Re: [Hornlist] Shostakovich - Symphony No. 5, op. 47
Not to be picky, but Shostakovich is later in history than Sibelius. paxmaha Julia H [EMAIL PROTECTED] wrote: Yes, he's later in history than Shostakovich, but it's just an example of how the pairing of horn voices isn't set in concrete J - Do you Yahoo!? Take Yahoo! Mail with you! Get it on your mobile phone. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Abby Mayer
Hans, Thank you very much. I hope all is well with you (I know you are busy, that is good). Loren \@() [EMAIL PROTECTED] (520) 403-6897 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Wednesday, May 18, 2005 1:32 PM To: [EMAIL PROTECTED]; 'The Horn List' Subject: RE: [Hornlist] Abby Mayer Abby Mayer [EMAIL PROTECTED] -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Loren Mayhew Sent: Wednesday, May 18, 2005 6:29 PM To: 'The Horn List' Subject: [Hornlist] Abby Mayer Could someone please send me Abby Mayer's email address offlist; I've lost it accidentally and need to contact him. Thank you, Loren Mayhew \@() [EMAIL PROTECTED] (520) 403-6897 ___ 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/loren%40mayhews.us ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE:Triple's and Horn in F, Bb
Hi Bill, I am sorry to have taken so long to answer you question; I have been very busy lately. Your question about the large bell flare on the f horn is a good one. Since I had never tried that before, I tried it just now. The results were about what I expected. Large bell flares spread the sound rapidly which makes projection in a large room more difficult but works great in a smaller venue such as a recital hall or recording studio (which is primarily what the large bell Conn 8d was intended for). The large bell on the f horn did not affect its playability at all but it did affect the sound quite a bit. With the large bell flare, the f sound was much thinner as it spread immediately; with the small flare, the f sound was much more concentrated and full sounding. In other words, with the small bell, the f horn sounds close up and with the large flare it sounds far away. I hope this helps. Loren Mayhew \@() [EMAIL PROTECTED] (520) 403-6897 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Monday, May 09, 2005 11:48 AM To: horn@music.memphis.edu Subject: Re: [Hornlist] RE:Triple's and Horn in F, Bb In a message dated 5/9/2005 10:24:27 AM Pacific Daylight Time, [EMAIL PROTECTED] writes: Permit me to correct Matthew's assertion that Finke has a leadpipe extension for tuning; the lead-pipes on Finke horns (single, double or triple) are not used for tuning. The Finke triple is in fact a normal double horn (F/Bb) with a separate f horn and there are two leadpipes, one for the double horn and one for the f horn. As a technical representative for Finke, a very highly respected builder, could you address some of the concerns I raised in an earlier posting concerning the fundamental acoustic properties of a triple horn. As an engineer, the basis for my concern is based on some knowledge of how horn acoustics work, both in theory and practice. I am well aware that 'theoretically' designed instruments, in addition to being a disaster, are often more of a laughing stock. Modern technical designers, Lawson being a prime example, don't use theory to design instruments, but rather, use theory to understand and quantify why good instruments are good. This strengthens the theory, and allows improvement by understanding the complex relationships better. Good scientists predict little, but can ultimately explain everything. My question is, how can the use of an XL bell flare on an F alto horn not be an acoustical disaster? Any player with any experience knows that a double horn is neither like a single F or single Bb horn. I don't doubt that triples can be made as an acceptable stand alone instrument, but at what price to the musical legacy. As I mature, I find it less fun to play classical parts on a big romantic double. More and more I'm feeling an obligation to get the horn parts sounding historically correct, so the other instruments can sound correct, as well. The advent of the triple is a clear indication that horn parts vary too much to expect a single instrument to cover everything properly. What all this has convinced me of, is that a high quality single F is the proper beginners instrument, in preparation to learn the other members of the horn family, and the proper place to use them to provide the right sound quality. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/loren%40mayhews.us ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Just Sliding Along, Singing A Nickel Song...
This brings up the issue of slide lubricants. If, when you pull the slide out, there is a rubbing sound/feel, you may be losing metal. When you wipe the slide and there is black on the rag, that is metal. Although many say that anhydrous lanolin is bad, sometimes that's the only thing that works for me on some slides. Herb Foster --- [EMAIL PROTECTED] wrote: Well Scott - My Nickel Silver Conn 8d third valve slides also tend to loosen and start sliding - I have had to have them expanded twice in the last few years. Timothy A. Johnson Information Technologies Northwestern College St. Paul, Minnesota http://tajohnson.org -Original Message- From: scott young Sent: Wednesday, May 18, 2005 10:58 AM Subject: RE: [Hornlist] Just Sliding Along, Singing A Nickel Song... I have a YHR-861 that has yellow brass slides. ... I had to have the slides expanded once a year or they would fall out of the horn. ... Because of that, I would always try to get a less mallealbe metal, such as nickel silver, for the slides on my horn. Respectfully Submitted, Scott __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Pirates
Is that an American or an British one? How do you say
A with a British accent? Ahhh? Remember, those are upper
class pirates.
Herb Foster
--- David Goldberg [EMAIL PROTECTED] wrote:
On Wed, 18 May 2005 [EMAIL PROTECTED] wrote:
Ohhh! A! I Can't wait for National Talk Like a Pirate Day Mateees!
Work on your pronunciation, Steve. It's A, not A.
Long tones, always long tones.
{ David Goldberrg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arborr Michigan }
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Discover Yahoo!
Have fun online with music videos, cool games, IM and more. Check it out!
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[Hornlist] Horn Teachers in Japan? (Kyushu)
Hi Jocelyn-Japan has TONS of hornplayers and about 500 orchestras (at least) check out: the New Symphony (Shinkyo) at: http://www.shinkyo.com/index-e.html they are always interested in new people. I played with them from 1996 to 1998. They do not pay anything; and in fact their membership fees are rather stiff, but it's worth it if you can afford to do it. They do hold auditions for prospective players from time to time. When I auditioned, the only thing they asked me to play was Mozart's 1st Horn Concerto; that's all-and a scale. Jon Brokering (cello) was the personnel manager at the time. I do not know if he is still there. the email to contact them (off the web site is:) [EMAIL PROTECTED] I no longer have Jon's email (sorry) I would perhaps have you mention my name when you talk to them but by now they have forgotten all about me after this many years. However they are very nice folks; many of them speak decent English and it's a fine orchestra. Good Luck in Japan! Rachel Harvey message: 7 date: Wed, 18 May 2005 11:33:26 -0700 (PDT) from: Usako Vincent [EMAIL PROTECTED] subject: [Hornlist] Horn Teachers in Japan? (Kyushu) I will be studying abroad in Japan this comming academic year. I will be studying at the Kyushu Design Insitute University from October 2005 until June 2006. I intend of bringing my horn with me during my time of study and I am would like to know if there are other horn players, groups or teachers out in Japan. If anyone has any recomendations, suggestions or comments that would help me out very much. - Jocelyn ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] L'olifant mouthpieces
You could try contacting them directly: http://www.lolifantparis.com/ Hope this helps! regards, Rob Kathner On May 18, 2005, at 7:19 PM, Nicholas Hartman Hartman wrote: L'olifant custom mouthpieces ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Valve oil
Hi I believe my valve oil has gone off as it has gone a strange yellow colour and smells like a tank of petrol. Does anyone know if this is still ok to use. Kev [EMAIL PROTECTED] (mailto:[EMAIL PROTECTED]) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Valve oil
I can't answer that question but if you are concerned it is best to buy new oil. It's a simple question of economics. Valve oil is relatively inexpensive, horn very expensive. Question about the ability of the oil to protect your horn would suggest the best thing to do is buy new oil. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Thursday, May 19, 2005 12:48 PM To: horn@music.memphis.edu Subject: [Hornlist] Re: Valve oil Hi I believe my valve oil has gone off as it has gone a strange yellow colour and smells like a tank of petrol. Does anyone know if this is still ok to use. Kev [EMAIL PROTECTED] (mailto:[EMAIL PROTECTED]) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/bgross%40airmail.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE:Triple's and Horn in F, Bb
That's quite logical, and supports some personal observations I've made. I've always favored the 28D over the 8D. A large bell with thin metal (low efficiency), like the 8D, would favor small venue playing. Since NS sounds better at a distance, the 28D might be a better choice. My favorite pit horn is my antique Enders. A brass horn with a throat larger than an 8D, and very thin metal. My Cleveland Chambers, very similar to an 8D, but with much heavier metal (very efficient), will fill a big hall with a mezzoforte. -Original Message- From: Loren Mayhew [EMAIL PROTECTED] To: 'The Horn List' horn@music.memphis.edu Sent: Thu, 19 May 2005 09:07:17 -0700 Subject: RE: [Hornlist] RE:Triple's and Horn in F, Bb Hi Bill, I am sorry to have taken so long to answer you question; I have been very busy lately. Your question about the large bell flare on the f horn is a good one. Since I had never tried that before, I tried it just now. The results were about what I expected. Large bell flares spread the sound rapidly which makes projection in a large room more difficult but works great in a smaller venue such as a recital hall or recording studio (which is primarily what the large bell Conn 8d was intended for). The large bell on the f horn did not affect its playability at all but it did affect the sound quite a bit. With the large bell flare, the f sound was much thinner as it spread immediately; with the small flare, the f sound was much more concentrated and full sounding. In other words, with the small bell, the f horn sounds close up and with the large flare it sounds far away. I hope this helps. Loren Mayhew \@() [EMAIL PROTECTED] (520) 403-6897 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Monday, May 09, 2005 11:48 AM To: horn@music.memphis.edu Subject: Re: [Hornlist] RE:Triple's and Horn in F, Bb In a message dated 5/9/2005 10:24:27 AM Pacific Daylight Time, [EMAIL PROTECTED] writes: Permit me to correct Matthew's assertion that Finke has a leadpipe extension for tuning; the lead-pipes on Finke horns (single, double or triple) are not used for tuning. The Finke triple is in fact a normal double horn (F/Bb) with a separate f horn and there are two leadpipes, one for the double horn and one for the f horn. As a technical representative for Finke, a very highly respected builder, could you address some of the concerns I raised in an earlier posting concerning the fundamental acoustic properties of a triple horn. As an engineer, the basis for my concern is based on some knowledge of how horn acoustics work, both in theory and practice. I am well aware that 'theoretically' designed instruments, in addition to being a disaster, are often more of a laughing stock. Modern technical designers, Lawson being a prime example, don't use theory to design instruments, but rather, use theory to understand and quantify why good instruments are good. This strengthens the theory, and allows improvement by understanding the complex relationships better. Good scientists predict little, but can ultimately explain everything. My question is, how can the use of an XL bell flare on an F alto horn not be an acoustical disaster? Any player with any experience knows that a double horn is neither like a single F or single Bb horn. I don't doubt that triples can be made as an acceptable stand alone instrument, but at what price to the musical legacy. As I mature, I find it less fun to play classical parts on a big romantic double. More and more I'm feeling an obligation to get the horn parts sounding historically correct, so the other instruments can sound correct, as well. The advent of the triple is a clear indication that horn parts vary too much to expect a single instrument to cover everything properly. What all this has convinced me of, is that a high quality single F is the proper beginners instrument, in preparation to learn the other members of the horn family, and the proper place to use them to provide the right sound quality. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/loren%40mayhews.us ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/billbamberg%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Valve oil
Don't eat yellow snow! -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Thu, 19 May 2005 13:47:31 EDT Subject: [Hornlist] Re: Valve oil Hi I believe my valve oil has gone off as it has gone a strange yellow colour and smells like a tank of petrol. Does anyone know if this is still ok to use. Kev [EMAIL PROTECTED] (mailto:[EMAIL PROTECTED]) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/billbamberg%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Horn Digest, Vol 29, Issue 23
message: 4 date: Wed, 18 May 2005 12:53:00 -0500 from: Sheldon Kirshner [EMAIL PROTECTED] subject: Re: [Hornlist] Embouchure Problem Arnold Jacobs told me that many fine brass players have unorthodox embouchures. Shel Hi, Arnold Jacobs told me the same thing and I remember him sitting there with a horn mouthpiece and putting it on his lips in different places and buzzing away. Of course he got notes out because his lips were lined up nicely and he could buzz very well without a mouthpiece, even though he discouraged that. He even had me play while I was sucking in on the horn. This was to show that blowing hard really isn't that important- you can play just as loud sucking in as blowing out. Anyway, if there was one issue I would have with Jake if he were still around, it would be that it doesn't matter where you set the mouthpiece as long as you have your air right. This is probably 100% right on Tuba because basically you stick the mouthpiece under your nose and blow. Its not going anywhere. Trombone is close to that. Trumpet you can always favor the upper register, although I would say that many modern players are playing with what is closer to horn embouchure placement than ever before. The horn is basically a Bass Trombone with a different bore and a small mouthpiece that plays in the trumpet range much of the time. An eighth inch of setting difference can mean the difference between success and failure. We have so much range to cover. The of success of any unorthodox embouchure can only be measured by the ability to control the beast in all registers and dynamics. Hey, if it works, it works. Define works. Phil Farkas once told me that when he wrote in his book that there WAS a fundamental playing position for the horn, back in the 50s this was big news, that he had stated that 95% of great players had certain things in common. He said that ever since then, he had been deluged by people, looking for help, who were convinced they were the other 5%. In fact he told me that whenever one writes something like 99% of the time this is true, people reading that are going to be thinking, I'm that 1%. I was one of those people. I was wrong. This and other topics will be great grist for the mill at Tuscaloosa, where you are welcome to my exhibit and ongoing therapy session. Wendell Rider For info about my book, Real World Horn Playing, and the summer seminar, please visit my website at www.wendellworld.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Horn Digest, Vol 29, Issue 23
It's OK to play horn by sucking air in backwards through a tuba mouthpiece while standing up in a hammock if that's how you like doing it. Fortunately, as it happens, there are other easier more effective ways, once you learn how, those better ways are what the good horn teachers out there are trying to get us to do. -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. ~~~ Arnold Jacobs told me the same thing and I remember him sitting there with a horn mouthpiece and putting it on his lips in different places and buzzing away. Of course he got notes out because his lips were lined up nicely and he could buzz very well without a mouthpiece, even though he discouraged that. He even had me play while I was sucking in on the horn. This was to show that blowing hard really isn't that important- you can play just as loud sucking in as blowing out. -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.322 / Virus Database: 266.11.12 - Release Date: 5/17/2005 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Horn Digest, Vol 29, Issue 23
At 3:22 PM -0400 5/19/05, Alan Cole wrote: Fortunately, as it happens, there are other easier more effective ways, once you learn how, those better ways are what the good horn teachers out there are trying to get us to do. Greetings - I forget where now, but wasn't there a euphonium teacher somewhere who didn't believe in circular breathing, and was training his students to play very long notes by the breath-suck method? Now, where did I hear that one of this teacher's former students now writes speeches for a very high ranking person in the US? Regards, Carlberg P.S. - - Who all's going to IHS2005 in Tuscaloosa? Carlberg Jones Guanajuato, Gto. MEXICO ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Valve oil
It's most likely just kerosene and has discolored with age. It's probably fine. I've used some rather dark valve oils in years past. P Mansur On Thursday, May 19, 2005, at 01:47 PM, [EMAIL PROTECTED] wrote: Hi I believe my valve oil has gone off as it has gone a strange yellow colour and smells like a tank of petrol. Does anyone know if this is still ok to use. Kev [EMAIL PROTECTED] (mailto:[EMAIL PROTECTED]) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/p_mansur1%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Horn Digest, Vol 29, Issue 23
What the heck it's Friday, and since you brought up politics. . . There is an apocryphal story told about Henry Kissinger. New staff member was told to get a speech ready for him. He worked all night and had it on Kissinger's desk first thing in the morning. By 9:30AM in was back in his in box marked, NOT SUFFICIENT RE-SUBMIT. The staffer soon learned that Kissinger never read the first draft, just said NOT GOOD ENOUGH. Several months transpired and the staffer was well versed in writing speeches for Kissinger. He got a call at home one evening from Kissinger saying, I've got to leave early in the Morning for Europe. Have a speech at Andrews AFB to go on the plane when I leave. I won't have time to look it over. The staffer did as instructed. Kissinger arrived at his meeting and opened the speech, after he had finished the first page he turned to page two only to find in bold letters, YOU'RE ON YOUR OWN NOW - YOU SOB! -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Carlberg Jones Sent: Thursday, May 19, 2005 2:35 PM To: The Horn List Subject: Re: [Hornlist] Re: Horn Digest, Vol 29, Issue 23 At 3:22 PM -0400 5/19/05, Alan Cole wrote: Fortunately, as it happens, there are other easier more effective ways, once you learn how, those better ways are what the good horn teachers out there are trying to get us to do. Greetings - I forget where now, but wasn't there a euphonium teacher somewhere who didn't believe in circular breathing, and was training his students to play very long notes by the breath-suck method? Now, where did I hear that one of this teacher's former students now writes speeches for a very high ranking person in the US? Regards, Carlberg P.S. - - Who all's going to IHS2005 in Tuscaloosa? Carlberg Jones Guanajuato, Gto. MEXICO ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/bgross%40airmail.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Horn Teachers in Japan? (Kyushu)
I will be studying abroad in Japan this comming academic year Whether studying abroad in Japan, or a broad in Japan, we wish you all the best. jrc ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Horn Digest, Vol 29, Issue 23
On Thu, 19 May 2005, Alan Cole wrote: ...backwards through a tuba... tubabut ? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Horn Digest, Vol 29, Issue 23
At 4:09 PM -0400 5/19/05, David Goldberg wrote: On Thu, 19 May 2005, Alan Cole wrote: ...backwards through a tuba... tubabut ? Strangely enough, one hears burros providing the double-belled effect quite often here. I heard it the first time when I was on a Sierra Club Family Burro Trip in the 50's in King's Canyon National Park. It is funny. Carlberg Jones Guanajuato, Gto. MEXICO ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Leaving list for a time
Hornfolks I will be unsubscribing from the list for a time;personal reasons. I hope to be back in a few months. thanks to those who responded on the Mahler; I think if anyone else is interested, you will need to email [EMAIL PROTECTED] (Jim Millar) for information on the Mahler 2 June 12 concert (that is for the offstage part only) best to all of you Rachel Harvey ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Horn Teachers in Japan? (Kyushu)
Rachel Harvey wrote: Japan has TONS of hornplayers and about 500 orchestras (at least) In fact if there are 4 hornplayers per orchestra, each player weighing 70kg (average), that makes up 140,000kg or 140 TONS. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Shostakovich - Symphony No. 5, op. 47
Yes. thank you. I made a mix up. I apologize. Everyone can stop e-mailing me about my mistake in typing. My thoughts move at a different rate than my fingers do and they don't always line up properly J From: David Jewell [EMAIL PROTECTED] Reply-To: The Horn List horn@music.memphis.edu To: The Horn List horn@music.memphis.edu Subject: Re: [Hornlist] Shostakovich - Symphony No. 5, op. 47 Date: Thu, 19 May 2005 06:58:53 -0700 (PDT) Not to be picky, but Shostakovich is later in history than Sibelius. paxmaha Julia H [EMAIL PROTECTED] wrote: Yes, he's later in history than Shostakovich, but it's just an example of how the pairing of horn voices isn't set in concrete J - Do you Yahoo!? Take Yahoo! Mail with you! Get it on your mobile phone. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/horn_player_4%40hotmail.com _ Express yourself instantly with MSN Messenger! Download today - it's FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Horn Teachers in Japan? (Kyushu)
At 11:47 PM +0200 5/19/05, Daniel Canarutto wrote: In fact if there are 4 hornplayers per orchestra, each player weighing 70kg (average), that makes up 140,000kg or 140 TONS. Well, I'll bet there's five per orchestra, making it 1.25 x 14 tons, or 175,000 tons. Now, you'll know the really meaningful truth . . . that equals 6,172,943,341.25 ounces (avoir.) or only 385,808,958.82 pounds (avoir.) Carlberg Jones Guanajuato, Gto. MEXICO ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Shostakovich - Symphony No. 5, op. 47
I have that problem sometimes when I'm playing horn. -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. ~~ My thoughts move at a different rate than my fingers do and they don't always line up properly -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.322 / Virus Database: 266.11.12 - Release Date: 5/17/2005 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Shostakovich - Symphony No. 5, op. 47
I hear you there. Include the embrochure and coordination just goes out the window! J From: Alan Cole [EMAIL PROTECTED] Reply-To: The Horn List horn@music.memphis.edu To: The Horn List horn@music.memphis.edu Subject: Re: [Hornlist] Shostakovich - Symphony No. 5, op. 47 Date: Thu, 19 May 2005 18:01:20 -0400 I have that problem sometimes when I'm playing horn. -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. ~~ My thoughts move at a different rate than my fingers do and they don't always line up properly -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.322 / Virus Database: 266.11.12 - Release Date: 5/17/2005 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/horn_player_4%40hotmail.com _ Dont just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Shostakovich - Symphony No. 5, op. 47
At 10:08 PM + 5/19/05, Julia H wrote: I hear you there. Include the embrochure and coordination just goes out the window! I just want to jump off the bridge when that happens. After my mom paid big bucks for a special typing course which included ten-key work, using my right hand, of course, I had to go play the French horn, which uses the left hand. Man, go figure. Carlberg Jones Guanajuato, Gto. MEXICO ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Older Yamaha horn catalogue pages uploaded
Inspired by an asking on one of the lists I went through my box with catalogues collected over some 30 years. I found 3 items relevant to Yamaha horns which I uploaded here: Scans of older Yamaha horn catalogues and horn pages from Yamaha general brass catalogues (1976, circa 1985, post 1990): Single page 300 dpi scans in .pdf format: http://launch.groups.yahoo.com/group/YorkMasterPublicPhotos56/files/Scans%20 of%20older%20Yamaha%20horn%20ca-/ Thumbnails of 120 dpi scans in .jpg format: http://photos.groups.yahoo.com/group/yorkmasterpublicphotos56/lst?.dir=/Scan s+of+older+Yamaha+horn+catalogues You will have to join this gallery group via: http://launch.groups.yahoo.com/group/YorkMasterPublicPhotos56/ My brass galleries hold at lot of horn photos, also of some less common models. The item I would like to point towards in this context would be: Yamaha Custom Horns from a circa 1988 catalogue: Single page 300 dpi scans in .pdf format: http://groups.yahoo.com/group/YorkMasterPublicPhotosXI/files/Yamaha%20custom %20horns%20circa%201988/ Thumbnails of 120 dpi scans in .jpg format: http://photos.groups.yahoo.com/group/yorkmasterpublicphotosxi/lst?.dir=/Yama ha+custom+horns+circa+1988+catalogue You will have to join this gallery group via http://launch.groups.yahoo.com/group/YorkMasterPublicPhotosxi/ I also happened to find a catalogue, which I hadn't had in my hands for at least 10 years: a Paxman catalogue from the end of the Richard Merewether era. 18 models illustrated plus a lot of text. That will be my next upload project. Klaus or with my extended signature: Klaus Bjerre of Denmark Retired teacher Index over 45MB+ of free music files in .pdf format to be found in the Files area of: http://groups.yahoo.com/group/YorkMasterBBb/ (Approved membership required) Index over 1GB++ of brass instruments galleries and catalogue scans to be found in the Files area of: http://groups.yahoo.com/group/YorkMasterPublicPhotosIII/ (Membership is open for all) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Horn Digest, Vol 29, Issue 23
Hi, Arnold taught that high tessitura playing is done more efficiently with a smaller reed. When he played in our high C range on the tuba, which he did easily, and musically, he used a small reed at the bottom of his mouthpiece--but didn't change his mouthpiece. He taught that in the extreme bass tessitura a large reed will produce relatively more resonant sonorities. And, for example, driving the bass register in the tuba using a small reed produces a more strident sound. He was originally a cornet player, then a trombone player and finally a tuba player. Arnold said that the mouthpiece pressure should be equal on both lips. And I suspect that there are many brass players who have injured their lips in not following that admonition while playing, particularly, in the extreme high tessitura and at great volumes. And, as you say, one should use lots of free flowing air. Shel -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Wendell Rider Sent: Thursday, May 19, 2005 2:07 PM To: Horn-List Subject: [Hornlist] Re: Horn Digest, Vol 29, Issue 23 message: 4 date: Wed, 18 May 2005 12:53:00 -0500 from: Sheldon Kirshner [EMAIL PROTECTED] subject: Re: [Hornlist] Embouchure Problem Arnold Jacobs told me that many fine brass players have unorthodox embouchures. Shel Hi, Arnold Jacobs told me the same thing and I remember him sitting there with a horn mouthpiece and putting it on his lips in different places and buzzing away. Of course he got notes out because his lips were lined up nicely and he could buzz very well without a mouthpiece, even though he discouraged that. He even had me play while I was sucking in on the horn. This was to show that blowing hard really isn't that important- you can play just as loud sucking in as blowing out. Anyway, if there was one issue I would have with Jake if he were still around, it would be that it doesn't matter where you set the mouthpiece as long as you have your air right. This is probably 100% right on Tuba because basically you stick the mouthpiece under your nose and blow. Its not going anywhere. Trombone is close to that. Trumpet you can always favor the upper register, although I would say that many modern players are playing with what is closer to horn embouchure placement than ever before. The horn is basically a Bass Trombone with a different bore and a small mouthpiece that plays in the trumpet range much of the time. An eighth inch of setting difference can mean the difference between success and failure. We have so much range to cover. The of success of any unorthodox embouchure can only be measured by the ability to control the beast in all registers and dynamics. Hey, if it works, it works. Define works. Phil Farkas once told me that when he wrote in his book that there WAS a fundamental playing position for the horn, back in the 50s this was big news, that he had stated that 95% of great players had certain things in common. He said that ever since then, he had been deluged by people, looking for help, who were convinced they were the other 5%. In fact he told me that whenever one writes something like 99% of the time this is true, people reading that are going to be thinking, I'm that 1%. I was one of those people. I was wrong. This and other topics will be great grist for the mill at Tuscaloosa, where you are welcome to my exhibit and ongoing therapy session. Wendell Rider For info about my book, Real World Horn Playing, and the summer seminar, please visit my website at www.wendellworld.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/skirshner%40ameritech.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Horn Digest, Vol 29, Issue 23
Well in the case of the horn, I have been taught (and practice) to have more pressure on the bottom lip and the minimum possible on the upper lip; the purpose of resting the mpc on the lower lip is to control the pressure on the upper lip. I find that if I use too much pressure on the upper lip I lose accuracy, dynamic control and wear my lips out prematurely. I am not a tuba player, but when I have played around on the tuba or baritone, I have found it helpful to have the lip pressure equal and more centered in the mpc. Arnold was a great tuba player of course, but I don't think his advice mentioned in the subject post applies to horn mpc. Loren \@() [EMAIL PROTECTED] (520) 403-6897 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Sheldon Kirshner Sent: Thursday, May 19, 2005 5:35 PM To: The Horn List Subject: RE: [Hornlist] Re: Horn Digest, Vol 29, Issue 23 Hi, Arnold taught that high tessitura playing is done more efficiently with a smaller reed. When he played in our high C range on the tuba, which he did easily, and musically, he used a small reed at the bottom of his mouthpiece--but didn't change his mouthpiece. He taught that in the extreme bass tessitura a large reed will produce relatively more resonant sonorities. And, for example, driving the bass register in the tuba using a small reed produces a more strident sound. He was originally a cornet player, then a trombone player and finally a tuba player. Arnold said that the mouthpiece pressure should be equal on both lips. And I suspect that there are many brass players who have injured their lips in not following that admonition while playing, particularly, in the extreme high tessitura and at great volumes. And, as you say, one should use lots of free flowing air. Shel -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Wendell Rider Sent: Thursday, May 19, 2005 2:07 PM To: Horn-List Subject: [Hornlist] Re: Horn Digest, Vol 29, Issue 23 message: 4 date: Wed, 18 May 2005 12:53:00 -0500 from: Sheldon Kirshner [EMAIL PROTECTED] subject: Re: [Hornlist] Embouchure Problem Arnold Jacobs told me that many fine brass players have unorthodox embouchures. Shel Hi, Arnold Jacobs told me the same thing and I remember him sitting there with a horn mouthpiece and putting it on his lips in different places and buzzing away. Of course he got notes out because his lips were lined up nicely and he could buzz very well without a mouthpiece, even though he discouraged that. He even had me play while I was sucking in on the horn. This was to show that blowing hard really isn't that important- you can play just as loud sucking in as blowing out. Anyway, if there was one issue I would have with Jake if he were still around, it would be that it doesn't matter where you set the mouthpiece as long as you have your air right. This is probably 100% right on Tuba because basically you stick the mouthpiece under your nose and blow. Its not going anywhere. Trombone is close to that. Trumpet you can always favor the upper register, although I would say that many modern players are playing with what is closer to horn embouchure placement than ever before. The horn is basically a Bass Trombone with a different bore and a small mouthpiece that plays in the trumpet range much of the time. An eighth inch of setting difference can mean the difference between success and failure. We have so much range to cover. The of success of any unorthodox embouchure can only be measured by the ability to control the beast in all registers and dynamics. Hey, if it works, it works. Define works. Phil Farkas once told me that when he wrote in his book that there WAS a fundamental playing position for the horn, back in the 50s this was big news, that he had stated that 95% of great players had certain things in common. He said that ever since then, he had been deluged by people, looking for help, who were convinced they were the other 5%. In fact he told me that whenever one writes something like 99% of the time this is true, people reading that are going to be thinking, I'm that 1%. I was one of those people. I was wrong. This and other topics will be great grist for the mill at Tuscaloosa, where you are welcome to my exhibit and ongoing therapy session. Wendell Rider For info about my book, Real World Horn Playing, and the summer seminar, please visit my website at www.wendellworld.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/skirshner%40ameritech.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/loren%40mayhews.us ___ post: horn@music.memphis.edu unsubscribe or set options at
[Hornlist] Uploaded: Scans of a Paxman catalogue from the Richard Merewether era circa 1980
It can be seen that my catalogue has not been kept in mint condition. However all photos are intact. A few word have been lost in the adjacent Wagner tuba pages, but the main points still come through. Scans of a Paxman catalogue from the Richard Merewether era circa 1980: Double page 300 dpi scans in .pdf format (landscape legal paper size): http://launch.groups.yahoo.com/group/YorkMasterPublicPhotos55/files/Paxman%2 0catalogue/ Thumbnails of 120 dpi scans in .jpg format: http://photos.groups.yahoo.com/group/yorkmasterpublicphotos55/lst?.dir=/Paxm an+catalogue+of+the+Merewether+era You will have to join this gallery group via http://launch.groups.yahoo.com/group/YorkMasterPublicPhotos55/ Klaus ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
