Re: [Hornlist] They really are getting close.

[Valkhorn]

I am extremely impressed. I don't want it to replace any gig I might get paid 
for, but it would be quite useful in filling some hecklephone part or 
subcontrabass tuba part so that you wouldn't have to go scavengering around for those 
odd instruments.

Imagine a cembasso choir with either this or finding eight cembassos to play. 
Although, I'm not sure there is any music for one, but you get the point.

Science is getting very interesting.

-William
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RE: [Hornlist] RE: Emphasis on Marching

[J Long]

Prof Pizka and others-
I respect you for your amount of knowledge regarding the horn and horn 
playing.
On the other hand, You have yet to prove to me that you have accurate 
knowledge of what marching band requires.  Your comment "Marching & marching 
in the band does not requite much brain & much responsibility" shows your 
lack of understanding.  Marching band and orchestra playing are two VERY 
different things, YET, Marching band does take brains and responsibility!  I 
find it insulting that you would think that it doesn't.  To me, this shows 
that you've never marched in a band such as most Marching Bands here in the 
US.  Let me try to explain.  In marching band, each student to resposible 
for learning his/her drillwork from drillcharts.  If people slack off, then 
the effect of the drill will lost and the progress of the band will be 
greatly slowed.  In addition to this, you much learn your music, and learn 
it well enough that you no longer have to think about notes and fingerings 
(Hum... isn't that what you have to do when you perform a memorized 
concerto???).  Then the student has to be able to march and play without 
missing the drillwork OR any aspect of the music (not just the notes, but 
dynamics, articulation,etc... and the overall feeling of the piece).  For 
many students, this is quite a challenge and finally accomplishing both is a 
real reward to them.  And if you think that marching band is for the slow 
and lazy, then find yourself a video of a DCI finals, then if you still 
think that way, then I must say there is little hope for you.

In the future, please stick to your areas of expertise, and I don't believe 
US  Marching Bands would be included in that.

Sorry for my rant, but many comments regarding marching band, particularly 
yours, seem to be lacking complete information, knowledge, and understanding 
of what marching band requires and does.

I know its not Orchestra playing, and it simply isn't meant to be either; 
its meant to be Marching band!


From: [EMAIL PROTECTED] (Hans Pizka)
Reply-To: The Horn List <[EMAIL PROTECTED]>
To: "'The Horn List'" <[EMAIL PROTECTED]>
Subject: RE: [Hornlist] RE: Emphasis on Marching
Date: Sat, 3 Apr 2004 23:09:20 +0200
Michael, you are on the right path. You know, why many people like
marching & marching band ? Marching & marching in the band does not
requite much brain & much responsibility.


-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf
Of [EMAIL PROTECTED]
Sent: Saturday, April 03, 2004 9:52 PM
To: [EMAIL PROTECTED]
Subject: [Hornlist] RE: Emphasis on Marching
   Im starting my own small organization against marching bands that

force students to march, its called PAMBFSTM (People Against Marching
Bands
Forcing Students To March) does it sound catchy?
   Michael

   PS: I don't have anything against marching bands. I have things
against "bands" that make you march or else get out. I understand some
people have
different tastes and like marching, thats good. If you like what your
doing, go
for it.
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[Hornlist] Tony Stratton

[Bear Woodson]

Attention, Tony Stratton!

Please phone and/or E-Mail me immediately.

If anyone here knows where he is lately, then
will you please phone and/or E-Mail me right
away, also. (He ordered some Horn Music from
me, which I mailed off weeks ago, but it came
back in the mail today.)


Bear Woodson  
Composer in Tucson, Arizona, USA
Home: 520 - 881 - 2558
"Bear Woodson" <[EMAIL PROTECTED]>


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[Hornlist] Emphasis on Marching

[B.Baker]

In a message dated 03 April 2004 22:09 AM Eastern Standard Time, 

[EMAIL PROTECTED] writes "Marching & marching in the band does not require much brain 
& much responsibility".

I would like to know whether Professor Pizka includes "professional" military bands in 
this "sweeping generalisation". If so, may I ask if you have ever participated in or 
fully understand the training undertaken by these musicians?

To you it might simply be "mundane" and without any "responsibility", but I assure you 
that to play well, making sure that you are in a certain position at a given point in 
time, avoiding collisions, changing music whilst marching, emptying your horn whilst 
on the move, and knowing what to do if it all goes wrong, and finally,  knowing that 
if your timing is out by just a few seconds, the consequences could spell disaster.

If some of these tasks do not show a reasonable amount of thinking and responsibility, 
then what does??

Hi to all,

Brian (alias Koala Bear)

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[Hornlist] They really are getting close.

[Tom Warner]

I can't help but feel this is bad news for the job market.



Some of the other instruments are very good.

Tom

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Re: [Hornlist] warbling up

[Walt Lewis]

One Homer Simpson Shudder...uhuhuhuhuhuhuhuhuh

After 30 years have gone by, I can still remember hearing that soprano 
voice student warming up at her lesson when walking past the voice 
instructor's studio on my way to music history class... I agree with Bob, 
I'll pass. I can truly think of worse musical moments (read: a rapper 
cursing in iambic pentameter ) when one puts in it perspective. The rapper 
is definitely a sound I can live without...

Walt Lewis



At 04:07 PM 4/2/04 -0500, you wrote:

from: David Jewell <[EMAIL PROTECTED]>
BTW - if one ever thinks that some of our warmups have very little to do 
with our actual music making, try listening to a coloratura soprano or 
tenor warmup at 8:30 in the morning
Umm, no thanks.

Bob Marlatt
Boston MA
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Re: [Hornlist] Emphasis on Marching

[BrassArtsUnlim]

In a message dated 4/3/2004 9:08:51 AM Eastern Standard Time, 
[EMAIL PROTECTED] writes:
I have read this thread with much amusement more than anything else. Although 
I am aware that for some individuals, both drill work and playing is 
important in their life (albeit for sometimes differing reasons). Might I suggest that 
the concept of drill related playing was adopted from the world of 
"professional" military bands.

Actually, the concept of marching rank and file and playing was originated in 
military bands back to antiquity, but the modern concept of an animated band 
drill was developed by Glenn Cliffe "Rusty" Bainum, then a (I believe) a 
graduate assistant at the University of Illinois in the 1930's.  He went on to 
become Director of Bands at Northwestern University where he and other Big Ten 
band directors perfected the concept of an animated drill and music presented 
between halves of a football game.  This "halftime show" concept is the precursor 
of what we now consider to be "marching band".

I think it's not the marching or the music or the showmanship that most of us 
abhor.  It's the absolutely inordinate amount of time spent on what should 
really be a recreational activity.  I will unconditionally second the sentiments 
expressed that it is the school administrations and parents who are running 
this show and pushing a gaudy spectacle over the more important musical 
training that is important.  We really need to bring some perspective back into this 
activity.  As in so many other activities in which we and our children 
participate, all sense of proportion and reason have vanished.  Excess is celebrated.

To support this, consider this example.  A local community band is conducted 
by a well known musician in our area, and is really a fine example of amateur 
musicianship.  EXCEPT, the conductor absolutely insists that this band travel 
INTERNATIONALLY in order to improve its musicianship.  C'mon. Honestly.  It's 
a COMMUNITY band, not the NY Philharmonic, for goodness' sake.  Proportion, 
people.  Let's have some sense of proportion.

Dave Weiner
Brass Arts Unlimited
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Re: [Hornlist] attacked by a roomful of sedated turtles?

[David Goldberg]

Maybe my metaphor was more than needed to set the stage.

I have been visiting the Musica Russica website

http://www.musicarussica.com/

and I'm about to order a few of the pieces that appear on the Sacred
Treasures #1 CD.  They are very inexpensive - running about $1-$3 each for
satb parts and score.  I'll report back later if anyone is interested to
know how they sound on horns.  I would like some day to hear a hundred or
more horns playing this stuff in a resonant hall.

The CD took a mild hit in a review on Musica Russica - constructed by
Hearts of Space, it was made to capture the ultimate in lush dreamy sound
in this genre, rather than to represent an orthodox service.  But the
reviewer was also happy that this pastiche CD helps to introduce Russian
sacred choral music to a wide audience.  And now that I heard it, I'm
thinking that we might be able to have some fun with it too.

Another horn-possible CD is "Vespers", which is a complete service, by S.
Rachmaninoff.  It is similar, but it hasn't got quite the turtle power
of Sacred Treasures.


{  David Goldberg:  [EMAIL PROTECTED]  }
{ Math Dept, Washtenaw Community College }
 { Ann Arbor Michigan }

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RE: [Hornlist] Marching Band and TUning slides

[Hans Pizka]

Hoss, have you ever auditioned, I mean, really, for a professional
orchestra ? You have no idea about. A professional orchestra is
different from a community or conservatory orchestra. Tuning is not the
business of the committee. The committee expects, that the candidates
present themselves with a perfect  (as possible) tuned horn, which
requires just to be mini-adjusted to the piano.  If candidates are not
able to tune their instrument perfectly, how will they play in the
orchestra ? Hey man, you have some strange ideas about the pro life.
There is no time to ask the candidates why they tune this or that way.
We already spent four hours for the audition. The first round with 5
minutes each player, playing Mozart no.3, took 2 hours. 

Then we had to make a 20 minutes break for pee & for coffee. Second
round with four candidates playing some ten minutes Neuling: Bagatelle &
excerpts took another 40 minutes; discussion & voting, ten minutes break
& ten minutes each for the remaining thre candidates, discussion &
voting again, decision to cease the whole thing. What do you expect more
on patience ?

We are very patient, but we should not. There are candidates with real
ugly tone. A castrated alto trombone would sound like a Stradivarius
compared with these candidates (at least one third). If they have no
tone concept, how should we listen to "what they give to us musically".
The answer is simple: no tone quality no music.

Another third played every played (F-Horn notation) g1 too flat, every
f2 too flat, every c1 too sharp, etc and their playing was "embellished"
with a multitude of small cracks.

We let them finish the first page of the concerto or even the first
movement including the cadenza, even they had zero chances to be
advanced to round two. We did all that to avoid too much frustration for
them. And the cadenzas they used ? My Goodness. A mixture of excerpts
from various recordings, not matching each other, or some of their own
compositions, longer than the entire movement, completely far off the
tonality of the concerto. We let them play it to our (???) amusement.
Most of the candidates realized that they did not play good enough &
left the audition. Others, who played really bad, still kept their hope
& waited. They even asked what they did wrong.

I might ask, don't they listen to other players so to compare themselves
with them.

Frankly, the best three were two young ladies already professionals in
well known orchestras, one of them a solohorn already. But both of them
could not even keep their embouchure holding for the Heldenleben unison
excerpt. At the end, it was just "hot air". The best candidate of the
audition was a local student, but still not ready for the vacant job of
a 2nd/4rth horn.

So we hope for the next audition. We are still searching for a good solo
oboe (vacant three or four years). The same disaster, but much higher
level of candidates.

If I look into the future, I notice that we will have vacancies for 3
low horn positions, a third horn & a solohorn the next three years.
Quite no chance to fill these vacancies in time. - And sorry, we must
give preference to players from the E.U.

One last thing: it is shaming how the candidates present themselves.
When I auditioned,  we had to present ourselves in jacket & tie. The
committee even looked if we had our shoes polished and when we entered
the hall & the audition was without a curtain, we made our bow & showed
respect for the jury. But today  . This is not antiquated
custom, it makes sense. Showing respect to an organisation (jury,
orchestra) is rather speaking positively for the candidate. The personal
habit is also speaking for the candidate. If the personality is shown
positively, we might also expect positive things from his or her
playing. 

Not only the young men appear sloppy at the auditions, our young female
colleagues are not better.

But sometimes we get a surprise by an absolutely unknown young super
talent fresh form Music Academy, age even below twenty, but extremely
musical & fast learning all the things (routine, repertory). It is our
duty at the jury, to recognize such young colleagues. And a word for our
female colleagues:
The gender question does not exist any more.

Hoss, to eliminate somebody from an audition, it often takes just few
seconds, but we let them play the first page or until cadenza. But for
first horn you might be asked to play Strauss no.1 & Mozart no.4, both
concertos right one after the other in the first round. But if you clam
more than just "an accident" you are out, out, out & get not even the
chance to play the second piece.
===


-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf
Of [EMAIL PROTECTED]
Sent: Saturday, April 03, 2004 4:48 PM
To: [EMAIL PROTECTED]
Subject: [Hornlist] Marching Band and TUning slides

I wonder how many High School Marching Bands Hans played in?  Marching
Ban

RE: [Hornlist] RE: Emphasis on Marching

[Hans Pizka]

Michael, you are on the right path. You know, why many people like
marching & marching band ? Marching & marching in the band does not
requite much brain & much responsibility. 



-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf
Of [EMAIL PROTECTED]
Sent: Saturday, April 03, 2004 9:52 PM
To: [EMAIL PROTECTED]
Subject: [Hornlist] RE: Emphasis on Marching

   Im starting my own small organization against marching bands that

force students to march, its called PAMBFSTM (People Against Marching
Bands 
Forcing Students To March) does it sound catchy?

   Michael

   PS: I don't have anything against marching bands. I have things 
against "bands" that make you march or else get out. I understand some
people have 
different tastes and like marching, thats good. If you like what your
doing, go 
for it.

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RE: [Hornlist] Re: Munich audition tuning....Hans

[Hans Pizka]

I will consider your advice for the next audition, dear friend. 

The conductor of the Railway band was a real conductor & a composer, as
most of the old fashion Austrian former military musicians were 

-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf
Of [EMAIL PROTECTED]
Sent: Saturday, April 03, 2004 6:39 PM
To: [EMAIL PROTECTED]
Subject: [Hornlist] Re: Munich audition tuningHans

Professor Hans howled:
First: we do not invite candidates 

Second: tuning has nothing to do with taste. As "tuned" means something
"absolute" there is no choice left.  etc...
Now, I can tell you, with the absolutestests of certainments, that I,
being the mostestest of familiars with many cultures and subcultures and
minicultures and microcultures, know that the problem here is one of the
mostestest of obviousessesses that you would now have made the fillings
of this vacancy in your horn section if you would check the candidates'
resumeeses and vitals and then only invite candidates who started off
their experiences in the MARCHING BAND as they would have had the many
experiences of bad intonations and their corrections and also, who was
the conductor when you played in the Railway Band?

Kindestest of Greetonings and Mostestest of Advices, 

Prof. I. M. Gestopftmitscheist
Principal 8th horn and Principal 4th Wagner Tuber, Schplittenotendorf am

Oedland Staatsoper und Philharmoniker, (ret.)
Solo Horn, Exit 2 Brass Quintet
Hornist, Broken Winds WW Quintet
Solo 4th Horn (Leader, call me for bookings), Smirnoff Horn Quartet
Assistant Associate Principal Mellophone, NJ Turnpike Authority Drum and

Bugle Corps, "The Phantom Lane Changers"
Hornist as Needed, L'Ensemble du Chambre des Palourdes
Principal Natural Horn, I Soloisti di Feces
Principal Baroque and Hunting Horn, Camarata Vongoleforte
Adjunct, Part-time, Arms-length Professor of Horn and Pest Control, Exit
2 
Community College, Exit 2, NJ
Author, "The Kopprasch Connection," "Kopprasch for Fun and Profit," 
"Kopprasch for the New Millenium: Where Do you Fit In?" "Hooked on
Hornonics," and 
"What If Saddam Had Given Ouday and Qusay Olds Ambassador or Conn Pan
American 
Single F Horns and a Kopprasch Book Instead of AK 47's, Booze and Porn?"

Founder, Director and CEO, Universal Institute for the Study,
Preservation 
and Dissemination of Kopprasch Throughout the Solar System
Founder and Guru Extraordinaire, Hornaholics Anonymous
Grand Poobah of the Koppraschian Kult
Director and Program Manager, The All Kopprasch Channel (AKC), Kopprasch

Public Radio (KPR)
Host of The Kopprasch Factor on AKC and All Kopprasch Considered on KPR
Founder of Kopprasch Depot, your one stop shop for all you need!
Interplanetarily Known Soloist and Artist of Record
Exclusive Bundy, Carl Fischer, Olds Ambassador, Sansone and Conn Artist
Who 
Does Not Get His Horns For Free
Phone: yes
Fax: yes
E-mail: yes
Website: no

"Oh when the Kopprasch, oh when the Kopprasch, oh when the Kopprasch
goes 
marchin' in!"
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[Hornlist] RE: Emphasis on Marching

[MichaelK216897]

   I think the schools are putting the wrong emphaasis on the wrong 
sylabl.
   Marching band drives me crazy, and the sad thing is, we practiced the 
2 hours every weekday (hot sun or cold rain). And we got 2nd to last at area 
marching (every band in our area made it to area except ONE band, so the judges 
were being lenient!). I dont understand why about 75% to 90% of the band 
students love it so much. It doesn't make me feel like part of a big family, it 
makes me feel more like I'm part of a slave laborer camp, getting a concert horn 
in return.
   Big waste of time and bad health risks along with it (skin cancer). I 
wish somehow we could do something to change the bands way of getting 
funds...must brainstorm.
   Another sad thing, we had pre UIL for concert contest and came back 
with 3 3's!!! WHY GOD!? 
   Thinking of a way to get out of band and continue to put enough 
practice hours in efficiently.
   Glad I'm in the Youth Symphony.
   Im starting my own small organization against marching bands that 
force students to march, its called PAMBFSTM (People Against Marching Bands 
Forcing Students To March) does it sound catchy?

   Michael

   PS: I don't have anything against marching bands. I have things 
against "bands" that make you march or else get out. I understand some people have 
different tastes and like marching, thats good. If you like what your doing, go 
for it.

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[Hornlist] attacked by a roomful of sedated turtles?

[HornCabbage]

David G recently underwent a near-life experience:
 
> I recently stumbled upon Russian Orthodox
> Choral music. If you know the genre, you know
> that a lot of it is constructed of very lush, slowly
> morphing thick chords sung by large choirs that
> can produce a euphoric feeling not unlike floating
> in molasses or getting attacked by a roomful of
> sedated turtles.

And Bear W wondered
WHAT has he been smoking?

 
Wagner's Parsifal, unfiltered.

Gotta go,
Cabbage
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Re: [Hornlist] Emphasis on Marching

[Christopher Bonner]

John,
   You had me laughing until I was in tears.  Bravo to that director for
putting the marching band into context.
Chris
- Original Message - 
From: "John Baumgart" <[EMAIL PROTECTED]>
To: "The Horn List" <[EMAIL PROTECTED]>
Sent: Friday, April 02, 2004 10:40 PM
Subject: Re: [Hornlist] Emphasis on Marching


>
> - Original Message - 
> From: "Christopher Bonner" <[EMAIL PROTECTED]>
> To: "The Horn List" <[EMAIL PROTECTED]>
> Sent: Friday, April 02, 2004 6:46 PM
> Subject: Re: [Hornlist] Emphasis on Marching
>
>
> > Dear Hornlist Colleagues,
> >  The can of worms that is the North American marching band 
> isn't education,
> > and it has nothing to do with the real world of a performing musician.
>
> Exactly.  When I was in college, we got a new band director (a hornist, by
> the way) my junior year.  His first move was to abolish the marching band.
> The administration was opposed.  His argument was that he wasn't going to
> subject everyone to marching band until they start passing out comic books
> in English classes.
>
> John Baumgart
>
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[Hornlist] Re: Munich audition tuning....Hans

[HORNTRASH]

Professor Hans howled:
First: we do not invite candidates from outside Europe. They must live
here before we invite them. Citizenship does not matter (they actually
originated from 3 continents, but not the USA)

Second: tuning has nothing to do with taste. As "tuned" means something
"absolute" there is no choice left.  etc...
Now, I can tell you, with the absolutestests of certainments, that I, being 
the mostestest of familiars with many cultures and subcultures and minicultures 
and microcultures, know that the problem here is one of the mostestest of 
obviousessesses that you would now have made the fillings of this vacancy in your 
horn section if you would check the candidates' resumeeses and vitals and 
then only invite candidates who started off their experiences in the MARCHING 
BAND as they would have had the many experiences of bad intonations and their 
corrections and also, who was the conductor when you played in the Railway Band?

Kindestest of Greetonings and Mostestest of Advices, 

Prof. I. M. Gestopftmitscheist
Principal 8th horn and Principal 4th Wagner Tuber, Schplittenotendorf am 
Oedland Staatsoper und Philharmoniker, (ret.)
Solo Horn, Exit 2 Brass Quintet
Hornist, Broken Winds WW Quintet
Solo 4th Horn (Leader, call me for bookings), Smirnoff Horn Quartet
Assistant Associate Principal Mellophone, NJ Turnpike Authority Drum and 
Bugle Corps, "The Phantom Lane Changers"
Hornist as Needed, L'Ensemble du Chambre des Palourdes
Principal Natural Horn, I Soloisti di Feces
Principal Baroque and Hunting Horn, Camarata Vongoleforte
Adjunct, Part-time, Arms-length Professor of Horn and Pest Control, Exit 2 
Community College, Exit 2, NJ
Author, "The Kopprasch Connection," "Kopprasch for Fun and Profit," 
"Kopprasch for the New Millenium: Where Do you Fit In?" "Hooked on Hornonics," and 
"What If Saddam Had Given Ouday and Qusay Olds Ambassador or Conn Pan American 
Single F Horns and a Kopprasch Book Instead of AK 47's, Booze and Porn?" 
Founder, Director and CEO, Universal Institute for the Study, Preservation 
and Dissemination of Kopprasch Throughout the Solar System
Founder and Guru Extraordinaire, Hornaholics Anonymous
Grand Poobah of the Koppraschian Kult
Director and Program Manager, The All Kopprasch Channel (AKC), Kopprasch 
Public Radio (KPR)
Host of The Kopprasch Factor on AKC and All Kopprasch Considered on KPR
Founder of Kopprasch Depot, your one stop shop for all you need!
Interplanetarily Known Soloist and Artist of Record
Exclusive Bundy, Carl Fischer, Olds Ambassador, Sansone and Conn Artist Who 
Does Not Get His Horns For Free
Phone: yes
Fax: yes
E-mail: yes
Website: no

"Oh when the Kopprasch, oh when the Kopprasch, oh when the Kopprasch goes 
marchin' in!"
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[Hornlist] One more comment.

[Joe Duke]

Horn students who have no horn teacher and who are being taught by a Middle School 
Band Director who has not ever had any horn 'exposure' are surely at a dis-advantage, 
with either an F or Bb single horn.

And if the instructor is not aware of the difference and how to tell which is which 
between the two, why is she/he there, to begin with??

My first comments were aimed at the eBay seller who had taken so much time to 
'instruct' his buyers, only to learn that he had been ignored.
I say, as before, if the buyer wants the item, and either does or does not know 
anything about it, what business is it of the seller to put in his 'nose'??

He has sold it (a single Bb) against his own advice, to someone who is going to do 
with it, exactly what he advised against!!

Caveat Emptor??!?!?!?

Joe Duke
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Re: [Hornlist] warbling up

[David Jewell]

Robert - I should mention that I didn't have a choice. The rehearsal hall was directly 
across from our front shop and believe it or not, they could be heard over the radial 
arm saw and the drill press. Thank goodness the table saw was more forceful. After all 
that I have never again wondered how one voice could fill a 1500 seat concert hall.
paxmaha 

Robert Marlatt <[EMAIL PROTECTED]> wrote:  from: David Jewell 

BTW - if one ever thinks that some of our warmups have very little  to do with our 
actual music making, try listening to a coloratura  soprano or tenor warmup at 8:30 in 
the morning

Umm, no thanks.

Bob Marlatt
Boston MA



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[Hornlist] Marching Band and TUning slides

[Jjhornman]

I wonder how many High School Marching Bands Hans played in?  Marching Band is 
different than any European community band, and to be able to preach about The USA's 
high school band programs you better have real credentials.  I have lived the pain for 
6 years in High School and College and I never care to do it again.  Let's leave it at 
that.

I also understand that Hans' orchestra is of the utmost quality and should only accept 
the best, but it seems like you count people out way too soon.  I understand that 
tuning is a major part of professional everyday playing, but was the five minutes you 
gave them really enough to judge them?  Did you ask them for a reasonable explanation 
to why they are tuning a certain way?  After you listened to their tuning note, did 
you listen what they gave to you musically or did you count them out right away?  Did 
they play the audition in tune?  I understand that it was Hans' audition commitee and 
hans' would have the right to take or turn down anyone he choose, but it would make 
better sense to take the advantages(once they are already counted out) of hearing 
someone than the disadvantages.  

I thought it was the European way to discuss things and not be like americans and 
instantaneously cross their name off the list.  Maybe Germans are different.

Hoss

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Re: [Hornlist] Paxman model 20

[blackjack_ cajun]

What if, let's say it has a few slight blemishes at the bell?

Jon


From: [EMAIL PROTECTED]
Reply-To: The Horn List <[EMAIL PROTECTED]>
To: The Horn List <[EMAIL PROTECTED]>
Subject: Re: [Hornlist] Paxman model 20
Date: Sat, 03 Apr 2004 14:29:56 +
If it is still in excellent condition, yes.  I sold mine for $3700.00
J. Kirk
> Hi.
> i would like to ask if any of you know how much a second-hand Paxman 
model
> 20 would costs. I have come in contact with someone who has  been played 
it
> for 7 years, professionally. She is selling it at S$5000, about US$2500. 
Is
> it a bargain?
>
> Jon
>
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Re: [Hornlist] Paxman model 20

[jamesarthurkirk]

If it is still in excellent condition, yes.  I sold mine for $3700.00
J. Kirk


> Hi.
> i would like to ask if any of you know how much a second-hand Paxman model 
> 20 would costs. I have come in contact with someone who has  been played it 
> for 7 years, professionally. She is selling it at S$5000, about US$2500. Is 
> it a bargain?
> 
> Jon
> 
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[Hornlist] Paxman model 20

[blackjack_ cajun]

Hi.
i would like to ask if any of you know how much a second-hand Paxman model 
20 would costs. I have come in contact with someone who has  been played it 
for 7 years, professionally. She is selling it at S$5000, about US$2500. Is 
it a bargain?

Jon

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[Hornlist] Emphasis on Marching

[B.Baker]

Hello Friends,

I have read this thread with much amusement more than anything else. Although I am 
aware that for some individuals, both drill work and playing is important in their 
life (albeit for sometimes differing reasons). Might I suggest that the concept of 
drill related playing was adopted from the world of "professional" military bands.

I say this having chosen to start my horn career via the military route. It really is 
a travesty to suggest that "nothing useful" at all, for horn playing, ever eventuates 
from this approach.

Although precision drill was important within the context of a military band, 
certainly "quality" in playing was also a prerequisite (try performing the 1812 
Overture on the march with the same expectations on your performance as if you were 
sitting).

In my own experience of having performed in this genre, I can honestly say that I have 
developed a "good" ear for tuning, pitch, partials etc. I have also developed good 
endurance as well as "acclimatisation" within the context of performing under 
sometimes extremely demanding situations.

I agree with those of you who believe that these attributes could have been developed 
via a more "orchestrally" focused route. However, may I remind everyone to keep an 
open mind to the fact that there is more than one route to becoming adequately 
equipped as a horn player.

Not everyone will become a star. Some will get good positions whilst others will be 
happy with what they have achieved.

I started in my school band continued onto youth orchestra then started my music 
career as a professional musician in an Australian military (Army) band. During this 
time, I did some freelance work and began some serious networking.

I have been fortunate to get some extremely good gigs and perform in some world renown 
venues and backing some "big" names in most genres of music as well as orchestral work.

So whilst the "value" of marching/drill horn playing is under scrutiny, please 
remember there are those of us who have travelled this route to achieve satisfying 
experiences and have gone on to developed as performers.

Regards to all,

Brian (alias Koala Bear)
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Re: [Hornlist] attacked by a roomful of sedated turtles?

[skirshner]

Too close to home?

Shel
- Original Message - 
From: "Bear Woodson" <[EMAIL PROTECTED]>
To: "Horn List" <[EMAIL PROTECTED]>
Sent: Friday, April 02, 2004 11:37 PM
Subject: [Hornlist] attacked by a roomful of sedated turtles?


> > message: 4
> > date: Wed, 31 Mar 2004 14:26:47 -0500 (EST)
> > from: David Goldberg <[EMAIL PROTECTED]>
> > subject: [Hornlist] Speaking of church music
> >
> > I recently stumbled upon Russian Orthodox
> > Choral music. If you know the genre, you know
> > that a lot of it is constructed of very lush, slowly
> > morphing thick chords sung by large choirs that
> > can produce a euphoric feeling not unlike floating
> > in molasses or getting attacked by a roomful of
> > sedated turtles.
>
> WHAT has he been smoking?
>
>
> Bear Woodson
> Composer in Tucson, Arizona, USA
>
>
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RE: [Hornlist] Emphasis on Marching

[Herbert Foster]

Some are keeping up the good fight. While my daughter was in high school, the
band director refused to have the band march at games--they sat and played.
While the style of music he produced was not to my taste (Big Band, and ever
hear of Blues Traveller?), he trained musicians. The school also has a choral
and string program. We're also accused of being elitist.

Herb Foster in Princeton, NJ
--- "Pandolfi, Orlando" <[EMAIL PROTECTED]> wrote:
> Dear Colleagues,
> 
> While marching band is indeed an entertaining show, the process that takes
> place to have such a show is most often an egregious violation of fundamental
> principles employed in the training of young musicians, particularly at the
> high school level.  The use of extra shallow mouthpieces, rote instruction,
> not to mention improper embouchures has become a cancer among too many
> institutions who put the half-time show above prudent training. 
> Unfortunately, it is such a popular medium, particularly in a blue collar
> community, that most music educators must comply or lose their jobs.  High
> School administrators, either musically ignorant, overwhelmingly political at
> the cost of sound education, or both are to blame.  I know of very few music
> programs where the director is strong enough to hold his/her ground and work
> to cultivate a balanced wind ensemble program.  Those who are strong manage
> in a very short time to train musicians who can sit in the stands of an
> athletic event and sight-read decent "pep" music with skill.  Eventually, the
> population grows to appreciate the sound and learn to live with the
> compromise.
> ...


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