Re: [Hornlist] RE: Opinions and logic
Clayton Whetmore, here: Julio de la Rosa wrote: John: Sorry to hear that you have 6 fingers. Is that on just one hand or both? Julio de la Rosa If these are functional fingers on the left hand they just might make for some interesting options in configuring triple horn wraps and valve and paddle placement. chuckling ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: Opinions and logic
Clayton Whetmore, here: Hans Pizka wrote: What´s the matter with 6 fingers ? The sixth one is just there to show YOU THE DIRTY FINGER ! Ah, the worth of a bird in the hand over two in the bush! wink ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] technical about Titanium
Titanium can be processed on a CNC only if ceramic tools are used. These tools are extremely expensive: about 700.- to 900.- EURO per piece. But there are several tools necessary. I got my (single) set of double horn valves made on a semi automatic lathe using diamond-steel tools. But the machine was operated by a master with over 40 years of experience. I also have two Viennese Pumpen Horns with pistons made the same way by the same master. These pistons are easier to make and any program would be easier, as there is no taper, all holes are drilled straight through the middle (90 degrees verse the axis) or along the axis (to hollow out the piston at the bottom). So there are just two tools: the cutter (? Right name ?) the milling steel (? better name ?). I still have two sets of titanium pistons the machine block for two Viennese Horns. Any production of a series of ten or twenty sets of titanium double horn valve rotors or series of pistons for Viennese Pumpen Horns would require these expensive ceramic tools to work in an economic way. If you set the machine (CNC) time at 180.- USD/hour, plus the four tools at modest 700.-USD/pcs, you will have to invest 2.800.-USD for the tools, plus some ten machine hours with 1.800.-USD or more, plus the 2 hours to adjust the machine, resulting in a total of 5.960.- or more for 40 rotors. One rotor would be for a minimum pay of 150.- USD, plus the material. But titanium is not that expensive. The only thing is it to find barrels fitting to the requirements one has to buy a minimum of one total barrel of 3 meters length. But these costs don't increase the price much. If one has the right CNC the experienced operator, it would be worth the investment. I will try to get an estimate about the real costs, but not by an instrument maker, but by a producer who makes high quality fine mechanic tools. Anyway, horn prices would have to be adapted for around 600.- EURO/USD or more. Would customers be willing to pay that extra, if the valve trouble would be eliminated by these titanium valves ? Well there are some restrictions: Valve assembly disassembly has to be done most careful to avoid any dirt particles getting on to the rotor, as this super hard rotor would shave it into the casings make it leak. Valves would work all time fine, except careless users with uncleaned mouth would spit remainings of their food into the horn (believe me, I have seen so dirty rotors .). Prof.Hans Pizka, Pf.1136 D-85541 Kirchheim - Germany Fax: 49 89 903-9414 Phone: 903-9548 home: www.pizka.de email: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Your opinions please
This one is very interesting...I've pasted an article from the Sunday Detroit News/Free Press on this very type of scam. Take time to read it. I would very politely tell the alleged agent where he can go and what he can do with his bogus cashier's check. When I first saw Julio's 28d on ebay, I thought why is this guy being so picky about his method of payment. It quickly sank in on Sunday morning reading the paper with my cup of coffee, that maybe Julio was really protecting himself from this new type of con artist (seriously, no pun intended). I have sold a horn through Hornplayer, and thankfully, I did not have this kind of problems. The buyer was one of us here on the list, I also bought my Alex from one of our colleagues. http://www.detnews.com/2003/technology/0312/07/a01-343718.htm Walt Lewis Lake St.Clair Symphony Orchestra, (St. Clair Shores, Mi) Grosse Pointe Symphony Orchestra (Grosse Pointe, Mi) Warren Concert Band, (Warren, Mi) Warren Cultural Commission At 10:39 AM 12/8/03 -0500, you wrote: The way the scam works is like this: The guy says he'll have a friend or agent pick up the horn from you (to save expensive international shipping costs) at the same time the friend or agent will present payment to you in the form of a certified check drawn on a USA bank. Sounds OK, right? The weenie is that the scam buyer will tell you he owes some money to the friend or agent who's picking up the horn, so the cashier's check will be for more than the price of your horn. The scam buyer asks you to pay the difference to the friend or agent, in cash. You may feel queazy about that, dealing with strangers all, but you're getting a cashier's check, so reluctantly you go ahead. So you hand over your horn the cash in exchange for the cashier's check. You start feeling better when your bank accepts the cashier's check hands you a cash total covering the price of your horn plus that extra amount you paid to the stranger who picked up your horn. Just when you start to relegate the whole transaction to history, you receive a notice from your bank informing you the cashier's check was bogus thus you owe the bank the total amount of the bogus check. Your horn is gone. The extra cash is gone. The strangers are gone. Plus, there's nothing you can do. I'd say PayPal or cash is the only way to go. -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. At 10:19 AM 12/8/2003 -0500, you wrote: I've recently listed my Elkhart 8d on Hornplayer.net. This morning I received this response: Hello, I'm interested in making a purchase of your musical instrument found on the posted ads on www.hornplayer.net .I'm a broker,based in Italy and I have a client interested in your musical instrument, please tell me the final price you want for it and if it's still available.Please let me know if payment by check is ok. Please reply urgent Regards! They havn't even seen a photo. What are your thoughts? Are the cultural differences such that this letter only seems stupid? Or does this broker think that I'm stupid? I'm considering telling them I will only accept paypal. Please let me know what you think! Thanks, Charles __ ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/welewis%40myexcel.com --- Incoming mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.547 / Virus Database: 340 - Release Date: 12/2/03 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.547 / Virus Database: 340 - Release Date: 12/2/03 ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Konzertstuck descant
His name was Gottfried von Freiberg not Freiburg. Yes I know this recording also could find out who played that recording. I will listen to it once again tell you, who played first horn, later, as I can distinguish Velebas tone from Freibergs tone. The Dvorak New Worls with R.Berger is on Video. = There is also a Dvorak New World Symphony on video, where R.Berger uses a F-high F descant and, as far as I remember a Bruckner 4. But even he had problematic times (alcohol), but mastered it later. I have just bought a CD reissue of a Decca recording from the early 50's of the Dvorak New World. I used to have a copy of this on vinyl as a child and enjoyed it very much, hence my recent re-purchase. It is conducted by Rafael Kubelik, and would have been recorded during the time of von Freiburg and Veleba. I was interested to hear in the solo after the 2nd time bar in the 1st movement, the distinctive sound of an F alto horn. There is no doubt, I am sure, as the solo is quite close miked, and of course the player also used it in the last movement solo with the high B. All the rest of the part seemed to be on normal F horn. In my young days, before I played the horn myself, I never noticed this, of course. It is a great recording and all the horn playing is first rate, as one would expect. Cheers, Graeme Evans (Principal Horn, Melbourne Symphony Orchestra) +61 3 9318 0690(H), +61 419 880371(B), +61 3 93180893(Fax) E-mail: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/gix3514%40gmx.at -- H.P. +++ GMX - die erste Adresse für Mail, Message, More +++ Neu: Preissenkung für MMS und FreeMMS! http://www.gmx.net ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE: Titanium Valves
With titanium valves, the weight is not the important thing, but the hardness smoothness of the surface the fact, that it does not corrode. If you state, that your horn valves do not need to be lightning-fast, just faster than your fingers, what´s about reading the music ? Is that even slower than the fingers ? Who knows ? Some say, yes, I could play faster, if my fingers would follow what I read if sluggish valves would not rallent the action again. I say, if the valves would be at best functionality, and if I could read (and imagine) music in the same speed as requested by the tempo markings, and if I would not need to dig in my brain for alternated fingerings, my fingers would work spontaneous I could play faster. If the player is well prepared to correct some possible pitch deficiencies instantly with lips or right hand or by activating the trigger, things would work between optical recognition (eye) acoustical recognition (ear) on the one side with the sound production (lip, tongue, ear, right hand, etc.) without involving the brain much, so to get it free for the artistic (supervision) interpretation. But too many players hanging on fingering, reading (clef, transposition), attack, tone quality, intonation, rhythm) ? Why ? Easy answer: BECAUSE THEY ARE LACKING THE MOST BASIC MUSICAL EDUCATION. Targets can be reached only, by preparing oneself step by step from the beginning. The most popular Do it yourself ! does not count here. It will never be enough, except LISTENING, LISTENING LISTENING AGAIN, asking QUESTIONS, ACCEPTING ADVICE RECOMMENDATIONS, IMPLEMENT THEM, RECOGNIZING WHAT OTHERS CAN DO BETTER, - BUT ALSO BEING PROUD OF THINGS ONESELF HAS ACHIEVED. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Alan Cole Sent: Monday, December 08, 2003 2:18 AM To: [EMAIL PROTECTED]; The Horn List Subject: Re: [Hornlist] RE: Titanium Valves My horn valves do not need to be lightning-fast, just faster than my fingers. -AC. I'm just curious - why all the desire for lighter, quicker valves? ___ 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] RE: Opinions and logic
In a message dated 12/9/2003 2:35:17 AM Eastern Standard Time, [EMAIL PROTECTED] writes: Clayton Whetmore, here: Hans Pizka wrote: What´s the matter with 6 fingers ? The sixth one is just there to show YOU THE DIRTY FINGER ! Ah, the worth of a bird in the hand over two in the bush! wink I hope you realize you are speaking of the Official State Bird of California. They can be seen in abundance all along our highways and byways, usually in pairs. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE: Titanium Valves
Generally speaking, I can read music faster than I can play it. Sometimes I can play music as fast as I can read it, but not always. However, practice usually takes care of that. Good thing there are ensemble rehearsals individual practice sessions, eh? -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. ~ If you state, that your horn valves do not need to be lightning-fast, just faster than your fingers, what´s about reading the music ? Is that even slower than the fingers ? Who knows ? ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: Titanium Valves
In a message dated 12/9/2003 8:36:40 AM Pacific Standard Time, [EMAIL PROTECTED] writes: I say, if the valves would be at best functionality, and if I could read (and imagine) music in the same speed as requested by the tempo markings, and if I would not need to dig in my brain for alternated fingerings, my fingers would work spontaneous I could play faster. If the player is well prepared to correct some possible pitch deficiencies instantly with lips or right hand or by activating the trigger, things would work between optical recognition (eye) acoustical recognition (ear) on the one side with the sound production (lip, tongue, ear, right hand, etc.) without involving the brain much, so to get it free for the artistic (supervision) interpretation. Agreed. For me I never think about fingerings. Even alternate fingerings and such I've gotten to the point where I automatically know what is best to use where. Partials and such I know automatically, and although it may take an extra second to think of the harmonic number, I pretty much know where everything lies with intervalic harmonic tendencies and pitch references. My fast valve test is just running through some Arban or something. As corny as it sounds, if I can play something like a few fast variations of Carnival of Venice then my valves are fine for Brahms :) When the valves are a little slower than my fingers and toungings then I know I need a little drop of oil here or there. Sometimes I know the valve is a hair slower by the feel alone even if I play whole notes. But too many players hanging on fingering, reading (clef, transposition), attack, tone quality, intonation, rhythm) ? Why ? Easy answer: BECAUSE THEY ARE LACKING THE MOST BASIC MUSICAL EDUCATION. Targets can be reached only, by preparing oneself step by step from the beginning. The most popular Do it yourself ! does not count here. It will never be enough, except LISTENING, LISTENING LISTENING AGAIN, asking QUESTIONS, ACCEPTING ADVICE RECOMMENDATIONS, IMPLEMENT THEM, RECOGNIZING WHAT OTHERS CAN DO BETTER, - BUT ALSO BEING PROUD OF THINGS ONESELF HAS ACHIEVED. I can't begin to say how much I back up that statement and agree with it. As a former math/physics major who was close to a degree but decided it was not in my career interests I can tell you that you would be amazed (or maybe not) how many Math/Physics students do not study or do not take the time to do every problem in their textbook or practice what they are learning. True knowledge comes from sustained contact with the subject matter. It is true in Music as well as Math. You simply will not be an honors math student unless you spend 3-4 hours a day working math problems. It takes a while too. You simply have to spend a lot of time working through everything. Physics is the same way - unless you do every type of problem you can find you will be unprepared. Also as an added note this is why I opted out of it - I'd rather spend my 3-4 hours a day in practice. Math is fun, but not as fun as making music :) I mean after just one hour of solid integration my brain is fried, but after four hours of playing in a day I'm still as sharp as ever mentally. Back to the valves and Titanium - I could get a loan in the states for 6 thousand to get a lot of Titanium valves made with no problem. The problem would be finding someone to buy them. The 'titanium valve' market would be very small, and in addition there are so many types of horns that it would be far simpler and profitable to make the valves on the spot rather than keeping a stock. I mean a stock of what? Holton valves? Schmids? Hans Hoyers? And to the valves, they simply will not be fast enough unless your fingers are fast enough. The one piece of decent advice I ever got from a Euphonium player was fingering exercises. I'll post some later, but if you do them with a metronome you'll get faster fingers. -William ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Fingering Drills (some are VERY dangerous...)
I thought I'd post some of these. You could really do any partial or note or intervals you want so long as the fingerings are the same. The point is to do these slowly at first with a metronome, then over the course of a few months slowly build up the tempi. The simplest fingering combinations are those that require only one valve change. These seldom require practice but those marked with a * are those that are more difficult. The more *'s the harder they are. 2 to 0 to 2 1 to 0 to 1 12 to 1 to 12 23 to 3 to 23 0 to 3 to 0 12 to 2 to 12 * 2 to 23 to 2 Harder valve changes to do are those that require two valve changes. I feel these always should be practiced since you do it constantly and it will always help to be 100% coordinated on these. 12 to 0 to 12 23 to 0 to 23 13 to 0 to 13 * 1 to 2 to 1 (not too difficult to finger, but difficult to have a smooth change and not an open fingering in between) * 2 to 3 to 2 * 1 to 3 to 1 * 12 to 23 to 12 * 13 to 23 to 13 ** 12 to 13 to 12 Now we get into the hard exercises. If you can do these fast you're really mastered finger dexterity. Take care with these... take your time, pace yourself. You could seriously break a tendon with some of these if you don't. These involve 3 valve changes. * 0 to 123 to 0 (one star for getting all three down and up without a flam in the valves) ** 1 to 23 to 1 (two stars for coordination difficulties on the 23) *** 12 to 3 to 12 13 to 2 to 13 Now you can mix and match and add the thumb or trigger to complicate things. You can also go back and forth or forth and back. Those above involve just one change in fingerings, you could do some interesting combo moves (although some I definately wouldn't recommend without a spot). * 1 to 2 to 3 to 2 to 1 1 to 2 to 3 to 1 to 2 to 3 * 3 to 2 to 1 to 3 to 2 to 1 * 3 to 1 to 2 to 3 to 2 to 2 * 1 to 3 to 2 to 1 to 3 to 2 *** 23 to 13 to 2 to 13 to 23 *** 12 to 13 to 2 to 13 to 12 13 to 2 to 123 to 2 to 13 You could do as many interesting combos as you like. Pick whatever notes you want as long as they are close together so you're not worrying about sluring but maybe far apart so if you don't get the valves down evenly you can tell instantly. I got this idea from Euphoniuim-ist-er Steven Mead. Let me know if anyone has any rougher fingering combos... -William ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Valve speed
On Tue, 9 Dec 2003 [EMAIL PROTECTED] wrote:
And to the valves, they simply will not be fast enough unless your
fingers are fast enough.
Has anyone ever measured the time it takes for a valve to change
positions? Is it on the order of a hundredth of a second?
Of course, it should take less time going down under the influence of your
finger, than coming back by spring power.
Last week while I was in the pit playing Ruddigore, I found during a fast
fingerful passage that I was whacking the keys down - that is, my fingers
left the keys on the way up so as to already have full velocity at the
moment of contact with the keys. I'm not sure that was really helpful,
but it felt good, and it seemed to be more work to restrain myself.
Paddlewhacking probably reduces string life though.
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
___
post: [EMAIL PROTECTED]
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Re: [Hornlist] Valve speed
In a message dated 12/9/2003 9:53:01 AM Pacific Standard Time, [EMAIL PROTECTED] writes: Has anyone ever measured the time it takes for a valve to change positions? Is it on the order of a hundredth of a second? Nah. I think it's probably closer to a tenth or twentieth of a second. There are some noticable changes in slurs and valve changes and valve flams. Sometimes you can feel them as you finger them. Of course, it should take less time going down under the influence of your finger, than coming back by spring power. Last week while I was in the pit playing Ruddigore, I found during a fast fingerful passage that I was whacking the keys down - that is, my fingers left the keys on the way up so as to already have full velocity at the moment of contact with the keys. I'm not sure that was really helpful, but it felt good, and it seemed to be more work to restrain myself. Paddlewhacking probably reduces string life though. Paddlewhacking, eh? I think I have a new vocabulary word :) -William ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: Opinions and logic
On Tuesday, December 9, 2003, at 12:13 PM, [EMAIL PROTECTED] wrote: I hope you realize you are speaking of the Official State Bird of California. They can be seen in abundance all along our highways and byways, usually in pairs. Umm, could this be the same as the Hawaiian Good Luck Sign? ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Valve speed
My old teachers, both of them (1 in the 1950s the other in the 1980s), said I should keep my fingers arched with the balls of the fingers in contact with the wide parts of the valve levers. They said raising my fingers off the levers only slowed me down. They told me to watch while they demonstrated. I did. They were right. If I had half their talent, skill, discipline, energy, industry, dedication, I might be a halfway decent horn player. As it is... ...well, no need going into that. -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. I found during a fast fingerful passage that I was whacking the keys down - that is, my fingers left the keys on the way up so as to already have full velocity at the moment of contact with the keys. I'm not sure that was really helpful, but it felt good, and it seemed to be more work to restrain myself. Paddlewhacking probably reduces string life though. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] When to add an assistant?
Our orchestra has 3 flutes, 1 piccolo, 2 oboes, 1 English horn, 2 clarinets 2 bassoons, 4 horns, 4 trumpets, 2 trombones, 1 Bass trombone, 1 Tuba, 4 percussion, 10 on 1st violin, 13 on second violin, 7 on viola, 9 on cello, 4 on bass and a harpist. At what point would we add an assistant? What are the criteria that determine this? Thanks, Jim ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] When to add an assistant?
Jim: Are you kidding? If there is money in the budget add him/her now. Julio de la Rosa - Original Message - From: Jim Thompson [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Tuesday, December 09, 2003 4:43 PM Subject: [Hornlist] When to add an assistant? Our orchestra has 3 flutes, 1 piccolo, 2 oboes, 1 English horn, 2 clarinets 2 bassoons, 4 horns, 4 trumpets, 2 trombones, 1 Bass trombone, 1 Tuba, 4 percussion, 10 on 1st violin, 13 on second violin, 7 on viola, 9 on cello, 4 on bass and a harpist. At what point would we add an assistant? What are the criteria that determine this? Thanks, Jim ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/jdelarosa%40ameritech.net ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] When to add an assistant?
Are we talking a professional orchestra with a collective bargaining agreement? ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] F. Wotruba of Wien F Wagner tuba 3RV
I buy a double wagner tuba from Ricco Kuehn (january 2003) you can see it at this site http://www.ricco-kuehn.de/ the picture of the wagner tuba is from my tuben when i recieved it. It is a double in F and Sib. I go to Montréal Metropolitain Orchestre and the horn players preferd this one to Alex in Sib (those have 4 keys) Ricco Tuben is on the pitch, on the double side. The sound is like a cello, round and warm, very easy to play (more easy than my Hans Hoyer Horn) and i go under the low range with ... and can do a hi F to (over the hi UT) when i buy the tuben, Ricco made 4 for a symphonic orchestra of Berlin. You can add this one to your collection (the photo) François Lefebvre From: Klaus Bjerre [EMAIL PROTECTED] Reply-To: The Horn List [EMAIL PROTECTED] To: The Horn List [EMAIL PROTECTED] Subject: [Hornlist] F. Wotruba of Wien F Wagner tuba 3RV Date: Tue, 09 Dec 2003 01:35:48 +0100 Found some photos of a Wagner tuba supposedly made around 1920. I wondered a bit, why it was made with only 3 valves, as I have understood, that the F tubas sometimes are called upon to play in their low range. Thumbnails of a F. Wotruba of Wien F Wagner tuba 3RV: http://photos.groups.yahoo.com/group/yorkmasterpublicphotos29/lst?.dir=/F.+W otruba+-+Wien+F+Wagner+tuba+3RV For comparison I add the other Wagner tubas from my galleries: Alexander - Wagner Tuben: http://groups.yahoo.com/group/YorkMasterPublicPhotosXIV/files/Alexander%20ho rns-1976%20catalogue/ Thumbnails of two Alexander double Bb/F Wagner tubas 4RV: http://photos.groups.yahoo.com/group/yorkmasterpublicphotosxix/lst?.dir=/2+A lexander+Wagner+double+tubas Hoyer (BS) Wagner Tuben from a 1985 catalogue. (1815KB) http://groups.yahoo.com/group/YorkMasterPublicPhotosIV/files/Hoyer%20%28B%26 S%29%20WagnerTuben1985.pdf Thumbnails: http://photos.groups.yahoo.com/group/yorkmasterpublicphotosiv/lst?.dir=/Hoye r+(B%26S)+Wagner+Tuben1985 Knopf Wagner tubas: http://groups.yahoo.com/group/YorkMasterPublicPhotos22/files/Knopf%20pre-WWI I%20catalogue%20scans/Wagner%20tubas/ Klaus Bjerre of Denmark Retired teacher Free music files in .pdf format: http://groups.yahoo.com/group/YorkMasterBBb/ (Approved membership required) Index over brass instruments gallery and catalogue scans: http://groups.yahoo.com/group/YorkMasterPublicPhotosIII/files/ (Membership is open for all) ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/frlefebvre%40hotmail.com _ MSN Search, le moteur de recherche qui pense comme vous ! http://fr.ca.search.msn.com/ ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Valve speed
Clayton Whetmore, here: David Goldberg wrote: Last week while I was in the pit playing Ruddigore, I found during a fast fingerful passage that I was whacking the keys down - that is, my fingers left the keys on the way up so as to already have full velocity at the moment of contact with the keys. I'm not sure that was really helpful, but it felt good, and it seemed to be more work to restrain myself. Paddlewhacking probably reduces string life though. To which William replied: Paddlewhacking, eh? I think I have a new vocabulary word :) The etymology of paddlewhacking may have actually been derived from the name of an infamous bank teller whose story bears retelling: A frog goes into a bank and approaches the teller. He can see from her nameplate that her name is Patricia Whack. Miss Whack, I'd like to get a $30,000 loan to take a holiday. Pattie looks at the frog in disbelief and asks his name. The frog says his name is Kermit Jagger, his dad is Mick Jagger, and that it's okay, he knows the bank manager. Pattie explains that he will need to secure the loan with some collateral. The frog says, Sure. I have this, and produces a tiny porcelain elephant, about half an inch tall - bright pink and perfectly formed. Very confused, Pattie explains that she'll have to consult with the bank manager and disappears into a back office. She finds the manager and says, There's a frog called Kermit Jagger out there who claims to know you and wants to borrow $30,000, and he wants to use THIS as collateral. She holds up the tiny pink elephant. I mean, what in the world IS this? The bank manager looks back at her and says... It's a knickknack, Pattie Whack. Give the frog a loan. His old man's a Rolling Stone. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Valve speed
Clayton: So, Pattie did the whacking and Kermit got the money. Did she have to kiss him, too? Julio de la Rosa - Original Message - From: Clayton [EMAIL PROTECTED] To: The Horn List [EMAIL PROTECTED] Sent: Tuesday, December 09, 2003 6:50 PM Subject: Re: [Hornlist] Valve speed Clayton Whetmore, here: David Goldberg wrote: Last week while I was in the pit playing Ruddigore, I found during a fast fingerful passage that I was whacking the keys down - that is, my fingers left the keys on the way up so as to already have full velocity at the moment of contact with the keys. I'm not sure that was really helpful, but it felt good, and it seemed to be more work to restrain myself. Paddlewhacking probably reduces string life though. To which William replied: Paddlewhacking, eh? I think I have a new vocabulary word :) The etymology of paddlewhacking may have actually been derived from the name of an infamous bank teller whose story bears retelling: A frog goes into a bank and approaches the teller. He can see from her nameplate that her name is Patricia Whack. Miss Whack, I'd like to get a $30,000 loan to take a holiday. Pattie looks at the frog in disbelief and asks his name. The frog says his name is Kermit Jagger, his dad is Mick Jagger, and that it's okay, he knows the bank manager. Pattie explains that he will need to secure the loan with some collateral. The frog says, Sure. I have this, and produces a tiny porcelain elephant, about half an inch tall - bright pink and perfectly formed. Very confused, Pattie explains that she'll have to consult with the bank manager and disappears into a back office. She finds the manager and says, There's a frog called Kermit Jagger out there who claims to know you and wants to borrow $30,000, and he wants to use THIS as collateral. She holds up the tiny pink elephant. I mean, what in the world IS this? The bank manager looks back at her and says... It's a knickknack, Pattie Whack. Give the frog a loan. His old man's a Rolling Stone. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/jdelarosa%40ameritech.net ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Valve speed
In a message dated 12/9/2003 6:22:48 PM Pacific Standard Time, [EMAIL PROTECTED] writes: Clayton: So, Pattie did the whacking and Kermit got the money. Did she have to kiss him, too? No someone else had to kiss him. You know you can't have your lake and Edith too... -William ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Brand name of Horn? International?
I have a horn, looks like a french horn but only clue I have is internationl stamped on the side as possible maker. Does anyone out there have any info on this company or this horn. I would REALLY appreciate your help or input. please email me directly at [EMAIL PROTECTED] as I am not a regualr member of this list, Thank you, Peter Hanson Bend Oregon ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] When to add an assistant?
I cannot see much reason to use an assistant for an orchestra of this size, but there are some pieces: R.Strauss Tone Poems as Don Juan, Dox Quixotte, Beethovens No.9 Symphony, some other demanding pieces. The criteria might be the requested endurance. Sometimes it would be wise to divide a program instead doubling the first part, but using the assistant has the advantage, that both players have studied the program it would not be a disaster if one becomes ill on the performance day. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Jim Thompson Sent: Tuesday, December 09, 2003 11:44 PM To: [EMAIL PROTECTED] Subject: [Hornlist] When to add an assistant? Our orchestra has 3 flutes, 1 piccolo, 2 oboes, 1 English horn, 2 clarinets 2 bassoons, 4 horns, 4 trumpets, 2 trombones, 1 Bass trombone, 1 Tuba, 4 percussion, 10 on 1st violin, 13 on second violin, 7 on viola, 9 on cello, 4 on bass and a harpist. At what point would we add an assistant? What are the criteria that determine this? Thanks, Jim ___ 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
