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From: [EMAIL PROTECTED] Date: Sat Oct 4, 2003 7:27:01 AM America/Chicago To: [EMAIL PROTECTED] Subject: Re: [Hornlist] Yamaha horns
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From: [EMAIL PROTECTED] Date: Sat Oct 4, 2003 7:27:01 AM America/Chicago To: [EMAIL PROTECTED] Subject: Re: [Hornlist] Yamaha horns
In a message dated 10/3/2003 5:32:29 PM Pacific Standard Time, [EMAIL PROTECTED] writes:
I agree- with robob. I think it is very possible to be more versatile on a geyer yellowbrass small belled horn. All you have to do is blow to be big- I'm actually trying to prove this to my horn teacher who has been an 8d lawson player for years. When it comes to bigness on a horn you either got it or you don't there is no middle ground on whatever instrument you play. I do believe certain things are easier on seperate horns though and this is what Bill is getting at. Paxman is well for high and soft while the kruspe wrap is a monster orchestral horn. Isn't it true we try to do things that come unnatural to our respective horns? Geyers always want to be bigger and Kruspe's always want to be softer- pretty big generalization so take it with a grain of salt.
Once, when I was in Oakland, at Best Music, I had an opportunity to play a single Bb horn, and my son commented that as a listener, he thought the horn was both nimble and lyrical at the same time (He was and is, a superb brass player, he plays them all at a professional level, except French horn. He says "that's what French horn players are for"). Since they were only asking $210 for it, I bought it to fool around with. It needed some work done, so I walked it over to Dick Ackrights shop. He gave me such a deal on an Atkinson pipe he had, I couldn't resist. Someday, maybe, I'll find out what model. When I played the modified horn, it had a much bigger sound than I remembered, and I had Dick change it back. Since the pipe was all bent with its own tuning slide receiver, I taped it onto the horn so I could compare them the two by shifting the tuning slide. This gave me an arsenal of three different horns. With the Atkinson pipe on, I found the little sucker had plenty of power to play in the San Jose Wind Symphony. I don't think anyone noticed I was playing a single horn, there were certainly no disparaging comments. I was playing third part, the principal played an Alex 103, and the second horn had a really nice Elkhart 6D, silver, if I recall correctly. I had been playing the Reynolds heavy bell. Either of my horns fit in, but completely differently. It had never occurred to me that my change would influence the whole section. The nature of the pieces being played dictated which horn worked better. Either horn was acceptable on any given piece. I never changed horns between pieces, but I would use both horns at reading sessions, then decide which horn matched best to the concert. I wouldn't advocate telling your fellow players that you are now in control of the section. It is far more subtle than that. You become more conscious of the group sound, and your own role in making it. Once you become aware of individual contributions, you realize there are small things you can do to influence the section. There is a means of communication. This is old hat to anyone who plays improvisation. I'm just trying to find a way to introduce the concept to those who still play strictly to the beat, but I'm getting off the subject.
The point is, the instrument you play has a real part in defining the end product, by having two choices, you can stack the deck a little. It really adds to the enjoyment, and takes your personal sophistication up a notch just by adding to your awareness.
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