[Hornlist] Review: Death's Jest Book
Greetings! I'm actually contributing to the list - a review of the performance Death's Jest Book featuring Proffessor Cabbage's musical composition. Honestly - I'd have to say this comedy is interesting and bizzare in its own unique way. Focusing on the themes of death, decay, depression, ghouls and ghosts - It really makes you reflect upon morality and the existance of a human being in life. The actual acting was decent - it could have been better. Some parts were good, some parts were not so good. The dancers were interesting, but the shoe squeaking did bother me just a little bit. the overall performance was not too bad. the music i'd have to say was very interesting! the music did flow well with the lyrics and added a bit of flavor. it was enjoyable and delightful. with a small group of four/five - keyboard, flute, guitar,horn, and other percussion (bells, whoopie cushion... so forth) i find it amazing how intricate the music accents the entire comedy. i'd have to say i liked the music a lot. Meeting Professor Cabbage - an interesting experience. I'm not sure what else to say about it. It was a pleasure meeting the fine professor with the Green Thumb... and golden horn. :) That's the end of my review/experience! I'll go back to lurking on the list now. -Jocelyn Sia --- ^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^ = Jocy aka LiL Usako aka Jocelyn Sia = AIM: vampUsako icq: 16171875 my website: http://lilusako.themcsgirlfriend.com ^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^ Get 25MB of email storage with Lycos Mail Plus! Sign up today -- http://www.mail.lycos.com/brandPage.shtml?pageId=plus ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
AW: [Hornlist] Re: Horn Digest, Vol 3, Issue 1
Hello Steve, if you hit the delete button for the admonishing well meant message of this obscure but seemingly experienced Viennese guys message regarding sound quality devotion to music (including the amateurs), well you have confirmed right on that you belong to the group, he liked to awake from the lethargy. If you think he is very negative or bitter, you are also on the wrong path. He seems just to take conclusions from what can be heard, really heard from such groups, who dare to call themselves musicians (this is not restricted to amateurs but can be extended to many professionals). Nothing is bitter or negative in his message. He seems just trying to blow a similar horn than I do, blowing you back to less torturing the ears of listeners. If that is not positive, what should be positive ? Perhaps, if professionals lick the amateurs ass by complimenting them permanently how good they are etc., which would leave them comparing themselves with professionals on a equal rank. How silly ? If you cannot stand any critic, well, and if you see any critic as negative bitter, dear Steve, than you are not worth any upbuilding word. Critic has to be digested used for a positive process. Critic in arts, in society politics has nothing to do with hate. Critic is a positive thing, a positive attitude. If one would not care about things, he or she would not critizise. Is that so hard to get into certain peoples brain ? If so, well, you should do something against the petrification of the brain cells. (All not directed against you, Steve, personally, as we have no fight nor do we know each other well enough. The whole issue is for the situation, not the single person.) Greetings from sudden early spring in Munich Hans Pizka . -Ursprüngliche Nachricht- Von: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Im Auftrag von [EMAIL PROTECTED] Gesendet: Sonntag, 2. März 2003 04:51 An: [EMAIL PROTECTED] Betreff: [Hornlist] Re: Horn Digest, Vol 3, Issue 1 In a message dated 3/1/03 1:01:18 PM Eastern Standard Time, [EMAIL PROTECTED] writes: If you dont understand the garbage above, you dont deserve this service, you better use the delete button. Well, was doing pretty good at deleting your garbage - good gravy, could anyone in the world be more bitter and negative? - but then you fooled me with a stealth email address! -Steve Mumford ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] A question for the list
Every section in the band should rotate to give everyone a chance to play first. Some, of course, may not feel up to the task, so the director should discuss part assignments with each section. Perhaps a section leader, elected by the members of the section, could administer the assignment of part with input by the director. Your problem is common in community groups. Younger people who may be fine players, feel uncomfortable joining groups like this because if they are assigned a prominent position, they sense bad feelings against them and if they are assigned a position at the bottom of the section merely because they are new guys, they feel like an outsider. I hope you find success in dealing with this problem. Please let us know what you decide. Any change might upset a prima donna or two, but in the long run, rotating sections will be the best. CORdially, Luke Zyla email [EMAIL PROTECTED] - Original Message - From: dumusic [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Friday, February 28, 2003 3:56 PM Subject: [Hornlist] A question for the list I need some input about a situation that has developed in our community concert band. We are experiencing a period of significant growth, adding almost one player per week. Currently we have 50 musicians, five of them playing horn. Our regular horn section has been four players for some time. They are all friends and have divided parts between them as they see fit, always with my approval. This has worked well in the past. Our principal horn is a dedicated amateur. She has been a member of the band for many years. She plays at an adequate level, although she is still challenged by Siegfried's Rhine Journey. I have kept this in the folders for several years to encourage her to master the part. Recently we added a fifth horn. This player is quite advanced with (near) professional level skills. Quite frankly, he can probably play circles around anyone else in the section. As our band is a self-auditioning organization (if you can't keep up you know it immediately) I have not heard him play alone...yet. I have the authority to assign seating. I do not want to create any friction in the section. How can I best incorporate him into the section so that he stays interested and no one else is offended or feels slighted? Guy Hayden, Music Director and Conductor The Peninsula Concert Band Newport News, VA USA http://members.cox.net/pcb2 ___ 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
Re: [Hornlist] Conn 8D
John, Conn horns made at Eastlake have the model number engraved on the throat. Mark L. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] selling 867G soon
I have a Custom Yamaha 867G (Goldbrass / hollow valves) I think I will be selling in a month or so. What price range should I expect to get for this instrument? It is in very good condition. All stock, no changes to it. Regards, Leonard ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: contents of the latest mail!!
Hello, again, all horn players, and their horns!! Hans Pizka, thanks for your soft reply to my comments concerning political subjects!! I appreciate your restraint!! Wendell, thanks, for the comments about making the notes short enough!!Never having had a teacher, for any length of time, I had not ever seen or heard the discussion of making notes short, and the idea is much clearer, now, to me, than ever before!!I want to read your book, soon. I aplolgize to all of you, for unloadiing about political stuff, so strongly!!I was too harsh, and did not really want to aggravate anyone. I hope that I did not!! All that being said, I own a german-silver Holton 179, which I bought in 1997, used, and it is the first horn which I have played, since my old brass similar unit was stolen, many years ago!!I borrowed a single F (make unknown) for a while, before I bought the Holton, but that was no fun!! I find the Holton to be a very fine horn, for my limited playing talents, and we (in our little local volunteer music group) in May are going to perform the entire Water Music, and the Haydn Eb Trumpet concerto, third movement (maybe more of that piece) and a suite from 'The King and I'. We have another horn player who is a novice, so I 'get' to play the first parts. Most challenging, I can tell you!! I really do thank all the contributors here, who tell of their experiences, and thanks to Hans for the run-down on his GoetterDaemmerung experiences. Most interesting!! I agree with the advice given about the seven horn players. Make sure the conductor is in on the setting of the group, on pieces where the players are able to handle their parts, and even more so, where the parts are most difficult for the players involved. No one wants the concert to be poor, so get all the help you can, from the leaders of the group!! Thanks, again, for most interesting stuff!!I am 'hooked'!! Joe Duke, in the Appalachians in North Carolina. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] a question for the lis...community horn section seating
Mr. Hayden, I agree with Luke Zyla's idea that parts should be rotated in whenever possible in community ensembles. I too play in a community ensemble, and the conductor has allowed us to set the parts for our section. We have an older gentleman that has played principal and been with the group for many years, three high school students with varying degrees of ability, and myself who teaches two of the three on a private basis. I have voluntarily played 4th horn for the last few years allowing new members to sit at the heart of section and not feel like an outsider. The same was done for me when I was a student by my horn teacher. As the students grow, our principal player allows the best of them to start assuming the responsibility of playing the principal parts. Right now, we have one young lady who is growing into a exceptional player covering several of the 1st horn parts. We long standing members have put aside our egos for the growth of the students. Even when I was in college, under the baton of Dr. Mallory Thompson at the University of South Florida, parts were regularly rotated so that all members got to experience playing in all of the different ranges. However, she was the one who dictated who was to play what part. We all became better players because of her enlightened approach. I understand that it is difficult to keep egos in check, I see that everyday teaching middle and high school musicians. The principal player must keep in mind what is best for the ensemble and the section. Perhaps if you talk to her privately, she will give the part to the new member willingly. Explain that it could strengthen the respect that others have for her if she is seen to be giving up that part for the good of everyone. Not a great deal of advice, I know. Just some input from someone who has played in rotating sections that have worked very well. Best of Luck! Happy Thoughts, Chris Bonner ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] New 8D's and cleaning
Dear fellow hornists, A discussion about a yellow brass 8D has arisen a few days ago. Someone replied that there are new 8Ds made in Eastlake OH that are less than desirable. I am receiving a new 8D as a graduation present in May, and I want it to be a decent one!! Should I search for an older Elkhart 8D (which I had thought originally that the new ones were made there). Are the new 8Ds any good? Also, someone posted the idea of washing your horn in the dishwasher. Can this be done, is it a good idea, and what would happen if I tried this (what are the advantages and disadvantages)? I look forward to your responses, Brittany Davies, Fort Myers, FL ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mahler
Hi Catherine In addition to Jay's excellent advice, I suggest you get a copy of the score and a CD of the piece and go through it. Note down any passages the first horn part is doubled by one or more of the other horns. These passages are candidates for you to take a break if you need to. In effect you can use the other horns as your assistant for those passages. Also mark into your part any prominent or exposed passages for first horn alone, and mark any exposed passages which go sufficiently high that even through they are doubled, you are not confident the other horns will be able to follow you there. These are the passages that you have to particularly protect in terms of making sure that you haven't worn out your lip on a loud tutti passage just beforehand. If you drop out in this way in some passages, make sure the other players know about it beforehand, so that they don't choose that moment to take a crafty one-bar rest for their lips, and leave the passage unplayed altogether. If necessary, see to it that they mark *their* parts accordingly. One other thing - you mentioned the other players are mostly older than you. Just remember - you're the principal, you've been put there by the conductor, for the purpose of *leading* your section. It's your responsibility to see that the section as a whole plays as well as it can. That doesn't mean putting on airs graces, or issuing arbitrary orders. But it does mean having the confidence to politely make reasonable requests for co-operation from the other players. If they see you genuinely trying to improve the section as a whole with constructive suggestions, then you will gain their respect even through you are younger. In a professional orchestra, it seems like the principal is in a much stronger position to lay down the law as to how the section operates, but in a school or community orchestra, the principal's authority is usually much more limited, and you have to lead by example. You have to rely on being *an* authority rather than merely being *in* authority. In the other pieces, make the fullest possible use of the assistant in order to safeguard your lip. You can leave most of the tutti passages to the assistant and not play at all except for the solo and more exposed passages. Usually, the assistant will be only *too* happy to get the chance to play more of the piece this way! The only occasions where both you and the assistant should be playing at the same time would be where you are playing along relatively quietly, warming up your lip just prior to a solo. Regards Jonathan West ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Purchase of a new horn
Fellow Hornists, I am in need of your experience and your advice. I have a student who is to recieve a new horn as a graduation present. We are trying to figure out what will be the best horn for her, and is within her budget. ( about $2,500 U.S. dollars ) I am suggesting that no purchase be made without playing the horn first. I have been leaning towards a Conn 8D as my general recommendation. I have a student currently playing a nickel 8D that is three years old and the horn plays beautifully. I also have a student on a Yamaha 667, and I have heard great variation in tone, intonation and ease of playing from instruments of this model. I have never been happy with his sounnd on this horn. I have read Conn's literature on their different horns, and also the materials. Is there anyone out here that has played all of the 8D's? ( Nickel, Rose brass and Yellow brass) What were you impressions of them? I have been playing one of Walter Lawson's beautiful horns for fifteen years and have remained blissfully ignorant of the trouble of others when it comes to choosing a horn. This young lady has the potential to be a GREAT hornist, and I want her to have all of the tools she needs to reach her potential. Any and all comments on this matter will be greatly appreciated. Thanks, and Happy Thoughts Chris ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Purchase of a new horn
Hello Chris, Since you as a 'horn professional' will be assisting in this purchase, I think that finding a good nickel 8D may be the most expedient route - assuming that your student is happy with the 8D's playing characteristics after giving it a good trial. My reasoning about this is: 1) the 8D is (arguably) universally regarded as a 'pro' level instrument. 2) with your help, the chosen horn will have been examined to make sure it is well-constructed (valves, joints, braces, etc.), and that it plays well. 3) in case the student ever wants to sell the horn, a nickel 8D will probably always have good re-sale value. If other makes and models of horns are considered, these should probably be included: Yamaha 668N-II, and the original 668N, Holton Merker models, Conn 10D and 11D. I would enjoy seeing a 'follow-up' report from you about the results of the search for this horn - it would be especially interesting to know how you 'weed-out' the unacceptable horns. Jay Kosta Endwell NY USA -- Christopher Bonner writes: Fellow Hornists, I am in need of your experience and your advice. I have a student who is to recieve a new horn as a graduation present. We are trying to figure out what will be the best horn for her, and is within her budget. ( about $2,500 U.S. dollars ) I am suggesting that no purchase be made without playing the horn first. I have been leaning towards a Conn 8D as my general recommendation. I have a student currently playing a nickel 8D that is three years old and the horn plays beautifully. I also have a student on a Yamaha 667, and I have heard great variation in tone, intonation and ease of playing from instruments of this model. I have never been happy with his sounnd on this horn. I have read Conn's literature on their different horns, and also the materials. Is there anyone out here that has played all of the 8D's? ( Nickel, Rose brass and Yellow brass) What were you impressions of them? I have been playing one of Walter Lawson's beautiful horns for fifteen years and have remained blissfully ignorant of the trouble of others when it comes to choosing a horn. This young lady has the potential to be a GREAT hornist, and I want her to have all of the tools she needs to reach her potential. Any and all comments on this matter will be greatly appreciated. Thanks, and Happy Thoughts Chris ___ 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
Re: [Hornlist] New 8D's and cleaning
Some new 8-Ds are very good, but you must try many to find a good one. I tested a few this past weekend for a friend who is looking for one for his daughter. One was okay, the second was no good and the third was the worst horn I have ever played. It was about a quarter tone sharp. Why would Conn let an instrument like that out of the factory! It doesn't do good things for their reputation. Have you thought of trying the new Yamaha that has the same design concept as the 8-D. I have heard good things about it. CORdially, Luke Zyla email [EMAIL PROTECTED] - Original Message - From: kerri davies [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Sunday, March 02, 2003 10:23 PM Subject: [Hornlist] New 8D's and cleaning Dear fellow hornists, A discussion about a yellow brass 8D has arisen a few days ago. Someone replied that there are new 8Ds made in Eastlake OH that are less than desirable. I am receiving a new 8D as a graduation present in May, and I want it to be a decent one!! Should I search for an older Elkhart 8D (which I had thought originally that the new ones were made there). Are the new 8Ds any good? Also, someone posted the idea of washing your horn in the dishwasher. Can this be done, is it a good idea, and what would happen if I tried this (what are the advantages and disadvantages)? I look forward to your responses, Brittany Davies, Fort Myers, FL ___ 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
Re: [Hornlist] Re: Purchase of a new horn
Jay, Thank you for the quick responce. I will be visiting the largest shop in our area tomorrow to see what they have, and what can be brought in for a trial. They are good at working with the local professional in situations like this. Thank you also for the alternative suggestions. I will keep you posted. Happy Thoughts, Chris - Original Message - From: [EMAIL PROTECTED] To: The Horn List [EMAIL PROTECTED] Sent: Sunday, March 02, 2003 8:44 PM Subject: [Hornlist] Re: Purchase of a new horn Hello Chris, Since you as a 'horn professional' will be assisting in this purchase, I think that finding a good nickel 8D may be the most expedient route - assuming that your student is happy with the 8D's playing characteristics after giving it a good trial. My reasoning about this is: 1) the 8D is (arguably) universally regarded as a 'pro' level instrument. 2) with your help, the chosen horn will have been examined to make sure it is well-constructed (valves, joints, braces, etc.), and that it plays well. 3) in case the student ever wants to sell the horn, a nickel 8D will probably always have good re-sale value. If other makes and models of horns are considered, these should probably be included: Yamaha 668N-II, and the original 668N, Holton Merker models, Conn 10D and 11D. I would enjoy seeing a 'follow-up' report from you about the results of the search for this horn - it would be especially interesting to know how you 'weed-out' the unacceptable horns. Jay Kosta Endwell NY USA -- Christopher Bonner writes: Fellow Hornists, I am in need of your experience and your advice. I have a student who is to recieve a new horn as a graduation present. We are trying to figure out what will be the best horn for her, and is within her budget. ( about $2,500 U.S. dollars ) I am suggesting that no purchase be made without playing the horn first. I have been leaning towards a Conn 8D as my general recommendation. I have a student currently playing a nickel 8D that is three years old and the horn plays beautifully. I also have a student on a Yamaha 667, and I have heard great variation in tone, intonation and ease of playing from instruments of this model. I have never been happy with his sounnd on this horn. I have read Conn's literature on their different horns, and also the materials. Is there anyone out here that has played all of the 8D's? ( Nickel, Rose brass and Yellow brass) What were you impressions of them? I have been playing one of Walter Lawson's beautiful horns for fifteen years and have remained blissfully ignorant of the trouble of others when it comes to choosing a horn. This young lady has the potential to be a GREAT hornist, and I want her to have all of the tools she needs to reach her potential. Any and all comments on this matter will be greatly appreciated. Thanks, and Happy Thoughts Chris ___ 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/cbonner%40swfla.rr.com ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Ensemble Wien-Berlin
Last weekend I had the joy of hearing the WWQ Ensemble Wien-Berlin. All are current or former members of Vienna or Berlin Philharmonics. They make an annual trip to USA and one through Europe. Go hear them if you get the chance. Knoxville is not normally a destination for groups of this caliber so we were thrilled...it's nice to be in the other end of the hall for a change. I don't think I've ever heard WWQ sound like a legitimate ensemble that really belongs together before. Their Hindemith was just amazing. Even the pieces of lesser quality (e.g. Respighi's unfinished quintet from his days as a student) were made exceptional just by the skills of the musicians. Also if you look enough, you can find one of the many CD's they have recorded through the years. Their hornist, Stefan, is one of the BPO's principals. He spoke with our horn section briefly afterward and is just as friendly as he is talented. Shane McLaughlin 2nd, Knoxville NHR and personal: Olav, I've had some computer issues lately. Email me privately for something we discussed way, way back. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] A weird thing happened to me two days ago...
Mike: A 19mm inner diameter is quite extreme! Who is your teacher, may I ask? I got my undergrad and grad degrees in Pittsburgh (at Duquesne) studying with Bill Cabellero and Zach Smith of the PSO, so I know or have played with most of the horn players active in your area. Most normal orchestral mouthpieces used by professionals have pretty standard dimensions. Somewhere in the range of 17.5 mm (roughly) inner diameter is normal - 19mm is very large: do you want to play the trombone, or the horn?! If you're closing off the throat or articulating with the throat, there are other ways of solving the problem than switching to a mouthpiece which is at one extreme end of the diameter spectrum. Are you sure its not time for a new teacher? Scott --- [EMAIL PROTECTED] wrote: I was practicing Fanfare for the Common Man today, and I got a really weird sensation when hitting the high Bb's. I nearly blacked out. Later during the day (actually, it was in German class) I felt like there was a different pulse in the left side of my neck and something has felt strained since then... Back to the blacking out, though. I called my teacher to ask what to do about it because this has never happened to me before. He said that I have to stop pocketing air in my throat while trying to force the notes out up top, but I don't know how to do this because that's how I'm used to hitting the upper range. Any suggestions? He also said that it's time for me to move on to a mouthpiece with a larger inner diameter. I already am using a Schilke 31b. He want's me to go to a mouthpiece that has close to a 19 mm inner diameter because he says that combined with my embouchure and what he says are the thickest lips out of any student he has, the 31b does me no good. Any suggestions on mouthpieces? I really want to not have this happen again, so I hope I get help. Thanks in advance. Mike Scheimer, Pittsburgh ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hornhog%40yahoo.com __ Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, more http://taxes.yahoo.com/ ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
