My Paxman 44XL is on consignment at Ken Pope's shop outside of
Boston...don't know what else he might have on hand.
Fred
- Original Message -
From: "Scott Pappal" <[EMAIL PROTECTED]>
To: <[EMAIL PROTECTED]>
Sent: Wednesday, October 06, 2004 6:54 PM
Subject: [Hornlist] double descant horn
Sorry, I read "high "Es" ", but read it in the German way - late night
after Frau ohne Schatten - , which would mean "Es" = E-flat.
How about the end of the first movement ? There is the climax with the
rung over high d up to high e3. And the third movement with the high e3
& several high d3 ?
In a message dated 10/6/2004 4:47:36 PM Central Daylight Time, [EMAIL PROTECTED]
writes:
> Do you know the main cause for ruined (not yet begun) careers ?
> Trying to play Konzertstueck first horn, when not mature enough
> embouchure wise &experience wise.
Thank you, Professor Pizka, for th
> Alan Civil used to do it on his Alex Model 90 Bb single.
I've no doubt that he could...
***
> One nice example was at the IHS workshop in 1978 at East
> Lansing. (Concertstuck with wind ensemble) accompaniment
I was there on the front row. That one was memorable for two reasons:
1) a guy in t
I'll be performing in the NYC area this weekend, Brooklyn actually.
Would like to contact a friend and hornist I haven't seen in many years,
Robert Rauch.
Can anyone tell me how I might get in touch?
By chance, do you mean Robert Routch? I don't know how to get in touch with
him, but I had a les
Question to those on the list who are 12 hours or less
from Pennsylvania in the US: Is there anywhere nearby
to try out a decent number of double descant horns? I
just had an old friend call and ask, but please reply
to me or to the list if you feel this is of general
interest. I know of Baltmimore
I'll be performing in the NYC area this weekend, Brooklyn actually.
Would like to contact a friend and hornist I haven't seen in many years,
Robert Rauch.
Can anyone tell me how I might get in touch?
Scott Avenell
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All:
Regarding the confusion on the Schumann Konzerstucke,
there is an e3 at the end of the first movement for
the first horn. I've used Breitkopf, Kalmus, and the
new Thompson Performing Edition, and all have this
high e3 in the recap. of movement one. The secondary
theme ascends to b2 (horn 1) i
--- [EMAIL PROTECTED] wrote:
> Ooops, oops, Wilbert, I am sorry about your ears.
> This piece goes up to
> high e3 (first & third mov.) and several high c3
> (31) & high d3 (3) are
> part of the first part.
>
> Did you tune down your arrangement ? Just a half
> step ?
Hans,
The Arrangement o
I know I'm working in the wrong industry now. My farting here is tolerated,
but I don't get paid extra for it.
From: <[EMAIL PROTECTED]>
Subject: RE: [Hornlist] Brandenburg 1
It always has been a special soloist task, thus extra pay. Trumpets or
trombones get extra pay for any fart on cornet or
Ooops, oops, Wilbert, I am sorry about your ears. This piece goes up to
high e3 (first & third mov.) and several high c3 (31) & high d3 (3) are
part of the first part.
Did you tune down your arrangement ? Just a half step ?
And high b2 is not unusual for second horn (R.Strauss, Wagner, Pre
class
It always has been a special soloist task, thus extra pay. Trumpets or
trombones get extra pay for any fart on cornet or small bore Italian
trombones.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of Jill
Wilson
Sent: Wednesday, October 06, 2004 4:53 PM
To:
Hi Margaret-
I played this show for 12 weeks this summer in Los Angeles. It's actually a
fairly tame horn book. Nothing really high, the top note is a written A
above the staff, and some nice lyrical solos. It is along show, almost 3
hours, and there are many notes to play so be sure to have you
>from: Karl Kemm <[EMAIL PROTECTED]>
>subject: Re: [Hornlist] Sound reflectors
>If you want to boost the horn sound and use deflectors (“Blast Shields”) you will
>tend to get out
>to the audience only the less desirable tone colors of the Horn and create an acoustic
>environment that encourages b
The following link goes to the results of a study done by Renold Schilke
on trumpets. The part about the differences he found between lacquer
and plating is about half way down the page:
http://co-bw.com/Schilke%20Brass%20Clinic%20CBAW.htm
Joyce Maley
http://www.cornetconnection.com
_
On Wednesday, October 6, 2004, at 11:39 AM, Wilbert Kimple wrote:
I've seen it done a couple of times with a standard double horn on the
first part. Most of the time, including the two times I've done it, a
descant horn is used. Mine is an alexander 107 in Bb and high F.
Phil Myers (NY Phil)
Hello all-
Have any of you played Brandenburg 1 recently and received extra "soloist pay" for the
rehearsals and concerts? Is it traditional for this piece to be considered worthy of
extra money or are the horn players usually just considered to be a part of the rank
and file orchestra? We've
[EMAIL PROTECTED] wrote:
Hello, hornophiles--
I was listening to a performance of the Schumann Horn Konzerstueck and trying
not to get depressed about how far I am from ever achieving that level of
playing when a thought occurred:
What kind of horn would the first horn, whose part goes up to a
[EMAIL PROTECTED] wrote:
I was listening to a performance of the Schumann Horn Konzerstueck
What kind of horn would the first horn, whose part goes up to at
least a high "Z", play? A hornette? A picolo horn?
Most first horns on the Schumann seem touse a B-flat/high-F double
decsant horn. Tha
Hello, hornophiles--
I was listening to a performance of the Schumann Horn Konzerstueck and trying
not to get depressed about how far I am from ever achieving that level of
playing when a thought occurred:
What kind of horn would the first horn, whose part goes up to at least a
high "Z", play?
Has anyone on the list played in the pit for the touring production of "The
Producers"? If so, any tips or
forwarnings you care to share would be welcome (it's coming to Kalamazoo at the end of
November). Feel free
to reply to either the list or to me personally, whichever you prefer. Thanks!
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