As well as being a fine teacher, Douglas is a singer, and he adds that 
perspective to his teaching.

This brings up a question. We are taught not to de-emphasize pick-up notes, if 
not to emphasize them. However, when I am singing, pick-up notes are usually on 
weak syllables. How do I "sing on the horn" with these seemingly contradictory 
directions?

Herb Foster

----- Original Message ----
From: Douglas Lundeen <[EMAIL PROTECTED]>
To: horn@music.memphis.edu
Sent: Tuesday, April 15, 2008 4:46:58 PM
Subject: [Hornlist] Changing tone color

I was really glad to hear Hans comment on changing tone color.  It IS 
extremely rare in modern wind playing in general and brass playing in 
particular to hear people talk of changing colors.  There are (fewer now 
than formerly) different tone-colors out there, but each "school" seems 
to be aiming for one basic sound.  String players (especially chamber 
musicians) think a lot about color and changing it, and can see with 
there eyes how changing the distance from the bridge changes the tone 
color, etc., etc.

By changing the mouthspace (vowel), and the air/volume/speed/pressure 
"recipe" for a given note, horn tone can also be extremely flexible, and 
should be changed to suit the composer/work in question, i.e. Bruckner 
WAY different than Rossini:)  Sort of stacking the deck there, but also 
there is a lot of musical value to changing color within a phrase or 
even on a long note the way a fine singer would.  Think of all of the 
different vowel shadings there are in vocalization; and while on the 
topic, why shouldn't we horn players make the full palette of 
consonants, voiced and unvoiced, an integral part of our articulation?

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