Re: [Hornlist] Coins (NHR)
On Jun 20, 2005, at 6:40 PM, William Foss wrote:
It is horn related: bison have horns!
And if you attach nickels to your valve levers, then horns have bison.
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
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Re: [Hornlist] Coins (NHR)
Hey, USA dimes work great as touch-pieces on horn valve-levers. That makes me wonder -- do tuba players ever use USA quarters as touch-pieces on the valve-levers of rotary-valve tubas? If so, I know why. But if not, why not? -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. ~ And if you attach nickels to your valve levers, then horns have bison. -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.323 / Virus Database: 267.7.10/25 - Release Date: 6/21/2005 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] John Williams Concerto (available)
Dear All, For anyone who might be interested, I listed the John Williams Horn Conecrto on my site for $17.00. I will call it the Hornlist discount! It currently retails for $19.95. It can be found on the bottom of my homepage: http://www.bvdpress.com/ Wishing everyone well, -- Bryan Doughty BVD Press and Cimarron Music Press 79 Meetinghouse Lane Ledyard, CT 06339 [EMAIL PROTECTED] 860 536-2185 http://www.bvdpress.com/ http://www.cimarronmusic.com/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] John Williams Concerto
Aleks Ozolins wrote: Did you remember who the publisher was? The Williams concerto has been released by Hal Leonard, and we do now have it in stock. Anyone interested can find that listed at: http://www.thompsonedition.com/williams.htm As usual, it qualifies for free shipping worldwide, with a $3.00 handling fee per order, regardless of the number of titles purchased. (and yes, I am well aware that we are way overdue for a website update to make all of these individual item pages easier to locate) David B. Thompson, President Thompson Edition, Inc. http://www.thompsonedition.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Coins (NHR)
I am still considering putting a quarter on the change valve of my Alex 103. I already have had Liberty head dimes soldered on the other valves. Walt Lewis At 12:12 PM 6/22/2005 -0400, you wrote: Hey, USA dimes work great as touch-pieces on horn valve-levers. That makes me wonder -- do tuba players ever use USA quarters as touch-pieces on the valve-levers of rotary-valve tubas? If so, I know why. But if not, why not? -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. ~ And if you attach nickels to your valve levers, then horns have bison. -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.323 / Virus Database: 267.7.10/25 - Release Date: 6/21/2005 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/wlewis9637%40wowway.com -- No virus found in this incoming message. Checked by AVG Anti-Virus. Version: 7.0.323 / Virus Database: 267.7.8/22 - Release Date: 6/17/2005 -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.323 / Virus Database: 267.7.8/22 - Release Date: 6/17/2005 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Coins (NHR)
I've always had a problem with the aesthetics of coins soldered onto to levers. I don't want my Paxman looking like a 'two bit' horn. Instead, I make touch pieces for both the paddles and thumb levers out of scraps of gun stock walnut (dark wood ages 'cleaner'). They can be attached with contact cement, so the metal stays pristine. For better grip, a grid pattern can be put on with a small saw. -Original Message- From: Walter E. Lewis [EMAIL PROTECTED] To: The Horn List horn@music.memphis.edu Sent: Wed, 22 Jun 2005 14:02:03 -0400 Subject: Re: [Hornlist] Coins (NHR) I am still considering putting a quarter on the change valve of my Alex 103. I already have had Liberty head dimes soldered on the other valves. Walt Lewis At 12:12 PM 6/22/2005 -0400, you wrote: Hey, USA dimes work great as touch-pieces on horn valve-levers. That makes me wonder -- do tuba players ever use USA quarters as touch-pieces on the valve-levers of rotary-valve tubas? If so, I know why. But if not, why not? -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. ~ And if you attach nickels to your valve levers, then horns have bison. -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.323 / Virus Database: 267.7.10/25 - Release Date: 6/21/2005 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/wlewis9637%40wowway.com -- No virus found in this incoming message. Checked by AVG Anti-Virus. Version: 7.0.323 / Virus Database: 267.7.8/22 - Release Date: 6/17/2005 -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.323 / Virus Database: 267.7.8/22 - Release Date: 6/17/2005 ___ 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] Instructional methods
from: Bill Gross [EMAIL PROTECTED] subject: [Hornlist] Instructiona Methods One technique used by many instructors working with students on solo pieces is to have them listen to a recording of the work. Since having access to a large volume of recorded work for horn is a relatively new development, what did folks do before they could pick up a CD of the piece they were working on? Has the access to recordings had a positive or negative impact on the learning process? I've lived my whole life in the age of recordings so I don't know what was going on before that. I imagine serious students made every effort to hear great players. It is important to have something to aspire to. I almost wore out my Brain recordings of the Mozarts and Strauss when i was a kid (I still have them!). On the other hand, I have been in substitute teaching situations where i ran across kids who seemed lost without a CD to listen to. In one school, the teacher had never taught the kids to really read music. They learned everything by rote. Many were amazed, after they got over their anger, that we were able to work out a piece (this is a band) without the CD. They also felt proud to have accomplished it. I like my students to have recordings of pieces. I also like to know which recordings they have if not the ones I recommend. It can be fun to discuss the different musical style choices and the differences in tone. 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
[Hornlist] Rank Amateurs Playing Horn
Visual evidence is on the Internet at... http://members.cox.net/acole2/RoyAlan.jpg I'm the 1 on the right playing an Alexander 103. The guy on the left playing a Kruspe-style Atkinson horn is Roy Burgess (who -- no surprise -- plays rings around me). Roy is also president of the City Of Fairfax Band, which you can check out on the Internet at... http://www.fairfaxband.org/ -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.323 / Virus Database: 267.7.10/25 - Release Date: 6/21/2005 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Instructional methods
Having grown up betwixt both eras [Music Minus One was just getting to be a big thing when I was young,] I can only offer my opinion. To wit - recordings are fine, but there is nothing more fundamental than reading music. Most of us will play in ensembles, rather than have a solo career. This means having to read new parts a lot. When the director wants to read that new piece, he does not expect to have to give you time to go home and listen to it. He will want to begin playing it there and then. You have to be able to read and make musical sense of what is in front of you. In an educational setting, I feel recordings are best used to give a good overall sense of the piece. I listened to Myron Bloom play Strauss 1 many times before I ever got a copy of the concerto - but when I did, and followed the score while listening, my understanding of the piece deepened immensely. I personally feel that the ability to hear a score just by looking at it is critical, and it is a skill I still work on after 30 years. Once a student has heard the piece enough to know how it all hangs together, they should work on it on their instrument, with guidance, and form their own interpretations as they play. That is one thing that makes each and every player just slightly different - what is easy for you to express may be much more difficult for me, so I play it somewhat differently. As in most things these days, going too far in any one direction is not sound [pun noticed and left in]. Paxmaha Wendell Rider [EMAIL PROTECTED] wrote: I've lived my whole life in the age of recordings so I don't know what was going on before that. I imagine serious students made every effort to hear great players. It is important to have something to aspire to. I almost wore out my Brain recordings of the Mozarts and Strauss when i was a kid (I still have them!). On the other hand, I have been in substitute teaching situations where i ran across kids who seemed lost without a CD to listen to. In one school, the teacher had never taught the kids to really read music. They learned everything by rote. Many were amazed, after they got over their anger, that we were able to work out a piece (this is a band) without the CD. They also felt proud to have accomplished it. I like my students to have recordings of pieces. I also like to know which recordings they have if not the ones I recommend. It can be fun to discuss the different musical style choices and the differences in tone. 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 - Yahoo! Sports Rekindle the Rivalries. Sign up for Fantasy Football ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Coins as lever extensions, now HR
In a message dated 6/22/2005 12:13:23 PM Eastern Standard Time, [EMAIL PROTECTED] writes: That makes me wonder -- do tuba players ever use USA quarters as touch-pieces on the valve-levers of rotary-valve tubas? If so, I know why. But if not, why not? Yes, they certainly do, especially on the fourth valve lever. Some horn players use them on the thumb lever as an extension, as well. Usually they have to be bent before soldering for ergonomic reasons. Horn players prefer, about 2 to 1, to use Liberty Head dimes when soldering on coin extensions. It's almost de riguer to use dimes coined in the year of manufacture of your instrument, if available. Canadian sailboat dimes are very popular, as well. I prefer concave finger buttons, such as those used on Lawson horns, for the very positive feeling you get when you touch them. Dave Weiner Brass Arts Unlimited, Inc. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Horn Digest, Vol 30, Issue 22
from: Larry Jellison [EMAIL PROTECTED] subject: [Hornlist] Developing the Horn Sound How does one develop a mature horn sound? Actually, this applies to all wind instrumentalists. Does the development of a good mature tone on an instrument come about by the performer merely understanding and mentally conceiving the good sound, or is there more to it? Of course, I could not pick up an instrument that I have no experience playing, such as a clarinet, and immediately produce a mature sound. However, there are horn players that have been playing for years that still haven't developed a mature sound; for these players is it because they don't hear or conceive or perhaps don't think they can produce a mature sound? This is somewhat academic. Yet, it is important. If you had a student that had technical expertise but no beautiful tone, how would you get him to develop a beautiful tone? Tone and tone variations are part of musical artistic expression, so tone is an integral part of musical expression and this is the context of my question-- good tone, but tone integrated with and part of musical expression. Larry Hi This is a very good topic. Very timely. When I have a student who comes to me with a bad sound, I usually start by discussing sound concepts a little and then we work together to agree on what might be a better sound. I do this by demonstration of good and bad sounds (at different dynamics) and i have them try to do the same. I think students need real feedback from good teachers on what makes up a good sound. Recordings are great, but if the student has a problem with sound quality, they may never notice the difference or just reconcile themselves to whatever tone they get. This is made worse nowadays by band directors who just want to hear something, often times just loud, and maybe they don't have the time or expertise to work this out with the student. At Tuscaloosa I was doing some of the free teaching hours there and one of the students was really good except that her sound was very pinched and forced. There was really nothing else to criticize, so I bit the bullet and asked her, after apologizing in advance for how it might make her feel, if she was in love with her sound. This is delicate territory, but I thought this would be the best thing I could help her with in the time allowed. Fortunately for me, she admitted that maybe she would like to work on the sound. So I had her do a couple of breathing things and think about relaxing her upper lip a bit and wow, she sounded just great almost right away. This actually happened a couple more times during those 15 quick lessons. One really needs to work with the student to agree on what might be a better sound and BE PREPARED TO TELL THEM HOW TO GET THERE. Usually its just a matter of less tension and more and better air support. For soft tone you need to get them to play better at louder dynamics and then miniaturize that free sound. Get the student to really listen to what is coming out of their bell. I know this seems obvious, but you have to start somewhere. Once they are listening for the quality you have agreed upon things move along pretty well. More later, 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
[Hornlist] Sound
As far as I'm concerned, you can play horn and soudn like an oboe, but if you do it well, no one is going to argue with you. Aleks Ozolins NYC No one? I don't think so. How will you ever know if you couldn't have gone farther, gotten more jobs (if that is your bottom line), if you had a better sound. Sound is part of the totality of our playing. How expressive can you be if people don't enjoy listening to you. Sadly, there is less concern for good sound these days than ever before- especially in this country. Technique is king right now. Hey, the whole reason for the horn's existence is its sound. You can play the same range on a trombone. Cheers, 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] Coins as lever extensions, now HR
In a message dated 6/22/2005 4:15:16 P.M. Central Daylight Time, [EMAIL PROTECTED] writes: That makes me wonder -- do tuba players ever use USA quarters as touch-pieces on the valve-levers of rotary-valve tubas? If so, I know why. But if not, why not? Most tuba players don`t have four quarters to their name! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Sound and rant
Hans wrote: But today, we have started to pervert the horn to a just technical instrument without any specific character, when we just hunt for the faster, louder higher, neglecting tone quality. This is so true. As much as I have noted with pride that more and more pieces are being written for the horn, most of them are eminently forgettable and lack much emotional content. Its a sign of the times. Our societies are the same way. No one wants to be so uncool as to make a personal statement of emotion. At the Tuscaloosa workshop, the trend continued with more new works, mostly mediocre at best, that were played with great technical aplomb by the finest players of our time. Emotional satisfaction level- 2 on a scale of ten. Exceptions that I heard: Chris Watkins playing a piece for horn and organ from the loft- fantastic personal statement. Frank Lloyd playing the Britten Serenade- just plain beautiful. (I didn't hear all the concerts because I was busy exhibiting during the daytime hours) I mention emotional content because I really believe that that is what music can bring into our lives better than just about anything. It is unfortunate that since before the middle of the last century, that classical music turned away from the romantic ideal and embraced the intellectual/emotional emptiness of the times. Or if that is too strong a statement then at least we at least have to wonder how many atonal or minor keyed moments we can endure before we can hear something that actually makes us happy or uplifts us in some way. The too cool to be happy syndrome. The ancient Greeks had this all figured out a long time ago. Now we live in the age of The Cult of the Bottom Line. Everything is analyzed and projected, stripped of subjective content (except our TV news stations) and put through the filters of political correctness. We don't say someone has a less than enjoyable sound because that is their sound. We marvel though at technical gymnastics and accuracy because that is quantifiable. If something is quantifiable it is good because then you can jump in with your judgments without fear of contradiction. This is how conductors and managers operate. I think my next book will be called The Cult of the Bottom Line because that is what we have done to our culture. Whether its politics, sports, sex, education, medicine, business (of course), or horn playing (any instrument for that matter), its all about the bottom line. I'm glad I got to play in more romantic times. Cheers, 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] John Williams Concerto
It's a five movement piece that features all the horn has to offer. Each movement portrays the horn differently, as it was Williams' intention to show how versatile it is. Anyone looking for Star Wars/ET/Raiders/Schindler's List-type melodies will be disappointed. He writes the movie music for 8-year olds (quoth Clevenger). At some points, the solo horn is more of an obligatto part, accompanying the orchestra. If that's what you meant by making the Gliere concerto look like La Basque (showcase for solo hornist with a bunch of people playing along on stage), I can sort of see what you mean. I didn't leave the concert humming any melodies, but I did feel the moods portrayed, and the cadenza hadn't been written as of then. John Baumgart - Original Message - From: Paul Mansur [EMAIL PROTECTED] To: The Horn List horn@music.memphis.edu Sent: Tuesday, June 21, 2005 7:16 PM Subject: Re: [Hornlist] John Williams Concerto I'm a little curious, also. Does it have any spots in it that are low, slow, melodic, and delicate that require awesome control and amazing precision to gently pull a heart-string or two? Is there a melody in it that you can't get out of your head? CORdially, Paul Mansur On Tuesday, June 21, 2005, at 07:40 PM, Nicholas Hartman Hartman wrote: I was at the BSO concert with James Sommerville playing the concerto. From the sound, it's high, fast, and hard. It's a fantastic piece, though it makes the Gliere concerto look like La Basque. The cool thing is that it features the other horns a lot as well, not just the soloist, though I think it is supposed to have a piano reduction as well. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Rank Amateurs Playing Horn
In a message dated 6/22/05 4:47:08 PM Eastern Daylight Time, [EMAIL PROTECTED] writes: http://members.cox.net/acole2/RoyAlan.jpg Nice picture, Alan . They may be amateurs but they are serious amateurs. Walter Lawson ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Sound and rant
Maybe this is why many players, myself included, reach new levels of satisfaction, substance and beauty when they become church musicians. The worship experience brings out a feeling of connection not only with God, but also with the other musicians, the worship leaders, and the congregation. I remember being greatly touched when a member of our faith community that I did not know well at the time came up to me after services one day (when I had NOT played horn in the service, incidentally) and said, I heard a Beethoven Symphony that I know pretty well on the radio the other day and noticed the french horns in the work for the first time, and I thought of you. Mr. Rider and Professor Pizka, thanks for (again) giving me some food for thought. Jennie Hans wrote: But today, we have started to pervert the horn to a just technical instrument without any specific character, when we just hunt for the faster, louder higher, neglecting tone quality. This is so true. As much as I have noted with pride that more and more pieces are being written for the horn, most of them are eminently forgettable and lack much emotional content. Its a sign of the times. Our societies are the same way. No one wants to be so uncool as to make a personal statement of emotion. At the Tuscaloosa workshop, the trend continued with more new works, mostly mediocre at best, that were played with great technical aplomb by the finest players of our time. Emotional satisfaction level- 2 on a scale of ten. Exceptions that I heard: Chris Watkins playing a piece for horn and organ from the loft- fantastic personal statement. Frank Lloyd playing the Britten Serenade- just plain beautiful. (I didn't hear all the concerts because I was busy exhibiting during the daytime hours) I mention emotional content because I really believe that that is what music can bring into our lives better than just about anything. It is unfortunate that since before the middle of the last century, that classical music turned away from the romantic ideal and embraced the intellectual/emotional emptiness of the times. Or if that is too strong a statement then at least we at least have to wonder how many atonal or minor keyed moments we can endure before we can hear something that actually makes us happy or uplifts us in some way. The too cool to be happy syndrome. The ancient Greeks had this all figured out a long time ago. Now we live in the age of The Cult of the Bottom Line. Everything is analyzed and projected, stripped of subjective content (except our TV news stations) and put through the filters of political correctness. We don't say someone has a less than enjoyable sound because that is their sound. We marvel though at technical gymnastics and accuracy because that is quantifiable. If something is quantifiable it is good because then you can jump in with your judgments without fear of contradiction. This is how conductors and managers operate. I think my next book will be called The Cult of the Bottom Line because that is what we have done to our culture. Whether its politics, sports, sex, education, medicine, business (of course), or horn playing (any instrument for that matter), its all about the bottom line. I'm glad I got to play in more romantic times. Cheers, 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/jennie_ficks%40hotmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
