RE: [Hornlist] range problems
There is no pulling, no lifting (pulling all over the face). The less movement in your face you can see when looking into the mirror THE BETTER. The vibrating muscle is is not pulled thin or tight for playing high notes. The vibrating muscle is SHORTENED by TENSION or CONCENTRATION, which can be achieved much better by THICKENING the muscle (cushion effect, which is also very helpful against mouth piece pressure) than by stretching via Corner action. Dr.Farkas speaks of the typical Brass player face or mask or making a serious face. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Julia Hencken Sent: Saturday, April 09, 2005 1:23 AM To: horn@music.memphis.edu Subject: RE: [Hornlist] range problems From: Jay Kosta [EMAIL PROTECTED] Reply-To: The Horn List horn@music.memphis.edu To: horn@music.memphis.edu Subject: [Hornlist] range problems Date: Fri, 8 Apr 2005 11:20:51 -0400 (EDT) I have a related question for those with a good high range - When you tighten your lips (embouchure), is there a particular 'direction' in which you feel (or imagine) the corners of your mouth pulling ? For example, does the tightening of the corners feel directed - - straight downward - directly inward - directly backward - downward and inward towards the neck, back of jaw - etc. How do you describe where the 'pull' is aimed ? If you have another way to explain the proper feeling of the 'pull', please tell me about it. Jay Kosta Endwell NY amateur player I second that question! JH _ Express yourself instantly with MSN Messenger! Download today - it's FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/ 01/ ___ 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
[Hornlist] Pieces with extended techniques
Hello everyone. Our final project in our music history class is to write a paper on a twentieth century work for your instrument (or featuring it prominently) which utilizes extended techniques. We have to perform excerpts from the work demonstrating these techniques. I was wondering if there are any suggestions any of you might have about this subject. Also, any ideas of where to quickly find information on these pieces and/or techniques would be appreciated. Thanks in advance for any help you can give me. David ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Pieces with extended techniques
Now begin the diatribes about students not able to use the library, students not able to use Google, students not able to appreciate the fact that in my day I had to walk five miles to the practice hall in snow drifts five feet deep, uphill both ways. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Pieces with extended techniques
Just so that everyone knows, I am not unwilling to do the research - I am doing the library and inter-library loan and Google and electronic resource search stuff that goes along with every research project I've ever done. I do know, however, that in a subject as specialized as this, some information is better found through word of mouth or networking than by just looking for it. I am not trying to get out of doing the work (I am, in fact, doing this work as we speak), but only asking for help from those who have had much more experience with the horn than I have, and whose knowledge surpasses my own. I do appreciate any help, and assure you that it will serve as a guide for my own research, not as the research itself. David Quoting Bill Gross [EMAIL PROTECTED]: Now begin the diatribes about students not able to use the library, students not able to use Google, students not able to appreciate the fact that in my day I had to walk five miles to the practice hall in snow drifts five feet deep, uphill both ways. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/davidm%40sovidian.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Pieces with extended techniques
Douglas Hill has written a book titled Extended Techniques For The Horn Book And CD that is available, among other places, at Sheet Music Plus online http://www.sheetmusicplus.com/pages.html?cart=3322060647439261target=smp_de tail.html%26sku%3DWB.EL96105CDs=pages-no-referrere=/sheetmusic/detail/WB.E L96105CD.htmlt=k=r=wwws-err5 He has also published pieces using extended techniques. You can find a bio and music listing at http://www.reallygoodmusic.com/rgm.jsp?page=composers2compid=123149#music Linda -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of David Mickus Sent: Saturday, April 09, 2005 13:58 To: horn@music.memphis.edu; [EMAIL PROTECTED] Subject: [Hornlist] Pieces with extended techniques Hello everyone. Our final project in our music history class is to write a paper on a twentieth century work for your instrument (or featuring it prominently) which utilizes extended techniques. We have to perform excerpts from the work demonstrating these techniques. I was wondering if there are any suggestions any of you might have about this subject. Also, any ideas of where to quickly find information on these pieces and/or techniques would be appreciated. Thanks in advance for any help you can give me. David ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/lacornista%40mindspring.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Open Throat
What is is good vowel to say to open the throat? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Villanelle
As strange as this might sound, I am a High school senior who played Villanelle by Paul Dukas for the solo ensemble contest. I got a One rating and will advance to the state level. I have been working on this piece for about a year, to get it to this point (which earned me a scholarship at Central Missouri State University, where I am going to study Horn in the fall) and I am wondering what kinds of advice everyone can offer on this piece. Also, if anyone can tell me about any good recordings of Villanelle, I have the Brain recording, have heard the Baumann recording a few times, and am having trouble finding the Arthur Berv recording. Thanks, William Foss The various viewpoints on Horn tone are held with such fierce devotion that one encounters otherwise in religious controversies. -Gunther Schuller ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Open Throat
At 8:35 PM -0400 4/9/05, [EMAIL PROTECTED] wrote: What is is good vowel to say to open the throat? A? Altoids? Carlberg Jones Guanajuato, Gto. MEXICO ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: RE: [Hornlist] Open Throat
The syllables most commonly taught are ah, oh, or ooh for an open and less restricted airway. Translated into articulation, this means attacking a note with tah, toh, or too. I was just thumbing through the book on Arnold Jacobs by Brian Frederikson and this is what Jacobs (among others) recommended. Steven Slaff - Original Message - From: Steve Freides [EMAIL PROTECTED] Date: Saturday, April 9, 2005 8:55 pm Subject: RE: [Hornlist] Open Throat Short a, as in father. When singing, ideally the throat is open for all vowels. For ah the mouth is also wide open and the tongue flat. Gradually raising the tongue causes ah to become a as it cat, then eh, a sound which doesn't really exist in English and is instead usually mangled into what's known as a vanishing diphthong, followed by i as in hit and finallyending in ee as in feet. Closing the mouth changes ah into aw, then oh, another sound not really present in spoken English, then finally oo as in boot. In languages other than American English, some combinations of a raisedtongue and a closed mouth may be found, e.g., Goethe (properly written with an umlaut 'o' which I don't know how to do on my American keyboard), u with an umlaut as in the German word for brother, most famously rememberedby me as part of Goethe's text in Beethoven's Ninth Symphony's final movement. Lest the most important concept be lost in the diction soliloquy above, let me repeat: When singing, ideally the throat is open for all vowels. -S- -Original Message- From: [EMAIL PROTECTED] [EMAIL PROTECTED] du] On Behalf Of [EMAIL PROTECTED] Sent: Saturday, April 09, 2005 7:35 PM To: horn@music.memphis.edu Subject: [Hornlist] Open Throat What is is good vowel to say to open the throat? ___ 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/steven.slaff%40oberlin.edu ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
