RE: [Hornlist] Bass clef
At 01:24 AM 4/1/2005, you wrote: If the music is (pre- 1890) ... Are the notes possible on a natural horn? If not... then it is old notation. I would still be careful about this assumption. Some composers and arrangers follow the old rules. Personally, if it looks too low to be believed, it's probably old notation, but best to check the other horn parts to see where they sit in the chord and decide which octave is intended by the composer. Then the section can reach a general consensus and present a united front if challenged. Margaret Margaret Dikel JCCSO Librarian / Horn / Webmaster 11218 Ashley Drive, Rockville MD 20852 301-881-0122 [EMAIL PROTECTED] www.jccso.org ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Bass clef
Sorry, I have to jump in now. A question to the writer who contributed If the music is (pre- 1890) ... Are the notes possible on a natural horn? If not... then it is old notation. Why this assumption. The natural horn aera was (nearly) over some 50 years earlier, say 1840 except in France in Leipsic (Leipzig). So your rule works for the music before 1840 only. To Margaret the other listmembers: It is not a thing of a consensus within the section, it is rather a kind of understanding the music. Composers rarely wrote down to low G ( one octave below the g below staff). They limited (even in the Romantics) themselves to the low c for Efl-transposition (the low Bb). Any chromatic passage below that would not work. Exception is Rosenkavalier or Daphne or Heldenleben, but these composers used these low notes quite isolated or just as a beginning note. They never made the horn players crawling deep in the mud. Rienzi would be another example, but not the ouverture. The music itself explains if old or new bass clef notation. The pre 1900 old publications have Old notation at 100%, New Notation began somewhen during the 1920ies with the certain Neutoeners (New Sound, Schoenberg etc.). After WW2 more more contemporanean composers used the New Notation, as they (perhaps) felt troubbled by the Old Notation, same way as they began writing in C for the horns also. They had difficulties with transposition as have many conductors. The only way getting out of such troubble: knowledge of music. How to get it: listen, listen, listen - but not to the all time favourites exclusively. Broaden your knowledge. Then, only then you will have the power convincing these podium-aerobics. The same happen with the question of Bb-alto or Bb-basso. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Margaret Dikel Sent: Friday, April 01, 2005 2:25 PM To: The Horn List Subject: RE: [Hornlist] Bass clef At 01:24 AM 4/1/2005, you wrote: If the music is (pre- 1890) ... Are the notes possible on a natural horn? If not... then it is old notation. I would still be careful about this assumption. Some composers and arrangers follow the old rules. Personally, if it looks too low to be believed, it's probably old notation, but best to check the other horn parts to see where they sit in the chord and decide which octave is intended by the composer. Then the section can reach a general consensus and present a united front if challenged. Margaret Margaret Dikel JCCSO Librarian / Horn / Webmaster 11218 Ashley Drive, Rockville MD 20852 301-881-0122 [EMAIL PROTECTED] www.jccso.org ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans%40pizka.d e ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Bass clef
I would like to quibble with one statement made below. One could always ask on this horn list. There are a few folks with encyclopedic knowledge of the horn. The Professor is certainly one as shown by his answers over the years. -Original Message- From: On Behalf Of [EMAIL PROTECTED] Sent: Friday, April 01, 2005 8:10 AM To: 'The Horn List' Subject: RE: [Hornlist] Bass clef [ . . . ] The only way getting out of such troubble: knowledge of music. How to get it: listen, listen, listen - but not to the all time favourites exclusively. Broaden your knowledge. Then, only then you will have the power convincing these podium-aerobics. The same happen with the question of Bb-alto or Bb-basso. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] A GOOD START!!!
From the International Musician, the monthly newspaper of the AFofM: French Police Arrest German Conductor at Concert German conductor Volker Hartung was about to pick up his baton for an encore when French police, waiting outside Strasbourg's Palais de la Musique, arrested him. The February 22 raid, in which 15 members of the Cologne New Philharmonic were taken into custody, followed allegations that Hartung had been illegally employing musicians from eastern Europe without work permits. The operation followed a police raid last October on another of Hartung's concerts in Nice, according to The London Guardian. He was released after two nights in prison. On February 28, however, Germany's orchestra union, which represents 13,200 musicians, joined in the attack, claiming Hartung was cheating Germans out of jobs at a time when many German musicians were unemployed. What he does is shameless exploitation, Gerald Mertens, the union's director, said. The problem is that he is operating in a grey area. French police confirmed that the conductor had been arrested on suspicion of illegal activity. He has been banned from performing again in France until further notice, a police spokesman said. Kindestest of Greetonings and Mostestest of Incarcerations, 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 Kopprasch is the most arresting of all. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] A GOOD START!!!
Hey, isn't it time to hear from that great horn player Sidd Finch? I bet the Mets would like to hear from him as well. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Friday, April 01, 2005 9:32 AM To: horn@music.memphis.edu; [EMAIL PROTECTED] Subject: [Hornlist] A GOOD START!!! From the International Musician, the monthly newspaper of the AFofM: French Police Arrest German Conductor at Concert German conductor Volker Hartung was about to pick up his baton for an encore when French police, waiting outside Strasbourg's Palais de la Musique, arrested him. The February 22 raid, in which 15 members of the Cologne New Philharmonic were taken into custody, followed allegations that Hartung had been illegally employing musicians from eastern Europe without work permits. The operation followed a police raid last October on another of Hartung's concerts in Nice, according to The London Guardian. He was released after two nights in prison. On February 28, however, Germany's orchestra union, which represents 13,200 musicians, joined in the attack, claiming Hartung was cheating Germans out of jobs at a time when many German musicians were unemployed. What he does is shameless exploitation, Gerald Mertens, the union's director, said. The problem is that he is operating in a grey area. French police confirmed that the conductor had been arrested on suspicion of illegal activity. He has been banned from performing again in France until further notice, a police spokesman said. Kindestest of Greetonings and Mostestest of Incarcerations, 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 Kopprasch is the most arresting of all. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/bgross%40airmail.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mr. Pizka: Orchestral Audition
You misunderstood me, Hans. Of course we aim for the cultivated sonority, as my conductor made clear. For the low passage in Schostakovich 5 he wants a full sound, not blatty. My point was that some teachers, as a pedagogical technique, introduce the student to the air requirements of the low range by asking the student to blast. That is how I interpret what Farkas wrote. After that comes the real work of controlling it and getting a good sound. You may disagree with the pedagogy, of course, but we are all after the same result. We have a saying, Different strokes for different folks. We all learn in a different manner. Herb Foster --- [EMAIL PROTECTED] wrote: What kind are these teacher ? This is crazy. All this BLOWING through the horn. The notes need just the ignition passive support, which means letting air out, except when playing superloud. Here concentrated air will do the things. But ordinary blasting will result in nothing. Better playing loud absolutely controlled from the beginning. If very loud does not work, never mind, develop it step by step. And forget that Shostakovich no.5. What is so difficult there ? Idiots of conductors are difficult, when asking for BLAST instead of cultivated SONORITY. And, is it really that loud ? It is not a loudness competition. A loudness competition will ruin any music. It is not necessary that ONE be heard, no, it is important that the piece sounds as the composer wished to hear it. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Herbert Foster Sent: Wednesday, March 30, 2005 7:32 PM To: The Horn List Subject: RE: [Hornlist] Mr. Pizka: Orchestral Audition Some teachers do recommend uncultivated rough ordinary blasting in the mid low range, not to develop strength, but to get the feel of playing the notes at all with sufficient air. After that comes the hard part: playing loud absolutely controlled. Still working on that. And Schostakovich 5 coming up... Herb Foster __ Yahoo! Messenger Show us what our next emoticon should look like. Join the fun. http://www.advision.webevents.yahoo.com/emoticontest ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Orchestral Audition
Farkas puts blast into quotes (as I just did). The exercise that follows is very control-oriented. I guess I temper what Farkas wrote (what appears to be a very provocative word), with the exercise he provided. A. On Behalf Of Herbert Foster Sent: Friday, April 01, 2005 11:37 AM To: The Horn List Subject: RE: [Hornlist] Mr. Pizka: Orchestral Audition You misunderstood me, Hans. Of course we aim for the cultivated sonority, as my conductor made clear. For the low passage in Schostakovich 5 he wants a full sound, not blatty. My point was that some teachers, as a pedagogical technique, introduce the student to the air requirements of the low range by asking the student to blast. That is how I interpret what Farkas wrote. After that comes the real work of controlling it and getting a good sound. You may disagree with the pedagogy, of course, but we are all after the same result. We have a saying, Different strokes for different folks. We all learn in a different manner. Herb Foster --- [EMAIL PROTECTED] wrote: What kind are these teacher ? This is crazy. All this BLOWING through the horn. The notes need just the ignition passive support, which means letting air out, except when playing superloud. Here concentrated air will do the things. But ordinary blasting will result in nothing. Better playing loud absolutely controlled from the beginning. If very loud does not work, never mind, develop it step by step. And forget that Shostakovich no.5. What is so difficult there ? Idiots of conductors are difficult, when asking for BLAST instead of cultivated SONORITY. And, is it really that loud ? It is not a loudness competition. A loudness competition will ruin any music. It is not necessary that ONE be heard, no, it is important that the piece sounds as the composer wished to hear it. = ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Blasting low notes
On Apr 1, 2005, at 12:00 PM, [EMAIL PROTECTED] wrote: date: Thu, 31 Mar 2005 16:01:27 -0600 from: McBeth, Amy J [EMAIL PROTECTED] subject: RE: [Hornlist] Orchestral Audition I believe the whole blasting business came from the student taking a small bit from Farkas's book Years ago Luciano Pavarotti was a guest on Johnny Carson's Tonight Show. I still remember Johnny asking Mr. Pavarotti how opera singers learned to sing with so much power. Pavarotti replied first you have to learn to shout. I've always wondered if there was any lesson in that for hornists. Maybe not; maybe it's apples and oranges. -ct ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Blasting low notes
Having been taught in this manner, I can say that most of the posts on this subject have missed the mark. The technique was is to play low, slow, and VERY loud. The usual exercises for this are some early ones in the first Kopprasch (#1,2,4, 6 as I recall). They were to be played an octave lower than written, extremely slow and very loud. If possible an entire lungful of air was expended on one note. Often dizziness would result from the volume of air used. When finished, a 5 to 10 minute rest is necessary. The result is an expansion of the dynamic range (both loud and quiet), the embouchure is strengthened and the range extended (both top and bottom), and the tone becomes very broad and dark. If you're horn tone ideal is one that is somewhat bright, this is not a good exercise to use. It is definitely an 8D technique. My teacher learned this technique from James Chambers. I am sure he learned it from Anton Horner. It is easily misunderstood as blasting which it is not. It is important that this technique be used under the guidance of an experienced teacher. When I first began to teach high school bands, I tried to transfer this to the band but found that in a classroom context (instead of a private lesson) it was too difficult to discipline and quickly became blasting. I have not used it with a band since. It sounds as though Mr. Pavarotti had met Mr Chambers. Richard Smith www.rgsmithmusic.com [EMAIL PROTECTED] - Original Message - From: Charles Turner [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Friday, April 01, 2005 12:30 PM Subject: Re: [Hornlist] Blasting low notes On Apr 1, 2005, at 12:00 PM, [EMAIL PROTECTED] wrote: date: Thu, 31 Mar 2005 16:01:27 -0600 from: McBeth, Amy J [EMAIL PROTECTED] subject: RE: [Hornlist] Orchestral Audition I believe the whole blasting business came from the student taking a small bit from Farkas's book Years ago Luciano Pavarotti was a guest on Johnny Carson's Tonight Show. I still remember Johnny asking Mr. Pavarotti how opera singers learned to sing with so much power. Pavarotti replied first you have to learn to shout. I've always wondered if there was any lesson in that for hornists. Maybe not; maybe it's apples and oranges. -ct ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/music%40rgsmithmusic.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Low notes
The venerated St. Philip wrote: The most common difficulty in playing the lower octave seems to be the one of producing the notes powerfully enough. The cure is, of course, much loud practice in this register. These lowest notes have to be actually broken in. Once the ability to make them literally rattle has been accomplished a few times these notes seem to be acquired permanently, provided they are not completely neglected from then on. There appears to be no difficulty for most of us in playing these low notes softly once they are broken in by this extremely loud blasting. Try the following exercise several times each day and there will surely be a great improvement in the low register.. So you see, he didn't mean for you to blast these notes, he meant for you to blast them. So long as your notes have quotation marks around them, you may play as tastelessly as you want. The quotation marks will preserve you from criticism by making your ironic intent obvious. gotta go Cabbage ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Low notes
Perhaps a judicious application of C-4 would be a good way to blast these notes? -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Friday, April 01, 2005 1:27 PM To: horn@music.memphis.edu Subject: [Hornlist] Low notes The venerated St. Philip wrote: The most common difficulty in playing the lower octave seems to be the one of producing the notes powerfully enough. The cure is, of course, much loud practice in this register. These lowest notes have to be actually broken in. Once the ability to make them literally rattle has been accomplished a few times these notes seem to be acquired permanently, provided they are not completely neglected from then on. There appears to be no difficulty for most of us in playing these low notes softly once they are broken in by this extremely loud blasting. Try the following exercise several times each day and there will surely be a great improvement in the low register.. So you see, he didn't mean for you to blast these notes, he meant for you to blast them. So long as your notes have quotation marks around them, you may play as tastelessly as you want. The quotation marks will preserve you from criticism by making your ironic intent obvious. gotta go Cabbage ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/bgross%40airmail.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mr. Pizka: Orchestral Audition
On Friday, April 1, 2005, at 12:36 PM, Herbert Foster wrote: My point was that some teachers, as a pedagogical technique, introduce the student to the air requirements of the low range by asking the student to blast. That is how I interpret what Farkas wrote. After that comes the real work of controlling it and getting a good sound. You may disagree with the pedagogy, of course, but we are all after the same result. We have a saying, Different strokes for different folks. We all learn in a different manner. For the record, Chuck Kavalovski uses the term blasting for a part of his daily do list as he excavates (digs down) into the extreme low register. A similar pattern of loud playing is also in the H. Baumann 'Warm Ups.' I don't know whether Hermann ever calls it anything like blasting or not. It is a means, not an end in itself. The object, of course, is to expand the range and gain control over the sound that one's horn emits in all registers. I find that it works well with my students, and for me. I suspect that Kavalovski uses the term as Farkas did; perhaps he borrowed the term from Phil. CORdially, Paul Mansur ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Blasting low notes
To which I shall add this quote I once heard from a fine voice teacher: Singing is a controlled yell. Cheers, Paul Mansur On Friday, April 1, 2005, at 01:30 PM, Charles Turner wrote: On Apr 1, 2005, at 12:00 PM, [EMAIL PROTECTED] wrote: date: Thu, 31 Mar 2005 16:01:27 -0600 from: McBeth, Amy J [EMAIL PROTECTED] subject: RE: [Hornlist] Orchestral Audition I believe the whole blasting business came from the student taking a small bit from Farkas's book Years ago Luciano Pavarotti was a guest on Johnny Carson's Tonight Show. I still remember Johnny asking Mr. Pavarotti how opera singers learned to sing with so much power. Pavarotti replied first you have to learn to shout. I've always wondered if there was any lesson in that for hornists. Maybe not; maybe it's apples and oranges. -ct ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/p_mansur1%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Blasting low notes
Being a singer by training I find the idea of talking very loudly, as opposed to shouting, effective both for myself and as a teaching concept. Insofar as that goes, maybe it can apply to the horn, too. -S- -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] du] On Behalf Of Charles Turner Sent: Friday, April 01, 2005 1:31 PM To: horn@music.memphis.edu Subject: Re: [Hornlist] Blasting low notes On Apr 1, 2005, at 12:00 PM, [EMAIL PROTECTED] wrote: date: Thu, 31 Mar 2005 16:01:27 -0600 from: McBeth, Amy J [EMAIL PROTECTED] subject: RE: [Hornlist] Orchestral Audition I believe the whole blasting business came from the student taking a small bit from Farkas's book Years ago Luciano Pavarotti was a guest on Johnny Carson's Tonight Show. I still remember Johnny asking Mr. Pavarotti how opera singers learned to sing with so much power. Pavarotti replied first you have to learn to shout. I've always wondered if there was any lesson in that for hornists. Maybe not; maybe it's apples and oranges. -ct ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/steve%40fridaysc omputer.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] The amazin' Sidd Finch
Today's NYTimes carries a retrospective on the Sidd Finch story, together with a picture of him and his horn. If you can get a paper copy, there is also a picture of Sidd with his son--also playing horn. Don't know whether his son also had the 168 m.p.h. fastball. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] The amazin' Sidd Finch
In a message dated 01/04/2005 23:24:30 GMT Daylight Time, [EMAIL PROTECTED] writes: Today's NYTimes carries a retrospective on the Sidd Finch story, together with a picture of him and his horn. If you can get a paper copy, there is also a picture of Sidd with his son--also playing horn. Don't know whether his son also had the 168 m.p.h. fastball. What on earth is this about? All the best, Lawrence þaes ofereode - þisses swa maeg http://lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Low notes
Actually, Mr. Chambers found C-4 to be inadaquate for really professional blasting, and was driven to develop the C-1, which, had he done it several years earlier, would have led to the Chambers peace prize. The C-1 made of spent uranium is particularly suited for Shostakovitch 5. -Original Message- From: Bill Gross [EMAIL PROTECTED] To: 'The Horn List' horn@music.memphis.edu Sent: Fri, 1 Apr 2005 13:44:55 -0600 Subject: RE: [Hornlist] Low notes Perhaps a judicious application of C-4 would be a good way to blast these notes? -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Friday, April 01, 2005 1:27 PM To: horn@music.memphis.edu Subject: [Hornlist] Low notes The venerated St. Philip wrote: The most common difficulty in playing the lower octave seems to be the one of producing the notes powerfully enough. The cure is, of course, much loud practice in this register. These lowest notes have to be actually broken in. Once the ability to make them literally rattle has been accomplished a few times these notes seem to be acquired permanently, provided they are not completely neglected from then on. There appears to be no difficulty for most of us in playing these low notes softly once they are broken in by this extremely loud blasting. Try the following exercise several times each day and there will surely be a great improvement in the low register.. So you see, he didn't mean for you to blast these notes, he meant for you to blast them. So long as your notes have quotation marks around them, you may play as tastelessly as you want. The quotation marks will preserve you from criticism by making your ironic intent obvious. gotta go Cabbage ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/bgross%40airmail.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/billbamberg%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] The amazin' Sidd Finch
-Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] du] On Behalf Of [EMAIL PROTECTED] Sent: Friday, April 01, 2005 6:03 PM What on earth is this about? http://wilstar.com/holidays/aprilfool.htm =S= ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] The amazin' Sidd Finch
On Apr 1, 2005, at 5:36 PM, [EMAIL PROTECTED] wrote: But I don't know who or what Sidd Finch is. http://www.museumofhoaxes.com/siddfinch.html Dan ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] The amazin' Sidd Finch
Siddhartha Fitch was a sports phenomenon here in the states in the late 1980s. He was a natural pitcher who could deliver a fast ball (baseball game) at an amazing 256 MPH if I recall. Most professional pitchers with years of training could only achieve 90+ MPH. He was highly sought after and the New York Mets acquired the rights to sign him to contract to play for them. Sidd also was an outstand horn player who opted to play the horn instead of going into professional sports. That is a synopsis of the story as it was reported on National Public Radio here in the US (our version of the BBC or Dutche Welle Radio). I was driving from Dallas to Houston when I heard it reported on April Fools Day back in the 1980s. I almost feel for it, till the announcer said that it was a story that had run in the April First edition of Sports Illustrated. It was a figment of an author here in the states named George Plimpton who had a career of trying certain professions and the writing about the experience. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Friday, April 01, 2005 5:36 PM To: horn@music.memphis.edu Subject: Re: [Hornlist] The amazin' Sidd Finch In a message dated 02/04/2005 00:30:40 GMT Daylight Time, [EMAIL PROTECTED] writes: What on earth is this about? http://wilstar.com/holidays/aprilfool.htm Yes, I know what April Fool is - you are speaking to the lousy rotten who switched on a Korg tuner and left the room with the instructions to his assembled pupils to keep an eye on it because it was faulty and the indication that it was about to explode would be that the needle would shoot from side to side and the lights would flash. Of course, once I had left the room they started blowing and the predicted events took place. On my return I found them outside the door and terrified. But I don't know who or what Sidd Finch is. All the best Lawrence þaes ofereode - þisses swa maeg http://lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/bgross%40airmail.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Blasting
Hi, John probably remembers this as well...Nancy Cochran Block taught us to practice extreme dynamics across the entire register of the horn, the idea being if you can play softer or louder than you need to, bringing it all under control in a performance situation is that much easier of a task. There are few things more boring than a horn player with a narrow dynamic range. I took Farkas' advice quite literally...I would blast, blat, honk, whatever adjective you choose to apply, when working out in the basement. It did improve my low range in performance, and also squared away the high end as well. I would strongly advise against thinking that you have to loosen the embouchure to play in the low range. From my experience, playing in the low range is more a function of dropping the jaw and keeping the corners tight, thereby increasing the size of the opening between the lips. A bassoon reed produces a lower sound partly due to the size of the aperture. It is still the same shape as an oboe reed, it's just larger. Same applies to the aperture of your lips. Allowing the embouchure to go soft in the low range will produce a not pretty sound, and creates another problem if you have to make a wide leap from the middle of the bass cleff to the middle of the treble clef. Further, I believe that dropping the jaw will naturally open the throat. You don't see fff very often, and even less. Be that as it may, these dynamics and their little brothers, ppp and , need to be within your technical prowess. You need to be able to go to 11 in case you need that extra little oomph. Another thing about Ms Block...if you thought for one second that you were going to get away with playing Gallay or Maxime-Alphonse without a good musical plan, you were pretty much screwed. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Blasting low notes
Steve, this is far the best concept, talking very loudly. So is it with the horn. Playing the loud notes with all possible SONORITY and NOT with the MAXIMUM of PUMPED AIR through the squeezed lips. To achieve this sonority, one must have the lips under full control but keeping them relaxed the same time. The air must be RELEASED and NOT PUSHED or PUMPED. The air is just to SUPPORT the sound and not to FORCE the sound. But with thse popular narrow cup like mouthpieces, with the flat cup, thick rim very narrow bore, HOW SHOULD THINGS FUNCTION ? No way !!! All blast will not help. If all try to SPEAK LOUDLY or VERY LOUDLY, as you recommended, they could play the horn with full sonority even in the low range, and not just FART the low notes without control. They should try to play these low notes in the softer dynamics. After they have conquered this particular terrain, they should enforce it dynamic wise by releasing more air as a support. It should require a bit more open lip position ( By the way, this is a big problem for many, many players: to have the appropriate lip opening !!!) AND a bit more air release. So step by step, absolutely controlled regarding sound quality, the low range will be better. And the Shostakovich 5: if played as BLAST, it is an absolutely ORDINARY passage, but if played with great sonority it sounds impressive. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Steve Freides Sent: Friday, April 01, 2005 10:20 PM To: 'The Horn List' Subject: RE: [Hornlist] Blasting low notes Being a singer by training I find the idea of talking very loudly, as opposed to shouting, effective both for myself and as a teaching concept. Insofar as that goes, maybe it can apply to the horn, too. -S- -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] .e du] On Behalf Of Charles Turner Sent: Friday, April 01, 2005 1:31 PM To: horn@music.memphis.edu Subject: Re: [Hornlist] Blasting low notes On Apr 1, 2005, at 12:00 PM, [EMAIL PROTECTED] wrote: date: Thu, 31 Mar 2005 16:01:27 -0600 from: McBeth, Amy J [EMAIL PROTECTED] subject: RE: [Hornlist] Orchestral Audition I believe the whole blasting business came from the student taking a small bit from Farkas's book Years ago Luciano Pavarotti was a guest on Johnny Carson's Tonight Show. I still remember Johnny asking Mr. Pavarotti how opera singers learned to sing with so much power. Pavarotti replied first you have to learn to shout. I've always wondered if there was any lesson in that for hornists. Maybe not; maybe it's apples and oranges. -ct ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/steve%40friday sc omputer.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans%40pizka.d e ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
