[Hornlist] FS: Yamaha Silent Brass Mute
I have one of these that I have used only a handful of times Anyone interested in this? I am in NYC... This is the model st7 with all the different halls and rooms and also aux and two mic inputs any offers? thanks email me at [EMAIL PROTECTED] - Do you Yahoo!? Yahoo! Tax Center - forms, calculators, tips, and more ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mahler 1st
It is currently in the plans for next season that we will play this music, so I have also begun to think about how best to arrange things so that we get the most 'bang for the buck'. We also will probably have to do this with 7 horns (no assistant) due to the small size of our stage. So I plan to do what Jonathan suggests...go thru the score looking for places where the 1st horn is doubled or tripled, and identify these as potential places for rest. Of course, Jonathan is right that the other players involved must know about this. In addition, my approach will probably be to make one of the others in this situation the lead horn for the passage, actually writing Lead into their part. To my mind, this accomplishes two things: 1) the effort becomes more collaborative - allowing the other players more ownership and responsibility for the production of a good performance, 2) takes some pressure off of the first horn, who can either not play the passage or play it possibly with less volume - more like a tutti player - thereby saving the chops. If we do decide that the stage will accommodate another player, I am thinking of putting together a part for an eighth horn, made up of where I think we will need the most help. In our section's case, this will be mostly with the low parts, as our 2nd and 4th do not produce alot of volume down there, but would also put in a few 1st horn parts to provide more rest (how much would be based in part on the calibre of player I could get to play the part). We do have an advantage that Catherine does not seem to enjoy...we have many fine amateur players in the Sacramento area who I believe would enjoy playing the 5th - 7th parts for this piece. btw, I have a practice book that contains all of the Mahler 1 and 2 horns parts, and will use this rather than a score, as it is less cumbersome. Fred -Original Message- From: Jonathan West [mailto:[EMAIL PROTECTED] Sent: Sunday, March 02, 2003 2:24 PM To: The Horn List Subject: 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/fred_baucom%40calpers.ca.gov ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Re: Switching parts
Dear Hornlisters, Oh, how I wish our Principal and her assisstant would agree to switch parts, but they guard them with such ferocity, the rest of us in the section fear for our fingers. We all get together on various occasions and switch around ensemble parts, but when we are in a band rehearsal, forget it. Madam Principal, not there by audition, but by longevity, has gone so far as to refuse to share the folder even when she would not be playing a concert. All eight of us in the section have proven our ability to handle the first parts, and the rest of us (2 to 4) switch very freely among ourselves. None of us have ever experienced any detrimental effect of playing 4th on one part and then 3rd or 1st on another. In fact, the whole high-low switch seems to actually improve flexibility, but we can't seem to get the two ladies at the top of the section to agree. Several years ago, someone asked our Principal Trumpet what it would take for a newcomer to move up in the section, and he replied, someone has to die. Yeah... Deborah Buchanan ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
AW: [Hornlist] Mahler
Well, Mahler first without (sans) assistant ? No problem, young colleague. We in Europe, we are not used to play with an assistant, no matter in the amateur, the brass band or the professional orchestra. But if there is no assistant, there is another assistant present already. Listen to the other voices in the section. There is a lot of doubling of the parts. Here and there lowering speed let the third fifth do the heavy duty tutti stuff. If you are not so experienced, get the score mark the things in your your partners parts. It works superbly the horns will not sound so brutal. If the horns are loud, they should be loud + elegant. And about the preceeding piece (Appalachian Spring): why not letting the assistant play first you assist him or her ? So you have a good warm up during Appalachian you can serve energy by shortening your personal warm up before the concert. And now a personal question: how about the strings in your youth orchestra ? Do you have that many good violins ? Or do you play it in a band transcription ? Anyway, dont take it wrong, a high school middle school orchestra playing Mahler no.1, may I express some doubts perhaps ? Isn´t that some kind of megalomania by the responsible for the orchestra, or some megalomania by the conductor ? Off course, tschinderassabummm makes fun special if all the members of the orchestra be involved. And for you, young friend, again. You can fool the conductor at the introduction to the trio, you know: thaaah - thaaah -- thaaaeeeaah - thaaeeaah. Set the first two notes with a wonderful bell like accent, well separated, longer separated from the third measure much softer and the fourth measure again much softer a bit retardando like a question mark. He will like it not realize you fooled him. This will give you some feeling of superiority (if you do it well). Yes the rapid staccatos upwards, never with double tongue, as you cannot hit these rapid eights at full power when using double tongue: just ta-ka-ta-ka-ta ` ta-ka-ta-ka-ta´ etc. Do not overblow the choral during the finale. The most beautiful thing is the passage of the two horns in piano dynamics. Do it like in a dream, very romantic, very light, - but perfect in pitch phrasing. Good luck for the performace. Remember: power is nothing without the right technic the right strategy. Hans Pizka At 02:36 AM 3/2/2003 +, you wrote: Hello My youth orchestra(entirely high school and middle scholl students) is currently playing Mahler's First Symphony. I am principal horn and because we only have seven horns, I do not have an assitant. I am looking for any suggestions on how to play the symphony sans assistant horn after playing first on Appalachian Spring (with assistant) and with enough lip left to play a concert with a different orchestra- the program includes Wagner's Good Friday Spell and the Prelude and Liebestod from Tristan and Isolde among others. ___ 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
AW: [Hornlist] Rotating parts
What parts should rotate ? Music ? Crooks if natural horn ? parts of the valves ? - Ooops, I got it: rotary valves. Why not installing a carousel on stage ? -- -Ursprüngliche Nachricht- Von: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Im Auftrag von Cabbage Gesendet: Montag, 3. März 2003 20:18 An: hornlist Betreff: [Hornlist] Rotating parts Leigh A wrote I must be one of the few community hornist who doesn't like the idea of rotating parts. I especially don't like parts to be rotated during a concert. *** Unless you play natural horn, or have one with piston valves, then you had better get used to the idea of rotating parts. IMHO, Leigh, the rotating parts should give you no trouble at all, provided you lubricate them often enough. Gotta go, Cabbage ___ 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
[Hornlist] 8D Alternatives
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 Brittany, If you have your heart set on an 8D, by all means go and play several of them. They vary greatly. I am blessed with a fairly good Texas horn. But my daughter's Holton Merkermatic is also a great horn. Plus, you might look at the Yamaha and Holton copies of the 8D. I have also read with interest the thread on Community band parts sharing. We only have three horns in our section, but we all respect each others playing and easily pass the 1st, 2nd or 3rd parts around. At an age of 49 and male, I am argueably bolder in my playing as against the other two ladies, who are both over 65. But their skills are still quite good and really all that means is the conductor hears my screw-ups a lot more. We just keep the parts we will be playing in our own folders and we let the conductor know which of us is playing any particular solo. Jim McDermott Lake Area Community Orchestra ___ 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...
He has been telling me to switch mouthpieces for a while now. I haven't gotten around to doing so. He also gave me tips for playing higher without choking the notes. They have worked, as I have already played the piece three other days in band class since then. I trust my teacher and his judgment. He pushes me to work hard, without being a jerk about it, and he teaches really well. He has put many kids through PMEA, and has many students in the Youth Symphony, as well. As for switching to trombone because I'm thick lipped: never. Horn is a great instrument, I am pretty good, and constantly improving, and I will never switch. Michael Scheimer, Pittsburgh ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Looking for horn video
I saw a reference on Lisa Bontrager's website about a video by Louis Stout called The Horn, from the Forest to the Concert Hall. Can anyone give me a source where I can buy the video? Steve Tarter ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
