Re: [Hornlist] Band music....
Well, I've found an arrangment of Shostakovich's 5th Symphony that stays pretty faithful in the band archives, so I will pretty much see if the other horn players in the band can handle the low notes, because I know that I can handle them. Does anyone know if the fourth or third horn part goes higher than an A? John Baumgart <[EMAIL PROTECTED]> wrote: We played someone's arrangement of Pines of Rome a while ago that must have been pretty darned faithful, then. 3rd horn part had 3.5 octave range from low F# to b2, if I recall correctly. Challenging piece, but loads of fun. John Baumgart - Original Message - From: "Trey Johnson" To: Sent: Friday, September 02, 2005 10:57 AM Subject: Re: [Hornlist] Band music > When doing (faithful) orchestral transcriptions I've run into some bass > clef, but you've gotta have a pretty darn good band (and band director) to > pull that kind of stuff off. > > > >From: Paul Mansur > >Reply-To: The Horn List > >To: The Horn List > >Subject: Re: [Hornlist] Band music > >Date: Fri, 2 Sep 2005 11:40:53 -0400 > > > >Dear fatty goat you, > >That depends -- when you get to playing standard symphonic band music such > >as the Holst Suites, Toccata Marziale, R. Vaughn Williams, Morton Gould and > >such top notch music you will have stuff for the horns only to play! When > >you play 6-way scored works you'll get the Eb line also played by Alto > >saxophones, which is the standard for way too much commercial trash cranked > >out for school bands. You might get some bass clef music. You will get > >bass clef when you get into orchestra music. Standard orchestra, that is. > > > >CORdially, Paul Mansur > > > >On Thursday, September 1, 2005, at 11:05 PM, Adam Heuston wrote: > > > >>Well, I am a high school student and I just have to wonder. Is there gonna > >>be any bass clef reading in high school band music? Or will there FINALLY > >>be a bit that the horn section and only the horn section plays? > >> > >> > >>- > >>Yahoo! Mail > >> Stay connected, organized, and protected. Take the tour > >>___ > >>post: horn@music.memphis.edu > >>unsubscribe or set options at > >>http://music2.memphis.edu/mailman/options/horn/p_mansur1%40comcast.net > >> > > > >___ > >post: horn@music.memphis.edu > >unsubscribe or set options at > >http://music2.memphis.edu/mailman/options/horn/treyinitalia%40hotmail.com > > _ > Don't just search. Find. Check out the new MSN Search! > http://search.msn.click-url.com/go/onm00200636ave/direct/01/ > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/baumgart%40chicagonet.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/fattygoatspwnyou%40yahoo.com - Click here to donate to the Hurricane Katrina relief effort. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Tuning pitch of "A"
Hans, Last time I checked, Boston Symphony tuned significantly higher than 440... Am I wrong? Anyone? Aleks Ozolins NYC - Original Message - From: "Hans" <[EMAIL PROTECTED]> To: "'The Horn List'" Sent: Sunday, September 04, 2005 5:03 PM Subject: RE: [Hornlist] Tuning pitch of "A" But even in the US most real professional orchestras tune higher than 440, except (as far as I know from listening live) Boston Symphony, thus the darker sound. Just listen to their recordings & compare with European Orchestras (Munich, Berlin, Vienna, Milano, Paris, London, Stockholm, Helsinki, Moscow) or Japan (NHK, NJPO). A=440 is obsolete in most areas of the world. It has become reality after the years. Travelling conductors contributed to that situation. They also contributed to the unbearable uniformity of the orchestras sound wise, with a few exceptions, the super class orchestras, who kept their character more or less struggling for it. Amateur & semi professional orchestras in the regions & their lower class conductors (I did not say inferior musicians) know often everything much better & stuck with the old tuning & the often dull sound. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Loren Sent: Sunday, September 04, 2005 6:08 PM To: 'The Horn List' Subject: RE: [Hornlist] Tuning pitch of "A" US Orchestras tune to 440. Many orchestras shift to 442 by the end of the concert though. Loren \@() [EMAIL PROTECTED] (520) 403-6897 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Jim Price Sent: Saturday, September 03, 2005 2:55 PM To: horn@music.memphis.edu Subject: [Hornlist] Tuning pitch of "A" Dear listers: I've been out of the mainstream of orchestral playing for several years and wonder whether orchestras in the U.S. still use A=440 or have they been shifting to A=442. Can anyone clue me in? James R. Price 2603 Fairmont Rd. Montgomery, AL 36111 334-281-2532 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/loren%40mayhe ws.us ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/aleksozolins%40hotmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Tuning pitch of "A"
But even in the US most real professional orchestras tune higher than 440, except (as far as I know from listening live) Boston Symphony, thus the darker sound. Just listen to their recordings & compare with European Orchestras (Munich, Berlin, Vienna, Milano, Paris, London, Stockholm, Helsinki, Moscow) or Japan (NHK, NJPO). A=440 is obsolete in most areas of the world. It has become reality after the years. Travelling conductors contributed to that situation. They also contributed to the unbearable uniformity of the orchestras sound wise, with a few exceptions, the super class orchestras, who kept their character more or less struggling for it. Amateur & semi professional orchestras in the regions & their lower class conductors (I did not say inferior musicians) know often everything much better & stuck with the old tuning & the often dull sound. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Loren Sent: Sunday, September 04, 2005 6:08 PM To: 'The Horn List' Subject: RE: [Hornlist] Tuning pitch of "A" US Orchestras tune to 440. Many orchestras shift to 442 by the end of the concert though. Loren \@() [EMAIL PROTECTED] (520) 403-6897 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Jim Price Sent: Saturday, September 03, 2005 2:55 PM To: horn@music.memphis.edu Subject: [Hornlist] Tuning pitch of "A" Dear listers: I've been out of the mainstream of orchestral playing for several years and wonder whether orchestras in the U.S. still use A=440 or have they been shifting to A=442. Can anyone clue me in? James R. Price 2603 Fairmont Rd. Montgomery, AL 36111 334-281-2532 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/loren%40mayhe ws.us ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Tuning pitch of "A"
In a message dated 9/4/2005 12:08:14 P.M. Central Daylight Time, [EMAIL PROTECTED] writes: US Orchestras tune to 440. Many orchestras shift to 442 by the end of the concert though. Mary Gingrich was complaining to me once that when ever her husband, Dan, played one of her horns he left all the slides pushed in, because the CSO tunes to A=446. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Tuning pitch of "A"
US Orchestras tune to 440. Many orchestras shift to 442 by the end of the concert though. Loren \@() [EMAIL PROTECTED] (520) 403-6897 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Jim Price Sent: Saturday, September 03, 2005 2:55 PM To: horn@music.memphis.edu Subject: [Hornlist] Tuning pitch of "A" Dear listers: I've been out of the mainstream of orchestral playing for several years and wonder whether orchestras in the U.S. still use A=440 or have they been shifting to A=442. Can anyone clue me in? James R. Price 2603 Fairmont Rd. Montgomery, AL 36111 334-281-2532 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/loren%40mayhews.us ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Rushing Headaches
Paulette, Paulette, As from your history, I do not doubt that you are a fine player, but perhaps not ready for the Short Call. We had a superb first horn, years ago (he is retired since long), who was principal in a famous orchestra in German Democratic Republic before the Berlin Wall. But he left his orchestra, ran away to the West & got the free principal position in my orchestra. But he had one single defect, just one: c3 was his absolute limit, nothing higher. He had to use a descant (triple was not available then) for anything going higher than c3. But a superb musician & colleague. It seems in your case, that you also have some limitations, which I do not know. Regarding the not won auditions, well, may-be your nerves are not strong enough to master the special stress, or simply, there was a better candidate than you. What can you do then ? Winning an audition is not only hard work, but also luck. One has to be the best fitting & best in shape at the right time and the right place. A fate, happen to many excellent players. I asked about your professional (full time) experience, because practising hard cannot be compared being exposed to orchestral stress permanently, physically & mentally. If one is exposed to that permanently, (being forced to do things even being exhausted), one is better prepared to extremes. To your problem: have you ever though about using a wider lip opening even in the higher region ? Have you tried to use an air stream more concentrated (more core than usual) ? And, as you got this bad sensation, aren´t you starting to cramp in your throat now, as you try to force or compensate things ? And (for the medic), did you get your frontal cavity checked if you tend to colds, perhaps ? This could be terribly bad effected by some high pressure from the mouth cavity. Also for the language: Most list members know, that my language (wording) is direct without courtesy sugar smear around, but the truth from nearly 50 years full time professional playing on first chair in big opera orchestras (I just changed my place twice to progress) playing a lot of Wagner & Strauss & also in symphony playing much Strauss & Bruckner (incl. Vienna Phil on principal position). It is not my business to intimidate other players, but to tell the truth, so they can benefit from my experience, if they like to get progress. And remember, it is far not important WHAT you play, but more HOW you play it. And the truth, we need more tutti (section) players than principals. It is not a shame, to sit on 2nd, 3rd or 4rth chair, never. Many players are "extremely knowledgeable of their craft and are in shape", but if "the hour of truth" arrives, a lot of their power, knowledge & shape is gone. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Paulette Velazquez Sent: Sunday, September 04, 2005 5:04 PM To: horn@music.memphis.edu Subject: [Hornlist] Rushing Headaches To address one point at a time, I do not believe having a position in a full time orchestra constitutes the only way a person can be in shape. Where I live I happen to know of many fine horn players that do not have full time jobs in an orchestra and are extremely knowledgeable of their craft and are in shape. They are professional horn players (musicians whose livelihood depends upon the money they make from playing their instrument) and I believe are where they are today because of the choices they have made. Me? I had a 2nd horn position in a full time orchestra, went to another full time orchestra as co principal and that orchestra folded. Since then, I have moved to my current residence and have chosen to work professionally in a variety of music settings; shows (not opera), recitals, part time professional orchestras and teaching, all of which amounts to full-time hours. That is all I do. I do not work elsewhere. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Rushing Headaches
To address one point at a time, I do not believe having a position in a full time orchestra constitutes the only way a person can be in shape. Where I live I happen to know of many fine horn players that do not have full time jobs in an orchestra and are extremely knowledgeable of their craft and are in shape. They are professional horn players (musicians whose livelihood depends upon the money they make from playing their instrument) and I believe are where they are today because of the choices they have made. Me? I had a 2nd horn position in a full time orchestra, went to another full time orchestra as co principal and that orchestra folded. Since then, I have moved to my current residence and have chosen to work professionally in a variety of music settings; shows (not opera), recitals, part time professional orchestras and teaching, all of which amounts to full-time hours. That is all I do. I do not work elsewhere. I consider myself lucky to be able to continue to work here as I do because of the abundance of fine horn players. Sure, I have taken auditions for full time jobs and have done well but not succeeded yet, but I am not a person to blame outside sources for that not happening. It just means I need to be humble enough to accept the results and get back to work and explore my own self even more. My goal like many on this list, (I am willing to bet) is to land that full time job. Mr. Pizka is correct. Most musicians work is done through exploring and studying alone. Next point. I do not ever presume to know everything. I have played this excerpt for many competent teachers and I never had the head rushes until say the last month or so. That is the reason for the post. I was hoping for insight, medically and musically. Tension seems to be the reason, so I must figure out what I am doing differently now. I think like most people, I will explore anything if I think it will help me do what I love even better. That is not making excuses, that is being creative. What works for one may not work for another and as far as I am concerned, the more CONSTRUCTIVE criticism the better because I can take what works and leave the rest behind. Next point. The internet and e-mail are most certainly wonderful things, but I think it has taken away the personal aspect of things. At times, people write things in a manner that they most likely wouldn¹t say in person to anyone. If they do speak that way to someone I am sure they have an established relationship with that person. I think this list is great! Anyone can blah, blah all they want. What is blah, blah to one many be great information to another, so I don¹t discount what anyone says. Paulette Velazquez ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Recital announcement
Hi, I'm playing a faculty trio recital for flute/piccolo, horn/natural horn and piano/harpsichord pm Saturday, September 17, 2005 at 7:30 in Duesenberg Recital Hall, Valparaiso Center for the Arts, Valparaiso University. If anyone in the area wants to come and needs directions, feel free to contact me at [EMAIL PROTECTED] Here's the program: Cynthia Fudala, flute & piccolo John Schreckengost, horn & natural horn Joseph Bognar, piano & harpsichord Georg Philipp Telemann Concerto a tre in F Major, TWV 42:F14 (1681-1767) Allegro moderato Loure Tempo di Menuet Johann Sebastian Bach Ei! Wie schmeckt der Coffee susse from Kaffeekantata, BWV 211 (1685-1750) (soprano part transcribed for horn by John Schreckengost) Meir Mindel Tamar (US premiere) (1945-) Con Anima Dolce Lamentabile; Mesto Intermission Louis Ganne Extase (arranged by Klaas Weelink) (1862-1923) Charles KoechlinDeux Nocturnes, Op. 32 bis (1867-1950) Venise Dans la Foret Eric Ewazen Ballade, Pastorale and Dance (1954-) I believe that this is probably the first performance of Tamar in the US. The work is published by Israel Music Institute as a result of receiving the Israel Music Institute Prize honoring Tamar as the outstanding new Israeli chamber composition of the 1988 Musican festival, but is readily available in the US. The work was written for a flute, horn & piano trio I helped found while living in Israel. I'm posting this on both the IHS horn list and the Yahoo list (I posted it on the new midwest list as well), and apologize for the multiple postings but thought it was important to get the word out to people that might attend since I believe it is a very interesting program. John Schreckengost Chicago, IL ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] OT- Giant Cabbage
Bill Gross was impressed by giant Cabbages in Alaska. It is good to see Cabbages thriving in the New World. Alas, giant cabbages are in decline in the Old World, where five brassica oleracae longata once were sufficient nourishment for 100 sheep. These are not so well known among horn players, but they are legendary to those of us who participate in the Walking Stick List. http://www.thisisjersey.com/code/showarticle.pl?ArticleID=000453 Gotta go, Cabbage ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] BBC Proms
I would guess it would have been the National Youth Orchestra from August 2002. Incidentally last night the BBC televised a live concert of the combined Julliard School/Royal Academy Of Music Orchestras until Sir Colin Davies playing Vaughn-Williams 6 & Berlioz Symphonie Fantastique - very interesting. Simon -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: 04 September 2005 12:30 To: horn@music.memphis.edu Subject: Re: [Hornlist] BBC Proms I totally agree. Britain has a great music system for young people. I can say that for certain since i myself am in that system. Incidentally, did anyone catch the name of the orchestra involved. Kev ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/amade%40lineone.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] BBC Proms
It was the 2002 Prom concert given by the National Youth Orchestra of Great Britain. The same orchestra is giving a concert at this year's Proms, on Tuesday August 6th under Tadaaki Otaka. Paul Patterson - Orchestra on Parade (London premiere) (4 mins) Tippett - Ritual Dances from "The Midsummer Marriage" (25 mins) Elgar - Symphony No.1 (53 mins) 7.30 pm UK time (GMT+0100 at present) You can listen to the concert live on the internet http://www.bbc.co.uk/radio3/ and for up to 7 days after on Listen Again. Yes, they make a good sound. They are among Britain's best school-age musicians (the age range is 13-19). In part their sound is gained from the size of the orchestra (about 150 usually). But also I know from experience that Simon Rattle has the ability to take an inexperienced orchestra and make them play far better than they knew they could. Regards Jonathan West ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Recent updates to hornplayer.net (4th September 2005)
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Re: [Hornlist] BBC Proms
I totally agree. Britain has a great music system for young people. I can say that for certain since i myself am in that system. Incidentally, did anyone catch the name of the orchestra involved. Kev ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re:Eternal Father by Claude Smith
Wow, I love playing 4th on this piece. I thank my college horn professor, Ralph Froelich, for taking the time to show us how wonderful the low register of the horn can be, and for teaching us how to play tenderly in that delicate range. - Original Message - From: "Nielsen Dalley" <[EMAIL PROTECTED]> To: Sent: Saturday, September 03, 2005 7:16 PM Subject: [Hornlist] Re:Eternal Father by Claude Smith You picked quite a piece to comment about bass clef writing in concert band music. The 4th horn part descends to pedal E Flat, Thats right, one line below the bass clef staff in modern bass clef notation. For compositions for horn quartet with band accompaniment, actually there are several. In addition to the Schumann and Hubler concertos arranged from orchestra to band, there are several original works. Many are lighthearted 'hunt' type melodies. But one or two are serious works. One that I have available is a 2002 work by J. Wilkins Concerto for 4 horns and band. Regards. Harriet & Nielsen Dalley ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/cbonner%40swfla.rr.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
