Re: [Hornlist] Interlochen (again, sorry)
I'm going to try again. I applied to Interlochen today. The audition CD I made was alright, but it had to be made really quickly, so I'm not sure if it is really Interlochen material. I auditioned on Morceau de Concert by saint-saens, and on an exerpt from Verdi's Aida. I hope I get accepted, but even if I don't, it's good experience. Mike Scheimer, Pittsburgh ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Interlochen (again, sorry)
My e-mail is screwed up, sorry. It keeps on sending it for some reason. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Interlochen (again, sorry)
___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Interlochen
___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: horns H179
As some of you may remember, I am not, and never have been, a big fan of Holton double horns, especially the 179. Most of the ones I've heard, played, and briefly owned, have had a big, woffy, unfocused sound, that may have sounded OK up close, but lost its power at the edge of the stage. It seems that most Holtons don't blend well in a mixed brand horn section, but usually work fine in an all Holton section. I feel that the smaller belled H 177 is a far better instrument than the more popular 179, at least for my tastes. Holton's lack of quality control has been an issue for many years, so one must really check closely for proper assembly, and play test the instrument carefully in order to see that all notes are playable and in tune. Most Holtons also tend to go sharp the higher up in the staff you play. Your right hand position must be adjusted accordingly, in fact bent into an "L" in order to correct this trend. Also, Holton claims that their horns are built at A=445, and so, the whole range of the horn is sharp for most people. Holton sells a slide kit in order to bring the horn down to A=440. Strange! Having said all of that, one of my adult students has the best 179 I've ever played. A nice, warm, focused sound, the intonation is great, and the horn has a full four octave range. While not my style of horn, it out plays every other 179 I've seen over the past twenty or thirty years. I feel, and have stated many times, that the Merker-Matic horns are much more to my liking, than the 179s. I especially like the Merker with the rose brass bell. Looks classy and plays great. My experience has shown that the performance of many Holton horns can be improved by using a Bach 3 mouthpiece, or one of Moosewood's fine selection of mouthpieces specifically made for Holton horns. My two cents. Your milage (and personal tastes) may vary. (Seems like I just posted something similar to this on the other horn list.) Wilbert in SC ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: horns H179
If you are using a mouthpiece with bore size of 10 or bigger (i.e. 9, 8, 7, 6, etc.), then I suggest that you first try a different mpc with a 'medium' cup depth and a bore size of about 12. Excellent mpc advice can be gotton from Tom Greer (Moosewood), and from John Ericson's pages - http://www.hornmouthpiece.com/ http://www.public.asu.edu/~jqerics/equipment.htm I'm an adult amateur and am very satisfied with a Moosewood B12 mpc for my Yamaha 668N. I've used several different mpc and the B12 gives me good combination of sound, endurance, intonation, response and range. The various Holton horns all seem to be reasonably good, and the Merker-Matic models have been getting very good comments. Make sure you have a try-out period to return or exchange the horn if you are buying a new one - sometimes there are some dogs. Jay Kosta Endwell NY USA --- Priscilla Douglas writes: Hi, if anyone wants to talk about horns, here's a request: I am considering purchasing a Holton H179 (or one of those similar models) because I like its sound, intonation, and it seems to "fit" me in terms of the way I play (I'm an amateur, not always in tip-top shape, and I feel as if I am working way too hard to play my Conn 8D - well, that is: ;-) Would anyone like to express their opinion (on THIS list - hah, who doesn't?) on these horns, and brass, vs. nickel silver vs bronze "lightweight"bell? In advance, thanks. Priscilla Douglas ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/jkosta%40pronetisp.net ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Horn Digest, Vol 2, Issue 20
> message: 4 > date: Fri, 14 Feb 2003 14:47:33 -0500 > from: kerri davies <[EMAIL PROTECTED]> > to: [EMAIL PROTECTED] > subject: [Hornlist] Long tone troubles > > Greetings and Happy Valentine's Day to all! > I do long tones on a daily basis: I start on a C right below the staff > very quietly and crescendo as loud as I possibly can, slowly over eight > beats at 50 bpm. Then once the eight beats are done, I immediately > (without stopping the note or airflow) move to a C#, and decrescendo for > another eight counts, not allowing myself to breathe until all sixteen > counts are done. Then I rest and breathe normally for four counts but > take a huge breath right before the four counts are done and start again > except with C#. I work my way up the chromatic scale in this manner > continuously, as high as I can. In December, this used to be a C above > the staff when I used a Yamaha 30C4 mouthpiece, but in January my horn > teacher switched me to a Giardinelli C4 mouthpiece; it's been over a > month, and I am frustrated because after an A above the staff, no note > speaks. I try not to use a lot of mouthpiece pressure, and nothing > speaks; air flows through the horn, and I get these tiny quiet "squeaky" > sounds. Also, I towards the end of my long tones (fourth-line D) it's > harder to keep the note from dropping down to the last partial, and I > have to concentrate at keeping the embouchure firm. By the end of my long > tones, my face feels a bit tingly, but it doesn't hurt, like when you are > tired at the end of a practice session if you're trying to hit higher > notes or holding them for a long time, you know what I mean? Are the long > tones still working? If I keep doing my routine like this will I > eventually be able to hit and hold the high C again? I can hit it if I am > doing my scales, but not in my long tones. Also one day my horn teacher > was hearing me do my long tones and after the A above the staff he made > me dump my horn out, then continue and I was able to make it up to the C > then (mouthpiece pressure questionable). Any input or suggestions would > be very helpful. Thank you, > Brittany Davies, Fort Myers, Florida Dear Brittany, There are several things in your post that may need clarification before I could really answer your question (like what kind of horn you are playing, the size of your lips, the position of your embouchure and how you are breathing), but basically I would be willing to bet that your lips are still trying to adjust to the C4 rim. The C series has a small inside diameter with a rim that peaks on the outside and the Yamaha is more medium sized in inside rim diameter and cup depth with a flatter or more neutral rim. Unless you have very thin lips, I would not recommend playing on a C series mouthpiece. I think the bore and the cup depth of this mouthpiece undoubtedly has some effect on the high register but since you are really experiencing response problems here, I'm sure it has more to do with the lip muscles and how they relate to the mouthpiece than anything else. The question is, why did your teacher want to switch you to a C4? This mouthpiece will work well for large bell horns (like 8Ds) if you have the right kind of lips and you are looking for a certain style of sound and play, but it might not be for you. If you were successful on the other mouthpiece, I think that tells you something right there. The other question is, do you warm up a lot before you do this exercise? If not, you are just going to stiffen up your lip by doing it the way you describe. It seems like overkill anyway. On a smaller inside diameter mouthpiece (like the C4), this stiffening will just be worse. If your lips are not thin enough to get inside the C4, you may be pinning your upper lip muscles because the upper part of the rim will be digging into them. This can be dangerous enough to cause injury. I have more to say if your are interested. Please contact me privately if you wish. Sincerely, -- Wendell Rider "Real World Horn Playing" is here, see www.wendellworld.com ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Prof. Pizka
Why didn´t you visit my home page once before, you could have known, that I am not a high school kid any more. There are many many pages about horn playing, with many sound clips (my Goodness, not just my own, but many many of my dear colleagues of the past & present), and a lot of other interesting horn stuff. .. "Alan Cole" <[EMAIL PROTECTED]> schrieb: > Hey! I saw The Professor's photo in the February 2003 issue of horn call > (page 29). That dude is nearly as old as I am! > > -- Alan Cole, rank amateur > McLean (Fairfax County), Virginia, USA. > > PS. Our Fairfax Band concert set for this evening (Feb. 15) got snowed > out. All the work we did rehearsing El Salon Mexico, Danza Final > (Malambo), La Fiesta Mexicana, & Symphonic Dance No. 3 (Fiesta) will not go > to waste, however. Maestro Pouliot has promised to program those pieces > for concerts we have coming up in March & April.-AC. > > ___ > post: [EMAIL PROTECTED] > set your options at >http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de > -- Prof.Hans Pizka email: [EMAIL PROTECTED] tel.: +49 89 903 9548 - www.pizka.de (horn site) with connections to www.pizka.de/Pizka-music.html (publications) - www.pizka.de/PizClasHr.htm (instruments, mouthpieces) www.pizka.de/PizWrHorn.htm (Viennese Horns) - www.pizka.de/mpiece.htm (mouthpieces) www.pizka.de/Pizka-travel.htm (pictures, stories, experiences from my travel) - open soon mail is virus checked ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Alexander 200
Readers: This is a response to a question about some of the new Alexander Horns. At several workshops I have attended this year, I have had the opportunity to try several Alex's. I have been most impressed with the 200 model. Each instrument had a wonderful feel, the craftsmanship was superb, and the response of the instrument was absolutely even, top to bottom. As far as I could tell, after adjustments, the instrument played within the scale very well. Also, I would like to recommend interested readers to try out Jim Patterson's new horn. He had two prototypes at this year's Western Horn Conference, and both (Silver and Brass) were VERY promising. I especially liked the brass model. He used a Hoyer bell (with kranz), and it was absolutely marvelous. This instrument and the Alex were the best of that workshop. I would encourage those who attend this year's IHS in Bloomington to visit both booths. Sincerely, Eldon Matlick = Dr. Eldon Matlick, Horn Professor, University of Oklahoma Principal Hornist, OK City Philharmonic 500 W Boyd Norman, OK 73019 (405) 325-4093 off. (405) 325-7574 fax UMI Educational Artist http://music.ou.edu/divisions/applied/horn/studio.html __ Do you Yahoo!? Yahoo! Shopping - Send Flowers for Valentine's Day http://shopping.yahoo.com ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Prof. Pizka
Hey! I saw The Professor's photo in the February 2003 issue of horn call (page 29). That dude is nearly as old as I am! -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. PS. Our Fairfax Band concert set for this evening (Feb. 15) got snowed out. All the work we did rehearsing El Salon Mexico, Danza Final (Malambo), La Fiesta Mexicana, & Symphonic Dance No. 3 (Fiesta) will not go to waste, however. Maestro Pouliot has promised to program those pieces for concerts we have coming up in March & April.-AC. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Quintet metronome
A metrognome is an elf that lives in the Paris subway! LOTP Jonathan West wrote: > > > > > Maybe some quintets use five metronomes, but I know of a few > > quintets which > > use as many as eight for psychological reasons. They start five at the > > beginning of the piece, then start the others once they realize that they > > don't have a metronome going for themselves. > > No, no! It's very simple really. A metrognome is a garden gnome that lives > in the city. > > Regards > Jonathan West > > ___ > post: [EMAIL PROTECTED] > set your options at http://music.memphis.edu/mailman/options/horn/lotp%40blast.net ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] His big politicals
Prof I.M.G. wrote to Hans P Now, Professor and all you mostest of certainlies have my permissions, authorizations, allowances, go-aheads, green lights, leavings, permits, sanctions, sufferances, consents, assents, dispensations, grantings and licensings to express, declare, speak, state, take a stand, speak your mind, describe, put into words, term and/or expound ANY of your thoughts on politics and I, for one, would rather read about your politics on any given day than your horn playings. Kindestest of Greetonings and Mostestest of Lovings on the Day of Valentines, *** And I likewise would be delighted to hear and read any pronouncement Prof. IMG may make, whether on politics or on water keys, even though his views on these topics may be indistiguishable. Gotta go, Cabbage ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Quintet metronome
> > Maybe some quintets use five metronomes, but I know of a few > quintets which > use as many as eight for psychological reasons. They start five at the > beginning of the piece, then start the others once they realize that they > don't have a metronome going for themselves. No, no! It's very simple really. A metrognome is a garden gnome that lives in the city. Regards Jonathan West ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Quintet metronome
At 10:14 AM -0800 2/15/03, Robert Dickow wrote: >A more 'true to life' QUINTET METRONOME is a metronome that plays 5 slightly >different tempos at the same time. That's how our groups sometimes work, >right? Maybe some quintets use five metronomes, but I know of a few quintets which use as many as eight for psychological reasons. They start five at the beginning of the piece, then start the others once they realize that they don't have a metronome going for themselves. Regards, Carlberg Presidente, Mariachinome, S.A. de C.V. Carlberg Jones Colima, Col., Mexico Tel. 001-52-312-330-3531 ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Quintet metronome
I play in a WW quintet and a brass quintet and found that once in a while playing with a metronome is very good for checking where we might tend to drag or rush the composition. We typically get the best results by piping the metronome's audio output into an amplifier. A more 'true to life' QUINTET METRONOME is a metronome that plays 5 slightly different tempos at the same time. That's how our groups sometimes work, right? Bob Dickow Lionel Hampton School of Mucous - Original Message - From: <[EMAIL PROTECTED]> > I also am in a brass quintet and I have found that you, not only have to > listen to each other (which is very important), but also watch each other, ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] horns or politics? H179
Hi, if anyone wants to talk about horns, here's a request: I am considering purchasing a Holton H179 (or one of those similar models) because I like its sound, intonation, and it seems to "fit" me in terms of the way I play (I'm an amateur, not always in tip-top shape, and I feel as if I am working way too hard to play my Conn 8D - well, that is: ;-) Would anyone like to express their opinion (on THIS list - hah, who doesn't?) on these horns, and brass, vs. nickel silver vs bronze "lightweight"bell? In advance, thanks. Priscilla Douglas ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] positive news (not war related)
Just a short note about very positive things in the world: we were watching the Saturday program from Thai TV, where Prime Minister Thaksin Shinawatra explained the use of confiscated drug (dirty) money, as the police there has seized billions during the last few months. How do they use it ? Not to better the budget, no, they get appartments & condominiums built for the social/financial weaker people. Would anybody recommend a better use ? 350+ of the notorius drug 1300 known dealer of the country have been arrested so far, other 300 turned themselves in to the police (so to escape the maximum penalty, which could be meeting the execution squadron or hangman). P.M. Thaksin set a deadline of April 30th, 2003 when all province governors have to report, that all goverment employed had given their oath never more to touch prohibited drugs, otherwise the governors will be fired. As cooperation with the Myanmar (Burmese) goverment seems to be established, drug business might be brought to a halt within the foreseeable future. The collision between Thai merchants & Cambodian mob two weeks ago was just another sign that this campaign seems to take fruits. Cambodian P.M. Hun Sen (former Khmer Rouge leader) is in the drug trade himself & conspirated against the Thai campaign. But when the Thai locked the borders after the incident, Hun Sen quickly said his excuses & promised repair. Until then the borders will be closed. The travel to Angkor Wat (Siem Reap) by air is not effected. Things are on the move, as Thai P.M. Thaksin seems to get more & more support by the people, opposition fading away to unimportance. Himself a selfmade billionaire (in USD , telecom business), he is not victim to bribery & other corruption. So things work well & the future looks bright for the kingdome. Though, it might be of interest for some of you, who have been in that area or will travel there It is still unbelieveable modest priced, specially if you book things over the internet. Some hotels give you more than 50% discount then. Food is marvellous, fruits unbeatable in taste, a lot of superb beaches, entertainment for all, internet cafe even in jungle villages. -- Prof.Hans Pizka email: [EMAIL PROTECTED] tel.: +49 89 903 9548 - www.pizka.de (horn site) with connections to www.pizka.de/Pizka-music.html (publications) - www.pizka.de/PizClasHr.htm (instruments, mouthpieces) www.pizka.de/PizWrHorn.htm (Viennese Horns) - www.pizka.de/mpiece.htm (mouthpieces) www.pizka.de/Pizka-travel.htm (pictures, stories, experiences from my travel) - open soon mail is virus checked ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Audition Alert
This coming Friday afternoon, Feb. 21st, we will be holding an audition in Aachen for a temporary utility hornist (3rd/2nd). The contract will extend from the beginning of April through the end of July. The Sinfonie Orchester Aachen plays opera (this season Cosi, Freischütz, and Hänsel und Gretel are the highlights) and symphony concerts (this season Mahler 1, Holst Planets, Bruckner 8). If you have an interest in history, Aachen is a nice place to spend some time. The older buildings in the city center date from about the year 800, two gates from the late medieval wall are extant, and plenty of renaissance, baroque, and Wilhelmine structures mix with more modern architecture. Aachen's city borders are international, with the Netherlands to the northwest, and Belgium to the southwest (beer aficiandos will appreciate the possibilites). Former music directors in Aachen included Wolfgang Sawallisch, Herbert von Karajan, Fritz Busch, and Franz Wüllner. The present music director is Marcus Bosch, a thirty-three year old with a big future ahead of him. The limited four month contract, and the last-minute timing of the audition, can be written off to luck. Good luck, actually, because our present temporary fifth player, Leo Halsdorf, won an audition with the Bayerisches Staatsorchester (congratulations to Leo, and to Hans Pizka, who's getting an excellent young colleague). Leo had been sitting in this year for our regular fifth player, who returns next season after taking a year off to play with the orchestra of the Teatro San Carlo in Naples. If anyone on the list is interested in attending the audition (and is close enough to make the trip worthwhile), please drop me a line privately and I'll send you the appropriate phone number. William Melton Hauset (B) / Sinfonie Orchester Aachen (D) ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Quintet metronome
Another excellent way to develop a good ensemble pulse is to play passages with only the beginning of each note, so quarter, half, whole notes etc. will be played equal length with the proper amount of silence after each one. I tell my students to imagine they are playing a snare drum. This forces them to count out the entire note before playing the next one. Hope this helps, Luke Zyla email [EMAIL PROTECTED] - Original Message - From: "Jonathan West" <[EMAIL PROTECTED]> To: "The Horn List" <[EMAIL PROTECTED]> Sent: Friday, February 14, 2003 4:00 PM Subject: RE: [Hornlist] Quintet metronome > > > > > My quartet/quintet has begun rehersing some Gabrieli (Canzona per sonare > > Nos. 1, 2, 3, 4, edited by Robert King) and it is difficult to keep > > everyone together. > > Hi Jay, > > If that is the problem, then a metronome is unlikely to be much of a help. > You need to find a way of getting them to count and more importantly > *listen* to each other. Try just a short passage at a time, and get them to > play slowly, so that they have some concentration available for listening as > well as getting through the notes on their own part. > > I've seen conductors (including Simon Rattle) use this technique even on a > full orchestra. I saw Rattle tell an orchestra to listen, and then start > them off and just fold his arms and grin while the orchestra played on. > Afterwards, he said "You know, conducting is one of the great fake > professions!" > > Regards > Jonathan West > > ___ > post: [EMAIL PROTECTED] > set your options at http://music.memphis.edu/mailman/options/horn/lzyla%40charter.net ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
