RE: [Hornlist] Fingerings
But the g1 solution is very simple: play this note on the F-side or the F-side extension (as had Dennis Brain others on their single Bb-horn). I do not understand, why so many refuse that having a double horn in hand -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Wendell Rider Sent: Thursday, October 13, 2005 10:13 PM To: horn@music.memphis.edu Subject: [Hornlist] Fingerings On Oct 13, 2005, at 10:00 AM, [EMAIL PROTECTED] wrote: from: Dan Phillips [EMAIL PROTECTED] subject: Re: [Hornlist] harmonic series On Oct 12, 2005, at 5:17 PM, Baucom.Fred wrote: 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. Sorry, I should have been clearer! You're absolutely right that 1-3 is (much) higher than 1. It's usually sharp on most horns I've played, as well as being a bit stuffy, plus it's an awkward fingering. Dan Any fingering utilizing more than one valve will always be sharp- unless that fingering is on a flat harmonic to begin with or unless you tune the valve slides down to make it in tune. This is just a fact of life with any brass instrument. (Of course then you run the risk of having the single valve notes being quite flat.) That is why the 1-3 fingering will sound higher, and even acceptable, on the second line g, which sits on the same flat harmonic that includes the a and g# above it using the 0 and 2 fingerings. This is the same flat harmonic on f horn which makes the e on the bottom line and its associated notes flat. (The C# just below the staff becomes pretty good using 1-2 for the same reason as before.) This is the reason one should avoid tuning to the bottom line e - everything else will be sharp if you tune that harmonic up by pushing in the f slide, the main slide or ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Fingerings
I do not either. In fact, the F side is very handy. I'm currently playing principle in La Traviata (lots of soft piano attacks above G in the usual B horn range) and knowing how to play the F side helps so much better. Especially to get a softer and more in tune sound on short pp C-Ab attacks (and even D and Db/C#) - especially when you have to play them over and over and over and over and over again ad nauseum. -William In a message dated 10/14/2005 1:44:46 A.M. Central Daylight Time, [EMAIL PROTECTED] writes: I do not understand, why so many refuse that having a double horn in hand ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Fingerings
Sorry, we (special myself) have different margins. Notes above g1 (2nd line from bottom) are still best on F-horn up to written c2 or d2 or e2. Note that the d1 as open F-horn-note is a perfect lucid note, full of light. If one does switch to the Bb-side above c2, why not. And your over over over again ad nauseam cannot be accepted. It is our duty in the pit, to support the singers. We horn players act as some kind of tin viola. Listen to the wonderful singer parts play your accompaniment accordingly nice, thoughtful with feelings. You will enjoy it as I did finally after many years getting very bored by this kind of accompaniment playing in all the Verdi, Donizetti etc. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Friday, October 14, 2005 7:51 AM To: horn@music.memphis.edu Subject: Re: [Hornlist] Fingerings I do not either. In fact, the F side is very handy. I'm currently playing principle in La Traviata (lots of soft piano attacks above G in the usual B horn range) and knowing how to play the F side helps so much better. Especially to get a softer and more in tune sound on short pp C-Ab attacks (and even D and Db/C#) - especially when you have to play them over and over and over and over and over again ad nauseum. -William In a message dated 10/14/2005 1:44:46 A.M. Central Daylight Time, [EMAIL PROTECTED] writes: I do not understand, why so many refuse that having a double horn in hand ___ 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] Fingerings
It wasn't meant in a derogatory way, Hans :) Even with drone parts I still listen, it's always been my policy - musicality everywhere when playing any music. -William In a message dated 10/14/2005 2:45:15 A.M. Central Daylight Time, [EMAIL PROTECTED] writes: And your over over over again ad nauseam cannot be accepted. It is our duty in the pit, to support the singers. We horn players act as some kind of tin viola. Listen to the wonderful singer parts play your accompaniment accordingly nice, thoughtful with feelings. You will enjoy it as I did finally after many years getting very bored by this kind of accompaniment playing in all the Verdi, Donizetti etc. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Verdi Requiem
Hans wrote: 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 ? Thank you Hans and all who answered. Actually this is a fully amatorial enterprise, in which we will be joined by an English orchestra and a German choir. The conductor is an enthusiastic choir conductor who is having her first experiences with orchestra, so don't blame her to much. She was able to organize this event... By the way, I now realize that I could answer my previous question about the A and Ab parts just by looking at the I and II horn parts, which are in E and Eb; obviously these could not be lower than III and IV! Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Verdi Requiem
Hold Daniel, hold, please, as there are plenty pieces where 3rd 4rth horn go much higher than 1st 2nd : Donizetti, Mendelssohn, etc. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Daniel Canarutto Sent: Friday, October 14, 2005 10:35 AM To: horn@music.memphis.edu Subject: RE: [Hornlist] Verdi Requiem Hans wrote: 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 ? Thank you Hans and all who answered. Actually this is a fully amatorial enterprise, in which we will be joined by an English orchestra and a German choir. The conductor is an enthusiastic choir conductor who is having her first experiences with orchestra, so don't blame her to much. She was able to organize this event... By the way, I now realize that I could answer my previous question about the A and Ab parts just by looking at the I and II horn parts, which are in E and Eb; obviously these could not be lower than III and IV! 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] Fingerings
This has been a most interesting discussion. I've picked up a lot of good information. One question does come to mind about the switch point for double horns. If the F horn has the more desired horn sound, why is the commonly accepted switch point g1 sharp (second line treble clef)? As Dr. Pizka points out the F horn can Notes above g1 (2nd line from bottom) are still best on F-horn up to written c2 or d2 or e2. Note that the d1 as open F-horn-note is a perfect lucid note, full of light. If one does switch to the Bb-side above c2, why not. Is this one of those things that just happened? Was the a valid reason initially, but over time that rationale was lost and the switch point got stuck in horn lore? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music from the Danish Royal Library
At 11:14 PM -0400 10/13/05, Peter Hirsch wrote: http://www.kb.dk/elib/noder/div/hart-seren/index.htm Greetings - Careful with the Hartmann. The pages are tiny. Use some program or print option to make them fill the page. All the others are just fine as they are. Thanks to Eric James, I found a complete list except for the Hartmann Serenade at http://base.kb.dk/pls/mus_web/node_vis.ProjektOversigt?p_projekt_id=UKAM. Regards, Carlberg Carlberg Jones Guanajuato, Gto. MEXICO ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music from the Danish Royal Library
Tha last link Peter mentions is for the Serenade by Emil Hartmann for ten instruments. It's a terrific work and deserves to be better known. I believe there is a recording of it somewhere. Also, there is the Decet for winds and strings by Gustav Helsted, another fine work. I've made modern scores and parts of both works--there is some cleaning up to do in both--and am in the process of arranging readthroughs. If only other national libraries would offer the same service. Eric James I have been quite excited by the mention on this list of the Danish Royal Library's having made some very interesting public domain items available in PDF. This excitement has been followed by severe frustration with the web-site's haphazard organization. I have, however, persevered and found the following direct links to the digitized sheet music for several works with considerable hornistic interest. If you use them, you can save yourself a lot of time groping around as I had to: http://www.kb.dk./kb/dept/nbo/ma/acclist/enoder-10-04.htm http://img.kb.dk/ma/ukam/dauprat-op6.pdf http://img.kb.dk/ma/ukam/amon-op20.pdf http://img.kb.dk/ma/ukam/amon-op109.pdf http://img.kb.dk/ma/ukam/gambaro-op4.pdf http://img.kb.dk/ma/ukam/mueller-quintetto-1.pdf http://img.kb.dk/ma/ukam/mueller-quintetto-2.pdf http://img.kb.dk/ma/ukam/mueller-quintetto-3.pdf http://img.kb.dk/ma/ukam/freyschytz-harm.pdf http://www.kb.dk/elib/noder/div/hart-seren/index.htm Now, I hope you have access to a decent printer and a pile of decent paper stock. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/eric_d_james%40canada.com 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] Music from the Danish Royal Library
Tha last link Peter mentions is for the Serenade by Emil Hartmann for ten instruments. It's a terrific work and deserves to be better known. I believe there is a recording of it somewhere. here you go: http://www.amazon.com/exec/obidos/tg/detail/-/B0IGLK/qid=1129294660/sr=8-1/ref=sr_8_xs_ap_i1_xgl15/102-6453326-1097744?v=glances=classicaln=507846 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/ Also, there is the Decet for winds and strings by Gustav Helsted, another fine work. I've made modern scores and parts of both works--there is some cleaning up to do in both--and am in the process of arranging readthroughs. If only other national libraries would offer the same service. Eric James I have been quite excited by the mention on this list of the Danish Royal Library's having made some very interesting public domain items available in PDF. This excitement has been followed by severe frustration with the web-site's haphazard organization. I have, however, persevered and found the following direct links to the digitized sheet music for several works with considerable hornistic interest. If you use them, you can save yourself a lot of time groping around as I had to: http://www.kb.dk./kb/dept/nbo/ma/acclist/enoder-10-04.htm http://img.kb.dk/ma/ukam/dauprat-op6.pdf http://img.kb.dk/ma/ukam/amon-op20.pdf http://img.kb.dk/ma/ukam/amon-op109.pdf http://img.kb.dk/ma/ukam/gambaro-op4.pdf http://img.kb.dk/ma/ukam/mueller-quintetto-1.pdf http://img.kb.dk/ma/ukam/mueller-quintetto-2.pdf http://img.kb.dk/ma/ukam/mueller-quintetto-3.pdf http://img.kb.dk/ma/ukam/freyschytz-harm.pdf http://www.kb.dk/elib/noder/div/hart-seren/index.htm Now, I hope you have access to a decent printer and a pile of decent paper stock. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/eric_d_james%40canada.com 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/bvdpress%40snet.net -- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Fingerings
There is no switch point at all. It depends what you are playing. It depends on chosing the best in tune notes. It depends with whom you are playing along, e.g. with other B-flat instruments (trumpet, clarinet), so you have to match their characteristic. It depends on how to ease the fingerings avoiding awkward combinations. It depends if you can play naturalhorn like arpeggios. It depends on how you have to inforce the sound perhaps by using the turbo trigger for a superforte, by pushing the thumb valve pushing the horn into Bb-tonality in a fraction of a second to get a real (but controlled) blast. Many conditions rule where when to switch from F to Bb or backwards. Simply switching at a certain point (always) is by far the most comfortable but very anti-musical solution. We have a brain two ears to find out the best ways keep everything under control. Please do not address me with any Dr. or so, as I have not a Dr. degree. My Prof. title is a honorary title. Here on this list, I am used being addressed as Hans only we should continue this. If one of you writes me a personal letter, I leave it up to the individual how to address me. Thanks. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Bill Gross Sent: Friday, October 14, 2005 12:19 PM To: 'The Horn List' Subject: RE: [Hornlist] Fingerings This has been a most interesting discussion. I've picked up a lot of good information. One question does come to mind about the switch point for double horns. If the F horn has the more desired horn sound, why is the commonly accepted switch point g1 sharp (second line treble clef)? As Dr. Pizka points out the F horn can Notes above g1 (2nd line from bottom) are still best on F-horn up to written c2 or d2 or e2. Note that the d1 as open F-horn-note is a perfect lucid note, full of light. If one does switch to the Bb-side above c2, why not. Is this one of those things that just happened? Was the a valid reason initially, but over time that rationale was lost and the switch point got stuck in horn lore? ___ 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] Music from the Danish Royal Library
If only other national libraries would offer the same service. , well, than all the work done by the researchers by the publishers is obsolete the circle starts again. From bottom. Why not just getting the modern publications, without the hazzle of arranging ones own score etc. finding the mistakes ... Publishers researchers have invested a lot of time effort, to get these things published. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Eric James Sent: Friday, October 14, 2005 1:52 PM To: The Horn List Subject: Re: [Hornlist] Music from the Danish Royal Library Tha last link Peter mentions is for the Serenade by Emil Hartmann for ten instruments. It's a terrific work and deserves to be better known. I believe there is a recording of it somewhere. Also, there is the Decet for winds and strings by Gustav Helsted, another fine work. I've made modern scores and parts of both works--there is some cleaning up to do in both--and am in the process of arranging readthroughs. If only other national libraries would offer the same service. Eric James I have been quite excited by the mention on this list of the Danish Royal Library's having made some very interesting public domain items available in PDF. This excitement has been followed by severe frustration with the web-site's haphazard organization. I have, however, persevered and found the following direct links to the digitized sheet music for several works with considerable hornistic interest. If you use them, you can save yourself a lot of time groping around as I had to: http://www.kb.dk./kb/dept/nbo/ma/acclist/enoder-10-04.htm http://img.kb.dk/ma/ukam/dauprat-op6.pdf http://img.kb.dk/ma/ukam/amon-op20.pdf http://img.kb.dk/ma/ukam/amon-op109.pdf http://img.kb.dk/ma/ukam/gambaro-op4.pdf http://img.kb.dk/ma/ukam/mueller-quintetto-1.pdf http://img.kb.dk/ma/ukam/mueller-quintetto-2.pdf http://img.kb.dk/ma/ukam/mueller-quintetto-3.pdf http://img.kb.dk/ma/ukam/freyschytz-harm.pdf http://www.kb.dk/elib/noder/div/hart-seren/index.htm Now, I hope you have access to a decent printer and a pile of decent paper stock. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/eric_d_james% 40canada.com 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/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Looking around
Is there anyone on this list from Columbia or Springfield, Missouri, who might know of a community group needing a horn player? I currently play in a community orchestra, but the music is usually less than challenging. I would like to join a group that plays a college level repertoire. Jim McDermott ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Fingerings
There is no switch point at all. It depends what you are playing. I would agree with what Hans says. In addition, if you are playing a double horn, you should aim to get a tone quality from the Bb side that in most conditions is indistinguishable from what you get from the F side, so that you can switch at any point in a passage for any of the reasons Hans stated, and the audience is none the wiser. Regards Jonathan West ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music from the Danish Royal Library
Because that's what I do, Herr Pizka. I am one of those researchers. Show me a modern edition of Gustav Helted's Decet. If only other national libraries would offer the same service. , well, than all the work done by the researchers by the publishers is obsolete the circle starts again. From bottom. Why not just getting the modern publications, without the hazzle of arranging ones own score etc. finding the mistakes ... Publishers researchers have invested a lot of time effort, to get these things published. == == == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Eric James Sent: Friday, October 14, 2005 1:52 PM To: The Horn List Subject: Re: [Hornlist] Music from the Danish Royal Library Tha last link Peter mentions is for the Serenade by Emil Hartmann for ten instruments. It's a terrific work and deserves to be better known. I believe there is a recording of it somewhere. Also, there is the Decet for winds and strings by Gustav Helsted, another fine work. I've made modern scores and parts of both works--there is some cleaning up to do in both--and am in the process of arranging readthroughs. If only other national libraries would offer the same service. Eric James I have been quite excited by the mention on this list of the Danish Royal Library's having made some very interesting public domain items available in PDF. This excitement has been followed by severe frustration with the web-site's haphazard organization. I have, however, persevered and found the following direct links to the digitized sheet music for several works with considerable hornistic interest. If you use them, you can save yourself a lot of time groping around as I had to: http://www.kb.dk./kb/dept/nbo/ma/acclist/enoder-10-04.htm http://img.kb.dk/ma/ukam/dauprat-op6.pdf http://img.kb.dk/ma/ukam/amon-op20.pdf http://img.kb.dk/ma/ukam/amon-op109.pdf http://img.kb.dk/ma/ukam/gambaro-op4.pdf http://img.kb.dk/ma/ukam/mueller-quintetto-1.pdf http://img.kb.dk/ma/ukam/mueller-quintetto-2.pdf http://img.kb.dk/ma/ukam/mueller-quintetto-3.pdf http://img.kb.dk/ma/ukam/freyschytz-harm.pdf http://www.kb.dk/elib/noder/div/hart-seren/index.htm Now, I hope you have access to a decent printer and a pile of decent paper stock. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/eric_d_james% 40canada.com 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/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/eric_d_james%40canada.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music from the Danish Royal Library
I think many people would be amazed at what can be found in the shelves of libraries. A researcher looking at Libraries in Spain found music manuscripts written for the Court in the 17th Century and in the Spanish colonies in the New World. He found enough to spur his interest and lead to the creation of a group The Orchestra of New Spain. I've also talked with folks who are in the history field as well as librarians and they feel that there is a whole treasure of information un-cataloged in many of the older European libraries. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Eric James Sent: Friday, October 14, 2005 9:18 AM To: The Horn List Subject: RE: [Hornlist] Music from the Danish Royal Library Because that's what I do, Herr Pizka. I am one of those researchers. Show me a modern edition of Gustav Helted's Decet. If only other national libraries would offer the same service. , well, than all the work done by the researchers by the publishers is obsolete the circle starts again. From bottom. Why not just getting the modern publications, without the hazzle of arranging ones own score etc. finding the mistakes ... Publishers researchers have invested a lot of time effort, to get these things published. == == == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Eric James Sent: Friday, October 14, 2005 1:52 PM To: The Horn List Subject: Re: [Hornlist] Music from the Danish Royal Library Tha last link Peter mentions is for the Serenade by Emil Hartmann for ten instruments. It's a terrific work and deserves to be better known. I believe there is a recording of it somewhere. Also, there is the Decet for winds and strings by Gustav Helsted, another fine work. I've made modern scores and parts of both works--there is some cleaning up to do in both--and am in the process of arranging readthroughs. If only other national libraries would offer the same service. Eric James I have been quite excited by the mention on this list of the Danish Royal Library's having made some very interesting public domain items available in PDF. This excitement has been followed by severe frustration with the web-site's haphazard organization. I have, however, persevered and found the following direct links to the digitized sheet music for several works with considerable hornistic interest. If you use them, you can save yourself a lot of time groping around as I had to: http://www.kb.dk./kb/dept/nbo/ma/acclist/enoder-10-04.htm http://img.kb.dk/ma/ukam/dauprat-op6.pdf http://img.kb.dk/ma/ukam/amon-op20.pdf http://img.kb.dk/ma/ukam/amon-op109.pdf http://img.kb.dk/ma/ukam/gambaro-op4.pdf http://img.kb.dk/ma/ukam/mueller-quintetto-1.pdf http://img.kb.dk/ma/ukam/mueller-quintetto-2.pdf http://img.kb.dk/ma/ukam/mueller-quintetto-3.pdf http://img.kb.dk/ma/ukam/freyschytz-harm.pdf http://www.kb.dk/elib/noder/div/hart-seren/index.htm Now, I hope you have access to a decent printer and a pile of decent paper stock. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/eric_d_james% 40canada.com 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/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/eric_d_james%40canada.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.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
On Friday, October 14, 2005, at 05:34 AM, Daniel Canarutto wrote: By the way, I now realize that I could answer my previous question about the A and Ab parts just by looking at the I and II horn parts, which are in E and Eb; obviously these could not be lower than III and IV! Oh yes, they can. There are numerous examples in the literature. Check out the horn parts of Brahms and Berlioz in all orchestral works. CORdially, Paul Mansur ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Fingerings
Way back when I took my first lessons, and dinosaurs roamed the earth, I was taught that 3rd space C was the proper switch point. Lately I've been taught that 2nd line G is the proper one, on the theory that you're staying on the same harmonic up to C. This is the default fingering before you have a chance to think about it. Hans said it right: do what's musical and what makes fingering sense. Sometimes 3rd space C# is better F2. Sometimes a fast arpeggio starting at the bottom of the staff is cleaner on the Bb side. Herb Fostr --- Bill Gross [EMAIL PROTECTED] wrote: This has been a most interesting discussion. I've picked up a lot of good information. One question does come to mind about the switch point for double horns. If the F horn has the more desired horn sound, why is the commonly accepted switch point g1 sharp (second line treble clef)? As Dr. Pizka points out the F horn can Notes above g1 (2nd line from bottom) are still best on F-horn up to written c2 or d2 or e2. Note that the d1 as open F-horn-note is a perfect lucid note, full of light. If one does switch to the Bb-side above c2, why not. Is this one of those things that just happened? Was the a valid reason initially, but over time that rationale was lost and the switch point got stuck in horn lore? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/herb_foster%40yahoo.com __ Yahoo! Music Unlimited Access over 1 million songs. Try it free. http://music.yahoo.com/unlimited/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Fingerings
Hans has it right, folks. The double horn is a fine instrument but all too often i find students who lock in on a switch point and then miss great opportunities to utilize all the resources found in the double horn. The secret of it all is to develop that F horn sound; and then learn to duplicate it on the Bb horn so that you can switch back and forth with impunity knowing that you have a unified sound! The best compliment I ever received, from an accomplished musician I admired, was: Your playing reminds me of Joan Sutherland. I asked what he meant and he said: Your tone is smooth and flows unchanged from the high register to the low as does Ms. Sutherland's voice. CORdially, Paul Mansur On Friday, October 14, 2005, at 09:10 AM, Hans wrote: There is no switch point at all. It depends what you are playing. It depends on chosing the best in tune notes. It depends with whom you are playing along, e.g. with other B-flat instruments (trumpet, clarinet), so you have to match their characteristic. It depends on how to ease the fingerings avoiding awkward combinations. It depends if you can play naturalhorn like arpeggios. It depends on how you have to inforce the sound perhaps by using the turbo trigger for a superforte, by pushing the thumb valve pushing the horn into Bb-tonality in a fraction of a second to get a real (but controlled) blast. Many conditions rule where when to switch from F to Bb or backwards. Simply switching at a certain point (always) is by far the most comfortable but very anti-musical solution. We have a brain two ears to find out the best ways keep everything under control. Please do not address me with any Dr. or so, as I have not a Dr. degree. My Prof. title is a honorary title. Here on this list, I am used being addressed as Hans only we should continue this. If one of you writes me a personal letter, I leave it up to the individual how to address me. Thanks. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Bill Gross Sent: Friday, October 14, 2005 12:19 PM To: 'The Horn List' Subject: RE: [Hornlist] Fingerings This has been a most interesting discussion. I've picked up a lot of good information. One question does come to mind about the switch point for double horns. If the F horn has the more desired horn sound, why is the commonly accepted switch point g1 sharp (second line treble clef)? As Dr. Pizka points out the F horn can Notes above g1 (2nd line from bottom) are still best on F-horn up to written c2 or d2 or e2. Note that the d1 as open F-horn-note is a perfect lucid note, full of light. If one does switch to the Bb-side above c2, why not. Is this one of those things that just happened? Was the a valid reason initially, but over time that rationale was lost and the switch point got stuck in horn lore? ___ 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/p_mansur1%40comcast.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
Message text written by The Horn List You can develop into a fine horn player with only one hand. A missing hand can be most effectively replaced by a prosthetic hand, Dear All There is a very good amateur player in the Leeds area of West Yorkshire who plays with a prosthetic right hand. There were two players (one still active as a teacher) who played in full time orchestras (both 3rd horns at the BBC in fact) who had/have no left hand and who played/play with a horn built 'wrong way round'. 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] Fingerings
I have to agree with Hans and Paul about the human voice being perhaps our grail as horn players. Lately I have been relistening to a recording of some sonatas by Pavel Vejvanofsky, a bohemian baroque composer, who seemingly wrote quite a bit for clarino trumpet and trombone. Although the recording is from the 70's and the instruments are modern, they, IMHO, do capture the spirit and expression that the composer meant. The trombone [alto] playing is very beautiful and is very consistent from the lowest registers to the upper reaches. I firmly advocate that all horn players should be singers in some capacity, especially choral, and that they should listen to - gasp - opera some too. paxmaha Paul Mansur [EMAIL PROTECTED] wrote: Hans has it right, folks. The double horn is a fine instrument but all too often i find students who lock in on a switch point and then miss great opportunities to utilize all the resources found in the double horn. The secret of it all is to develop that F horn sound; and then learn to duplicate it on the Bb horn so that you can switch back and forth with impunity knowing that you have a unified sound! The best compliment I ever received, from an accomplished musician I admired, was: Your playing reminds me of Joan Sutherland. I asked what he meant and he said: Your tone is smooth and flows unchanged from the high register to the low as does Ms. Sutherland's voice. CORdially, Paul Mansur On Friday, October 14, 2005, at 09:10 AM, Hans wrote: There is no switch point at all. It depends what you are playing. It depends on chosing the best in tune notes. It depends with whom you are playing along, e.g. with other B-flat instruments (trumpet, clarinet), so you have to match their characteristic. It depends on how to ease the fingerings avoiding awkward combinations. It depends if you can play naturalhorn like arpeggios. It depends on how you have to inforce the sound perhaps by using the turbo trigger for a superforte, by pushing the thumb valve pushing the horn into Bb-tonality in a fraction of a second to get a real (but controlled) blast. Many conditions rule where when to switch from F to Bb or backwards. Simply switching at a certain point (always) is by far the most comfortable but very anti-musical solution. We have a brain two ears to find out the best ways keep everything under control. Please do not address me with any Dr. or so, as I have not a Dr. degree. My Prof. title is a honorary title. Here on this list, I am used being addressed as Hans only we should continue this. If one of you writes me a personal letter, I leave it up to the individual how to address me. Thanks. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Bill Gross Sent: Friday, October 14, 2005 12:19 PM To: 'The Horn List' Subject: RE: [Hornlist] Fingerings This has been a most interesting discussion. I've picked up a lot of good information. One question does come to mind about the switch point for double horns. If the F horn has the more desired horn sound, why is the commonly accepted switch point g1 sharp (second line treble clef)? As Dr. Pizka points out the F horn can Notes above g1 (2nd line from bottom) are still best on F-horn up to written c2 or d2 or e2. Note that the d1 as open F-horn-note is a perfect lucid note, full of light. If one does switch to the Bb-side above c2, why not. Is this one of those things that just happened? Was the a valid reason initially, but over time that rationale was lost and the switch point got stuck in horn lore? ___ 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/p_mansur1%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Yahoo! Music Unlimited - Access over 1 million songs. Try it free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Fingerings
On Oct 14, 2005, at 10:00 AM, [EMAIL PROTECTED] wrote: from: Herbert Foster [EMAIL PROTECTED] subject: RE: [Hornlist] Fingerings Way back when I took my first lessons, and dinosaurs roamed the earth, I was taught that 3rd space C was the proper switch point. Lately I've been taught that 2nd line G is the proper one, on the theory that you're staying on the same harmonic up to C. This is the default fingering before you have a chance to think about it. Hans said it right: do what's musical and what makes fingering sense. Sometimes 3rd space C# is better F2. Sometimes a fast arpeggio starting at the bottom of the staff is cleaner on the Bb side. Herb Fostr Exactly, I had a teacher way back in high school who liked the C# switch point. I also had a teacher, a great teacher who was a trumpet player, who didn't care what fingering I used at all. I studied the Kopprasch books on a single F horn when I was very very young and that's all I had. When I was at Eastman with Verne Reynolds, he made me stick with the modern traditional fingerings and the G# switch point until he felt that I had totally mastered that system. Then he started throwing in the alternates. I think it is very important to know and appreciate all the possible fingerings. Hans makes good points about the F horn, and if you don't know the F horn well, you will miss a lot of helpful choices and expressive possibilities, not to mention all the lip trill fingerings. The same goes for the Bb horn. The modern G# switch point is a good choice because the music we play now is harder and the Bb horn is more responsive to fast technique in that range. That said, there are also many pieces which can benefit from F horn alternatives for fast technique. Learn all the fingerings. Play scales on both horns singly. Learn the arpeggios and how they lay out on both horns. Play your long tones on F horn in all registers. Same with Bb horn. Try things out. The worst that can happen is that you are constantly looking for other fingerings and you may get mixed up in an exposed moment. Have a base system and work out from there. If you have a reason to be doing something else, you will remember it and it won't confuse you. 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] Fingerings, Singerings
On Fri, 14 Oct 2005, David Jewell wrote:
I firmly advocate that all horn players should be singers in some
capacity, especially choral, and that they should listen to - gasp -
opera some too. paxmaha
gasp, sigh - for those of us who can't or won't sing, at least we can play
real songs and use them to learn to play lyrically. For that, I recommend
(again, sorry - but another holiday season is approaching, and they make
great gifts, especially from you to you) various vocal collections with CD
piano accompaniment. My short list for today comprises the Hal-Leonard
Mozart Aria books; that is, one book for each of soprano, mezzo-soprano,
tenor, bass-baritone. The solo parts are written with the piano part, not
on separate sheets, they are in C (alto if you can get up there, otherwise
basso), and the bass-baritone book has the added attraction of being
written in bass clef. These books are all fun, inspirational and not very
expensive, considering that the accompaniment CD is included. There are
many other such books.
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
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Re: [Hornlist] What The Heck Is It ?
It appears to me that it is a shepherd crook cornet. It is not an uncommon instrument, being used in most Brass Band organizations. Mansur's Answer On Friday, October 14, 2005, at 03:26 PM, Alan Cole wrote: I've seen plenty of odd-looking instruments, both hornish non-hornish. Here's 1 that defies recognition: http://cgi.ebay.com/Musical- Instrument_W0QQitemZ7357680114QQcategoryZ16215QQrdZ1QQcmdZViewItem -AC. -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.344 / Virus Database: 267.11.14/130 - Release Date: 10/12/2005 ___ 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
[Hornlist] Youth Orchestra horn sectional ideas
I'm leading an all-day horn sectional for our local youth orchestra. Would anyone like to share their favourite activities for leading a developing horn section? I'll spend a fair time on fun breathing exercises and focus on producing a beautiful ensemble sound with 4 part chorales and trios, etc.culminating in working on the pieces they are preparing for their performance. But I also love hearing new ideas! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
