> -----Original Message----- > From: Herbert Foster [mailto:[EMAIL PROTECTED] > Sent: Friday, April 18, 2008 12:48 PM > To: The Horn List > Subject: Re: [Hornlist] Changing tone color > > 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?
"not de-emphasize" is a tricky phrase, Herb. Singing is the best model for most music making, IMHO, so I would trust your instincts when it comes to how to perform a pick-up note. Perhaps by "not de-emphasize," someone was trying to say to make sure you used good technique on all notes, not just the important ones, but that's quite a different thing than playing all the notes the same, IMHO. Although this is only partially related to the subject at hand, I will observe horn playing has helped my breathing in singing quite a bit. I find it far easier to get away with poor breathing in singing than I do on the horn. -S- > 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? > > _______________________________________________ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/herb_foster%40yahoo.com > > > > > > > > ______________________________________________________________ > ______________________ > Be a better friend, newshound, and > know-it-all with Yahoo! Mobile. Try it now. > http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ > _______________________________________________ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/steve%40fridays > computer.com > No virus found in this outgoing message. Checked by AVG. Version: 7.5.524 / Virus Database: 269.23.1/1384 - Release Date: 4/17/2008 3:47 PM _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
