[Hornlist] Question re: Cernevy horns
Just wondering if anyone has had any experience with a Cerveny London Model double horn. It is a Geyer wrap and has a Paxman lead pipe. Seems to play very nicely, and the intonation was pretty good as well (only got to play it for about 20 mins). The one big surprise was the weight of it! Compared to a 668 Yamaha, the Cerveny felt like a tonne! I've checked directly with company, and they have kindly supplied the technical specs as follows: it has 11.7mm bore, 305mm bell, performance level model. This model has been introduced in september 2004. I would be keen to hear from anyone who has had experience with Cerveny horns - in particular the London Model. Cheers'n'Beers, Rob Kathner ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] quintets
I consider Ewald part of the standard rep. Basically on any church gig I have ever played the organist supplies the hymns. He hands you 4 part stuff indicates where he wants the group to play or not play, what he uses as an intro, etc. Depending on the church situation and players he might ask for a descant line or might have one written out (that is almost always a trumpet players part). The hired group normally plays additional music which in my case has never been hymns. We work out what type of mood is appropriate to that weeks liturgy, rejoiceful, reflective, etc., and what length of piece he is looking for at what spot in the service, before we show up. Normally we do processional, recessional and one or 2 things during the service. We always have a few short fill pieces in case there is a need to wait for something or someone. Although most church organists I work for are very good improvisers. We also usually have an extra piece to tag on at the end if people are milling about or if it is a large congregation and takes time to get everyone out of the church. They are hiring you to add to the service play something you sound great on and that fits the bill in terms of what the organist has in mind for music that week. Hymns are touching things because they have special meaning for specific Sundays. Debbie Schmidt ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Counting Rank Measures but seriously
I stand corrected. Thank you. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Lautbar Blaehung Sent: Sunday, May 22, 2005 11:27 PM To: horn@music.memphis.edu Subject: [Hornlist] Counting Rank Measures but seriously Bill Gross wrote: Doing it for free all bets are off. Shop Rules? We ain't got no rules. We don't need no stinkin' shop rules. With apologies to B. Tavern. Although there may B a Tavern in the town, it is B. Traven to whom you should apologize. L Blaehung _ 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/bgross%40airmail.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Counting Rank Measures
How do you count measures without getting lost? I use my fingers in a bi-quinary mode A slow 8 still gives me problems Try taking off your shoes. Works for me. Well then Cabbage, mind telling us how you count to 21? jrc PS: On second thought, never mind. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Counting Rank Measures
common decency forbids me to do this when I'm upside down. You know, my nose runs and my feet smell. Herb, this is completely opposite of how I make use of the body parts in question. I reckon the reason is you're upside down. I'm willing to try it, but what about my water key? jrc in SC ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Rank Amateur Counting Measures
Like Herb, I resort to fingers Not towards the conductor, we hope. But if so, we're pulling for you. With no phrasal reference, I start with the left hand and bend fingers over (towards closed into palm) across both hands for measures up to 10, then start back at the beginning with and unbend motion. If the measures go much above 20, I'm looking for writing in cues cause I like to feel I'm part of the music that's happening, not an accountant. I also try to arrange measure counting with phrasal references (I just made that up). That is, if the to-be-counted measures number 20, and if there are normal 8-bar phrases (or close to it), I make my own resting measure roadmap above the printed line. FOR INSTANCE: If there are twenty bars rest, I play in the first 4-bars of the 1st phrase, then rest for 20, I make it look like this (bet this won't work in e-mail) 4 16 ll ll ...which, on my part, crudely attempts the superimposition of logic onto the chaotic backdrop of life. And so I go through life, tilting the tulips. jrc ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Counting Rank Measures but seriously
Does anyone know what bar we are up to in that organ piece that supposedly will take a hundred years or so to play that someone started playing a few years ago? (not that I'm really interested). 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
[Hornlist] Counting Rank Measures but seriously
Really, friends in the amateur field, I do not understand your counting problems. Dont you look to the conductor at all ? Herr Professor, Surely, even in your position, you are--at least occasionally--as surprised as we are at what passes for a conductor these days. The last couple of gigs I've played, the only way I could make it through was to IGNORE the conductor and follow the 1st trumpet and percussion. I asked afterward, and they were ignoring him too, hence the musical clarity on their part. jrc ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] quintets
If it is appropriate to you, then it's probably OK. Hey, that's exactly what the moneychangers in the temple yard thought! jrc ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] embouchure problems
G'day To those listers who responded to 'embouchure problems' I thank you for your input, some useful suggestions. Tony Crosse South Australia ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Counting Rank Measures but seriously
Better, not even IGNORE them, give them even less attention. Fortunately, we have good, often very good conductors of international high class, but also some very poor but harmless music-masters from GB. But this period will arrive at ist end, when our British opera director will leave after the next season. Yes, there is also a very, very boring ballet kapellmeister. But in the amateur field, I can imagine, how the many good hobby-musicians suffer under more or less tyrranic but incompetent rulers. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of James Ray Crenshaw Sent: Monday, May 23, 2005 1:07 PM To: horn@music.memphis.edu Subject: [Hornlist] Counting Rank Measures but seriously Really, friends in the amateur field, I do not understand your counting problems. Dont you look to the conductor at all ? Herr Professor, Surely, even in your position, you are--at least occasionally--as surprised as we are at what passes for a conductor these days. The last couple of gigs I've played, the only way I could make it through was to IGNORE the conductor and follow the 1st trumpet and percussion. I asked afterward, and they were ignoring him too, hence the musical clarity on their part. jrc ___ 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] Counting Rank Measures but seriously
Not so. In fact, the opposite is true. It is in the pro music ranks that you have to put up with incompetence tyranny from the podium, because quitting under those circumstances means giving up your paycheck. While the tyranical incompetent waving the stick warns you not to let the door smack you in the rump on your way out, a boatload of highly qualified conservatory graduates line up clear around the block waiting for their turn at the auditions held to pick your replacement. The amateurs dilettantes, however, being economically independent of their positions in the ensemble, can just up quit any time there's a tyrannical incompetent up front -- or any other kind of incompetent up there, or any other kind of tyrant for that matter. The amateurs dilettantes sit there play the tunes ( count the measures) because they want to, not because they've got to -- the best of both worlds, no? -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. ~~~ I can imagine, how the many good hobby-musicians suffer under more or less tyrranic but incompetent rulers. -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.322 / Virus Database: 266.11.15 - Release Date: 5/22/2005 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Counting Rank Measures but seriously
But amateurs never can experience (or very rarely) the feeling we get on stage, playing a great work under the baton of a competent real conductor star as Muti or late Kleiber, von Karajan, Solti etc. This is a very special feeling. And they were sometimes crazy but never tyrrants. Most of them were really nice persons. Oh, if a tyrranic conductor like to play out his power, we let him run into a deep black hole of no resonance, bottomless passive resistence. He has no chance. Every entrance comes exactly as written, no broken note, but emotionless, no feeling at all. He will understand the message or not. It does not make any difference. It does not bother. But if he gets nasty, give him shit by playing exactly as he conducts, say yes to everything, but never repair mistakes he committed. Let the ship run into the ground. It will kill him eventually. But it is not your fault. But be careful: just laugh INSIDE. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Alan Cole Sent: Monday, May 23, 2005 2:10 PM To: The Horn List Subject: RE: [Hornlist] Counting Rank Measures but seriously Not so. In fact, the opposite is true. It is in the pro music ranks that you have to put up with incompetence tyranny from the podium, because quitting under those circumstances means giving up your paycheck. While the tyranical incompetent waving the stick warns you not to let the door smack you in the rump on your way out, a boatload of highly qualified conservatory graduates line up clear around the block waiting for their turn at the auditions held to pick your replacement. The amateurs dilettantes, however, being economically independent of their positions in the ensemble, can just up quit any time there's a tyrannical incompetent up front -- or any other kind of incompetent up there, or any other kind of tyrant for that matter. The amateurs dilettantes sit there play the tunes ( count the measures) because they want to, not because they've got to -- the best of both worlds, no? -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. ~~~ I can imagine, how the many good hobby-musicians suffer under more or less tyrranic but incompetent rulers. -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.322 / Virus Database: 266.11.15 - Release Date: 5/22/2005 ___ 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] Re: Marching
Believe it or not its all in the shoulders. If you strive to keep your shoulders level and straight your body alignment seems to stay much more stable. Keep the soles of your feet as flat to the ground as you step helps as well. paxmaha [EMAIL PROTECTED] wrote: Hi Anyone here march. Does anyone else have problems keeping balance in slow march time. Its been a killer for me in ceremonial situations. Kev ([EMAIL PROTECTED]) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Yahoo! Mail Mobile Take Yahoo! Mail with you! Check email on your mobile phone. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] die bankelsangerliedr
yep - Daniel Speer. Alan Cole [EMAIL PROTECTED] wrote: Die Bankelsangerlieder is listed as anonymous in some catalogs -- but didn't the musicalologists figure out who the composer is? -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Marching
Hi, With all due respect, marching flat-footed will not work. If you are marching corps-style, you must roll from heel to toe on the outsides of your feet. If you march in the traditional manner, i.e. more knee lift, the toe strikes the ground first, and absorbs the impact. I will agree about the shoulders and upper-body alignment. Ideally, with either style of marching your head will move forward in a straight line, rather than bobbing up and down. Stability is all in the feet and legs. Gary --- David Jewell [EMAIL PROTECTED] wrote: Believe it or not its all in the shoulders. If you strive to keep your shoulders level and straight your body alignment seems to stay much more stable. Keep the soles of your feet as flat to the ground as you step helps as well. paxmaha [EMAIL PROTECTED] wrote: Hi Anyone here march. Does anyone else have problems keeping balance in slow march time. Its been a killer for me in ceremonial situations. Kev ([EMAIL PROTECTED]) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Yahoo! Mail Mobile Take Yahoo! Mail with you! Check email on your mobile phone. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com 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] Re: Marching
In a message dated 5/23/2005 9:53:52 AM Eastern Daylight Time, [EMAIL PROTECTED] writes: Anyone here march. Does anyone else have problems keeping balance in slow march time. Its been a killer for me in ceremonial situations. Kev ([EMAIL PROTECTED]) The problem is that you are keeping your center of gravity fixed in a straight line. Think about what's happening: as you slowly lift one leg, your body will tend to fall toward that side if you keep your center of gravity in the same place. You have to shift your weight toward the leg that is still in contact with the ground. Try marking time very very slowly and you will see what you have to do keep your self upright and in balance. In fact, just lift one leg and balance for a few seconds, then put it down slowly and lift the other leg and balance. As you speed up your marching tempo, you will have to adjust your center of gravity less from side to side. The fact that you are actually moving forward when marching will not affect this side to side shifting. One other factor that may come into play is the length of your stride. If you have short legs and need to take long strides then you may find it difficult to accomplish the side-to-side shifting needed to keep in balance. Dave Weiner Brass Arts Unlimited ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Cases by Thompson Edition
Anyone care to share their opinions of the firm-sided fixed-bell cases from Thompson Edition? Bob Williams ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Counting Rank Measures but seriously
Message text written by The Horn List The last couple of gigs I've played, the only way I could make it through was to IGNORE the conductor and follow the 1st trumpet and percussion. Dear All Hmmm. This reminds me of a time when I was playing as an extra with one of Britain's leading orchestras in a Bruckner Symphony. The first half of the programme comprised the Schumann Piano Concerto and the orchestra's 2nd horn asked me if I would like to play it to give him a 'tune off'. One concert was in the Royal Festival Hall in London with a very well known conductor and one of the world's really great pianists (initials AB). In the famous rhythmic trap in the third movement, the first horn got so annoyed with the conductor that, on the concert and in front of 2,000+ people, he deliberately raised his music stand as high as possible to block out all view of the maestro. Mind you, there was an old story going around a few years ago about a violinist who accepted an engagement as guest leader (concertmaster) for a theatre production when the usual leader had a better gig one night. The conductor entered the pit, bowed to acknowledge the audience's applause, turned to face the orchestra with arms and baton raised. And he just stood there motionless whilst the leader, bowing arm prepared, watched for a downbeat which never came. The conductor glanced sideways with a pleading look on his face at the leader and, when this got no reaction, he hissed go on then - start! It appeared that he had great trouble setting the show in motion and had an arrangement with his usual leader that the orchestra would follow the front desk of 1st violins - not the stick - to get going. The usual leader had 'forgotten' to brief his dep about this. Cheers Paul A. Kampen (W. Yorks UK) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Counting Rank Measures but seriously
Sound quite familiar, your second story. Cheers -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Paul Kampen Sent: Monday, May 23, 2005 3:55 PM To: The Horn List Subject: [Hornlist] Counting Rank Measures but seriously Message text written by The Horn List The last couple of gigs I've played, the only way I could make it through was to IGNORE the conductor and follow the 1st trumpet and percussion. Dear All Hmmm. This reminds me of a time when I was playing as an extra with one of Britain's leading orchestras in a Bruckner Symphony. The first half of the programme comprised the Schumann Piano Concerto and the orchestra's 2nd horn asked me if I would like to play it to give him a 'tune off'. One concert was in the Royal Festival Hall in London with a very well known conductor and one of the world's really great pianists (initials AB). In the famous rhythmic trap in the third movement, the first horn got so annoyed with the conductor that, on the concert and in front of 2,000+ people, he deliberately raised his music stand as high as possible to block out all view of the maestro. Mind you, there was an old story going around a few years ago about a violinist who accepted an engagement as guest leader (concertmaster) for a theatre production when the usual leader had a better gig one night. The conductor entered the pit, bowed to acknowledge the audience's applause, turned to face the orchestra with arms and baton raised. And he just stood there motionless whilst the leader, bowing arm prepared, watched for a downbeat which never came. The conductor glanced sideways with a pleading look on his face at the leader and, when this got no reaction, he hissed go on then - start! It appeared that he had great trouble setting the show in motion and had an arrangement with his usual leader that the orchestra would follow the front desk of 1st violins - not the stick - to get going. The usual leader had 'forgotten' to brief his dep about this. Cheers Paul A. Kampen (W. Yorks UK) ___ 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] Chisenbop Counting Measures
There is a method of counting that works slightly easier than the one you describe called Chisenbop (I'm not making this up) - The thumb is your 5 counter. I found the following site which describes it quite well: http://klingon.cs.iupui.edu/~aharris/chis/chis.html Timothy A. Johnson Information Technologies Northwestern College St. Paul, Minnesota http://tajohnson.org -- From: [EMAIL PROTECTED] Date: 05/22/2005 07:28AM Subject: Re: [Hornlist] Rank Amateur Counting Measures I use my fingers in a bi-quinary mode: thumb down for 1, thumb down curled for 6. That way I can count to 100 with both hands using the left hand as the tens digit. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] schmids, rot, lacquer vs silver
Hans asks: Question: Does lacquering add more to the worse, if the excess solder is removed by aggressive chemicals ? I understood also, that if this excess solder is removed by aggressive chemicals, these must be neutralized extremely well. Some makers believe, that imperfect degreasing before lacquering promotes redrot in some ways. Is this true ? I personally found out, that silver gold plating factory new instruments, including the extremely careful process of degreasing before the plating, does something for the durability (more precious metal and its anti corrosive effect ...). I also feel, that it does something positive regarding playing qualities, perhaps just as a placebo effect, as one will try playing better keeping a nicer looking more precious instrument in his or her hands (no gender ranking intended !). This is rather empiric not scientific, my personal experience playing silver gold plated instruments since years. Hi Hans - the preparation for lacquering is the exact same preparation as for plating. Thus there shouldn't be any differences between the horn which has been plated and the one which has been lacquered. Once the horn has been buffed, it must be degreased. If any flux from the soldering (or perhaps any other 'chemicals') is left it will present itself in a myriad of ways - most of which are harmless. It is easy to find a new horn with what we call 'acid bleed'. This is flux that seeped out after the horn was lacquered, and is discoloring the horn beneath the lacquer. Typically this will just leave a dark spot, and perhaps the lacquer in that area will flake off. Infact, an instrument that is being plated has to undergo a few other chemical baths (silver plating solution) - but I do now know if these are caustic enough to encourage dezincification. The redrot that I was discussing is a byproduct of leaving the brass in an 'active' state - susceptible to redrot. (redrum??). Just Put Your Lips Together And Blow http://www.poperepair.com US Dealer: Kuhn Horns Bonna Cases Pope Instrument Repair 80 Wenham Street Jamaica Plain, MA 02130 617-522-0532 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Counting on one hand
If you're going that far, a Grey code would be better. You only move one finger at a time. Herb Foster --- Bo Gusman [EMAIL PROTECTED] wrote: from: Tom Warner [EMAIL PROTECTED] I use American Sign Language. You can count to 999 with one hand... I've counted in binary for years - 1024 on both hands. Only gets me into trouble on church gigs on 4, 128, or 132. __ Do you Yahoo!? Yahoo! Mail - Find what you need with new enhanced search. http://info.mail.yahoo.com/mail_250 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Chisenbop Counting Measures
Thank you, that's good. I probably won't change, since I am used to what I do. I should have thought of that, since I can use the soroban (Japanese abacus). In the days before calculators, I did my income taxes on a soroban. Herb Foster --- [EMAIL PROTECTED] wrote: There is a method of counting that works slightly easier than the one you describe called Chisenbop (I'm not making this up) - The thumb is your 5 counter. I found the following site which describes it quite well: http://klingon.cs.iupui.edu/~aharris/chis/chis.html Timothy A. Johnson Information Technologies Northwestern College St. Paul, Minnesota http://tajohnson.org -- From: [EMAIL PROTECTED] Date: 05/22/2005 07:28AM Subject: Re: [Hornlist] Rank Amateur Counting Measures I use my fingers in a bi-quinary mode: thumb down for 1, thumb down curled for 6. That way I can count to 100 with both hands using the left hand as the tens digit. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/herb_foster%40yahoo.com __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Counting Rank Measures but seriously
If there's a probability you might need a cue, ask the conductor for one. Part of your responsibility is to point out the potential problem, then give him a chance to come up with a mutually acceptable solution. Don't count on it happening, however, because, after all, he's only a conductor. If it turns out you need it, and get it, fine. If for some reason, everything fails, you can have a civil conversation about how to do it better next time. The time to set the plan should allow one run through, with eye contact, for comfort. Why is it that most people have far greater wisdom assessing blame than they do for recognizing responsibility. Responsibility is completely under your own control, and represents your best chance for success. It has nothing to do with amateur or professional, or enforcable rules. Your integrity is your own gift to yourself, whether you like it or not. -Original Message- From: James Ray Crenshaw [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Mon, 23 May 2005 08:06:40 -0400 Subject: [Hornlist] Counting Rank Measures but seriously Really, friends in the amateur field, I do not understand your counting problems. Dont you look to the conductor at all ? Herr Professor, Surely, even in your position, you are--at least occasionally--as surprised as we are at what passes for a conductor these days. The last couple of gigs I've played, the only way I could make it through was to IGNORE the conductor and follow the 1st trumpet and percussion. I asked afterward, and they were ignoring him too, hence the musical clarity on their part. jrc ___ 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
[Hornlist] Gold and Silver plating
Could anyone out there recommend someone for gold or silver plating? What is the average cost of having this done? What are the advantages of Gold and silver plating other than protection? Thanks, Josh Johnson ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Counting Rank Measures but seriously
Guess what - Lawrence has forgotten what bar he's in again, I've seen this happen a few times, usually just after he's forgotten who's round it is!! Does anyone know what bar we are up to in that organ piece that supposedly will take a hundred years or so to play that someone started playing a few years ago? (not that I'm really interested). ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Counting Rank Measures but seriously
-Original Message- From: Billbamberg To: [EMAIL PROTECTED]; horn@music.memphis.edu Sent: Mon, 23 May 2005 13:20:37 -0400 Subject: Re: [Hornlist] Counting Rank Measures but seriously If there's a probability you might need a cue, ask the conductor for one. Part of your responsibility is to point out the potential problem, then give him a chance to come up with a mutually acceptable solution. Don't count on it happening, however, because, after all, he's only a conductor. If it turns out you need it, and get it, fine. If for some reason, everything fails, you can have a civil conversation about how to do it better next time. The time to set the plan should allow one run through, with eye contact, for comfort. Why is it that most people have far greater wisdom assessing blame than they do for recognizing responsibility. Responsibility is completely under your own control, and represents your best chance for success. It has nothing to do with amateur or professional, or enforcable rules. Your integrity is your own gift to yourself, whether you like it or not. -Original Message- From: James Ray Crenshaw [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Mon, 23 May 2005 08:06:40 -0400 Subject: [Hornlist] Counting Rank Measures but seriously Really, friends in the amateur field, I do not understand your counting problems. Dont you look to the conductor at all ? Herr Professor, Surely, even in your position, you are--at least occasionally--as surprised as we are at what passes for a conductor these days. The last couple of gigs I've played, the only way I could make it through was to IGNORE the conductor and follow the 1st trumpet and percussion. I asked afterward, and they were ignoring him too, hence the musical clarity on their part. jrc ___ 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
[Hornlist] Counting Rank Measures but seriously
the only way I could make it through was to IGNORE the conductor on the concert and in front of 2,000+ people, he deliberately raised his music stand as high as possible to block out all view of the maestro The story goes that Ray Charles (famous Jazz/Rhythm Blues artist) fired a drummer and was auditioning new ones. One after the other they all were summarily dismissed in short order because they couldn't keep the beat. Finally, a really good drummer showed up whom the band ALSO liked. In the rehearsal for one of Ray's slow blues tunes (his specialty), the beat was getting shaky and Ray called a halt, ready to fire another drummer. But remember, the band liked this one. So, to save this drummer from the lion's den, the 4-trumpet player leaned over and whispered to the drummer, Pssst! Hey man, when he's playin' this one, DON'T WATCH HIM. You'll get off every time. WATCH HIS FEET, MAN! So the drummer did as he was told and that was the trick. Ray would rock back and forth in giant, slow, nebulous arcs (I've seen this on TV), indicating the tempo, but wrongly. But, as the 4th trumpet noted, his feet were always right on the beat. At a recent band concert, we did a piece called, Sevens, by someone named Haszo (forgive my possible misspelling). There is a recurring rhythmic pattern that happens across alternating 11/16 7/16 bars. It's not easy, but not NEARLY as difficult as the meters would indicate. The trouble was getting the entire band to UNDERSTAND and COMMIT to playing it crisply. We had a really good conductor who took the time to work out the feel of the weird meters, and he was ready to go. So, in a manner opposite to ignoring the conductor, I leaned on him. I could feel the changes, but you're not necessarily right if you're the only one doing it a certain way. I played exactly what the conductor conducted and it worked out well because THE CONDUCTOR WAS PREPARED and SHARP. Watch the conductor? It all depends on whether he ALLOWS clarity, IMPARTS clarity, DEMANDS clarity, or obliterates it! Pick one... jrc in SC ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: Counting Rank Measures but seriously
In my band, the surest way to get lost is to follow the percussion. If they are not lost entirely, they are usually behind the beat. Better to follow the tubas. The only problem with following my conductor is figuring out which of his beats is the downbeat. They all look the same. Yes, I do watch him, but he seldom gives the horn section any cues because, he says, he knows that we will not miss an entrance. He's more worried about the trumpets being lost. As far as telling where I'm at in the music, I do count on my fingers until I know the music well enough to pick up on the cues from the other sections. Sometimes I will pencil (no pen please) onto a part where a section entrance is and start counting from there. If I happen to be sitting near our 4th horn, I don't have to worry about counting as she counts out loud. I have played under some professional conductors. Every year the Pacific Symphony ends their season with the 1812 overture. For the past 10 years they have had with military band. My band is the with military band. That means we get to play along with the orchestra the last 3 minutes while the audience is screaming and shouting at the fireworks and you can't hear anything anyway. Through the majority of the piece, while we are just standing there, feeling very dumb, the conductor will artistically wave his hands around like a conductor does. But when it is time for us to come in, the conductor will actually direct in a plain, simple, standard beat pattern. Doesn't matter who, they all have done it. Kathy Anaheim, CA ---Original message--- The last couple of gigs I've played, the only way I could make it through was to IGNORE the conductor and follow the 1st trumpet and percussion. Discover Yahoo! Use Yahoo! to plan a weekend, have fun online and more. Check it out! http://discover.yahoo.com/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Who's attending the Symposium?
Hi Everyone, Who is going to attend the Symposium in Alabama? I saw that Carlberg is coming in from Mexico to attend. I have gone to the AAA and gotten my routing and am leaving on Friday with John Kowalchuk. I am really looking forward to attending, since this is the first one I've had the time available to attend since it was at K-Zoo. Hope to see you there. Walt Lewis -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.322 / Virus Database: 266.11.14 - Release Date: 5/20/2005 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Who's attending the Symposium?
I'll be there, and if anyone is going to watch the Farkas competition finalists and wishes to be there to cheer me on (and to abate my slight nervousness about it) say hello :) I'm looking forward to it all as its my first IHS. -William In a message dated 5/23/2005 1:24:42 P.M. Central Daylight Time, [EMAIL PROTECTED] writes: Hi Everyone, Who is going to attend the Symposium in Alabama? I saw that Carlberg is coming in from Mexico to attend. I have gone to the AAA and gotten my routing and am leaving on Friday with John Kowalchuk. I am really looking forward to attending, since this is the first one I've had the time available to attend since it was at K-Zoo. Hope to see you there. Walt Lewis ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Marching
Let me enumirate the reasons I enjoy marching so much. 1. --wabotte ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Summer Horn Activities in SF Bay Area
Hi, I just want to announce the dates of my summer seminar and talk about the activities surrounding this event. First of all, Scott Hartman (aka Scottio) and I are joining forces to put on TWO seminars this summer during the same week- July 11-16. Scott, in association with the El Camino Youth Symphony, is conducting a workshop in Palo Alto from 2-5 PM July 11-15 for younger students. This would mean upper grade school, middle school and even lower high school intermediate players. The emphasis will be on ensembles and coaching for things like honor bands and youth symphonies. I will be helping out at times so there will be more individual attention. My seminar will be for upper intermediate and advanced players as usual. Please realize that this seminar is tailored to the people who attend. Lots of individual attention and an opportunity to work on anything you want. Scott will be helping me out as well. My seminar will be at Santa Clara University and will run from 6-10 PM, July 12-16. We will have a joint free concert on Saturday night for both groups and their friends and relatives with a pizza reception to follow. Attendees of either workshop will receive a free copy of my book, Real World Horn Playing, a $30 value. Information for both seminars in the form of a PDF Brochure and application form, can be found on my website. Just start clicking on Brochure. We also have a nice horn ensemble that meets during the seminar. We have an invitation to play on Sunday morning, July 17, at Saratoga Presbyterian Church. I already have commitments from a few pros, so if you want to do this, I think it will be a really great experience and we can use a few more players (you don't have to be a pro to do this, all welcome). I would like to have that group together on Tuesday evening, the 12th, around 8 PM at Santa Clara so we can plan the week. I would expect to have two more nights, probably Friday and the Saturday night concert. My phone is 408 275-8242 if you have any questions. I can also mail you actual brochures if you know of some players who might want them. Hope to see you there! Sincerely, Wendell Rider For info about my book, Real World Horn Playing, and the summer seminar, please visit my website at www.wendellworld.com Not everything that can be counted counts, and not everything that counts can be counted. -Albert Einstein ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Gold and Silver plating
If you are referring to mouthpieces, then Terry Warburton is your man. He does excellent guaranteed plating at very reasonable prices with rapid turnaround. Contact him at [EMAIL PROTECTED] or (800) 638-1950. I would assume he will also have a booth at Tuscaloosa. Loren \@() [EMAIL PROTECTED] (520) 403-6897 -Original Message- Could anyone out there recommend someone for gold or silver plating? What is the average cost of having this done? What are the advantages of Gold and silver plating other than protection? Thanks, Josh Johnson ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/loren%40mayhews.us ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Who's attending the Symposium?
I will be there along with George Napuda, Johannes and Christian Finke. We will be helping out at the Finke booth. Stop by and say hello. Loren Mayhew \@() Finke Horns [EMAIL PROTECTED] (520) 403-6897 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: Counting Rank Measures but seriously
Ditto that about the percussion in my community band. The conductor yells at the percussion, Close the music and watch me! Most of the tubas, though, aren't experienced enough to know to start the oomp ahead of the beat to get it started in time, particularly in soft passages. Fortunately, the conductor is good, and we horns establish the beat for the tubas. However, in concert, when there's a spotlight right above the conductor's head... Herb Foster --- Kathy Lowe [EMAIL PROTECTED] wrote: In my band, the surest way to get lost is to follow the percussion. If they are not lost entirely, they are usually behind the beat. Better to follow the tubas. The only problem with following my conductor is figuring out which of his beats is the downbeat. They all look the same. Yes, I do watch him, but he seldom gives the horn section any cues because, he says, he knows that we will not miss an entrance. He's more worried about the trumpets being lost. __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Who's attending the Symposium?
I'm really interested in finkes... will you guys have any of those horns with the carbon fibre valves to try out? -William In a message dated 5/23/2005 1:49:35 P.M. Central Daylight Time, [EMAIL PROTECTED] writes: I will be there along with George Napuda, Johannes and Christian Finke. We will be helping out at the Finke booth. Stop by and say hello. Loren Mayhew \@() Finke Horns [EMAIL PROTECTED] (520) 403-6897 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] quintets
Is jrc not in tune the post modern perspectivalist position? -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of James Ray Crenshaw Sent: Monday, May 23, 2005 7:14 AM To: horn@music.memphis.edu Subject: [Hornlist] quintets If it is appropriate to you, then it's probably OK. Hey, that's exactly what the moneychangers in the temple yard thought! jrc ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/huntt%40waldorf.edu ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Marching
In regard to slow mark time. As it as been stated, even and smooth weight transfer is a must. Good posture that keep the shoulders, hips and ankles will help keep the body from trying to pitch either backward or forward. Please check this alignment in a full length mirror or have a friend help you. When placing the foot on the ground as it comes down from mark time, remember not to stamp the foot down flat, but rather roll it down, toe first, then ball, then heel. Best of Luck Chris Bonner Visual Designer Magic drum and bugle corps - Original Message - From: David Jewell [EMAIL PROTECTED] To: The Horn List horn@music.memphis.edu Sent: Monday, May 23, 2005 9:53 AM Subject: Re: [Hornlist] Re: Marching Believe it or not its all in the shoulders. If you strive to keep your shoulders level and straight your body alignment seems to stay much more stable. Keep the soles of your feet as flat to the ground as you step helps as well. paxmaha [EMAIL PROTECTED] wrote: Hi Anyone here march. Does anyone else have problems keeping balance in slow march time. Its been a killer for me in ceremonial situations. Kev ([EMAIL PROTECTED]) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Yahoo! Mail Mobile Take Yahoo! Mail with you! Check email on your mobile phone. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/cbonner%40swfla.rr.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Endurance
Endurance is gained by systematic and incremental practice. Systematic: Range, volume and dexterity. Incremental: Not expenontial. In other words, two min., four min., six min., etc. Not twomin., four min., eight min., sixteen min., etc. Practice something universaly useful. Scales, arpegios. velocity studies etc. Save etudes for lessons in musicality. --wabotte ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Chisenbop Counting Measures
Doing your taxes in Roman numerals is lways good for a laugh. The IRS might even invite you to the circus for lunch. -Original Message- From: Herbert Foster [EMAIL PROTECTED] To: The Horn List horn@music.memphis.edu Sent: Mon, 23 May 2005 10:06:39 -0700 (PDT) Subject: Re: [Hornlist] Chisenbop Counting Measures Thank you, that's good. I probably won't change, since I am used to what I do. I should have thought of that, since I can use the soroban (Japanese abacus). In the days before calculators, I did my income taxes on a soroban. Herb Foster --- [EMAIL PROTECTED] wrote: There is a method of counting that works slightly easier than the one you describe called Chisenbop (I'm not making this up) - The thumb is your 5 counter. I found the following site which describes it quite well: http://klingon.cs.iupui.edu/~aharris/chis/chis.html Timothy A. Johnson Information Technologies Northwestern College St. Paul, Minnesota http://tajohnson.org -- From: [EMAIL PROTECTED] Date: 05/22/2005 07:28AM Subject: Re: [Hornlist] Rank Amateur Counting Measures I use my fingers in a bi-quinary mode: thumb down for 1, thumb down curled for 6. That way I can count to 100 with both hands using the left hand as the tens digit. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/herb_foster%40yahoo.com __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ 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] Who's attending the Symposium?
In a message dated 5/23/2005 1:49:43 P.M. Central Standard Time, [EMAIL PROTECTED] writes: I will be there along with George Napuda, Johannes and Christian Finke. We will be helping out at the Finke booth. Stop by and say hello. Loren Mayhew Hi Loren, I will be there and it will be nice to see you all again. BTW, I have been trying to get in touch with Johannes regarding the work he is doing on my triple. He said he would have it at Tuscaloosa, however, I haven't gotten a reply regarding work detail and cost. Is he on the road or otherwise indisposed? Regards, Jerry Old ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Marching
The off beats, it's the off beats isn't it? -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of WIlliam Botte Sent: Monday, May 23, 2005 1:29 PM To: horn@music.memphis.edu Subject: [Hornlist] Re: Marching Let me enumirate the reasons I enjoy marching so much. 1. --wabotte ___ 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] Cases by Thompson Edition
I just recently purchased a firm sided fixed bell case from Thompson Edition, and it has been wonderful. Granted, I've only had it for a few months. It seems to give great protection to the horn, and is very light. Kelly Myers ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Rank Amateur Counting Measures
--- David Goldberg [EMAIL PROTECTED] wrote: The same but opposite hypnotic effect can occur in a repetitive note sequence. Is there any longer repetition in the literature than in the L'Arlesienne suite, I think a little more than 100 bars of d# b c#? Maybe Ravel's Bolero? Also, in L'Arlesienne, I think that passage is alternated between horns 1+2 and horns 3+4, which helps a little. Bill, another really rank amateur __ Discover Yahoo! Use Yahoo! to plan a weekend, have fun online and more. Check it out! http://discover.yahoo.com/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Conductors
The past 15 years, I've been pleased and/or plagued with excellent and less than excellent conductors. The excellent conductors were niether timid or tyranical. They were universaly clear in direction and consistent with cues and tempi. No surprises. No tantrums. No compromises. The plagues were incompetent time wasters, ill prepared, inconsistent withe cues, tempi and beating patterns. There is nothing more terrifying than to look up at conductor twirling the baton in the air like a skylight. Or looking for the noexistent downbeat. WTF!!! Or the micromillimeter twitching of the right hand to indicate pianissimo. AAAGH. Communicate with troops in the back row, not just the octet semicircle within whispering distance. --wabotte ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Who's attending the Symposium?
Dear Loren, Although I cannot attend the HIS Symposium - I am teaching summer school and have a niece's wedding during the time - I want to send my hearty recommendation for the Finke Brendan. It is a very special instrument that is easy to play throughout the full range of the horn - almost 5 octaves. It is light, yet will carry in the largest of halls. For a small-handed person, it is very comfortable to play, the most comfortable of any horn I have ever played, even the Yamahas, which seem to fit most small-handed players with little or no modification. I have only one lead-pipe, but it seems to be more than sufficient. If anyone has any questions about the instrument and its high quality, have him or contact me. Have a great time in Tuscaloosa - from me in Memphis, TN. Ellen Manthe I will be there along with George Napuda, Johannes and Christian Finke. We will be helping out at the Finke booth. Stop by and say hello. Loren Mayhew \@() Finke Horns [EMAIL PROTECTED] (520) 403-6897 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/ellenmanthe%40earthlink.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: Gold and silver plating
Josh J wondered Could anyone out there recommend someone for gold or silver plating? *** Yes. I recommend that Prof. I. M. Gestopfmitscheist be silver plated. 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] Rank Amateur Counting Measures
Some 1.860 d2 notes = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Bill Tyler Sent: Monday, May 23, 2005 9:05 PM To: The Horn List Subject: Re: [Hornlist] Rank Amateur Counting Measures --- David Goldberg [EMAIL PROTECTED] wrote: The same but opposite hypnotic effect can occur in a repetitive note sequence. Is there any longer repetition in the literature than in the L'Arlesienne suite, I think a little more than 100 bars of d# b c#? Maybe Ravel's Bolero? Also, in L'Arlesienne, I think that passage is alternated between horns 1+2 and horns 3+4, which helps a little. Bill, another really rank amateur __ Discover Yahoo! Use Yahoo! to plan a weekend, have fun online and more. Check it out! http://discover.yahoo.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
[Hornlist] Counting Darwin Method
Counting measures, The Darwinian Contract.
Lose your place, lose a chance to breed {succesefully}. Lose enough
chance to breed successefully and eventually eliminate yourself and your
hypotheticaly mathmaticaly challenged progeny from the gene pool.
--wabotte
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Re: [Hornlist] RE: Gold and silver plating
Cabbage -So what would your reply be if the dear Prof. I.M.G. recommended that you be pickled? Paxmaha [EMAIL PROTECTED] wrote: Yes. I recommend that Prof. I. M. Gestopfmitscheist be silver plated. Gotta go, Cabbage __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Endurance
Endurance is gained by systematic and incremental practice. --wabotte I missed the original posting or question on this, BUT a gradual building of endurance is not the whole story on endurance. Another part of endurance is a singing relaxed approach. If you practice with tight lips, your not going to have any endurance at all but if you work on resonance of sound an easy air flow and singing style then your endurance will increase. Another part of endurance is in your thoughts. I find it detrimental to a great performance to ever think about anything but the current moment. If I think something like wow, I havent missed any notes yet I am bound to miss a note soon after that thought! Richard Burdick 1st Horn Regina Symphony Regina, SK Canada ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Who's attending the Symposium?
Jerry, I'm sure that Johannes mentioned to me that he will be bringing the horn. I'll mention it to him again to be sure as I am in frequent contact at the moment. Loren \@() [EMAIL PROTECTED] (520) 403-6897 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Monday, May 23, 2005 12:38 PM To: horn@music.memphis.edu Subject: Re: [Hornlist] Who's attending the Symposium? In a message dated 5/23/2005 1:49:43 P.M. Central Standard Time, [EMAIL PROTECTED] writes: I will be there along with George Napuda, Johannes and Christian Finke. We will be helping out at the Finke booth. Stop by and say hello. Loren Mayhew Hi Loren, I will be there and it will be nice to see you all again. BTW, I have been trying to get in touch with Johannes regarding the work he is doing on my triple. He said he would have it at Tuscaloosa, however, I haven't gotten a reply regarding work detail and cost. Is he on the road or otherwise indisposed? Regards, Jerry Old ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/loren%40mayhews.us ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Conductors
Yep, the rule is to keep your eyes on the conductor, but the truth is you gotta know when NOT to look at the conductor. War story. I was playing 3rd horn and had the important solo at the beginning of the 3rd movement of a symphony which I now can't remember the name of. I very much had to empty my horn at the end of the 2nd movement which I did as quickly as I could-keeping my eye on the conductor. He saw my eye contact and thought I was ready so started conducted faster than I expected. I could not put my slide back in fast enough to play the solo. Now I don't look at the conductor until I am ready. Loren \@() [EMAIL PROTECTED] (520) 403-6897 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of WIlliam Botte Sent: Monday, May 23, 2005 1:38 PM To: horn@music.memphis.edu Subject: [Hornlist] Conductors The past 15 years, I've been pleased and/or plagued with excellent and less than excellent conductors. The excellent conductors were niether timid or tyranical. They were universaly clear in direction and consistent with cues and tempi. No surprises. No tantrums. No compromises. The plagues were incompetent time wasters, ill prepared, inconsistent withe cues, tempi and beating patterns. There is nothing more terrifying than to look up at conductor twirling the baton in the air like a skylight. Or looking for the noexistent downbeat. WTF!!! Or the micromillimeter twitching of the right hand to indicate pianissimo. AAAGH. Communicate with troops in the back row, not just the octet semicircle within whispering distance. --wabotte ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/loren%40mayhews.us ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Conductors
Was it the Saint-Saens symphony 3? -William In a message dated 5/23/2005 6:29:25 P.M. Central Daylight Time, [EMAIL PROTECTED] writes: Yep, the rule is to keep your eyes on the conductor, but the truth is you gotta know when NOT to look at the conductor. War story. I was playing 3rd horn and had the important solo at the beginning of the 3rd movement of a symphony which I now can't remember the name of. I very much had to empty my horn at the end of the 2nd movement which I did as quickly as I could-keeping my eye on the conductor. He saw my eye contact and thought I was ready so started conducted faster than I expected. I could not put my slide back in fast enough to play the solo. Now I don't look at the conductor until I am ready. Loren \@() [EMAIL PROTECTED] (520) 403-6897 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Conductors
I am not sure, I don't think so. All I and the principal horn player can remember is that it was an allegro 2/4 movement and there are a few introductory bars before the solo. I went through our concert recordings and couldn't find it, but not all concerts were recorded. Loren \@() [EMAIL PROTECTED] (520) 403-6897 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Monday, May 23, 2005 4:30 PM To: horn@music.memphis.edu Subject: Re: [Hornlist] Conductors Was it the Saint-Saens symphony 3? -William In a message dated 5/23/2005 6:29:25 P.M. Central Daylight Time, [EMAIL PROTECTED] writes: Yep, the rule is to keep your eyes on the conductor, but the truth is you gotta know when NOT to look at the conductor. War story. I was playing 3rd horn and had the important solo at the beginning of the 3rd movement of a symphony which I now can't remember the name of. I very much had to empty my horn at the end of the 2nd movement which I did as quickly as I could-keeping my eye on the conductor. He saw my eye contact and thought I was ready so started conducted faster than I expected. I could not put my slide back in fast enough to play the solo. Now I don't look at the conductor until I am ready. Loren \@() [EMAIL PROTECTED] (520) 403-6897 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/loren%40mayhews.us ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: Gold and silver plating
Hi, And why settle for silver? Gary --- David Jewell [EMAIL PROTECTED] wrote: Cabbage -So what would your reply be if the dear Prof. I.M.G. recommended that you be pickled? Paxmaha [EMAIL PROTECTED] wrote: Yes. I recommend that Prof. I. M. Gestopfmitscheist be silver plated. Gotta go, Cabbage __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com 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] Who's attending the Symposium?
Thanks, Loren! Regards, Jerry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Who's attending the Symposium?
Sorry - mea culpa. This was for Loren, not the list. Ellen Dear Loren, ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Counting Rank Measures but seriously
Part of your responsibility is to point out the potential problem Why is it that most people have far greater wisdom assessing blame than they do for recognizing responsibility My, how condescending we are. I tried reading it some other way, but to no avail. It is most certainly NOT my responsibility to point out a potential problem. It is my responsibility to 1) serve the music, and 2) play what the conductor wants to hear, regardless if he is able to communicate through his stick technique. Once upon a time, I made a living with my horn. As 1st horn, I sat in the hot seat, or rather, as hot a seat as my abilities afforded me at the time. And during those years I have sat through many rehearsals where valuable time was wasted by someone pointing out potential problems to the conductor and the group. One wonders if these helpers would be so chatty if their episodes of pontification weren't accompanied by the warm fuzzy feeling they get when hi-jacking a rehearsal... or so it seems. I'll bet we've all it happen: Playing Happy Birthday in the key of C, and ONE CLARINET (for instance) PART, has an Eb written on the tonic chord in the final cadence. Stymied, the player's hand goes up and rehearsal grinds to a halt on behalf of the unarmed gunman: Uhhh, can I have a note check please. Y'see, everyone seems to be playing a different note than mine and I was wondering if maybe... snip. The performance in question concerned a small wind group + percussion/piano accompanying an amateur chorus. The conductor is a friend of mine, so mind games were not in order here. There were no cues given during the entire rehearsal, nor were any forthcoming during the performance.. There also was no eye contact at any time. The conductor marked time with his stick while he stared at the score. From this, we, as professionals, were paid to extract a stirring performance. And we did. The conductor was beaming afterwards, and beaming is a lot different from a cold, good job. A good worker with a right heart will not mind making his boss look good... even when he might not deserve the applause. Perhaps he deserved the applause for being the kind of person who would hire the kind of people who would be willing to help rather than hinder his efforts. And who is also the kind of person for whom such people are willing to give their best. *** Responsibility is completely under your own control And I used it. Rather, we used it. The ensemble had a short meeting of the minds concerning how to handle the problem areas. We formulated a plan and stuck to it. It worked. I'll forgive your air if you're willing to forgive me if I've misread your intent. On second thought, I forgive you regardless. That ***is*** my responsibility. jrc in SC ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Recordings
Hi, Add Beethoven 5 7, Carlos Kleiber conducting the Vienna Philharmonic, recorded in 1974 and released on Deutsche Grammaphon. I understand that beginning in 1968, he was permanent guest conductor at the Bavarian State Opera. Perhaps Professor Pizka could share some stories about playing under Maestro Kleiber. 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] Conductors
Hi, With all the talk about conductors, I figure I might as well jump in. Personally, I have respect for anyone with the brass to get in front of a bunch of musicians who by their very nature can be rather unforgiving. It's pretty safe to say that the vast majority of us will never swing a stick. I used to be just as vocal as the next when I was dissatisfied with a conductor. It wasn't until I got on the podium that it hit me like a Mack truck that conducting is far more difficult than it looks from either side, either the risers or the audience. The first thing I ever conducted was a Sousa march that I knew backwards and forwards. But it's amazing how much you forget when you are facing the music, so to speak. As players, we're so used to following the leader that being the leader is pretty daunting. Fact is, conductors are human too, and even the great ones screw up from time to time. I remember playing under a very well-known and respected conductor; he made a mistake during the third movement of Lincolnshire Posy, and the band followed him to the letter and made the mistake sound like it was intended. The nasty little critic from the paper didn't even catch it. That comes with being attuned to not only your fellow musicians, but your conductor as well. I think that is one of the responsibilities of a good ensemble - you have to be ready to bail out your conductor on the rare occasions that he or she will need it. It's a great thing to accomplish your own mission, but it is truly wonderful to have the ability to support a fellow musician in the accomplishment of their mission. Case in point - the performance of the Strauss Serenade for Winds a few years ago, with me in the principal horn chair. The principal oboe was a freshman, and it was her first big chance in the principal chair, and she was terrified. I told her to just relax and play how she wanted to play, and I would follow her, and catch her if she fell. She played flawlessly, and I refused to share the bow with her at the end. Oh, yeah...the performance was the conductor's master's recital. On another occasion, while playing Mahler 3, the conductor, a very accomplished conductor and interpreter, lost it about 5 bars into the last movement. You could tell the orchestra was trying like hell to hold it together, but couldn't. He stopped the orchestra, turned to the audience, and said, sometimes, it just doesn't work. He restarted the last movement, and we played it out...probably a little better than we would have if there had been no error. I also could never figure out which is more difficult - being a wind player and knowing nothing about strings, or being a string player and knowing nothing about winds. Maybe it doesn't matter. 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] Re: Endurance
Perfectly said ! -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Monday, May 23, 2005 10:46 PM To: horn@music.memphis.edu Subject: [Hornlist] Re: Endurance Endurance is gained by systematic and incremental practice. --wabotte I missed the original posting or question on this, BUT a gradual building of endurance is not the whole story on endurance. Another part of endurance is a singing relaxed approach. If you practice with tight lips, your not going to have any endurance at all but if you work on resonance of sound an easy air flow and singing style then your endurance will increase. Another part of endurance is in your thoughts. I find it detrimental to a great performance to ever think about anything but the current moment. If I think something like wow, I haven't missed any notes yet I am bound to miss a note soon after that thought! Richard Burdick 1st Horn Regina Symphony Regina, SK Canada ___ 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
