RE: [Hornlist] Handicap Question
There are right handed horns. There are horn players who are accepted into their sections as right handed horn players. However, to what degree this may be accepted in your locale certainly depends upon the open mindedness of the section members. A challenge, no doubt about it. Sincere good wishes, Debbie Wenger From: "Joshua Cheuvront" <[EMAIL PROTECTED]> Reply-To: The Horn List To: horn@music.memphis.edu Subject: [Hornlist] Handicap Question Date: Tue, 11 Oct 2005 23:35:00 -0400 Hi All, I think we've touched on this subject before, but I don't remember specifically what people had to say. Since it's been a while, and there are new people on the list, I figure it can't hurt to bring this up again. Here's the problem: I just received a call from the parent of a 15 year old who saw my ad on hornplayer.net. She's interested in having her daughter study French Horn with me, as both of her siblings play a musical instrument and she wants her to have the same opportunity. The problem is, her daughter does not have a left hand. She said that a friend of hers who is a "chamber musician" suggested that maybe the French Horn would be a good instrument for her to learn because "you don't need both hands to play one." I told her I would do some research and get back to her within a few days. I also asked her if the girl was dead set on playing the horn. Her reply was that they just wanted to find some sort of musical instrument for her to play, preferably with others. For those of you who've dealt with this situation before: how did/do you respond. I'm especially interested in hearing from our list members who have handicaps of their own or know someone who does. Cordially, Josh Cheuvront ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/vtagirl%40hotmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] (no subject)
Sometimes it is difficult to explain things. Sealing the lips to the rim means to attach the lips to the rim of the mouthpiece in a way, that no air can escape sidewards. - Sorry, getting harsh joking now. If it does not work, use instant glue, perhaps. - Can you explain the colors to a color blind or the sensations of a Bruckner or Mahler symphony to a stone deaf ? Using common sense & ones own physical experiments would explain a lot of things. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Wednesday, October 12, 2005 4:35 AM To: horn@music.memphis.edu Subject: [Hornlist] (no subject) What do you mean by sealing your corners to the rim of the mouthpiece? This statement is confusing me. Do mean to seal your lips to the mouthpiece? Please explain. ___ 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] Mozart's Starling - Somewhat HR
Richard, thank you very much for this superb link. This is really something for the connoisseur Excellent. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Richard V. West Sent: Tuesday, October 11, 2005 11:15 PM To: The Horn List; [EMAIL PROTECTED] Subject: [Hornlist] Mozart's Starling - Somewhat HR Hornlisters: For all you who have performed and/or enjoyed Mozart's "Ein Musikalischer Spass" (A Musical Joke), K. 522, I send along this URL for an article written by two ornithologists that throws an entirely new light on the piece! It's enough to make you chirp! http://www.starlingtalk.com/mozart1.htm Pardon the double posting. Richard West Seattle ___ 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] Handicap Question
In a message dated 10/11/2005 11:35:26 PM Eastern Standard Time, [EMAIL PROTECTED] writes: I just received a call from the parent of a 15 year old who saw my ad on hornplayer.net. She's interested in having her daughter study French Horn with me, as both of her siblings play a musical instrument and she wants her to have the same opportunity. The problem is, her daughter does not have a left hand. She said that a friend of hers who is a "chamber musician" suggested that maybe the French Horn would be a good instrument for her to learn because "you don't need both hands to play one." I told her I would do some research and get back to her within a few days. I also asked her if the girl was dead set on playing the horn. Her reply was that they just wanted to find some sort of musical instrument for her to play, preferably with others. If she is missing her left hand, I would think that the horn would be about the worst choice of brass instrument. Cornet or trumpet would be ideal, since they are fingered with the right hand and are light enough to be played one-handed. Emory Waters ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] (no subject)
What do you mean by sealing your corners to the rim of the mouthpiece? This statement is confusing me. Do mean to seal your lips to the mouthpiece? Please explain. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Handicap Question
Hi All, I think we've touched on this subject before, but I don't remember specifically what people had to say. Since it's been a while, and there are new people on the list, I figure it can't hurt to bring this up again. Here's the problem: I just received a call from the parent of a 15 year old who saw my ad on hornplayer.net. She's interested in having her daughter study French Horn with me, as both of her siblings play a musical instrument and she wants her to have the same opportunity. The problem is, her daughter does not have a left hand. She said that a friend of hers who is a "chamber musician" suggested that maybe the French Horn would be a good instrument for her to learn because "you don't need both hands to play one." I told her I would do some research and get back to her within a few days. I also asked her if the girl was dead set on playing the horn. Her reply was that they just wanted to find some sort of musical instrument for her to play, preferably with others. For those of you who've dealt with this situation before: how did/do you respond. I'm especially interested in hearing from our list members who have handicaps of their own or know someone who does. Cordially, Josh Cheuvront ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] disrespect in the section
Hehe, I was waiting for someone to ask me why I haven't mentioned the applied professor... We have adjunct faculty and it so happens that there are only two of us studying horn and both with different teachers. I think in this instance, it is necessary to talk to the conductor and after reading an article online by Doug Yeo, sent to me via email from John Schreckengost, I think that pretty much sums it up. In case anyone else hasn't seen this article: http://www.yeodoug.com/resources/faq/faq_text/etiquette.html ~Mara ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Disrespect in the section
Correct and professional deportment in an ensemble is paramount in any serious music student's training. Even in the professional world, even though a person may be a good player, if the winner turns out to be a consumate jerk, more than likely that person will be fired. This is why most orchestras use some sort of probationary period. Mostly, this is used to find out if the winner can musically rise to the daily challenge. However, an established section does not want to have someone that has a real know-it-all attitude. When professional sections are hired, it is not unreasonable to have sections stay intact from 10, 20, or more years. It is curious that there is no mention of the Applied Professor in these posts. Have you let your teacher know about this? Bad attitudes are like a cancer. They grow, fester, and eventually eat away at the individuals, sections, and musical organization. Personally, if I knew this was happening I would sit down with the section and discuss matters. After that, I would talk to the individual in the strongest terms. If the problem wasn't solved, I would insist that the problem student transfer. Sincerely, Eldon Matlick Dr. Eldon Matlick, Horn Professor, University of Oklahoma Principal Hornist, OK City Philharmonic 500 W Boyd Norman, OK 73019 (405) 325-4093 off. (405) 325-7574 fax Conn-Selmer Educational Artist http://ouhorns.com __ Start your day with Yahoo! - Make it your home page! http://www.yahoo.com/r/hs ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart's Starling - Somewhat HR
Hornlisters: For all you who have performed and/or enjoyed Mozart's "Ein Musikalischer Spass" (A Musical Joke), K. 522, I send along this URL for an article written by two ornithologists that throws an entirely new light on the piece! It's enough to make you chirp! http://www.starlingtalk.com/mozart1.htm Pardon the double posting. Richard West Seattle ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Ancora
You mean like this one. (see attachment) The conductor I'm playing for tonite just had an identical instrument refurbished by the same tech who's doing my wife's Couesnon Bb valve T'bone. Cute instrument! The Couesnon should be ready tonite (the tech is in the band). Paul - Original Message - From: "Leonard Brown" <[EMAIL PROTECTED]> To: "horn list memphis" Cc: <[EMAIL PROTECTED]> Sent: Tuesday, October 11, 2005 2:41 PM Subject: [Hornlist] Ancora > subject: Re: [Hornlist] Ancora? a little off topic > > >I just bought an instrument marked "Ancora Gran Prix Paris" . Can any of > >you that have "the book" tell me anything about the dates on this company? > > > >Over the brand is a Anchor. Does "Ancora"= Anchor in English? > > > >Nope it isn't a horn. > > What is it? An anchor? You are right, "Anchor"=Ancora in Italian > (with accent on the first syllabe). > > Daniel > > I bought a Eb alto valve trombone. > > LLB > ___ > post: horn@music.memphis.edu > unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/lotp%40comcast.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Ancora
subject: Re: [Hornlist] Ancora? a little off topic >I just bought an instrument marked "Ancora Gran Prix Paris" . Can any of >you that have "the book" tell me anything about the dates on this company? > >Over the brand is a Anchor. Does "Ancora"= Anchor in English? > >Nope it isn't a horn. What is it? An anchor? You are right, "Anchor"=Ancora in Italian (with accent on the first syllabe). Daniel I bought a Eb alto valve trombone. LLB ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Anticipating the Beat
Message text written by The Horn List >Well, you should agree with other sections on which zigzag of the conductors beat all should release their sound. If you play after the beat (as trombones do too often !), you will be late.< Dear All Reminds me of a rehearsal many years ago where the conductor (no names, no pack drill) told the TROMBONES that they were late. The Bass trombonist (who lives very near to me - we were gigging together last week) who has a very strong Yorkshire accent which he likes to exaggerate jumped up and called out "I can't follow t' b.y windmill" and sat down again. Or what about the first horn who once told another conductor (but in a rehearsal of the same orchestra) "Stop waving your arms about like that - it is most off putting!" Mind you, we once had a guest conductor who CONDUCTED behind the beat and had a look of panic on his face if we tried to play later in order to keep in step with him. I never worked that one out (nor did anyone else). Cheers Paul A. Kampen (W. Yorks UK) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Glinka Question - "Life for the Czar"
Dear All This reminds me of Otto Klemperer who was once conducting in Russia - Beethoven's Eroica Symphony. He found out that the orchestra did not know it and exclaimed - "you all belong in a museum!" The first flute stood up and said - "Dr Klemperer, do you know Glinka's opera 'Life for the Czar?" Puzzled, Klemperer retorted that he did not. "Then", said the flute player, "you belong in the same museum!" (Source of this story - Gareth Morris - 1st flute of the Philharmonia orchestra in dozens of Klemperer recordings from the 60s and early 70s). Cheers Paul A. Kampen (W. Yorks UK) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] OT: Notation of various transposing brass instruments now and then
Dan Phillips schreef: On Oct 11, 2005, at 7:25 AM, Michiel van der Linden wrote: I'm always fighting this myth on Tubenet, so I'll continue my crusade here. ;) Tuba parts are NOT always concert pitch. Here in N.W. Europe *transposing* bass clef tuba parts are the norm, at least in band music and most amateur level literature. Interesting! What key(s) are they in? Bb? Eb? F? The British brass band custom of writing them in treble clef Eb or Bb is to allow players to switch among any valve brass without learning new clefs or fingerings. Are BBb tubas the norm in bands there? Dan ___ Most arrangements have seperate BBb and Eb parts. The BBb's tend to stay in the basement, and the Eb's do the more virtuoso stuff. Most bands won't be happy unless they have both kinds since the parts can be quite different. The Bb parts are mostly notated as transposing bass clef, sounding a ninth lower, although treble clef occurs as well sometimes. The transposed bass clef makes sort of sense because that way most of the part stays on the staff, and in large bands which have the luxury of double basses, these play from the same part, transposing or with their strings tuned down a major 2nd. The Eb parts are mostly treble clef I think, but I'll have a look next time we rehearse to make sure ;) Michiel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Leaks and Low Range
On Oct 10, 2005, at 7:27 PM, [EMAIL PROTECTED] wrote: from: [EMAIL PROTECTED] subject: [Hornlist] Leaks and Low Range Hi list, I was in a horn class this past Saturday and my teacher's substitute noticed that I had leaks in my embouchure. I always thought something was weird because every time I tried to play in the low range, I would hear a funny noise. I have been trying to develop my low range but I know this leak situation is a problem. I believe this is the reason why I haven't really obtained anything close to an average sound and air capacity to control or even play notes in this range. Because of these leaks I can't play anything below an F below middle C. What should I do to solve this problem? Would more air also help in the low range? Your Hornliness James Hey James, You have received some good advice so far about your problem but I think the problem may be a bit deeper as you describe it. My concern is that your embouchure may not be set up correctly to begin with. Usually, if the embouchure setting is good, you will not encounter leaks of the magnitude you describe and you would be able to play down lower than you say without much trouble. My first question would always be, where are you setting your mouthpiece? Set the outside edge of the mouthpiece just above the muscle line where your lip meets the face. Do not go onto the facial skin below the lips with your mouthpiece. Close your mouth to a normal position and let the mouthpiece fall onto your lips without moving anything- especially, do not open you mouth at all while you do this. Let the upper lip just go into the mouthpiece as far as it will without moving it. This is a good starting point. Make sure the lips are lined up by bringing the jaw out a bit. Keep equal pressure on both lips against the teeth. Keeping the corners together is important and maintaining a flat chin in the lower register is just as important as doing it up high. Its just a matter of degree of tension. Think of having a rubber band suspended between your thumb and another finger. You can strum the rubber band and create different pitches by moving your fingers apart but if you lose the tension, the rubber band will not vibrate and will fall off your fingers. This is the same as your lips. Let your upper lip relax much more than your lower lip as you go lower. Think rounder as you go lower. Don't let your lower lip float away from your teeth or roll it out. Moving the jaw down a bit as you go lower is also good. As for the air, I would say that most of the people I have worked with could use help with their breathing. Most people do not take in enough air. In the lower register you have the need for a lot of air flow without a lot of air pressure. This means that these low notes will really suck the air right out of you. You need to learn to supply the air without using more than you need to. Big breaths. I don't have the time or space to continue this now but feel free to go to my website below and click on the link for my book. That will take you to a page where you can look at samples from the book. Click on the embouchure one and check it out. Feel free to download and print any of the excerpts. Also feel free to contact me privately if you like. If you could send me a close-up picture of you playing a low note, or any other notes, it would be helpful. Sincerely, Wendell Rider For information about my book, "Real World Horn Playing" and the summer seminar, go to my website: www.wendellworld.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Thema und Variationen, Franz Strauss
Thank you Hans. I suspected that f1 to bb1 was the correct one and was looking for something close to the source which you have provided. Loren \@() [EMAIL PROTECTED] (520) 403-6897 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Hans Sent: Monday, October 10, 2005 10:42 PM To: [EMAIL PROTECTED]; 'The Horn List' Subject: RE: [Hornlist] Thema und Variationen, Franz Strauss Slur f1 to bb1 is correct according to all sources I have. Main source : publication by Zimmermann / Frankfurt 1957 - they had access to the original. It is the first publication. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Loren Mayhew Sent: Monday, October 10, 2005 9:46 PM To: 'The Horn List' Subject: [Hornlist] Thema und Variationen, Franz Strauss I have two publishings of the subject pieceone modern German and one Soviet. There are several difference, all of which Ive been able to resolve except one. I am hoping someone on the list knows which is correct. The pickup to the 4th bar before the end of the 2nd repeat in Variation II is f slurring up to b-flat in the German version; in the Soviet version, f slurs up to d. I suspect the f to b-flat slur (the German version) is what Franz probably intended because it is a repeat of the beginning of the Variation II, but the f to d slur (Soviet version) is also plausible musically. Can anyone state with authority which is correct? Loren Mayhew \@() [EMAIL PROTECTED] (520) 403-6897 ___ 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/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] Leaks and Low Range
James wrote: Hi list, I was in a horn class this past Saturday and my teacher's substitute noticed that I had leaks in my embouchure. I always thought something was weird because every time I tried to play in the low range, I would hear a funny noise. I have been trying to develop my low range but I know this leak situation is a problem. I believe this is the reason why I haven't really obtained anything close to an average sound and air capacity to control or even play notes in this range. Because of these leaks I can't play anything below an F below middle C. What should I do to solve this problem? Would more air also help in the low range? When I was finding my low register, I learned that the biggest problem is you cannot relax the corners. There is a certain amount of tension which must still be present in the lips, but the corners must be tight tight tight. Randy Gardner also mentions this in his book "Mastering the Horn's Low Register," which is an excellent tutorial on developing this area of horn playing. Check with Ken Pope (poperepair.com), Bob Osmun (osmun.com), and BrassArts (http://www.brassarts.com/) for copies. Great low horn players are hard to find. Master this register and you will soon be very popular. Margaret Margaret Dikel JCCSO Librarian / Horn / Webmaster 11218 Ashley Drive, Rockville MD 20852 301-881-0122 [EMAIL PROTECTED] www.jccso.org ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] OT: Notation of various transposing brass instruments now and then
On Oct 11, 2005, at 7:25 AM, Michiel van der Linden wrote: I'm always fighting this myth on Tubenet, so I'll continue my crusade here. ;) Tuba parts are NOT always concert pitch. Here in N.W. Europe *transposing* bass clef tuba parts are the norm, at least in band music and most amateur level literature. Interesting! What key(s) are they in? Bb? Eb? F? The British brass band custom of writing them in treble clef Eb or Bb is to allow players to switch among any valve brass without learning new clefs or fingerings. Are BBb tubas the norm in bands there? Dan ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] OT: Notation of various transposing brass instruments now and then
Paul Mansur schreef: In brief, only the treble clef is used for transposed parts. Bass clef instruments, including Eb tubas, CC tubas, and BBb tubas all read at actual pitch, and always have to the best of my knowledge of orchestration. Transposed tuba parts were popular when the town band was in its hey day. Played and fingered just like a cornet in Bb. P Mansur I'm always fighting this myth on Tubenet, so I'll continue my crusade here. ;) Tuba parts are NOT always concert pitch. Here in N.W. Europe *transposing* bass clef tuba parts are the norm, at least in band music and most amateur level literature. On Monday, October 10, 2005, at 07:25 PM, Steve Freides wrote: . So why is this student trombone part written at concert pitch and not in B-flat? Is this a relatively new development in brass pedagogy, anything specific to the trombone, or perhaps to jazz/pop charts? I looked at the student's method book and it, too, is all in concert pitch. It's not a modern developement, it's ancient! Trombones were used extensively in the 17th century and before to reinforce choirs. So, they read the choir parts (i.e. concert pitch) and never had to enter the whole 18th/19th century madness of transposing brass notation when the rest of the brass family entered the orchestra. Michiel van der Linden Bruges, Belgium ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Glinka Question - "Life for the Czar"
Have not heard that Glinka ever used horns in B-alto or C-alto. Fire your conductor, if he is not capable to imagine how it would sound in alto or basso. This is his duty, not just swinging the command - Knueppel (= prick) === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Carl Bangs Sent: Tuesday, October 11, 2005 5:54 AM To: The Horn List Subject: [Hornlist] Glinka Question - "Life for the Czar" Are the B-flat and C horn parts (Horns 1 and 2, Overture) alto or basso? The conductor hasn't a clue and I don't have the score. Carl Bangs ___ 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] Re: Thema und Variationen, Franz Strauss
Sorry: Zimmermann not Simmermann But I had mailed that before. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Max Bygrave Sent: Tuesday, October 11, 2005 11:53 AM To: horn@music.memphis.edu Subject: [Hornlist] Re: Thema und Variationen, Franz Strauss My copy is dated 1957 Musikverlag Wilhelm Simmermann "f to Bb" in the spot you mention. That seems the logical choice. Best Wishes Max [EMAIL PROTECTED] ___ 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] Ancora? a little off topic
I just bought an instrument marked "Ancora Gran Prix Paris" . Can any of you that have "the book" tell me anything about the dates on this company? Over the brand is a Anchor. Does "Ancora"= Anchor in English? Nope it isn't a horn. What is it? An anchor? You are right, "Anchor"=Ancora in Italian (with accent on the first syllabe). Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Thema und Variationen, Franz Strauss
My copy is dated 1957 Musikverlag Wilhelm Simmermann "f to Bb" in the spot you mention. That seems the logical choice. Best Wishes Max [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Glinka Question - "Life for the Czar"
Are the B-flat and C horn parts (Horns 1 and 2, Overture) alto or basso? The conductor hasn't a clue and I don't have the score. Carl Bangs ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
