I switch just between my regular double (Pizka-Classic) to a single high F Alexander for baroque stuff & my Viennese single F Pumpenhorn for easy orchestra stuff (ballet, Puccini, etc.) & horn choir [I am near to retirement age, so not to risk as much as years ago !! ] .
But I feel, to adapt oneself to the different task tone (colour) wise & sound output wise be much better than to switch the equipment forth & back. Give the priority to the human factor. ============================================================ =================================================== -----Original Message----- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Chris Tedesco Sent: Monday, February 07, 2005 11:59 PM To: The Horn List Subject: Re: [Hornlist] Horn switching The other way of looking at that of course is that a smaller, more agile instrument in a large group will project easier, allowing one to play with less effort. Here is a question to the professionals on the list: How often, and under what circumstances, do you switch between different styles of horn, for example, from a smaller brass geyer to a larger nickel silver kruspe, for different ensembles? Chris --- [EMAIL PROTECTED] wrote: > I can't pass on an opportunity to jump back on my soap box. Through > my horn collecting and access to several fine instruments with > different playing characteristics, I have become convinced that at > least two instruments are required to be able to give justice to the > wide demands placed on the player in covering the standard literature. > Having a big, heroic, instrument specifically to cover symphonic > repertoire allows one to use a smaller, more agile instrument for > chamber works. I use a Reynolds Chambers heavy bell Cleveland horn > for big stuff, and a Paxman 42M for smaller things, or if I play in a > Geyer section. The two horns cost less than a good 8D because few > pros have ever played a Reynolds, and medium bell Paxman horns don't > sell in in the US market. I use the same mouthpiece on each for full > range work, and switch to a smaller diameter cup, same rim, for true > descant work. The trick to switching between instruments is to take > the time to tune the horns so they require similar playing > adjustments. Most players can increase their accuracy by tuning the > horn so it require the least amount of emboucher adjustment to lip it > into tune, then get used to those settings. At my age, I can't give up too much of what I don't have any more just to fight the equipment. > > In a message dated 2/7/2005 11:38:41 AM Eastern Standard Time, Daniel > Canarutto <[EMAIL PROTECTED]> writes: > > >Two different listeners at the rehearsals of my wind ensemble > >(octet+flute) have said that the horns are too loud. Of course I > >imagine that your advise will be: play softer. The problem is that we > >do not feel the exact sound balance. I may be hearing clearly the > >flute (say) but the listener says that he can't. How can I get a > >feeling of what a listener hears? Can the balance be affected by the > >place where we play? (The next concert will be in a church, while we > >are rehearsing in a relatively small room). > > > >Thanks for any input, > >Daniel > >_______________________________________________ > >post: horn@music.memphis.edu > >unsubscribe or set options at > http://music.memphis.edu/mailman/options/horn/billbamberg%40 aol.com > > > > _______________________________________________ > post: horn@music.memphis.edu > unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/tedesccj%40yah oo.com __________________________________ Do you Yahoo!? Take Yahoo! Mail with you! Get it on your mobile phone. http://mobile.yahoo.com/maildemo _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans%40pizka.d e _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
