RE: [Hornlist] Cues
I think that the conductor has a responsibility to guide the orchestra, sections, and musicians through a performance, but if your reading and counting of music is suspect.you might best say " Au Revoir " to further any more embarrassment. After all, it is a team effort, and every member in the orchestra has a responsibility to do his, or her, part to attain the goal at hand...which is to create beautiful music for all of us to perform and listen to. Laurent -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Hans Sent: Saturday, October 22, 2005 11:11 AM To: 'The Horn List' Subject: RE: [Hornlist] Cues Ever professional orchestra musician will enforce that. Who, the hell, talks about such stupid rule of ettiquette ? It is just contrary to that, we see too often conductors, performing nice aerobics to impress the audience, wobbling with their ass, painting into the air, just following the music more or less behind or running before the music. But they forget to give the often necessary cues to the single soloists or the sections. These cues are necessary absolutely, even WE can perform the piece by heart. But we are not playing isolated. The whole apparatus has to be coordinated, which is possible by cues coming in time. These cues give also the certain impetus, or are at least thought to give it, while a lot of the so called impressario-pushed press famous maestros do not give right impetus at all. And the pointing with the baton or just with the eyes or else help a lot to better the performance, they help us to click-in with the action. Only non-professional unexperienced players or weak players would complain about the pointing by the conductor, as it could make it evident to the audience who is doing the mistake right at this moment. It is indeed bad ettiquette if another player of the section would point at the colleague after this person produced an accident or worse if the pointing person himself had produced a wrong entrance or such. There is another observation with younger colleagues: they do not count the rest measures, which would be a great help to remain high alert for the next entrance. The high alert acoustical memory will do a further double check. I still count the measures in Rosenkavalier after 200+ performances. It really helps. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of David Jewell Sent: Saturday, October 22, 2005 6:29 PM To: The Horn List Subject: Re: [Hornlist] Cues How is a conductor to do cues if he can't point to the section or player he is cueing? I have never heard of this rule of etiquette and it seems entirely illogical to not be able to point to who I am cueing. paxmaha - Yahoo! FareChase - Search multiple travel sites in one click. ___ 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/lesmis%40charter.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Pitch and temperament
Beethoven Scherzo, yes play the thirds low. Mahler also. Shostakovich low tutti probably not. On Oct 22, 2005, at 8:20 PM, [EMAIL PROTECTED] wrote: Are we saying that melodic passages are heard by the ear as in tune with tempered tuning and chords, untempered. Are there a lot of close calls as to which is most important. I don't pretend to know this. What about the scherzo in Beethoven 3rd. Should all the Ds be played low? What about Mahler 1 opening 1 and 2 horn in first movement.I would assume here you would really want some just intonation and both should be doing the same. Do both play low thirds. What about Shostakovich 5 first movement tutti. If there are any major thirds in there would they be played low. I'm just trying to get an idea of where the third should be lowered. Ron ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Pitch and temperament
Sorry - I phrased that badly. When the screen is up, I listen to see whether the thirds, in appropriate places, are low. When the screen is down, I will also look to see what fingering choices are made. On Oct 22, 2005, at 7:35 PM, Steve Freides wrote: You say, "In listening to auditions, I look ..." Are you listening or looking or both? There are so many variables, not the least of which is the player's ear, that assuming some fingerings are better than others seem like risky business to me. -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Pitch and temperament
In a message dated 10/22/05 9:33:51 P.M. Eastern Daylight Time, [EMAIL PROTECTED] writes: I think that the question of what intonation system orchestras use is a complex one. Generally speaking, winds and brass tend to use just intonation more than strings. We are taught to lower our major thirds and minor sevenths, and for the most part we do that. However exceptions happen when when the requirements of melodic intonation (I think of this as having notes in sequence sounding in tune to each other) become paramount, for example when you are playing a very exposed solo, and a low major third might not sound appropriate. String players tend to play "leading tones" (e.g. thirds of dominant chords) higher than wind players, because they are more used to thinking in terms of melodic intonation than winds and brass are. In listening to auditions, I look to hear whether candidates use low fingerings on major thirds, because then I know that they understand that concept. (Third valve on the Bb horn on middle line concert G in the key of Eb) So you had better know to keep your major thirds and minor sevenths down if you are to play in tune in good ensembles. It's one of the reasons that brass sections in top orchestras sound good. All the best to you, worldwide, B Bob Ward Acting Principal Horn San Francisco Symphony http://home.earthlink.net/~rnward Are we saying that melodic passages are heard by the ear as in tune with tempered tuning and chords, untempered. Are there a lot of close calls as to which is most important. I don't pretend to know this. What about the scherzo in Beethoven 3rd. Should all the Ds be played low? What about Mahler 1 opening 1 and 2 horn in first movement.I would assume here you would really want some just intonation and both should be doing the same. Do both play low thirds. What about Shostakovich 5 first movement tutti. If there are any major thirds in there would they be played low. I'm just trying to get an idea of where the third should be lowered. Ron ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Pitch and temperament
You say, "In listening to auditions, I look ..." Are you listening or looking or both? There are so many variables, not the least of which is the player's ear, that assuming some fingerings are better than others seem like risky business to me. -S- > -Original Message- > From: > [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] > du] On Behalf Of Robert Ward > Sent: Saturday, October 22, 2005 8:33 PM > To: The Horn List > Subject: Re: [Hornlist] Re: Pitch and temperament > > I think that the question of what intonation system > orchestras use is a complex one. Generally speaking, winds > and brass tend to use just intonation more than strings. We > are taught to lower our major thirds and minor sevenths, and > for the most part we do that. However exceptions happen when > when the requirements of melodic intonation (I think of this > as having notes in sequence sounding in tune to each > other) become paramount, for example when you are playing a > very exposed solo, and a low major third might not sound appropriate. > > String players tend to play "leading tones" (e.g. thirds of dominant > chords) higher than wind players, because they are more used > to thinking in terms of melodic intonation than winds and brass are. > > In listening to auditions, I look to hear whether candidates > use low fingerings on major thirds, because then I know that > they understand that concept. (Third valve on the Bb horn on > middle line concert G in the key of Eb) > > So you had better know to keep your major thirds and minor > sevenths down if you are to play in tune in good ensembles. > It's one of the reasons that brass sections in top orchestras > sound good. > > All the best to you, worldwide, > > B > > > > > > Bob Ward > Acting Principal Horn > San Francisco Symphony > http://home.earthlink.net/~rnward > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/steve%40fridays > computer.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Pitch and temperament
I think that the question of what intonation system orchestras use is a complex one. Generally speaking, winds and brass tend to use just intonation more than strings. We are taught to lower our major thirds and minor sevenths, and for the most part we do that. However exceptions happen when when the requirements of melodic intonation (I think of this as having notes in sequence sounding in tune to each other) become paramount, for example when you are playing a very exposed solo, and a low major third might not sound appropriate. String players tend to play "leading tones" (e.g. thirds of dominant chords) higher than wind players, because they are more used to thinking in terms of melodic intonation than winds and brass are. In listening to auditions, I look to hear whether candidates use low fingerings on major thirds, because then I know that they understand that concept. (Third valve on the Bb horn on middle line concert G in the key of Eb) So you had better know to keep your major thirds and minor sevenths down if you are to play in tune in good ensembles. It's one of the reasons that brass sections in top orchestras sound good. All the best to you, worldwide, B Bob Ward Acting Principal Horn San Francisco Symphony http://home.earthlink.net/~rnward ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Pitch and temperament
In a message dated 10/22/05 9:03:31 P.M. Eastern Daylight Time, [EMAIL PROTECTED] writes: In a message dated 10/22/05 8:40:13 P.M. Eastern Daylight Time, [EMAIL PROTECTED] writes: I wrote: > > I don't agree with this. I find most people expect even > temperament > > these days, and playing in tune means generally playing in > even temperament. > > Personally, I find it difficult to play in any not-even > temperament anymore. > > Maybe if I listened only to unacompanied brass and vocal music it > > would be different but I can't say. Steve Mumford replies: > The acoustician Hugh Cooper had a keyboard made by Yamaha > that could produce chords in various temperaments. For a > demonstration, he would play a C major chord in tempered > intonation. Sounded fine, like we're used to hearing from a > piano. Next, he'd change it to "just" (mathematically > correct) intonation. Hmmm, sounds a lot better. Then back > to tempered, yikes, kind of hard to listen to. A few times > back and forth between the two temeraments and we all found > ourselves wanting to run screaming from the room whenever the > tempered C chord was sounded. >I can see how those who are used to guitar, piano etc. > might be used to that tempered sound but a tempered chord can > never really "ring" because the mathematical relationships > have to be right for the difference tones to sound. > I remember a few orchestra recordings I used to listen to > a lot where the orchestra would get to the last chord and > that chord would sound normal for a second or so and then > suddenly it would sound like a pipe organ came in or > something, the chord would just open up and "ring". I > realized much later that that was when the chord locked into > tune and all the difference tones reinforced it. It's really > an addictive thing once you've heard it a few times and even > more so when you've been in the middle of it. > It's just the laws of physics in action and as Scotty > always said, "I canna change the laws of physics!" > > - Steve Mumford > > Steve, When the orchestra chord that you mentioned began to ring, is it probably that everyone does not get there initially, but adjust quickly to get the true harmonic chord? Is this pretty much the way it works. And does that mean that moving chords are not perfectly in tune harmonically because there is no adjustment time? Further, if I'm in a violin section and play a fast passage with everyone else, if everyone is not playing the same intervals (tempered or untempered), it's not perfect. Right. Ron ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Pitch and temperament
In a message dated 10/22/05 8:40:13 P.M. Eastern Daylight Time, [EMAIL PROTECTED] writes: I wrote: > > I don't agree with this. I find most people expect even > temperament > > these days, and playing in tune means generally playing in > even temperament. > > Personally, I find it difficult to play in any not-even > temperament anymore. > > Maybe if I listened only to unacompanied brass and vocal music it > > would be different but I can't say. Steve Mumford replies: > The acoustician Hugh Cooper had a keyboard made by Yamaha > that could produce chords in various temperaments. For a > demonstration, he would play a C major chord in tempered > intonation. Sounded fine, like we're used to hearing from a > piano. Next, he'd change it to "just" (mathematically > correct) intonation. Hmmm, sounds a lot better. Then back > to tempered, yikes, kind of hard to listen to. A few times > back and forth between the two temeraments and we all found > ourselves wanting to run screaming from the room whenever the > tempered C chord was sounded. > I can see how those who are used to guitar, piano etc. > might be used to that tempered sound but a tempered chord can > never really "ring" because the mathematical relationships > have to be right for the difference tones to sound. > I remember a few orchestra recordings I used to listen to > a lot where the orchestra would get to the last chord and > that chord would sound normal for a second or so and then > suddenly it would sound like a pipe organ came in or > something, the chord would just open up and "ring". I > realized much later that that was when the chord locked into > tune and all the difference tones reinforced it. It's really > an addictive thing once you've heard it a few times and even > more so when you've been in the middle of it. > It's just the laws of physics in action and as Scotty > always said, "I canna change the laws of physics!" > > - Steve Mumford > > PS, my favorite demonstration of difference tones, AKA the > heterodyne effect, > are the trios for two flutes by Telemann. You play the two > flute parts in > tune, and a bass line is heard clear as a bell! I further reply: I think it's the "in the middle of it" that's probably most important here. I swear to you that I listen to the world's finest violinsts play and I just think they're playing out of tune because of what I've "been in the middle of" my entire life. I confess not to having listened to much in the way of horn without piano but I will try to get my ears to be at least more accepting of untempered tunings. How do horn, violin, etc., players deal with atonal music? (No jokes, please!) In college, one of the books we used in fourth year ear-training was Modus Novus, a sight-singing book for atonal music. As was usual, we were given assignments each week to prepare for the following week's class, but we were, because of the difficulty of the music, exempt from one of our usual requirements - no metronomone marking were given to us for Modus Novus, and we were allowed to sing it any any tempo we liked, as long as we conducted while we sang and we kept to the tempo of our chosing. Modus Novus turned out to be the only thing in my student conservatory life that I did _not_ have to practice because I could just pick those pitches out of thin air, and as long as I kept the tempo reasonable (certainly up to what my classmates were doing), I had no need of practice whatsoever. Now one simply _can't_ do that sort of thing in any sort of temperament other than even, equal temperament, at least to my way of thinking. I'd like to know if people actually try to do something else for atonal music. -S- ___ post: horn@music.memphis.edu When you hear the violinists play, is it the untempered intervals that do not sound right to you or the harmonic chords that result that do not sound right to you, or both? Ron ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Pitch and temperament
I wrote: > > I don't agree with this. I find most people expect even > temperament > > these days, and playing in tune means generally playing in > even temperament. > > Personally, I find it difficult to play in any not-even > temperament anymore. > > Maybe if I listened only to unacompanied brass and vocal music it > > would be different but I can't say. Steve Mumford replies: > The acoustician Hugh Cooper had a keyboard made by Yamaha > that could produce chords in various temperaments. For a > demonstration, he would play a C major chord in tempered > intonation. Sounded fine, like we're used to hearing from a > piano. Next, he'd change it to "just" (mathematically > correct) intonation. Hmmm, sounds a lot better. Then back > to tempered, yikes, kind of hard to listen to. A few times > back and forth between the two temeraments and we all found > ourselves wanting to run screaming from the room whenever the > tempered C chord was sounded. > I can see how those who are used to guitar, piano etc. > might be used to that tempered sound but a tempered chord can > never really "ring" because the mathematical relationships > have to be right for the difference tones to sound. > I remember a few orchestra recordings I used to listen to > a lot where the orchestra would get to the last chord and > that chord would sound normal for a second or so and then > suddenly it would sound like a pipe organ came in or > something, the chord would just open up and "ring". I > realized much later that that was when the chord locked into > tune and all the difference tones reinforced it. It's really > an addictive thing once you've heard it a few times and even > more so when you've been in the middle of it. > It's just the laws of physics in action and as Scotty > always said, "I canna change the laws of physics!" > > - Steve Mumford > > PS, my favorite demonstration of difference tones, AKA the > heterodyne effect, > are the trios for two flutes by Telemann. You play the two > flute parts in > tune, and a bass line is heard clear as a bell! I further reply: I think it's the "in the middle of it" that's probably most important here. I swear to you that I listen to the world's finest violinsts play and I just think they're playing out of tune because of what I've "been in the middle of" my entire life. I confess not to having listened to much in the way of horn without piano but I will try to get my ears to be at least more accepting of untempered tunings. How do horn, violin, etc., players deal with atonal music? (No jokes, please!) In college, one of the books we used in fourth year ear-training was Modus Novus, a sight-singing book for atonal music. As was usual, we were given assignments each week to prepare for the following week's class, but we were, because of the difficulty of the music, exempt from one of our usual requirements - no metronomone marking were given to us for Modus Novus, and we were allowed to sing it any any tempo we liked, as long as we conducted while we sang and we kept to the tempo of our chosing. Modus Novus turned out to be the only thing in my student conservatory life that I did _not_ have to practice because I could just pick those pitches out of thin air, and as long as I kept the tempo reasonable (certainly up to what my classmates were doing), I had no need of practice whatsoever. Now one simply _can't_ do that sort of thing in any sort of temperament other than even, equal temperament, at least to my way of thinking. I'd like to know if people actually try to do something else for atonal music. -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Pitch and temperament
In a message dated 10/21/05 1:00:39 PM Steve F writes:astern Daylight Time, > I don't agree with this. I find most people expect even temperament these > days, and playing in tune means generally playing in even temperament. > Personally, I find it difficult to play in any not-even temperament anymore. > Maybe if I listened only to unacompanied brass and vocal music it would be > different but I can't say. > The acoustician Hugh Cooper had a keyboard made by Yamaha that could produce chords in various temperaments. For a demonstration, he would play a C major chord in tempered intonation. Sounded fine, like we're used to hearing from a piano. Next, he'd change it to "just" (mathematically correct) intonation. Hmmm, sounds a lot better. Then back to tempered, yikes, kind of hard to listen to. A few times back and forth between the two temeraments and we all found ourselves wanting to run screaming from the room whenever the tempered C chord was sounded. I can see how those who are used to guitar, piano etc. might be used to that tempered sound but a tempered chord can never really "ring" because the mathematical relationships have to be right for the difference tones to sound. I remember a few orchestra recordings I used to listen to a lot where the orchestra would get to the last chord and that chord would sound normal for a second or so and then suddenly it would sound like a pipe organ came in or something, the chord would just open up and "ring". I realized much later that that was when the chord locked into tune and all the difference tones reinforced it. It's really an addictive thing once you've heard it a few times and even more so when you've been in the middle of it. It's just the laws of physics in action and as Scotty always said, "I canna change the laws of physics!" - Steve Mumford PS, my favorite demonstration of difference tones, AKA the heterodyne effect, are the trios for two flutes by Telemann. You play the two flute parts in tune, and a bass line is heard clear as a bell! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Cues
Ever professional orchestra musician will enforce that. Who, the hell, talks about such stupid rule of ettiquette ? It is just contrary to that, we see too often conductors, performing nice aerobics to impress the audience, wobbling with their ass, painting into the air, just following the music more or less behind or running before the music. But they forget to give the often necessary cues to the single soloists or the sections. These cues are necessary absolutely, even WE can perform the piece by heart. But we are not playing isolated. The whole apparatus has to be coordinated, which is possible by cues coming in time. These cues give also the certain impetus, or are at least thought to give it, while a lot of the so called impressario-pushed press famous maestros do not give right impetus at all. And the pointing with the baton or just with the eyes or else help a lot to better the performance, they help us to click-in with the action. Only non-professional unexperienced players or weak players would complain about the pointing by the conductor, as it could make it evident to the audience who is doing the mistake right at this moment. It is indeed bad ettiquette if another player of the section would point at the colleague after this person produced an accident or worse if the pointing person himself had produced a wrong entrance or such. There is another observation with younger colleagues: they do not count the rest measures, which would be a great help to remain high alert for the next entrance. The high alert acoustical memory will do a further double check. I still count the measures in Rosenkavalier after 200+ performances. It really helps. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of David Jewell Sent: Saturday, October 22, 2005 6:29 PM To: The Horn List Subject: Re: [Hornlist] Cues How is a conductor to do cues if he can't point to the section or player he is cueing? I have never heard of this rule of etiquette and it seems entirely illogical to not be able to point to who I am cueing. paxmaha - Yahoo! FareChase - Search multiple travel sites in one click. ___ 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] Cues
How is a conductor to do cues if he can't point to the section or player he is cueing? I have never heard of this rule of etiquette and it seems entirely illogical to not be able to point to who I am cueing. paxmaha - Yahoo! FareChase - Search multiple travel sites in one click. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mollie Pate
Hi, If anyone is in touch with the horn players of the Louisiana Phil. Please have Mollie contact me. Debbie Schmidt ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Cues
OK thats fair enough. It was only an observation but i agree that it is the music that is important. Kev ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Cues
Speaking as a conductor, it's my job to make the music sound the best it can, and I will point and do whatever else it takes to make that happen. Etiquette isn't the issue, the music is. It is true that with good musicians who watch the conductor, overt, "hey, you, it's your turn to play now" gestures are not necessary, but as a conductor, I'd say, "When in doubt, point." -S- > -Original Message- > From: > [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] > du] On Behalf Of [EMAIL PROTECTED] > Sent: Saturday, October 22, 2005 9:52 AM > To: horn@music.memphis.edu > Subject: [Hornlist] Cues > > Hi > I got a quick question to put forward. > > I always understood that it was poor concert etiquette for a > conductor to point to sections as cues, yet in a recent > concert the conductor was quite blatant in his cues. > > Anyone have any opinions on this? > > Kev > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/steve%40fridays > computer.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Cues
Where does it say the conductor isn't supposed to cue in sections by pointing? Some kind of indication that everybody is in the same place is plenty reassuring -- if not a conspicuous pointing motion, then at least a bit of eye contact, or a subtle alteration of baton motion, or a nod of the maestro's head, or the raising of the maestro's eyebrows, something. The audience is supposed to be surprised by sudden instrumental changes -- not the conductor or the instrumentalists. -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. ~ I always understood that it was poor concert etiquette for a conductor to point to sections as cues, yet in a recent concert the conductor was quite blatant in his cues. -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.344 / Virus Database: 267.12.4/146 - Release Date: 10/21/2005 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Cues
Hi I got a quick question to put forward. I always understood that it was poor concert etiquette for a conductor to point to sections as cues, yet in a recent concert the conductor was quite blatant in his cues. Anyone have any opinions on this? Kev ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] new medicine, new hope
Bear Woodson wrote: Hello, Everyone. ... Well, a new medicine DID come along! I am NOT allergic to it, and it BLOCKS me from falling to Low Blood sugar Levels! In fact it keeps my Blood Sugar Levels a bit too high, but I can tolerate it will no ill effects... Great news! And welcome back! I've been a Type 2 for 15 years or so, but I react really well to Avandia, and follow a low-carb regimen anyway, so I don't really need to think about it much. In all this time, I've never even heard of a brittle diabetic, let alone knew one. I'm glad your future looks so bright now! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart Cadenza
Dear Prof Pizka, At present, I am currently learning concertos 1 and 3 ( the usual starters, I guess). I would appreciate anything that can help with my playing of them, and their appreciation. Recht vielen dank, Adam From: "Hans" <[EMAIL PROTECTED]> Reply-To: The Horn List To: "'The Horn List'" Subject: RE: [Hornlist] Mozart Cadenza Date: Sat, 22 Oct 2005 15:08:09 +0200 What particular Mozart concerto you are interested most ? I could scan the relevant pages from my book "Das Horn bei Mozart" (sold out since years) & send them to you as attachement, perhaps. Just a friendship service not violating any rights. Greetings = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Adam Black Sent: Saturday, October 22, 2005 1:55 PM To: horn@music.memphis.edu Subject: RE: [Hornlist] Mozart Cadenza Dear Prof Pizka, Thanks for your comments - I, however, am just a "returnee" to playing, after a 25 year absence; with still, limited musical ability, and not a very good ear. I am just after something relatively simple to play, to start with, and build up from there. I do, by the way, have an original set of the concertos (just without cadenzas included). I do respect the rights of composers / arrangers, and am, as you suggest, building up a library of my own ( original copies ) music pieces. Thanks, Adam >From: "Hans" <[EMAIL PROTECTED]> >Reply-To: The Horn List >To: "'The Horn List'" >Subject: RE: [Hornlist] Mozart Cadenza >Date: Sat, 22 Oct 2005 11:37:55 +0200 > >Listen carefully to the preferred Mozart recordings & write out the >cadenza, write it within regular measure with fermatas & caesuras. >That´s the way I did. It helps much understanding the music. > >What do you think, that soloists would just sell their cadenzas for a >few cents, with all the administration involved, while you would not >even spend the few bucks for a set of the Mozart horn concertos ?? >Ridiculous ! Spend less on personal entettainment to save up for your >private library of the most important pieces, as we (the elder) did. > >You have a cheaper but time involving solution: write your own cadenza, >as did most soloists. >=== = >=== > >-Original Message- >From: [EMAIL PROTECTED] >[mailto:[EMAIL PROTECTED] On Behalf Of Adam >Black >Sent: Saturday, October 22, 2005 10:06 AM >To: horn@music.memphis.edu >Subject: [Hornlist] Mozart Cadenza > >Does anyone know of some links / sites where I can either download, or >buy cadenzas for the Mozart cadenzas, without having to purchase a new >arrangement? Any help much appreciated > > >___ >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/adamblack65% 40hotmail.co >m ___ 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/adamblack65%40hotmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart Cadenza
What particular Mozart concerto you are interested most ? I could scan the relevant pages from my book "Das Horn bei Mozart" (sold out since years) & send them to you as attachement, perhaps. Just a friendship service not violating any rights. Greetings = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Adam Black Sent: Saturday, October 22, 2005 1:55 PM To: horn@music.memphis.edu Subject: RE: [Hornlist] Mozart Cadenza Dear Prof Pizka, Thanks for your comments - I, however, am just a "returnee" to playing, after a 25 year absence; with still, limited musical ability, and not a very good ear. I am just after something relatively simple to play, to start with, and build up from there. I do, by the way, have an original set of the concertos (just without cadenzas included). I do respect the rights of composers / arrangers, and am, as you suggest, building up a library of my own ( original copies ) music pieces. Thanks, Adam >From: "Hans" <[EMAIL PROTECTED]> >Reply-To: The Horn List >To: "'The Horn List'" >Subject: RE: [Hornlist] Mozart Cadenza >Date: Sat, 22 Oct 2005 11:37:55 +0200 > >Listen carefully to the preferred Mozart recordings & write out the >cadenza, write it within regular measure with fermatas & caesuras. >That´s the way I did. It helps much understanding the music. > >What do you think, that soloists would just sell their cadenzas for a >few cents, with all the administration involved, while you would not >even spend the few bucks for a set of the Mozart horn concertos ?? >Ridiculous ! Spend less on personal entettainment to save up for your >private library of the most important pieces, as we (the elder) did. > >You have a cheaper but time involving solution: write your own cadenza, >as did most soloists. >=== = >=== > >-Original Message- >From: [EMAIL PROTECTED] >[mailto:[EMAIL PROTECTED] On Behalf Of Adam >Black >Sent: Saturday, October 22, 2005 10:06 AM >To: horn@music.memphis.edu >Subject: [Hornlist] Mozart Cadenza > >Does anyone know of some links / sites where I can either download, or >buy cadenzas for the Mozart cadenzas, without having to purchase a new >arrangement? Any help much appreciated > > >___ >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/adamblack65% 40hotmail.co >m ___ 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 Cadenza
Dear Prof Pizka, Thanks for your comments - I, however, am just a "returnee" to playing, after a 25 year absence; with still, limited musical ability, and not a very good ear. I am just after something relatively simple to play, to start with, and build up from there. I do, by the way, have an original set of the concertos (just without cadenzas included). I do respect the rights of composers / arrangers, and am, as you suggest, building up a library of my own ( original copies ) music pieces. Thanks, Adam From: "Hans" <[EMAIL PROTECTED]> Reply-To: The Horn List To: "'The Horn List'" Subject: RE: [Hornlist] Mozart Cadenza Date: Sat, 22 Oct 2005 11:37:55 +0200 Listen carefully to the preferred Mozart recordings & write out the cadenza, write it within regular measure with fermatas & caesuras. That´s the way I did. It helps much understanding the music. What do you think, that soloists would just sell their cadenzas for a few cents, with all the administration involved, while you would not even spend the few bucks for a set of the Mozart horn concertos ?? Ridiculous ! Spend less on personal entettainment to save up for your private library of the most important pieces, as we (the elder) did. You have a cheaper but time involving solution: write your own cadenza, as did most soloists. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Adam Black Sent: Saturday, October 22, 2005 10:06 AM To: horn@music.memphis.edu Subject: [Hornlist] Mozart Cadenza Does anyone know of some links / sites where I can either download, or buy cadenzas for the Mozart cadenzas, without having to purchase a new arrangement? Any help much appreciated ___ 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/adamblack65%40hotmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart Cadenza
Listen carefully to the preferred Mozart recordings & write out the cadenza, write it within regular measure with fermatas & caesuras. That´s the way I did. It helps much understanding the music. What do you think, that soloists would just sell their cadenzas for a few cents, with all the administration involved, while you would not even spend the few bucks for a set of the Mozart horn concertos ?? Ridiculous ! Spend less on personal entettainment to save up for your private library of the most important pieces, as we (the elder) did. You have a cheaper but time involving solution: write your own cadenza, as did most soloists. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Adam Black Sent: Saturday, October 22, 2005 10:06 AM To: horn@music.memphis.edu Subject: [Hornlist] Mozart Cadenza Does anyone know of some links / sites where I can either download, or buy cadenzas for the Mozart cadenzas, without having to purchase a new arrangement? Any help much appreciated ___ 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 Cadenza
Sorry folks - obviously I meant for the Mozart CONCERTOS! I think you get the picture From: "Adam Black" <[EMAIL PROTECTED]> Reply-To: The Horn List To: horn@music.memphis.edu Subject: [Hornlist] Mozart Cadenza Date: Sat, 22 Oct 2005 18:35:45 +0930 Does anyone know of some links / sites where I can either download, or buy cadenzas for the Mozart cadenzas, without having to purchase a new arrangement? Any help much appreciated ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/adamblack65%40hotmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart Cadenza
Does anyone know of some links / sites where I can either download, or buy cadenzas for the Mozart cadenzas, without having to purchase a new arrangement? Any help much appreciated ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] new medicine, new hope
Hello, Everyone.
As some of you know, I have "Brittle Diabetes".
This means that I get frequent "Diabetic Crashes"
("sudden large drops in Blood Sugar Levels, often
low enough to cause coma or death within minutes").
"Brittle Diabetes" is very rare, but most never once
go unconscious. I'm one of the more rare kinds who
has "Diabetic Black-Outs" after nearly every large
"Crash". These are "periods of being unconscious
for one to eight hours at a time, and the following
day the, all memory of the Black-Out Day has
been erased". Each Black-Out is dangerous, and
I've been told for the last 3 years that any next
Black-Out could be fatal. I was officially declared
to be "End Stage" or "dying".
Starting in July 2005 the Blood Sugar Levels
from Several Crashes began falling consistently
BELOW the Usually Fatal Levels! Unless a
miracle happened, I was guaranteed to die in the
Autumn of 2005.
Well, a new medicine DID come along! I am
NOT allergic to it, and it BLOCKS me from
falling to Low Blood sugar Levels! In fact it keeps
my Blood Sugar Levels a bit too high, but I can
tolerate it will no ill effects. It's called "Byetta" or
"Exenatide" and is based off the Intestinal Enzymes
of the "Gila Monster". ("Gila" is pronounced as
"HEE-lah".)
The "Gila Monster" is similar to the "Mexican
Beaded Lizard". Both look similar to each other
and live in the hot deserts of Arizona and hot
jungles of Southern Mexico, respectively. (There
is also the "Gila River" and town of "Gila Bend"
in Arizona.) These are the only 2 species of
poisonous lizards in the world, but this medicine
is based off their digestive enzymes, and not their
poison. Gila Monsters generally eat only 2 or 3
meals per year, usually a whole mouse or smaller
lizard! Somehow the "Exenatide" slows the
digestive and pancreatic functions and blocks my
Blood Sugar Levels from falling too low!
In the last few years, we've noticed that I have
not gone more than eleven days without a Black-
Out. I've been on the "Exenatide" for 16 days, and
hadn't had a Major Crash and Black-Out for a week
before that! That means that this is now 21 DAYS
WITHOUT a Black-Out, almost TWICE as long
as I've gone in THREE YEARS! (I had promised
myself that if I could go 21 days without a Black-
Out, that I'd announce this miracle to the Instrument
Lists.) I'm still a "Type II Diabetic" and genetically
a "Brittle Diabetic", but I'm no longer an ACTIVE
Brittle Diabetic, nor am I "End Stage" ("dying").
"Byetta" or "Exenatide" was NOT invented to
help "Brittle Diabetes", which is VERY rare. It is
purely by coincidence that "Exenatide" can help
SOME Brittle Diabetics. It was intended to help
"Newly Diagnosed Type II Diabetics" who were
diagnosed within the last 3 years! (If that is you, or
someone that you know, ask your doctor about
"Byetta" or "Exenatide", but know that there are
always Side Effects. Whereas I've gotten bad
reactions to ALL of the other newer diabetic
medications, this one works well for me, but either
doesn't work at all, or causes extreme nausea, in
most other people.)
Instead of being dead by November 2005, I now
have a real chance to live long enough to make a
bigger difference in the history of Modern
Classical Music. (I've already had an Entire
Dissertation written about 4 of my Horn Works,
and articles in books and encyclopedias are being
written about me.)
Bear Woodson
Composer in Tucson, Arizona, USA
. . . . with a Gila Monster on my back!
___
post: horn@music.memphis.edu
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