RE: [Hornlist] oil addict

[hans]

To all who answered to the "oil addict" question:

If I ask something you should know, that I am not asking about any junk
horn or like. I precondition precision tools, high class material, no
production errors, best final control not only by a technician but also
by an excellent player, which means a perfect neutral situation.

So I ask again for precise answers, but the technicians, not just
guesses or descriptions. We are more theorists here and les empiric.

I repeat:
The valve needs a certain amount of lubrication, which consists of an
extreme thin (about 4 micron) water (moist) - oil emulsion, which allows
free movement and seals the valve body with the valve housing perfectly.
The valve housings are made of nickel silver or yellow brass, while the
rotors (bodies) are made of yellow brass of different alloy. Normally,
the two different alloys would move freely without any lubri(fi)cation,
but as moist is involved, this oily emulsion also slows down erosion
(damage).

It is common knowledge, that synthetic oils work better than natural
oils due to less foreign contents. It is also common knowledge, that
excess oil tends to smear corners etc. and thus slowing actions.

The valves in question are made using high precision machinery &
perfectly skilled technicians.

Now the makers statement:(so say customers)
If the valves are oiled from beginning, they become "oil addict".

>From my knowledge of physical science, I cannot imagine such.

Technician confirmation ??

(By the way, I oil my horn few time, just when I feel it be necessary,
e.g. that´s after washing the horn through every few weeks, in a regular
maintenance procedure, but I use the oil extremely carefully (the small
oil bottle lasts for years). All axis are oiled then too.)

==


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RE: [Hornlist] Pre WWW1 Kruspe

[hans]

No question, if you can buy this nice horn, buy it before others get it.
If it is that old & in that good shape it does not matter at all, who
made it & when. A good horn is a good horn.  Punctum.

As Wendler was in Boston until 1928, the horn could have been made for
his trade, as he was the son-in-law of Mrs.Kruspe, and also her business
partner. But it could have been made also after his return home to
Germany (1928) still using the engraving Wendler Boston Mass.

Greetings
==

-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of
[EMAIL PROTECTED]
Sent: Monday, October 11, 2004 12:29 AM
To: [EMAIL PROTECTED]; [EMAIL PROTECTED]
Subject: [Hornlist] Pre WWW1 Kruspe

Hello friends~
Please forgive the cross post.  Recently, I have had the great privilege
of 
playing on a pre-WW1 Kruspe. It PLAYS LIKE WARM BUTTER---so DELICIOUS!
The 
response is incredible! The man who owns this little jewel knows very
little about 
his horn other than his father bought this for him while he was in
college 
(25 years ago), and I was wondering if  any of you would be able to
share any 
facts about the horn.

Here is what I know:
Looks like all original parts
Valves clean, no leaks--free blowing
Incredible response and quick valve motion--all registers
nickel silver
Info Etched on bell:
Ed Kruspe
Erfurt
DR6M*888990
Made in Germany
Modell--Wendler
Boston-Mass.

I have looked at the Kruspe web site, and it is helpful, but I am
looking for 
even MORE information.  (specifics about when made, by whom, etc...) ANY

KRUSPE owners out there?  I want to buy this  little gem from him, but
wanted to 
get feed back from anyone who may know about Kruspe horns.  THANKS in
advance!

Dee Anne Proctor
Nashville, Tennessee USA 
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[Hornlist] Low Range for High Range

[matthew scheffelman]

One of the biggest mistakes is students not changing 
to a "falsetto" throat shape when rising up to the
high range, while keeping this open feeling of good
low range habits. 

The low range IS the key to the high range(period),
but only with proper high range technique. 

Matthew Scheffelman
horn



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Re: [Hornlist] Any comments on The Early Horn : A Practical Guide (Cambridge ...

[Jerryold99]

Hi Steve,
 
Take a look at Wendell Rider's new book "Real 
World Horn Playing".  It, along with Farkas' book, 
should be on every serious horn player's book 
shelf.
 
_www.wendellworld.com_ (http://www.wendellworld.com) 
 
Regards,Jerry in Kansas City
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Re: [Hornlist] RE: Horn Digest, Vol 22, Issue 11

[Jerry Houston]

Karistan is an oriental rug design.  Trust me - I've sold many of them.  To 
solve the pinky issue, get a Celebsch strap, and get rid of the pinky hook 
forever.

(approx. 500 lines of previous posts snipped.)
From: "abe zaki" <[EMAIL PROTECTED]>
Subject: [Hornlist] RE: Horn Digest, Vol 22, Issue 11
Would an Atkinson "Eastman" French Horn Double work OK for a 13-year old
that hates Conns due to the weight and pinky finger issue?  He has a
Karistan light weight double horn that he loves. The Karistan has a small
bore. We are wanting something along a similar line for when his goes into
the repair shop for dings/etc.
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Re: [Hornlist] Mouthpieces, again.

[Jerry Houston]

Are you looking for silver or gold?  I've come to the conclusion that the 
Pizka mouthpiece is too narrow for me (although it's great in other 
respects), and I play a Denis Wick 4N exclusively now.  Contact me off-list.

From: "Joe Duke" <[EMAIL PROTECTED]>
Subject: [Hornlist] Mouthpieces, again.
I am seeking a used Pizka mouthpiece, if one is available, and  is not being 
used by its present owner.I have not ever seen one, and without knowing 
if I can make sufficient use of it to justify the costs, I would like to 
either borrow one (not likely?) or buy one used at a more modest cost to me, 
than at the new price.

So, if anyone cares to contact me, please feel free to do so, either on or 
off-list, and I appreciate your looking at this request!!

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[Hornlist] Kruspe Wendler Model

[Mark Louttit]

Dee Anne and others,
I am afraid that you are going to have to go to the other list for my reply. 
It popped up there. Very strange because I know that I answered from this 
list.

Mark L. 

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[Hornlist] Pre WWW1 Kruspe

[Klifemom]

Hello friends~
Please forgive the cross post.  Recently, I have had the great privilege of 
playing on a pre-WW1 Kruspe. It PLAYS LIKE WARM BUTTER---so DELICIOUS! The 
response is incredible! The man who owns this little jewel knows very little about 
his horn other than his father bought this for him while he was in college 
(25 years ago), and I was wondering if  any of you would be able to share any 
facts about the horn.

Here is what I know:
Looks like all original parts
Valves clean, no leaks--free blowing
Incredible response and quick valve motion--all registers
nickel silver
Info Etched on bell:
Ed Kruspe
Erfurt
DR6M*888990
Made in Germany
Modell--Wendler
Boston-Mass.

I have looked at the Kruspe web site, and it is helpful, but I am looking for 
even MORE information.  (specifics about when made, by whom, etc...) ANY 
KRUSPE owners out there?  I want to buy this  little gem from him, but wanted to 
get feed back from anyone who may know about Kruspe horns.  THANKS in advance!

Dee Anne Proctor
Nashville, Tennessee USA 
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[Hornlist] Any comments on The Early Horn : A Practical Guide (Cambridge Handbooks to the Historical Performance of Music)?

[Steve Freides]

Anyone familiar with this book?  I'm already planning on purchasing 'the Art
of French Horn Playing' by Philip Farkas and am wondering whether this might
make interesting reading or if it would be redudant.

Here's a link on amazon.com:



or just

http://tinyurl.com/4khh8

Thanks in advance.

-S-

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[Hornlist] high-school horn studio teaching

[Scott Pappal]

Hi Wendy. Horn studio teaching is a big part of what I
do - I teach about twenty-five lessons each week. For
my teaching, I like to strike a balance between:

1.) Technical/Calisthenic Exercises (Forrest Standley,
Singer Book, etc.)

2.) Etudes

3.) Solo Material (can also include chamber music)

4.) CD/recording/score study and orhcestral excerpt
study

My first goal is to get the student to realize that a
well-designed rountine, done EVERY DAY, will have
enormous benefits on his/her playing. Although I have
written out and mass-produced my "routine" I have the
students memorize scales and long-tone routines to do
as warm up every day. I include long tones/attacks,
ascending scales slurred and tongued (up to c3 and
higher), descending scales slurred and tongued (down
to pedal C and lower if possible), 2-octave and
3-octave argpreggios, and harmonic series flexibility
exercises. All these are eventually done without
music. For specific problems in a students playing, I
like the William Brophy "Solving Special Problems on
the Horn," the Singer "Embouchure Building," the
Forrest Standley "Exercises for Daily Practice," and
the Phil Farkas "Art of Horn Playing."

For etudes, I prefer the Kopprasch 60 etudes, and the
Maxime-Alphonse Books 1 - 3. Arban's "Trumpet Method"
also can be adapted well for the horn. For low
register building, the well-known Rochut/Bordogni
etudes are very helpful. The Martin Hackleman "Low
Horn" and "High Horn" etudes are also excellent but
are very challenging for students. Etudes are what I
use to teach transposition. Typically I assign an
etude the first week in F, and thereafter in several
other transpositions. 

In the matter of solo material, I feel that there are
some works which every horn player should study. These
include:

Mozart concertos 1-4, concert rondo, horn quintet
Beethoven Horn sonata
Strauss 1 (depending on ability level)
Schumann Adagio and Allegro (depending on ability
level)
Dukas Villanelle
Franz Strauss Nocturno
Brahm's Trio

I add many others as needed, especially 20th century
works such as the Gliere, the Hindemith, the Gordon
Jacob, and early works such as Haydn and Telemann.
I will sometimes use "Smart Music" accompaniment by
Finale to provide accompaniment, or, since I'm also a
pianist, I'll play the accomp. myself. I also include
historical practice awareness here - I make the
students familiar with horn history (hand-horn,
writing cadenzas which are appropriate, etc.)

I also feel that every horn student should be familiar
with playing some standard orchestral parts such as
Beethoven 3, 5, 6, 7, 8, 9, Short/Long calls, Till,
Tchaik 4,5,6, Brandenburg, Ein Heldenleben, Bruckner
Four, Anything by Mahler, Dvorak, Brahms, Mendelssohn
Nocturno, etc.
For studying parts, I require the student to get the
CD and listen/study first. If possible, I have them
get the score from a library or borrow it from me.

Hope this helps. As you can see, I have to cram every
ounce of learning I can into the time I have with my
kids, but if you really push them, they'll respond. If
you have any questions, I'd be happy to share other
ideas beyond these few basics. E-mail me at
[EMAIL PROTECTED]

Cordially, Scott Pappal in Altoona, PA







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[Hornlist] RE: Horn Digest, Vol 22, Issue 11

[abe zaki]

Question:

Would an Atkinson "Eastman" French Horn Double work OK for a 13-year old
that hates Conns due to the weight and pinky finger issue?  He has a
Karistan light weight double horn that he loves. The Karistan has a small
bore. We are wanting something along a similar line for when his goes into
the repair shop for dings/etc. 

Sue Nagel
[EMAIL PROTECTED]


-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of
[EMAIL PROTECTED]
Sent: Sunday, October 10, 2004 1:00 PM
To: [EMAIL PROTECTED]
Subject: Horn Digest, Vol 22, Issue 11

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Today's Topics:

   1. Low to improve high register ([EMAIL PROTECTED])
   2. Re: Low to improve high register ([EMAIL PROTECTED])
   3. RE: Low to improve high register (Smit Neil <[EMAIL PROTECTED]>)
   4. Re: Low to improve high register (Mark Louttit)
   5. Playing low to play high (David Goldberg)
   6. oil addict ([EMAIL PROTECTED])
   7. Re: oil addict ([EMAIL PROTECTED])
   8. re: oid addict (J. Kosta)


--

message: 1
date: Sat, 09 Oct 2004 11:07:48 -0700
from: [EMAIL PROTECTED]
subject: [Hornlist] Low to improve high register

Harris Wood writes What I was always told as a youngster: "Work on the LOW 
register - it will help you in playing in the HIGH register" 

Well folks, Its true but the reason is that for low playing you have to 
keep your aperture more open. When you practice with this bigger space 
between your lips you practise avoiding the danger of tightening up as you 
go higher. Keep your lips relaxed and more open and use more air to keep 
your lips open. If this doesnt improve your high range, it will at least 
improve your sound quality.
The best exercises for this are the pitch bending found in Brophys 
Technical Studies book. (Get the book!)
The worst is any sort of buzzing. 

Richard Burdick
1st Horn Regina Symphony Ochestra
in Sunny Regina Saskatchewan Canada


--

message: 2
date: Sat, 09 Oct 2004 16:53:28 -0400
from: [EMAIL PROTECTED]
subject: Re: [Hornlist] Low to improve high register

Several times I've taken extended breaks from the horn and had to play back
into shape.  I find the Gallay etudes for second horn are best for getting
back my embouchure in good form.  The etudes require playing low parts in
context, and that brings back the proper embouchure.  When I feel my
embouchure is playing down into the low register properly, I start adding
the Gallay Etudes Brilliant.  Since I've probably neglected the horn to play
electric bass, I throw in some unmeasured etudes.  Playing electric bass
requires the ability to really dial in on the drummer.  It's definitely not
a soloistic situation.


--

message: 3
date: Sat, 9 Oct 2004 23:17:22 +0200
from: "Smit Neil <[EMAIL PROTECTED]>" <[EMAIL PROTECTED]>
subject: RE: [Hornlist] Low to improve high register

I find that after a few days of playing low a lot, I cant play high at
all. My lips become somewhat swollen and insensitive from loud low
playing. This isn't normal, is it? However, low playing does improve my
high range over the long term.

Neil Smit

-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of
[EMAIL PROTECTED]
Sent: Saturday, October 09, 2004 10:53 PM
To: The Horn List
Subject: Re: [Hornlist] Low to improve high register


Several times I've taken extended breaks from the horn and had to play
back into shape.  I find the Gallay etudes for second horn are best for
getting back my embouchure in good form.  The etudes require playing low
parts in context, and that brings back the proper embouchure.  When I
feel my embouchure is playing down into the low register properly, I
start adding the Gallay Etudes Brilliant.  Since I've probably neglected
the horn to play electric bass, I throw in some unmeasured etudes.
Playing electric bass requires the ability to really dial in on the
drummer.  It's definitely not a soloistic situation.
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message: 4
date: Sat, 9 Oct 2004 17:35:16 -0400
from: "Mark Louttit" <[EMAIL PROTECTED]>
subject: Re: [Hornlist] Low to improve high register

Neil,

I am one of those people who has always had a naturally decent low regist

[Hornlist] Mouthpieces, again.

[Joe Duke]

Hello, all listers.

I am posting this to both lists, for best exposure for this message.

(Hans, I am not 'dodging' you!)

I am seeking a used Pizka mouthpiece, if one is available, and  is not being used by 
its present owner.I have not ever seen one, and without knowing if I can make 
sufficient use of it to justify the costs, I would like to either borrow one (not 
likely?) or buy one used at a more modest cost to me, than at the new price.

So, if anyone cares to contact me, please feel free to do so, either on or off-list, 
and I appreciate your looking at this request!!

Thanks.Joe Duke
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