[Hornlist] why trumpet players don't have TubaChristmas
I'm sure many of you have already heard this, but in case you haven't, I thought you might enjoy hearing a typical trumpet choir Christmas medley: http://music.memphis.edu/tasteechristmas.mp3 It's a 2.2MB mp3 download. Happy Holidays, Dan ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] why trumpet players don't have TubaChristmas
I'm sure many of you have already heard this, but in case you haven't, I thought you might enjoy hearing a typical trumpet choir Christmas medley: http://music.memphis.edu/tasteechristmas.mp3 It's a 2.2MB mp3 download. Happy Holidays, Dan Thank you, Dan, for this link to back-to-basis-aesthetics! And I cannot hide my admiration for the zoo personnel, that could educate their monkeys to perform the holy season music so well. Klaus ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] why trumpet players don't have TubaChristmas
http://music.memphis.edu/tasteechristmas.mp3 Now that is why I play Horn! -- Dee Anne Proctor, Horn Nashville, TN 37221 -- Original message -- I'm sure many of you have already heard this, but in case you haven't, I thought you might enjoy hearing a typical trumpet choir Christmas medley: http://music.memphis.edu/tasteechristmas.mp3 It's a 2.2MB mp3 download. Happy Holidays, Dan ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/blackberryhillmusic%40comcast.net ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mouthpieces - what does a narrower bore do?
There's some interesting stuff on the Lawson Brass website. Walter and sons have done extensive study on the subject, leading to the development of their own mouthpiece. Some people say smaller bore, smaller sound. My experience has led me to believe that not all mouthpieces work in the same way on all horns. A mouthpiece that is too bright or thin on one horn might work perfectly on another. The shank has a great deal to do with how the mouthpiece works, as does the depth in which it enters the leadpipe. My teacher when I was in school used to warn me about the honeymoon period of a new mouthpiece. Most of the time, the effects of a sudden mouthpiece change (ease of range, etc.) are temporary, and a players' weaknesses eventually creep back in. There is a fairly narrow range of mouthpieces that make sense, that is: not ridiculously deep or shallow. Lawson's mouthpiece is a design that represents the average of the most popular mouthpieces made. Although I myself prefer something deeper, his approach is a sensible one. I find I can adjust to most sensible bore and cup sizes, but I am VERY particular about using the same rim for all the different mouthpieces. O. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Steve Freides Sent: Sunday, December 12, 2004 9:22 PM To: 'The Horn List' Subject: [Hornlist] Mouthpieces - what does a narrower bore do? I noticed when cleaning my son's Yamaha 30C4 mouthpiece that it's distinctly harder to get my cleaning brush through the tubing that's after the cup portion. I'm pretty sure the bore (inside diameter) is smaller than the 7BW mouthpiece I play. So, two questions: 1. All other things being equal, if this bore is narrower, how would it change playing the horn? I don't want to use my son's mouthpiece (wouldn't bother me but it seems to gross him out) but I'm curious. 2. Is there a primer online anywhere that discusses the individual parameters of mouthpiece construction and how they change tone, perceived playing difficulty, ease of hitting high and low notes, etc.? I could use one. Many thanks in advance. -S- ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/pandolfi%40deerfield.edu ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Christmas Performance--funny story
At 10:46 AM 12/13/04 -0500, David Goldberg wrote: In any case, LED lights exist now in many flavors, including flexible neck, clip-on lights, and I will always pack one for pit gigs I would stay away from the kind that you put on your head, at least just in case you turn to look at the audience. There is one that runs on three button cells (watch batteries) that works great zip-tied to a leadpipe and pointing at the lyre when you're doing nighttime Santa Claus parades and Christmas tree lighting ceremonies. At least that's what I did this year. John Kowalchuk maker of mutes/horns/canoes/paddles/bikes Oshawa, Ontario http://home.ca.inter.net/~horn1 Canadians don't surf the net, we paddle it. ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] why trumpet players don't have TubaChristmas
At 10:15 AM 12/13/04 -0600, Dan Phillips wrote: I thought you might enjoy hearing a typical trumpet choir Christmas medley: http://music.memphis.edu/tasteechristmas.mp3 Sounds kind of like the big room at an IHS workshop. John Kowalchuk maker of mutes/horns/canoes/paddles/bikes Oshawa, Ontario http://home.ca.inter.net/~horn1 Canadians don't surf the net, we paddle it. ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mouthpieces - what does a narrower bore do?
Dear Friends, At a concert I attended a couple of years ago, I noticed that the principal player (a friend from our Maryland Horn Club days) was playing a Lawson horn instead of the Conn 8D he always played at Maryland Horn Club (before horn club went defunct). At intermission when I asked him about it, he said, Yes, Lawson horns are great, but there's one problem with them. Taking the bait, I said, What's that? Well, he replied, Lawson horns are superb but they're practically impossible to play except with Lawson mouthpieces. (He was exaggerating to make a point, I suppose, but that's what he said.) Now, the horn I always played at Maryland Horn Club was my trusty old Lawson-modified Alexander 103, the horn my folks bought me new in 1958 when I was 16. (The restoration modification were done 30 years later.) Later on, I bought a (used) Lawson 804, not because I was having any special trouble with the Alexander, but because I figured if I played a Lawson horn I would never be in any doubt as to whether a playing problem was due to me or to the instrument -- i.e, any problem would always be with me. But ever since I bought the Lawson 804 I'd been playing it with my regular old Conn Connstellation 5B-W gold-plated mouthpiece. (I've done plenty of dumb stuff over the years, but somehow I managed to avoid playing mouthpiece roulette I never went on any quests for The Perfect Mouthpiece; when my teachers said put the effort into practicing instead, I must have been paying attention.) Regarding using the Conn mouthpiece to drive the Lawson horn, my friend said, No, no -- if you're playing a Lawson horn you've got to play it on one of Walter's mouthpieces. So my friend kindly lent me 1 of his, I started using it right away. It felt better, I thought it sounded better, I noticed that the horn responded better, immediately. After the next concert of my regular ensemble, people from other sections (clarinet, trombone, etc.) came up to me complimented me on my improved sound. (I hope they meant I sounded OK before better now -- not bad before OK now.) So I hopped onto eBay sprang for some Lawson mouthpieces of my own (2 of'm, so I'd have a back-up), then ended up ordering new rims from the Lawson folks, promptly returning the cup section 4 interchangeable rims to the friend who had put me on to the necessity of playing Lawson horns with Lawson mouthpieces. That's my story I'm sticking to it. -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. ~ At 11:42 AM 12/13/2004, you wrote: There's some interesting stuff on the Lawson Brass website. Walter and sons have done extensive study on the subject, leading to the development of their own mouthpiece. Some people say smaller bore, smaller sound. My experience has led me to believe that not all mouthpieces work in the same way on all horns. A mouthpiece that is too bright or thin on one horn might work perfectly on another. The shank has a great deal to do with how the mouthpiece works, as does the depth in which it enters the leadpipe. My teacher when I was in school used to warn me about the honeymoon period of a new mouthpiece. Most of the time, the effects of a sudden mouthpiece change (ease of range, etc.) are temporary, and a players' weaknesses eventually creep back in. There is a fairly narrow range of mouthpieces that make sense, that is: not ridiculously deep or shallow. Lawson's mouthpiece is a design that represents the average of the most popular mouthpieces made. Although I myself prefer something deeper, his approach is a sensible one. I find I can adjust to most sensible bore and cup sizes, but I am VERY particular about using the same rim for all the different mouthpieces. O. - ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Fingering concert A as 1-2 instead of open for music in A-minor
Steve Freides wrote: The piece is in concert A-minor and I find I much prefer the sound of concert A below middle C as 1-2 to the more usual open fingering because 1-2 is sharper. The same goes for the concert A an octave higher when taken on the F horn, 1-2 is preferable...[snip]... Am I thinking this through correctly? And is it worth the bother? The general rule is: use whatever fingering produces the best combination of good tone and in tune. This rule is especially true for sustained notes. If the passage is very fast, worry about what fingering makes the technique easiest instead. You're right: the 5th and 10th harmonics of the F horn are flatter than the 6th and 12th harmonics of the D horn. Another possibility (for a double horn) is to use the 4th and 8th harmonics of the A horn (T2), though it may be more difficult to coax the written E at the bottom of the staff into an acceptable tone quality with that fingering. Greg ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mouthpieces - what does a narrower bore do?
My teacher plays on a Lawson fourier without a Lawson mouthpiece, but I admit I was surprised to find this out. During our first lesson we talked about how I came to my equipment set up and he was very knowledgeble about Lawson mouthpieces, not to mention complimentary. Most of the people I know personally who play on Lawson mouthpieces came across them more or less by chance. Neither were they looking at mouthpieces nor were they looking at Lawsons in particular. They just liked them so much they bought one. Last year in my undergrad, my teacher had a Lawson mouthpiece kit come in with all of the pieces for one student to try some. Everyone in the, albeit small, studio tried one and 4 of us bought a mouthpiece. I was hesitant to even try it because I just bought a mouthpiece a few months before, but when I played on the Lawson, it made a world of difference. At the time, I was switching between the studio's descant and my double and it worked equally well in both horns, whereas my other really favored the double. I played on it for almost an entire week and ordered a P10G 690 rim and a F660 cup and almost a year later, I'm still very happy with it. I've yet to find any drawbacks like I have with my previous mouthpieces. Until recently, I was between horns and used 2 school horns and my teacher's Lawson throughout a 5 or so week period and the mouthpiece worked extremely well on all of them. Even the 6D! (For the record, not a bad horn. I did have some trouble getting the pitch up enough to match my sharp section mate but aside from that..) I've had a few people try my mouthpiece out and buy one as a result. The thing about Lawson mouthpieces in particular that I like is that everything feels very efficient and even. It feels like everything is in the right place, the resistances are right, the sound is even and balanced and favors all registers and horns rather than works better at some things than others. I get a very even and lively sound as a result of what feels like super efficiency. If they only made a Geyer style horn! Chris --- Alan Cole [EMAIL PROTECTED] wrote: Dear Friends, At a concert I attended a couple of years ago, I noticed that the principal player (a friend from our Maryland Horn Club days) was playing a Lawson horn instead of the Conn 8D he always played at Maryland Horn Club (before horn club went defunct). At intermission when I asked him about it, he said, Yes, Lawson horns are great, but there's one problem with them. Taking the bait, I said, What's that? Well, he replied, Lawson horns are superb but they're practically impossible to play except with Lawson mouthpieces. (He was exaggerating to make a point, I suppose, but that's what he said.) Now, the horn I always played at Maryland Horn Club was my trusty old Lawson-modified Alexander 103, the horn my folks bought me new in 1958 when I was 16. (The restoration modification were done 30 years later.) Later on, I bought a (used) Lawson 804, not because I was having any special trouble with the Alexander, but because I figured if I played a Lawson horn I would never be in any doubt as to whether a playing problem was due to me or to the instrument -- i.e, any problem would always be with me. But ever since I bought the Lawson 804 I'd been playing it with my regular old Conn Connstellation 5B-W gold-plated mouthpiece. (I've done plenty of dumb stuff over the years, but somehow I managed to avoid playing mouthpiece roulette I never went on any quests for The Perfect Mouthpiece; when my teachers said put the effort into practicing instead, I must have been paying attention.) Regarding using the Conn mouthpiece to drive the Lawson horn, my friend said, No, no -- if you're playing a Lawson horn you've got to play it on one of Walter's mouthpieces. So my friend kindly lent me 1 of his, I started using it right away. It felt better, I thought it sounded better, I noticed that the horn responded better, immediately. After the next concert of my regular ensemble, people from other sections (clarinet, trombone, etc.) came up to me complimented me on my improved sound. (I hope they meant I sounded OK before better now -- not bad before OK now.) So I hopped onto eBay sprang for some Lawson mouthpieces of my own (2 of'm, so I'd have a back-up), then ended up ordering new rims from the Lawson folks, promptly returning the cup section 4 interchangeable rims to the friend who had put me on to the necessity of playing Lawson horns with Lawson mouthpieces. That's my story I'm sticking to it. -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. ~ At 11:42 AM 12/13/2004, you wrote: There's some interesting stuff on the Lawson Brass website. Walter and sons have done extensive study on the subject, leading to the development of their own mouthpiece. Some people say
[Hornlist] Beethoven's Birthday
From our local paper here in Sacramentoif you must throw something at me, please make it money! Ludwig van Beethoven was born Dec. 16, 1770. Here are some jokes in (dis)honor of his upcoming birthday, plucked from the Internet. * Why did Beethoven get rid of his chickens? All they said was Bach, Bach, Bach. * A symphony was performing Beethoven's Ninth. There's a long passage during which the bass violin players don't have a single note. They decided to sneak out and have a few beers. One of the players made sure they'd have a little extra time by tying up the last few pages of the score so that the conductor would have to stop and untie it. When the AWOL players staggered back to their seats, the conductor looked angry and tense. No wonder: It was the bottom of the Ninth, the score was tied and the bassists were loaded. * Musical scholars were intrigued by reports of strange sounds coming from Beethoven's grave. They studied the sounds and discovered they were Beethoven's music being played backward. Conclusion: Beethoven was just decomposing. ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] IHS Online back online
The IHS Online, the website of the International Horn Society (www.hornsociety.org) is back online. The Horns For Sale and Your Horn News areas are unfortunately currently unavailable after recent server problems. Also, be watching for a new online membership system, coming very soon! John + Dr. John Ericson, horn Arizona State University School of Music http://www.public.asu.edu/~jqerics/articles_online.htm Website Editor, The IHS Online http://www.hornsociety.org ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Elgar Howarth arrangement of Pictures at an Exhibition
Hi. Does anyone have a copy of the Howarth arrangement of Pictures? My group would like to perform it and it is no longer available for sale. I'd be interested in purchase or rental. Bo ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mouthpieces - what does a narrower bore do?
I have a new, lighter version Fourier. I agree that the Lawson mouthpiece is efficient, but I still prefer my own deeper cupped Vienna style mouthpiece. I have no problems as to any loss of efficiency, and I feel I produce a warmer, more ringing tone with it. If I had to play some real high percussive stuff, I wouldn't hesitate to go back to the Lawson mouthpiece. Walter was kind enough to cut a different rim for me, as all of his regular ones were too thick for me. My rim is unusually thin (very similar to that of a Hans Pizka rim), but oddly enough, (a paradox, perhaps) my endurance increases by about 30 percent. I set quite a bit into my bottom lip, and a lose a ton of flexibility if I have a thicker rim. Perhaps I should try Roger Kaza's invention, which I am told is a rim that is thick on top and thin on the bottom. Then again, I wouldn't mind having Roger's chops as well! We can't get the Lawson clan to make a Geyer, but I tried his latest classical model and thought it was excellent. You can't beat his engineering, particularly when it comes to pitch. The latest news flash on Geyer copies is that Gerhard Meinl, of the legendary tuba making family, is now the owner of the Hoyer factory. They have already made an 8D copy which is enjoying great success in Los Angeles among studio players. I have been working with them on a Geyer wrap. The alpha and beta prototypes show great promise, and he is now working on lightening up the horn a bit more. I should have the newest offering sometime this month and will be showing it around the Boston area soon. The engineering on the new Meinl / Hoyer horns is superb, and priced much less than similarly made custom shop horns (a bit higher than your average mass produced factory pro horns). -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Chris Tedesco Sent: Monday, December 13, 2004 2:55 PM To: The Horn List Subject: RE: [Hornlist] Mouthpieces - what does a narrower bore do? My teacher plays on a Lawson fourier without a Lawson mouthpiece, but I admit I was surprised to find this out. During our first lesson we talked about how I came to my equipment set up and he was very knowledgeble about Lawson mouthpieces, not to mention complimentary. Most of the people I know personally who play on Lawson mouthpieces came across them more or less by chance. Neither were they looking at mouthpieces nor were they looking at Lawsons in particular. They just liked them so much they bought one. Last year in my undergrad, my teacher had a Lawson mouthpiece kit come in with all of the pieces for one student to try some. Everyone in the, albeit small, studio tried one and 4 of us bought a mouthpiece. I was hesitant to even try it because I just bought a mouthpiece a few months before, but when I played on the Lawson, it made a world of difference. At the time, I was switching between the studio's descant and my double and it worked equally well in both horns, whereas my other really favored the double. I played on it for almost an entire week and ordered a P10G 690 rim and a F660 cup and almost a year later, I'm still very happy with it. I've yet to find any drawbacks like I have with my previous mouthpieces. Until recently, I was between horns and used 2 school horns and my teacher's Lawson throughout a 5 or so week period and the mouthpiece worked extremely well on all of them. Even the 6D! (For the record, not a bad horn. I did have some trouble getting the pitch up enough to match my sharp section mate but aside from that..) I've had a few people try my mouthpiece out and buy one as a result. The thing about Lawson mouthpieces in particular that I like is that everything feels very efficient and even. It feels like everything is in the right place, the resistances are right, the sound is even and balanced and favors all registers and horns rather than works better at some things than others. I get a very even and lively sound as a result of what feels like super efficiency. If they only made a Geyer style horn! Chris --- Alan Cole [EMAIL PROTECTED] wrote: Dear Friends, At a concert I attended a couple of years ago, I noticed that the principal player (a friend from our Maryland Horn Club days) was playing a Lawson horn instead of the Conn 8D he always played at Maryland Horn Club (before horn club went defunct). At intermission when I asked him about it, he said, Yes, Lawson horns are great, but there's one problem with them. Taking the bait, I said, What's that? Well, he replied, Lawson horns are superb but they're practically impossible to play except with Lawson mouthpieces. (He was exaggerating to make a point, I suppose, but that's what he said.) Now, the horn I always played at Maryland Horn Club was my trusty old Lawson-modified Alexander 103, the horn my folks bought me new in 1958 when I was 16. (The restoration modification
Re: [Hornlist] wagner tuba
In a message dated 12/13/2004 12:57:47 AM Eastern Standard Time, [EMAIL PROTECTED] writes: I don't know if this is allowed, so if it is not- I apologize- does anyone know where someone could find a used Wagner Tuba? I don't exactly have a spare $6,000 just laying around, so a used one would ROCK. The usual modus operandi around here is to beg to borrow one, usually from an orchestra or opera orchestra section. And they are loathe to do so because the instruments usually come back dented and damaged. Recently I knew of a set being loaned out in return for having them fixed up. You might offer something like that, if you need it on a temporary basis. Dave Weiner Brass Arts Unlimited ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] wagner tuba
does anyone know where someone could find a used Wagner Tuba? I don't exactly have a spare $6,000 just laying around, so a used one would ROCK. There tend to be very few in private captivity, they usually owned in sets of 4 by the major orchestras. After all, apart from the Wagner operas there is very little repertoire that requires them. The only pieces that immediately come to mind are the last 3 Bruckner symphonies which use 4 each, and the Rite of Spring which uses 2. That of course is why they are expensive - not much demand for them, and the demand is almost always for professional-quality instruments. There's not all that much call for student Wagner Tubas! If an amateur orchestra plays one of these pieces, they usually hire a set from one of the professional orchestras. Regards Jonathan West ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Christmas Performance--funny story
On Sun, 12 Dec 2004, Shane McLaughlin wrote:
...so with the help of a couple stage crew guys and their
flashlights, we led a sing-a-long of just about every carol there is...
Reminds me of what happened in the U of Michigan Gilbert Sullivan pit
(The Gondoliers) a week ago. The lighting designer put the orch pit
lights on a dimmer so that he could dim us out when he tinkered with the
stage lights - you know, dimming a bright sunny day in Italy (and
Barataria) for lyrical arias. Even during the dress rehearsal overture he
had us dimmed - our conductor complained and he argued but eventually
turned us up a notch, not enough. Bad attitude, accident waiting to
happen...
Opening night - the lights got screwed up in the 2nd act tenor solo, Take
a pair of sparkling eyes - that is a high point for the operetta. Almost
no light on the stage, and complete darkness in the pit. We waded through
it bravely - I could barely make out some violinists huddled in front of
their stands; a few realized that they could turn their stands a little
toward the stage to pick up what little light there was.
I remembered that I had a keychain LED light in my pocket, so I flattened
the horn a bit and used my right hand to shine light on the stand.
Fortunately both horn parts are in the same book. I saw a clarinet do the
same, but only for her partner, because clarinet is a two-handed
instrument. Well, we muddled through it and the LD was significantly
chastised afterward, so that the pit lights were taken off the lighting
board - turned on before the overture, off after the curtain call.
In any case, LED lights exist now in many flavors, including flexible
neck, clip-on lights, and I will always pack one for pit gigs and
recommend to the Society to buy 30 or so for the orchestra for this
once-in-10-years kind of a catastrophe. At this time, you can get them
for real cheap, like a few dollars. American Science Surplus has a
not-perfect, but usable one for $2.95 (www.sciplus.com). In harware
stores they seem to run $10-$15. I would stay away from the kind that you
put on your head, at least just in case you turn to look at the audience.
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
___
post: [EMAIL PROTECTED]
unsubscribe or set options at
http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Fingering concert A as 1-2 instead of open for music in A-minor
I've stolen most of Reginald Jacque's SATB arrangement of the traditional Normandy tune to the Christmas Carol Away In A Manger and created a 3-part arrangement for 2 horns and soprano. The piece is in concert A-minor and I find I much prefer the sound of concert A below middle C as 1-2 to the more usual open fingering because 1-2 is sharper. The same goes for the concert A an octave higher when taken on the F horn, 1-2 is preferable. If I'm thinking this through correctly, the open A is going to be a bit flat because it's the third degree of the scale while the 1-2 A is, because it's the fifth of a D fundamental, actually going to be a bit sharp. The only true A in this case would be if there were a fingering to create an A fundamental, which there is not on an F horn. To my ears, 1-2 sounds better and I'm guessing 1-2 is less sharp than open is flat. Am I thinking this through correctly? And is it worth the bother? Thanks in advance. -S- ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] [Fwd: Mitchell Ruff Duo's newest CD issue]
This is good news. I have most of the Mitchell-Ruff discography and this is unquestionably my favorite. I never owned anything other than a tape cassette dub of this, so I am extra pleased to be able to get my hands on this. Peter Hirsch Original Message Subject:Mitchell Ruff Duo's newest CD issue Date: Mon, 13 Dec 2004 11:50:28 -0500 From: Denise Meyer [EMAIL PROTECTED] To: Kepler [EMAIL PROTECTED] Mitchell - Ruff Duo celebrates 50th Anniversary of Musical Partnership with CD Re-issue of Billy Strayhorn's Seminal Last Work, The Suite for the Duo In celebration of its 50th Anniversary of music making, the Mitchell Ruff has reissued its historic Billy Strayhorn recording, Strayhorn: A Mitchell-Ruff Interpretation. The master tape from this landmark recording was rediscovered last year by Willie Ruff in his own Alabama library. Jazz afficianados for years have been clamoring for a reissue of the Strayhorn Suite, and through a stroke of luck, the Duo has made this the cornerstorne of their 50th Anniversary offierings. It is available through http://www.keplerlabel.com. Included on this recording is the very last work composed by Duke Ellington's legendary alter-ego, Billy Strayhorn, The Suite for the Duo. This is a seriously reflective and autobiographical work, written as this jazz giant was coming to the end of his lifetime. The other Strayhorn compositions on the recording interpretively reflect the shading and influence of the gravity of the piece. Duke Ellington, himself, chose the Duo to perform the work at the Lincoln Center Memorial for Billy Strayhorn, alongside a director's dream of jazz greats, such as Lena Horne, Tony Bennett, Willie the Lion Smith, Dizzy Gillespie and many others. The Mitchell-Ruff Duo was officially formed in 1955 when the pianist Dwike Mitchell and the bassist and French horn player Willie Ruff left Lionel Hamptons band to strike out on their own. But its real origins go back even earlier - to 1947, when they were servicemen stationed at Lockbourne Air Force Base, near Columbus, Ohio. Mitchell, a 17-year-old pianist with the unit band, needed a bass player for an Air Force radio show, and he saw a likely candidate in the newly arrived Ruff, who at that time only played the French Horn. He was just a kid, 16 years old, Mitchell recalls, with a lot of hair, fire-engine red, practically down to his eyebrows. But he had all this energy, and he was eager to learn. So I taught him. Every time he made a mistake I said, You got to stand in the corner, and he hated that, and hed scream and holler - he had the loudest scream you ever heard. But he never made the same mistake again. Ruff has been a fast learner ever since, with no visible loss of energy, and the friendship that was formed in 1947 between two small-town Southern boys - Mitchell is from Florida, Ruff from Alabama - has deepened over the years into the warmest collaboration, one that has taken them to the top of their profession and to many corners of the world. It was the Mitchell Ruff Duo that introduced jazz to the Soviet Union, in 1959, playing and teaching at conservatories in Leningrad, Moscow, Kiev, Yalta, Sochi and Riga; and it was the Mitchell-Ruff Duo that brought jazz to China, in 1981, playing and teaching at conservatories in Shanghai and Peking. Before the first trip Ruff taught himself Russian, his seventh language, and before the second trip he learned Chinese, thereby enabling himself to explain to his listeners, in their own language, the roots and lineage of American jazz, with Mitchell demonstrating on the piano. Teaching and learning have been strong currents in the lives of both men. http://www.keplerlabel.com -- Denise Meyer Meyer Communications 510 Long Hill Rd. Guilford, CT 06437 [EMAIL PROTECTED] 203.458.1321 ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] FW: Mitchell Ruff Duo issues new CD
Please excuse the double post, but I thought that this CD would be of interest to not only jazz horn fans, but all horn players and listeners. Strayhorn wrote this last work while in excruciating pain as he tried to come to terms with his impending passing. Ruff himself termed the ³Suite² Strayhorn¹s ³the last words from a great genius shutting down before his time.² Ruff is still at Yale, I believe, where he originally studied with Hindemith. He is now also a part of the Global Education Project. Sincerely, Ellen Manthe -- Forwarded Message From: Denise Meyer [EMAIL PROTECTED] Date: Mon, 13 Dec 2004 11:55:51 -0500 To: Kepler [EMAIL PROTECTED] Subject: Mitchell Ruff Duo issues new CD Mitchell - Ruff Duo celebrates 50th Anniversary of Musical Partnership with CD Re-issue of Billy Strayhorn's Seminal Last Work, The Suite for the Duo In celebration of its 50th Anniversary of music making, the Mitchell Ruff has reissued its historic Billy Strayhorn recording, Strayhorn: A Mitchell-Ruff Interpretation. The master tape from this landmark recording was rediscovered last year by Willie Ruff in his own Alabama library. Jazz afficianados for years have been clamoring for a reissue of the Strayhorn Suite, and through a stroke of luck, the Duo has made this the cornerstorne of their 50th Anniversary offierings. It is available through http://www.keplerlabel.com. Included on this recording is the very last work composed by Duke Ellington's legendary alter-ego, Billy Strayhorn, The Suite for the Duo. This is a seriously reflective and autobiographical work, written as this jazz giant was coming to the end of his lifetime. The other Strayhorn compositions on the recording interpretively reflect the shading and influence of the gravity of the piece. Duke Ellington, himself, chose the Duo to perform the work at the Lincoln Center Memorial for Billy Strayhorn, alongside a director's dream of jazz greats, such as Lena Horne, Tony Bennett, Willie the Lion Smith, Dizzy Gillespie and many others. The Mitchell-Ruff Duo was officially formed in 1955 when the pianist Dwike Mitchell and the bassist and French horn player Willie Ruff left Lionel Hampton¹s band to strike out on their own. But its real origins go back even earlier - to 1947, when they were servicemen stationed at Lockbourne Air Force Base, near Columbus, Ohio. Mitchell, a 17-year-old pianist with the unit band, needed a bass player for an Air Force radio show, and he saw a likely candidate in the newly arrived Ruff, who at that time only played the French Horn. ³He was just a kid, 16 years old,² Mitchell recalls, ³with a lot of hair, fire-engine red, practically down to his eyebrows. But he had all this energy, and he was eager to learn. So I taught him. Every time he made a mistake I said, You got to stand in the corner,¹ and he hated that, and he¹d scream and holler - he had the loudest scream you ever heard. But he never made the same mistake again.² Ruff has been a fast learner ever since, with no visible loss of energy, and the friendship that was formed in 1947 between two small-town Southern boys - Mitchell is from Florida, Ruff from Alabama - has deepened over the years into the warmest collaboration, one that has taken them to the top of their profession and to many corners of the world. It was the Mitchell Ruff Duo that introduced jazz to the Soviet Union, in 1959, playing and teaching at conservatories in Leningrad, Moscow, Kiev, Yalta, Sochi and Riga; and it was the Mitchell-Ruff Duo that brought jazz to China, in 1981, playing and teaching at conservatories in Shanghai and Peking. Before the first trip Ruff taught himself Russian, his seventh language, and before the second trip he learned Chinese, thereby enabling himself to explain to his listeners, in their own language, the roots and lineage of American jazz, with Mitchell demonstrating on the piano. Teaching and learning have been strong currents in the lives of both men. http://www.keplerlabel.com -- Denise Meyer Meyer Communications 510 Long Hill Rd. Guilford, CT 06437 [EMAIL PROTECTED] 203.458.1321 -- End of Forwarded Message ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Christmas Performance--funny story
John Kowalchuk sez (re LED lights):
There is one that runs on three button cells (watch batteries) that works
great zip-tied to a leadpipe and pointing at the lyre when you're doing
nighttime Santa Claus parades and Christmas tree lighting ceremonies. At
least that's what I did this year.
The cheapo clip-on I mentioned from sciplus.com has 3 watch batteries. I
prefer AA or AAA because you can use rechargeables, and in any case,
they're cheaper. Sometimes it is cheaper to buy a device with batteries
( sometimes a spare set comes with) than to buy new batteries. What a
racket. But these devices are so small now, there is no reason to not
have an emergency light with you all the time.
I bought a few LEDs from Radio Shack recently to fool around with - they
are a lot of fun. It doesn't take much ingenuity to construct a light in
any convenient form - attach to a battery, use velcro, magnet, glue,
whatever to satisfy your lighting needs. The cutest thing I got from
sciplus.com is a color-changing LED nightlight. I think $3 each; they
will make nice silly gifts. There's a new world of light gadgets
available now.
You can attach LEDs to your valve levers so everyone can see them go up
and down, or you can make them light up only when you use them. You can
put a neon tube in your bell and light up your leg. You can...
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
___
post: [EMAIL PROTECTED]
unsubscribe or set options at
http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mouthpieces - what does a narrower bore do?
Steve, My personal experience (limited to less than 12 mpcs, and as an amateur player) is that the bore size has a strong influence on my endurance. A larger bore reduces my endurance and make the high range more difficult and 'airy' sounding. Too small a bore feels stuffy and I'm not able to 'open-up the sound'. Also, when I start to tire, intonation and range suffer - so adequate endurance is critical. The mpcs that have been most useful for me are a #11 bore Holton DC, and a #12 bore Moosewood B12. Also, I've had best results with a 'medium' depth cup (e.g. the B12). Of course, all this must balance the ability and capacity of the player, and whether the pieces being played are at the extremes of the players ability. Jay Kosta Endwell NY amateur player -- Steve Freides steve at fridayscomputer.com wrote: I noticed when cleaning my son's Yamaha 30C4 mouthpiece that it's distinctly harder to get my cleaning brush through the tubing that's after the cup portion. I'm pretty sure the bore (inside diameter) is smaller than the 7BW mouthpiece I play. So, two questions: 1. All other things being equal, if this bore is narrower, how would it change playing the horn? I don't want to use my son's mouthpiece (wouldn't bother me but it seems to gross him out) but I'm curious. 2. Is there a primer online anywhere that discusses the individual parameters of mouthpiece construction and how they change tone, perceived playing difficulty, ease of hitting high and low notes, etc.? I could use one. Many thanks in advance. -S- ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] why trumpet players don't have TubaChristmas
On 12/13/04 10:15 AM, Dan Phillips [EMAIL PROTECTED] wrote: I'm sure many of you have already heard this, but in case you haven't, I thought you might enjoy hearing a typical trumpet choir Christmas medley: http://music.memphis.edu/tasteechristmas.mp3 Oh, that one just kills me!!! Can't wait to share it with our trumpet section! -Carl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Elgar Howarth arrangement of Pictures at an Exhibition
Is there an W. Hogarth Lear arrangement called Exhibitionist Pictures? ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Something off-topic
I know this has nothing to doing with the horn, but I need some help. Lately, my broadband internet has been s-l-o-w. My father plugs the cable line into his router, giving him the cable internet that he has. I wirelessly connect to his router with an adapter, and this gives me my internet. If there is anyone out there that can help me figure out why it would be so slow, that would be appreciated. Instead of getting 1.5 MBPS, I am getting a mere 200 KBPS. I tried turning off the firewall that was on, but it barely even scratched the surface of things. Thanks for the help, and sorry this is off-topic. -Karl Feinauer ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Something off-topic
You didn't say what operating system or what wireless system you are using. The newer systems are sort of self configuring if you are running on the latest Windows XP SP2. Older setups have more numerous parameters for the wireless card which you can access via the Advanced button for the card's properties. Amongst the advanced parameters you should find one that sets the speed of your wireless network. Make sure it is set to the fastest setting that works for your computer. Loren Mayhew -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Karl W. Feinauer Sent: Monday, December 13, 2004 10:00 PM To: [EMAIL PROTECTED] Subject: [Hornlist] Something off-topic I know this has nothing to doing with the horn, but I need some help. Lately, my broadband internet has been s-l-o-w. My father plugs the cable line into his router, giving him the cable internet that he has. I wirelessly connect to his router with an adapter, and this gives me my internet. If there is anyone out there that can help me figure out why it would be so slow, that would be appreciated. Instead of getting 1.5 MBPS, I am getting a mere 200 KBPS. I tried turning off the firewall that was on, but it barely even scratched the surface of things. Thanks for the help, and sorry this is off-topic. -Karl Feinauer ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/loren%40mayhews.us ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Something off-topic
Loren has good advice. Was wondering though, is your father's computer also slow on internet? If so, probably a problem with the cable service (my sister-in-law had this problem). If not, maybe you have alot of spyware or viruses on your computer. Do you have software, like Trend Micro or Norton, to protect against these? Have you run 'spybot' (free downloadable spyware detector) lately? A year ago, my wife and I had big slow-down problems and we found that there were 9 or 10 viruses on the computer and alot of spyware. Good luck! Fred - Original Message - From: Karl W. Feinauer [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Monday, December 13, 2004 9:00 PM Subject: [Hornlist] Something off-topic I know this has nothing to doing with the horn, but I need some help. Lately, my broadband internet has been s-l-o-w. My father plugs the cable line into his router, giving him the cable internet that he has. I wirelessly connect to his router with an adapter, and this gives me my internet. If there is anyone out there that can help me figure out why it would be so slow, that would be appreciated. Instead of getting 1.5 MBPS, I am getting a mere 200 KBPS. I tried turning off the firewall that was on, but it barely even scratched the surface of things. Thanks for the help, and sorry this is off-topic. -Karl Feinauer ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/fbaucom%40sbcglobal.net ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
