenburg, or > even Beethoven 7, while using a double for the rest, would you count > it against them? > > There is something curious about this collection of potential descant > pieces. > > Why is the Quoniam included? The piece is treacherous (one sits on > stage for an hour, without playing, before that opening octave leap!) > and it is solo, exposed, and requires agility. But it _isn't_ > particularly high. The top note is only A (on F horn) and while there > are a number of A's, the tessatura of the piece is not higher than what > one finds in a Mahler symphony. > > There is something about the Quoniam that make us hornists think of it > as a "high" piece. Why? And is that a productive approach to playing > it? I think not. > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/hpizka%40me.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
