Jack Attack!
Thanks for the reply- I've thought about the same concerns for some time now. My curiosity about the subject comes from playing concert mellophone for 4+ years now. I had a seat with a big-band as both horn (see pieces like el Congo Valiente), and on concert/16E Mellos (see pieces like Kenton's West Side Story).
Thanks again PM
On 20 nov. 04, at 00:47, John Dutton wrote:
PM writes:
I guess what I'm wondering is if anyone really sees the intrinsic value of
reviving the instrument. Many of us were forced to play the "child of unwed
parents" in our high school and college marching days. Does anyone feel the
instrument deserves its few moments in the spotlight now and again?
****************
I guess you are assuming that the e-flat mellophone is a descendent of the
alto horn (or tenor horn in other places). I might buy an argument stating
it is an offshoot but probably not. Since the Hindemith was written for an
alto horn then if you wanted to "revive" an instrument (which in other
countries is still played often) then you should perform on an alto horn.
That said, I'll give you the advice a good friend once gave to me. No one
wants to hear a piece played less than your best just so you can use a
different instrument, so if it compromises your end product to perform on
the alto horn then you should perform on a regular horn. The advice was
given to me regarding performance of the Brahms Trio on natural horn. I
took his advice to heart and for the audience to which I was performing it
made more sense to use a valved horn. I have performed it on natural horn
both before and since successfully but the advice is valid none the less.
Take your audience and your own skills into consideration and go from there.
The Jack Attack!
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