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 horn@music.memphis.edu 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] Handicap Question
You should suggest that the student learn to play the Euphonium. The horn does take two hands to play well. The Euphonium is the only brass instrument that you can play with only a right hand. We had a student in our county who was missing a left hand due to a birth defect. She developed into a very good Euphonium player. CORdially, Luke Zyla Joshua Cheuvront wrote: 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/lzyla%40charter.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Handicap Question
The only problem with trumpet is that you need a left hand to manipulate the first and third valve slides. Sure, you can get through the beginning stages without a left hand, but the player would be handicapped in the more advanced stages. A four valve euphonium is perfect. CORdially, Luke Zyla [EMAIL PROTECTED] wrote: 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/lzyla%40charter.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Verdi Requiem
I've never played these part or heard them in Alto, only in Basso. Simon -- Original Message -- Date: Wed, 12 Oct 2005 15:15:32 +0200 From: Daniel Canarutto [EMAIL PROTECTED] To: horn@music.memphis.edu Subject: [Hornlist] Verdi Requiem Reply-To: The Horn List horn@music.memphis.edu Horns III IV in Verdi Requiem have Nr.1 written for horn in A, and Nr.3 written for horn in Ab. I'm pretty sure that these are A basso and Ab basso, but I'd appreciate an authoritative confirmation since the conductor (a fine singer and choir master) says she does not really know. These parts are fairly chromatic at places, and I wonder why they were not all written for horn in F, since when Verdi wrote this work the valved F horn should have been the standard instrument... am I wrong? By the way, if anybody is planning to be in Florence on october 23, you can find the play-bill at http://poincare.dma.unifi.it/~canarutto/23ottobre05/ Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/amade%40lineone.net Regards, Simon ___ Unlimited Tiscali Broadband from 14.99! http://www.tiscali.co.uk/products/broadband/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Kruspe and Geyer Wraps
Hello, I know that this topic comes up every now and then, but I hope you'll bear with me. What are the supposed advantages/disadvantages of Kruspe-style and Geyer-style wraps? Thanks in advanced! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] free horn music
For anyone interested: The Kongelige Bibliotek in Copenhagen has been putting a number of their musical treasures--in print and in manuscript--on their web site for free download. One section is devoted to foreign chamber and orchestral music in print. Here you can find: Johann Amon 3 Quartets, op.20 and 3 Quartets, op.109 for horn and strings; and Dauprat 3 Quintets, op.6 for horn and strings. There are also some other horn-related chamber pieces. Eric James Upgrade your account today for increased storage; mail forwarding or POP enabled e-mail with automatic virus scanning. Visit http://www.canada.com/email/premiumservices.html for more information. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Kruspe and Geyer Wraps
Ash Brown wrote I know that this topic comes up every now and then, but I hope you'll bear with me. What are the supposed advantages/disadvantages of Kruspe-style and Geyer-style wraps? Thanks in advanced! I suggest you look at the archives as this was discussed quite recently, perhaps a week or two ago. The consensus is that this is not a distinction worth being concerned about - a horn can be built in either wrap that is easy or hard to play, is in tune or out of tune, etc. -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Verdi Requiem
I do not know any piece by Verdi written for horn A-alto or Ab-alto. The requiem surely asks for A-basso Ab-basso. The conductors should know it from the score. It seems they cannot even imagine how a score should sound. Poor conductors, you have failed your profession. Is just money counting your business ? Verdi used the horns in different transpositions as did Wagner Strauss. Why ? The hornplayer like clean notation without many accidentals. Tonalty A would require 4# for the F-horn, so there are none if the horn part is in A. And these A- or Ab-basso parts run just simple chords, never runs etc., so it is easy to transpose these spots. In the Requiem there are not longer passages to play. As Daniel said, just no.1 no.3 are in these quite rare transpositions. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Daniel Canarutto Sent: Wednesday, October 12, 2005 2:16 PM To: horn@music.memphis.edu Subject: [Hornlist] Verdi Requiem Horns III IV in Verdi Requiem have Nr.1 written for horn in A, and Nr.3 written for horn in Ab. I'm pretty sure that these are A basso and Ab basso, but I'd appreciate an authoritative confirmation since the conductor (a fine singer and choir master) says she does not really know. These parts are fairly chromatic at places, and I wonder why they were not all written for horn in F, since when Verdi wrote this work the valved F horn should have been the standard instrument... am I wrong? By the way, if anybody is planning to be in Florence on october 23, you can find the play-bill at http://poincare.dma.unifi.it/~canarutto/23ottobre05/ Daniel ___ 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
There are also 3 valve compensating euphoniums. That is, when the 3rd valve is depressed, the air takes a trip through the compensating side of the 1st and 2nd valves. Herb Foster --- Luke Zyla [EMAIL PROTECTED] wrote: The only problem with trumpet is that you need a left hand to manipulate the first and third valve slides. Sure, you can get through the beginning stages without a left hand, but the player would be handicapped in the more advanced stages. A four valve euphonium is perfect. CORdially, Luke Zyla [EMAIL PROTECTED] wrote: 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/lzyla%40charter.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/herb_foster%40yahoo.com __ Yahoo! Mail - PC Magazine Editors' Choice 2005 http://mail.yahoo.com ___ 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
I think Wendell would agree that the best thing is to see a good teacher. His placement advice works for most, but not all players. For example, if you have a very thin lower lip and short lower teeth, you'd wind up with the edge of the mouthpiece at the upper edge of the lower teeth. And air leaks. Herb Foster --- Wendell Rider [EMAIL PROTECTED] wrote: 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/herb_foster%40yahoo.com __ Yahoo! Mail - PC Magazine Editors' Choice 2005 http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Horn Digest, Vol 34, Issue 14
On Oct 12, 2005, at 10:00 AM, [EMAIL PROTECTED] wrote: message: 4 date: Wed, 12 Oct 2005 09:47:43 -0700 (PDT) from: Herbert Foster [EMAIL PROTECTED] subject: Re: [Hornlist] Leaks and Low Range I think Wendell would agree that the best thing is to see a good teacher. His placement advice works for most, but not all players. For example, if you have a very thin lower lip and short lower teeth, you'd wind up with the edge of the mouthpiece at the upper edge of the lower teeth. And air leaks. Herb Foster Yes Herb, I agree with what you say. There is no substitute for a good teacher as I have said many times on this forum. There are a few people who will need to adjust what I said. As Farkas told me once, When I wrote that 95% of players should do this or that, almost everyone who had problems would assume that they were in the other 5%. He was talking about the problems with writing books and the feedback he got at times from his readers and people who eventually came to see him. That's the problem with not being able to give personalized instruction and why we should always be careful of advice given over the internet. Thanks for reminding everyone of this risk. I am going to follow up with the original poster about this. 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
[Hornlist] Re: Horn Digest, Vol 34, Issue 14
from: Steve Freides [EMAIL PROTECTED] subject: RE: [Hornlist] Kruspe and Geyer Wraps Ash Brown wrote I know that this topic comes up every now and then, but I hope you'll bear with me. What are the supposed advantages/disadvantages of Kruspe-style and Geyer-style wraps? Thanks in advanced! I suggest you look at the archives as this was discussed quite recently, perhaps a week or two ago. The consensus is that this is not a distinction worth being concerned about - a horn can be built in either wrap that is easy or hard to play, is in tune or out of tune, etc. -S- I actually started my search there. I'm not looking into buying a new horn, I'm quite happy with the one I own. I am, however, doing a mini-research project, of sorts. I am having difficulty finding information about the specific wraps other than physical differences. I've seen mention that each wrap has its advantages and disadvantages, but I've not seen any mention on what these actually might be. Thank you again! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Horn Digest, Vol 34, Issue 14
They play different ... why not go play some horns that have a different wrap then your own? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] leaking air, etc.
I've had trouble with leaking air in the low regigister, which had significantly impaired my abilities in that register. Some very good advice has been given on this list, but I go for the experimentation method. You'd be surprised how smart your muscles can be without your conscious mind always getting in the way. Find the pitch with the least amount of this leaking air problem and start there. This is a method that people always tell me requires lots of patience, but it's the best method I've ever come across, and I've NEVER gotten bored with it. Play that pitch. Is there air leaking? Then play it again. Is there still air leaking? Play it again. Keep playing that pitch until there is no more air leakage. Keep in mind the words of my current horn teacher, Kendell Nielsen, We don't play things again, we play them better. When you finally have the tone the way you want it (leak free), move down a half step and repeat the process. If you REALLY want something for your mind to think about while your body's doing its job, concentrate on bringing the corners of your mouth in (in a similar manner as you might when whistling). This kind of process works for just about everything. I adapted it from some notes I read that a friend of mine took at a Thomas Bacon practicing workshop. Anyway, good luck. Heather Red Gordon ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] harmonic series
I'm taking a brass methods class, and we discuss the harmonic series as it applies to each brass instrument. Our horn players (reformed vocalists ^_^) were having some trouble with fingerings, so we went over the harmonic series on the horn when we ran into an interesting phenomenon. I'm a horn player and so is the instructor, but niether of us knew the answer to this question. On the Bb side of the horn, we run into an out of tune harmonic on the A, so we go to the harmonic above to find a fingering that's in tune. But we still use the A to find the fingering for the G below that. If pressing down a valve (in the correct order) only lowers the pitch by a half-step, why is the G generally in tune when the A is not? I hope that question makes sense. Heather Red Gordon ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] harmonic series
This must be a individual thing...when I used to play a Paxman descant, 1 3 was an improvement (it was less flat) compared to first valve only. Fred -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Dan Phillips Sent: Wednesday, October 12, 2005 2:50 PM To: The Horn List Subject: Re: [Hornlist] harmonic series On Oct 12, 2005, at 4:40 PM, Gordon, Heather wrote: I'm taking a brass methods class, and we discuss the harmonic series as it applies to each brass instrument. Our horn players (reformed vocalists ^_^) were having some trouble with fingerings, so we went over the harmonic series on the horn when we ran into an interesting phenomenon. I'm a horn player and so is the instructor, but niether of us knew the answer to this question. On the Bb side of the horn, we run into an out of tune harmonic on the A, so we go to the harmonic above to find a fingering that's in tune. But we still use the A to find the fingering for the G below that. If pressing down a valve (in the correct order) only lowers the pitch by a half-step, why is the G generally in tune when the A is not? I hope that question makes sense. If you're asking why the second line g is in tune when played 1st valve Bb horn, I'd say: listen more carefully ;-) It's also flat; the reason that's the fingering normally used on the Bb horn is that the alternative - 1-3 - is worse. Dan Dan Phillips Professor of Horn, University of Memphis webmaster: http://music.memphis.edu ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/fred.baucom%40ftb.ca.gov ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] re: harmonic series
Heather, Please clarify what fingering is used, and for which notes in the staff. I'm sure there is an understandable explanation to the situation, but I'm confused about the details. Jay Kosta Endwell NY amateur player ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] harmonic series
Hi, RED! The open A is a fifth harmonic and is naturally flat; and so is the G also a fifth harmonic with 1st valve on the Bb horn. I play a Bb single horn quite a bit and I lip the G up as necessary. The A with 1-2 is a sixth harmonic and well in tune. At times I use the open A when I'm playing a rapid passage or an arpeggio with A in it in order to be flexible with fingering and to facilitate speed. In the tempered scale it is about 14 cents flat, but it is in very good tune with the F below in a chord of the natural or Pythagorean scale. In a great horn section, whoever plays the third in a major chord will lower it be in this natural scale. I suggest you read the Temperament article in the Norton Grove Concise Encyclopedia of Music. CORdially, Mansur's Answers On Wednesday, October 12, 2005, at 05:40 PM, Gordon, Heather wrote: I'm taking a brass methods class, and we discuss the harmonic series as it applies to each brass instrument. Our horn players (reformed vocalists ^_^) were having some trouble with fingerings, so we went over the harmonic series on the horn when we ran into an interesting phenomenon. I'm a horn player and so is the instructor, but niether of us knew the answer to this question. On the Bb side of the horn, we run into an out of tune harmonic on the A, so we go to the harmonic above to find a fingering that's in tune. But we still use the A to find the fingering for the G below that. If pressing down a valve (in the correct order) only lowers the pitch by a half-step, why is the G generally in tune when the A is not? I hope that question makes sense. Heather Red Gordon ___ 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/archive%40jab.org
