Re: [Hornlist] Re: French Nationalistic Sound
You can also use a factitious note. Finger it F12. It's there. If it's sharp, use F23. Factitious notes are supported by the harmonics, not the fundamental. Herb Foster --- Jerry Houston [EMAIL PROTECTED] wrote: Marc Gelfo wrote: Also, I'm curious how they pull of things like the low E in the 4th mvt of Shostakovich 5, which cannot be played on F horn (I guess maybe sort of you could bend down pedal F# with F123, but that would be treacherous to attack an out-of-the-blue piano low E with that fingering) Anybody know more about this? No, but don't forget the right hand can be used to affect pitch as well. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/herb_foster%40yahoo.com __ Yahoo! DSL Something to write home about. Just $16.99/mo. or less. dsl.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: French Nationalistic Sound
In theory everything is said easily, but in practica ? If there are mics sharp ears in the recording crew ? There just solid solutions can count. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Herbert Foster Sent: Friday, December 30, 2005 2:26 PM To: The Horn List Subject: Re: [Hornlist] Re: French Nationalistic Sound You can also use a factitious note. Finger it F12. It's there. If it's sharp, use F23. Factitious notes are supported by the harmonics, not the fundamental. Herb Foster --- Jerry Houston [EMAIL PROTECTED] wrote: Marc Gelfo wrote: Also, I'm curious how they pull of things like the low E in the 4th mvt of Shostakovich 5, which cannot be played on F horn (I guess maybe sort of you could bend down pedal F# with F123, but that would be treacherous to attack an out-of-the-blue piano low E with that fingering) Anybody know more about this? No, but don't forget the right hand can be used to affect pitch as well. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/herb_foster%4 0yahoo.com __ Yahoo! DSL - Something to write home about. Just $16.99/mo. or less. dsl.yahoo.com ___ 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] Re: Geschtopftmitscheist ??
Wendell Schmendell Rider wronged: Dear fellow listers one and all- Merry Xmas and a Happy Near Year! Well, now we have a real mess brewing here. Maybe an international incident. I'm very concerned about the two of you canceling each other out. People disappear all the time. Stranger things have happened! It would be a shame to lose both of you over this. Merry Xopprasch and a Happy Clamsaa to you too and sometimes it is best that horn players disappear especiallies during horn concertos or even symphonies or band concerts because they did not make the practicings of Kopprasch No. 1 I must also say that I have to disavow any responsibility for the actions of my former student, Herr Geschtopftmitscheist. He was an earnest, perhaps a bit obsessive lad with a wild imagination. His broken home and subsequent lack of monetary support caused him to rely on his street smarts to survive. As you can see, his ability to read people and his charismatic personality have taken him far from his humble beginnings. He used to tell me stories and do my gardening to pay for his lessons. Frankly, I never knew when he was telling the truth or if he knew what weeds were but it didn't seem to matter. He had that kind of effect. NOW, this is not me and you should have been knowing this since the name is spelled differently and besides that, and as my prize pupil, Kenny Betts, told you about me yesterday, my matriculations were making in Bad Lippstadt with Herr. Otto Fisch not in Sane Jose with you. I did start him out on Kopprasch, so perhaps there is some blame for me to accept there. Really though, how could I know things would go this far? Everyone needs to do Kopprasch! A lot of Kopprasch. Kids nowadays just don't do enough Kopprasch. Its pathetic. Kids today are wimps when it comes to Kopprasch. He had a similar fascination with Bruckner, transcribing entire Masses for horn ensemble. The problem with his many transcriptions is that they have no rests. NOW, yes, this is true, which shows that your credulances as a teacher are vital but again, and the facts do not make liars of us all so the mostest, thoroughestest of studies of my Kopprasch with Herr Otto Fisch for 15 years were havings in Bad Lippstadt but I did also make some advanced studies of Nos. 2-10 with Oscar Franz, Franz Strauss, Oscar Strauss and Franz Oscar due to my mother's close connections to them and I also studied all the Wagner Tube concerti with the great Italian WT virtuoso Enrico Vongole when my train was delayed for a week one night in Milan many years ago and I have not the times been having to make transcriptions of Bruckner as I spend all of my mostest precioussest of free times looking anywheres and everywheres for the long lost symphonies, concertos, operas, divertimentos, cassations, serenades, lieders, masses, marches, polkas, cake-walks and rags by our beloved Kopprasch! A great part of his life was taken up with the search for the Holy Mouthpiece. I know most of us have joined this Crusade at one time or another but again Geschtopftmitscheist carried things a bit too far, sometimes stalking people he thought might have the elusive artifact. He came to me several times, almost accusing me of hoarding a rare gold mouthpiece I had received from the master- saying that he should have it because I wasn't using it. NOW, again, this is all confusings of the realestest of issues as everyone who knows me knows that the Holy Mouthpiece, if it truly exists, is CHROME, not gold, plated and it is the original Fisch PDC used by him in the world premiere of the now long lost Symphony No. 1, der Schtooper by C. Kopprasch and the reason I say the Holy Mouthpiece's existences or nots are discussed in the greatestest of lengths in the recent best seller, The Da Vinci Clam. He is, however, always willing to care for stray horns, taking in many over the years. If you have a horn you don't want that needs a good home, give him a call. His generosity to other people has not been mentioned enough here either. Many of the problems he faced in his life were brought about because he gave to much of himself to others. I think we should all look upon his recent gifts to us of the poem and the holiday as a cry for help and redemption. What has happened here? Do we really understand the depth of this event? Is there some way we can respond appropriately? Some day day we may all look back on this with great reverence. Or not. Now, this is the onliest of resemblings of this Geschtopftmitscheist to me that you have made the mentionings of here. As far as his identity is concerned, if I told you, yes, I would have to be very concerned about your safety. I think he has revealed much about himself, perhaps too much. After all, on this Internet thing we call a forum, are any of us
[Hornlist] Re: Brahms Songs
William Melton mentioned a number of alternative recordings if the Brahms Songs: Graham, I won't try to suggest a better recording (lets leave the critics to do that), but here are some that offer some fine horn players: Stefan Jezierski and Manfred Klier with Marcus Creed and the RIAS- Kammerchor (Harmonia mundi CD) Anthony Halstead and Christian Rutherford with John Eliot Gardiner and the Monteverdi Choir (Philips CD) Gerd Seifert and Alfred Dedens with Hubert Guenther and the Rheinische Singgemeinschaft (Garnet LP) Dennis Brain and Norman Del Mar with Roy Henderson and the Nottingham Oriana Choir (Decca 78) The last two are worth looking for if they are ever issued on CD because they document their first players in young years, the Brain recorded in 1943, and Seifert in 1964 (at the end of his stint in Duesseldorf). It looks as though the first two on the list are unavailable just now - from Amazon at least. Seifert or Brain would have been interesting of course - in a few years perhaps? looks like it will be the London Symphony Chorus/City of London Sinfonia / Hickox. Regards, Graham ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Bivalvulation
Steve Frenchy Freides inquisites: But Professor, I do not see bivalvulation explained. Please enlighted me, or at least tell me what it means. Now, here is the definition as defined in the Kopprasch Heritage Dictionary: bi·valve n. 1. A mollusk, such as an oyster or a clam, that has a shell consisting of two hinged valves. --bi·valve adj. 1. Having a shell consisting of two hinged valves. 2. Consisting of two similar separable parts. --bi“valved” adj. --bi-valvulation v. 1. to create the constant emissions of no-speakies, phwops, phwaps, phwups, phreeps, schplats, schpleahs, schplooees, schpladats, scpladatandos, schploinks, schplinks and schplooieooieooies from the bell of a horn. 2. What will happen to a horn player in a concert if he/she has not practiced Kopprasch. No. 1. Seasonings Greetonings and Mostestest of Clamsaalations! Prof. I. M. Gestopftmitscheist Principal 8th horn and Principal 4th Wagner Tuber, Schplittenotendorf am Oedland Staatsoper und Philharmoniker, (ret.) Solo Horn, Bad Corner Brass Quintet Hornist, Broken Winds WW Quintet Solo 4th Horn (Leader, call me for bookings), Smirnoff Horn Quartet Assistant Associate Principal Mellophone, NJ Turnpike Authority Drum and Bugle Corps, The Phantom Lane Changers (summer only) Hornist as Needed, L'Ensemble du Chambre des Palourdes Principal Natural Horn, I Soloisti di Feces Principal Baroque and Hunting Horn, Camarata Vongoleforte Adjunct, Part-time, Arms-length Professor of Horn and Pest Control, Exit 2 Community College, Exit 2, NJ (Ret.) Adjunct, Part-time, Arms-length Professor of Horn, Pest Control and Home Petroleum Studies, Northern New Hampshire Technical Institute, Bad Corner, NH Author, The Kopprasch Connection, Kopprasch for Fun and Profit, Kopprasch for the New Millenium: Where Do you Fit In? Hooked on Hornonics, and What If Saddam Had Given Ouday and Qusay Olds Ambassador or Conn Pan American Single F Horns and a Kopprasch Book Instead of AK 47's, Booze and Porn? Founder, Director and CEO, Universal Institute for the Study, Preservation and Dissemination of Kopprasch Throughout the Solar System Founder and Guru Extraordinaire, Hornaholics Anonymous Grand Poobah of the Koppraschian Kult Director and Program Manager, The All Kopprasch Channel (AKC), Kopprasch Public Radio (KPR) Host of The Kopprasch Factor on AKC and All Kopprasch Considered on KPR Founder of Kopprasch Depot, your one stop shop for all you need! Owner-Operator, Bad Corner Petroleum Laboratory, The Worlds Largest Valve Oil Factory Founder and Disseminator of CLAMSAA, the Universal Holiday for Horn Players Interplanetarily Known Soloist and Artist of Record Exclusive Bundy, Carl Fischer, Olds Ambassador, Sansone and Conn Artist Who Does Not Get His Horns For Free Phone: yes Fax: yes E-mail: yes Website: no The man who can own up to his clams is greater than he who merely knows how to avoid making them. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: French Nationalistic Sound
My son routinely plays full range on a 1929 Eb tuba that only has three valves. There is a big gap in available notes (theoretically) down to the low pedals, but he plays right through the range with perfect tone and intonation on false notes. He refuses to conform by using a C tuba with extra valves for everything. Learning to do it is less difficult than circular breathing. The trick is to think of it as singing. The instrument is quite capable of playing with no change in sound, once you learn to attack and hold the note on pitch. The intonation is as good as your ear and, on a tuba in the low register, your ear is generally better than the horn. The Eb is so big, it's usually assumed to be a C, but if anyone complains, he has a four valve Conn 48K rain catcher, perfect for the opening of Zarathustra, but coiled like a Sousaphone. Stokowski used the 48K to double the string base in Fantasia, but it looks pretty stupid on stage. -Original Message- From: Prof.Hans Pizka [EMAIL PROTECTED] To: 'The Horn List' horn@music.memphis.edu Sent: Fri, 30 Dec 2005 14:46:51 +0100 Subject: RE: [Hornlist] Re: French Nationalistic Sound In theory everything is said easily, but in practica ? If there are mics sharp ears in the recording crew ? There just solid solutions can count. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Herbert Foster Sent: Friday, December 30, 2005 2:26 PM To: The Horn List Subject: Re: [Hornlist] Re: French Nationalistic Sound You can also use a factitious note. Finger it F12. It's there. If it's sharp, use F23. Factitious notes are supported by the harmonics, not the fundamental. Herb Foster --- Jerry Houston [EMAIL PROTECTED] wrote: Marc Gelfo wrote: Also, I'm curious how they pull of things like the low E in the 4th mvt of Shostakovich 5, which cannot be played on F horn (I guess maybe sort of you could bend down pedal F# with F123, but that would be treacherous to attack an out-of-the-blue piano low E with that fingering) Anybody know more about this? No, but don't forget the right hand can be used to affect pitch as well. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/herb_foster%4 0yahoo.com __ Yahoo! DSL - Something to write home about. Just $16.99/mo. or less. dsl.yahoo.com ___ 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/billbamberg%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re Vienna PO
I had the oppurtunity to see the VPO play Dvorak 9 and a Schubert symphony in Severance Hall in Cleveland a few years ago. There were a couple instances where the first, and the third if I recall correctly, switched to an F-alto single. If I am not mistaken it was the solo/duet at the end, and also the third horn lick in the Scherzo that also goes up to a high B. There were actually a few clams in the concert, but nothing too terrible. Chris --- Prof.Hans Pizka [EMAIL PROTECTED] wrote: Surely, you cannot imagine that, as you are not familiar with the F-horn playing technique of the Viennese school. At first, what is so important with that Shostakovich no.5 ? It is just a wave, a fashion not more will fade. And if they play, they can use a different crook for this passage or ask the trombone players to sneek in for the one note. Why so over ambitious ? At second: high e3 on the F-horn is by far easier to get than on the Bb-horn, - preconditioned one has the right embouchgure to play first horn with the Vienna Philharmonic. Have you heard Thomas Joebst playing concertstueck on the new CD ? Have you ever heard what kind of programs the VP dids on their 1st 2nd Southamerican Tour 1922 1923 ? Under Weingartner Richard Strauss the first tour under R.Strauss all on the 2nd tour: all Tone Poems by Strauss within 4 concerts in Montevideo on four consecutive days. Just one example. And the tour had 42 concerts. And no double horn with them then. At third: They use double horns descant horns for special tasks as all do, but the single F-Horn is their main instrument, so says their contract. At fourth: Other Viennese orchestras (4 or 5) use double horns as well, but dont have the Single F Pumpenhorn written in their contracts. I can speak about that, as I have done all these things on my single F Horn also. We say Wer kann, der kann !! = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Marc Gelfo Sent: Thursday, December 29, 2005 7:05 PM To: horn@music.memphis.edu Subject: [Hornlist] Re: French Nationalistic Sound In reality though, the Vienna Philharmonic is an original instruments group in the truest sense. I've heard a lot of players in Vienna are using doubles and triples for security in the high register, but cannot substantiate this claim since I don't remember from whom I heard it or any particular names of players in Vienna. Also, I'm curious how they pull of things like the low E in the 4th mvt of Shostakovich 5, which cannot be played on F horn (I guess maybe sort of you could bend down pedal F# with F123, but that would be treacherous to attack an out-of-the-blue piano low E with that fingering) Anybody know more about this? I can't imagine playing, e.g., the Strauss domestic symphony 1st horn part on a single F horn. Marc Gelfo ___ 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/tedesccj%40yahoo.com __ Yahoo! for Good - Make a difference this year. http://brand.yahoo.com/cybergivingweek2005/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re Vienna PO
Nice to have those memories as a welcome excuse, if oneself fails occasionally, isn´t it so ? But that refers to witness of other clams by other prominent players. Clams tend to make it around the hall for years even in the gazettes magazines hornlist or whatever lists, and they are subject to exaggerating, special by those who clam often themselves. But isn´t it much better to praise the beauty of a performance or a sound, than to count the clams (except they are too many, so you stop counting !) ? === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Chris Tedesco Sent: Friday, December 30, 2005 7:19 PM To: The Horn List Subject: RE: [Hornlist] Re Vienna PO I had the oppurtunity to see the VPO play Dvorak 9 and a Schubert symphony in Severance Hall in Cleveland a few years ago. There were a couple instances where the first, and the third if I recall correctly, switched to an F-alto single. If I am not mistaken it was the solo/duet at the end, and also the third horn lick in the Scherzo that also goes up to a high B. There were actually a few clams in the concert, but nothing too terrible. Chris --- Prof.Hans Pizka [EMAIL PROTECTED] wrote: Surely, you cannot imagine that, as you are not familiar with the F-horn playing technique of the Viennese school. At first, what is so important with that Shostakovich no.5 ? It is just a wave, a fashion not more will fade. And if they play, they can use a different crook for this passage or ask the trombone players to sneek in for the one note. Why so over ambitious ? At second: high e3 on the F-horn is by far easier to get than on the Bb-horn, - preconditioned one has the right embouchgure to play first horn with the Vienna Philharmonic. Have you heard Thomas Joebst playing concertstueck on the new CD ? Have you ever heard what kind of programs the VP dids on their 1st 2nd Southamerican Tour 1922 1923 ? Under Weingartner Richard Strauss the first tour under R.Strauss all on the 2nd tour: all Tone Poems by Strauss within 4 concerts in Montevideo on four consecutive days. Just one example. And the tour had 42 concerts. And no double horn with them then. At third: They use double horns descant horns for special tasks as all do, but the single F-Horn is their main instrument, so says their contract. At fourth: Other Viennese orchestras (4 or 5) use double horns as well, but dont have the Single F Pumpenhorn written in their contracts. I can speak about that, as I have done all these things on my single F Horn also. We say Wer kann, der kann !! = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Marc Gelfo Sent: Thursday, December 29, 2005 7:05 PM To: horn@music.memphis.edu Subject: [Hornlist] Re: French Nationalistic Sound In reality though, the Vienna Philharmonic is an original instruments group in the truest sense. I've heard a lot of players in Vienna are using doubles and triples for security in the high register, but cannot substantiate this claim since I don't remember from whom I heard it or any particular names of players in Vienna. Also, I'm curious how they pull of things like the low E in the 4th mvt of Shostakovich 5, which cannot be played on F horn (I guess maybe sort of you could bend down pedal F# with F123, but that would be treacherous to attack an out-of-the-blue piano low E with that fingering) Anybody know more about this? I can't imagine playing, e.g., the Strauss domestic symphony 1st horn part on a single F horn. Marc Gelfo ___ 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/tedesccj%40ya hoo.com __ Yahoo! for Good - Make a difference this year. http://brand.yahoo.com/cybergivingweek2005/ ___ 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] More of the mystery revealed
On Dec 30, 2005, at 7:49 AM, [EMAIL PROTECTED] wrote: message: 14 date: Fri, 30 Dec 2005 10:45:03 EST from: [EMAIL PROTECTED] subject: [Hornlist] Re: Geschtopftmitscheist ?? Wendell Schmendell Rider wronged: Is this nice? Name calling? Here I try and explain some things about your life and all you can do is insult me? I meant only to enlighten and bring some much needed closure to this controversy over your existence. But perhaps I was wrong in that. Perhaps it was much too presumptuous of me to try and tell The Story myself. We should wait for more word from you. Maybe it IS better that we rely on our belief in you rather than any empirical data. I'm pretty tired of this Revenge of the Nerds generation anyway. All of these engineers and IT types running things. Trying to reduce music to spreadsheets, photography to numbers and pixels. When will it end? NOW, this is not me and you should have been knowing this since the name is spelled differently and besides that, and as my prize pupil, Kenny Betts, told you about me yesterday, my matriculations were making in Bad Lippstadt with Herr. Otto Fisch not in Sane Jose with you. Yes, your name is spelled differently, quite differently, Mr. Trash - we will just use this name for convenience from now on. Of course I didn't want to bring up all the stuff about the operation, the institutions, the medications and the new identities. I was willing to let all that lie. But I am not an enabler. Going along with all this nonsense is certainly not in your best interests or mine. Yes, it is obvious that you seem to have found a true friend and codependent in the person of Kenny. I'm sure he would say just about anything to keep you out of trouble. Didn't you actually attend some institutions together? Or was that someone else? Come on, let's be truthful now. snip NOW, yes, this is true, which shows that your credulances as a teacher are vital but again, and the facts do not make liars of us all so the mostest, thoroughestest of studies of my Kopprasch with Herr Otto Fisch for 15 years were havings in Bad Lippstadt but I did also make some advanced studies of Nos. 2-10 with Oscar Franz, Franz Strauss, Oscar Strauss and Franz Oscar due to my mother's close connections to them and I also studied all the Wagner Tube concerti with the great Italian WT virtuoso Enrico Vongole when my train was delayed for a week one night in Milan many years ago and I have not the times been having to make transcriptions of Bruckner as I spend all of my mostest precioussest of free times looking anywheres and everywheres for the long lost symphonies, concertos, operas, divertimentos, cassations, serenades, lieders, masses, marches, polkas, cake-walks and rags by our beloved Kopprasch! This type of rambling points to the real problem- bi polar schizophrenia. Perhaps it is only fitting that our new spiritual leader should have more than one name and personality. After all, as horn players, aren't we always on the cutting edge of social evolution? Soon every leader will have these traits, or want to. If we act now we can have the first. As we move into this new millennium, it is time for us to take our place, our rightful place, as the real movers and shakers of the future. The cultural IQ has devolved to just the right point for us to take over. I say we strike now! Hail to maestro Geschtopftmitscheist! snip NOW, again, this is all confusings of the realestest of issues as everyone who knows me knows that the Holy Mouthpiece, if it truly exists, is CHROME, not gold, plated and it is the original Fisch PDC used by him in the world premiere of the now long lost Symphony No. 1, der Schtooper by C. Kopprasch and the reason I say the Holy Mouthpiece's existences or nots are discussed in the greatestest of lengths in the recent best seller, The Da Vinci Clam. Folks, the REAL mouthpiece is made of bone. But nice try. As my late dog Hopi used to say- without a bone you have no case. Ahh, but you do remember my dog don't you Mr Trash! If worse comes to worse we can always look for that scar on a certain part of your body, no? He is, however, always willing to care for stray horns, taking in many over the years. If you have a horn you don't want that needs a good home, give him a call. His generosity to other people has not been mentioned enough here either. Many of the problems he faced in his life were brought about because he gave to much of himself to others. I think we should all look upon his recent gifts to us of the poem and the holiday as a cry for help and redemption. What has happened here? Do we really understand the depth of this event? Is there some way we can respond appropriately? Some day day we may all look back on this with great reverence. Or not. Now, this is the onliest of resemblings of this Geschtopftmitscheist to me
[Hornlist] Re: bivalvulation
Mostestest of apologizings for the 2 previous attemptings that got mysteriosoisly htmlled! Steve French Freides inquisites: But Professor, I do not see bivalvulation explained. Please enlighted me, or at least tell me what it means. Now, I gladly can do this so here the definition is as defined in the Kopprasch Heritage Dictionary: bi-valve n. 1. A mollusk, such as an oyster or a clam, that has a shell consisting of two hinged valves. --bi-valve adj. 1. Having a shell consisting of two hinged valves. 2. Consisting of two similar separable parts. --bi-valvulate v. 1. The act of creating the constant emissions of no-speakies, phwops, phwaps, phwups, phreeps, schplats, schpleashs, schplooees, schpladats, schpladatandos, schoploinks, schplinks and schpollieooieooies from the bell of a horn. --bi-valvulation n. 1. The sonorous extripations heard in rehearsal or concert emitted from the bell of a horn played by a performer who did not practice Kopprasch No. 1. Seasonings Greetonings and Mostestest of Clamsaalations! Prof. I. M. Gestopftmitscheist Principal 8th horn and Principal 4th Wagner Tuber, Schplittenotendorf am Oedland Staatsoper und Philharmoniker, (ret.) Solo Horn, Bad Corner Brass Quintet Hornist, Broken Winds WW Quintet Solo 4th Horn (Leader, call me for bookings), Smirnoff Horn Quartet Assistant Associate Principal Mellophone, NJ Turnpike Authority Drum and Bugle Corps, The Phantom Lane Changers (summer only) Hornist as Needed, L'Ensemble du Chambre des Palourdes Principal Natural Horn, I Soloisti di Feces Principal Baroque and Hunting Horn, Camarata Vongoleforte Adjunct, Part-time, Arms-length Professor of Horn and Pest Control, Exit 2 Community College, Exit 2, NJ (Ret.) Adjunct, Part-time, Arms-length Professor of Horn, Pest Control and Home Petroleum Studies, Northern New Hampshire Technical Institute, Bad Corner, NH Author, The Kopprasch Connection, Kopprasch for Fun and Profit, Kopprasch for the New Millenium: Where Do you Fit In? Hooked on Hornonics, and What If Saddam Had Given Ouday and Qusay Olds Ambassador or Conn Pan American Single F Horns and a Kopprasch Book Instead of AK 47's, Booze and Porn? Founder, Director and CEO, Universal Institute for the Study, Preservation and Dissemination of Kopprasch Throughout the Solar System Founder and Guru Extraordinaire, Hornaholics Anonymous Grand Poobah of the Koppraschian Kult Director and Program Manager, The All Kopprasch Channel (AKC), Kopprasch Public Radio (KPR) Host of The Kopprasch Factor on AKC and All Kopprasch Considered on KPR Founder of Kopprasch Depot, your one stop shop for all you need! Owner-Operator, Bad Corner Petroleum Laboratory, The Worlds Largest Valve Oil Factory Founder and Disseminator of CLAMSAA, the Universal Holiday for Horn Players Interplanetarily Known Soloist and Artist of Record Exclusive Bundy, Carl Fischer, Olds Ambassador, Sansone and Conn Artist Who Does Not Get His Horns For Free Phone: yes Fax: yes E-mail: yes Website: no The man sho can own up to his clams is greater than he who merely knows how to avoid making them. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Bivavulation
On Dec 30, 2005, at 10:00 AM, [EMAIL PROTECTED] wrote: message: 2 date: Fri, 30 Dec 2005 11:40:13 EST from: [EMAIL PROTECTED] subject: [Hornlist] Re: Bivalvulation IApTdGV2ZSAiRnJlbmNoeSIgRnJlaWRlcyBpbnF1aXNpdGVzOgoKCkJ1dCBQcm9mZXNzb3 Is IEkgZG8gbm90IHNlZSAiYml2YWx2dWxhdGlvbiIgZXhwbGFpbmVkLiAgIFBsZWFzZSBlbm xp Z2h0ZWQgbWUsCm9yIGF0IGxlYXN0IHRlbGwgbWUgd2hhdCBpdCBtZWFucy4KCgpOb3csIG hl cmUgaXMgdGhlIGRlZmluaXRpb24gYXMgZGVmaW5lZCBpbiAgdGhlIEtvcHByYXNjaCBIZX Jp dGFnZSBEaWN0aW9uYXJ5OgoKYmnCt3ZhbHZlIG4uIDEuIEEgIG1vbGx1c2ssIHN1Y2ggYX Mg YW4gb3lzdGVyIG9yIGEgY2xhbSwgdGhhdCBoYXMgYSBzaGVsbCAKY29uc2lzdGluZyBvZi B0 d28gIGhpbmdlZCB2YWx2ZXMuIC0tYmnCt3ZhbHZlIGFkai4gMS4gSGF2aW5nIGEgc2hlbG wg Y29uc2lzdGluZyBvZiAKdHdvIGhpbmdlZCAgdmFsdmVzLiAyLiBDb25zaXN0aW5nIG9mIH R3 byBzaW1pbGFyIHNlcGFyYWJsZSBwYXJ0cy4gLS1iaeKAnHZhbHZlZOKAnQogYWRqLiAgLS 1i aS12YWx2dWxhdGlvbiB2LiAxLiB0byBjcmVhdGUgdGhlIGNvbnN0YW50IGVtaXNzaW9ucy Bv ZiAKbm8tc3BlYWtpZXMsICBwaHdvcHMsIHBod2FwcywgcGh3dXBzLCBwaHJlZXBzLCBzY2 hw bGF0cywgc2NocGxlYWhzLCBzY2hwbG9vZWVzLCAgCnNjaHBsYWRhdHMsIHNjcGxhZGF0YW 5k b3MsIHNjaHBsb2lua3MsIHNjaHBsaW5rcyBhbmQgIHNjaHBsb29pZW9vaWVvb2llcyBmcm 9t IHRoZSBiZWxsIApvZiBhIGhvcm4uICAyLiAgV2hhdCB3aWxsICBoYXBwZW4gdG8gYSBob3 Ju IHBsYXllciBpbiBhIGNvbmNlcnQgaWYgaGUvc2hlIGhhcyAKbm90ICBwcmFjdGljZWQgS2 9w cHJhc2NoLiBOby4gMS4KClNlYXNvbmluZ3MgR3JlZXRvbmluZ3MgYW5kICBNb3N0ZXN0ZX N0 IG9mIENsYW1zYWFsYXRpb25zIQoKClByb2YuIEkuIE0uICBHZXN0b3BmdG1pdHNjaGVpc3 QK UHJpbmNpcGFsIDh0aCBob3JuIGFuZCBQcmluY2lwYWwgNHRoIFdhZ25lciBUdWJlciwgIF Nj aHBsaXR0ZW5vdGVuZG9yZiBhbSAKT2VkbGFuZCBTdGFhdHNvcGVyIHVuZCBQaGlsaGFybW 9u aWtlciwgKHJldC4pClNvbG8gIEhvcm4sIEJhZCBDb3JuZXIgQnJhc3MgUXVpbnRldApIb3 Ju aXN0LCBCcm9rZW4gV2luZHMgV1cgIFF1aW50ZXQKU29sbyA0dGggSG9ybiAoTGVhZGVyLC Bj YWxsIG1lIGZvciBib29raW5ncyksIFNtaXJub2ZmIEhvcm4gIFF1YXJ0ZXQKQXNzaXN0YW 50 IEFzc29jaWF0ZSBQcmluY2lwYWwgTWVsbG9waG9uZSwgTkogVHVybnBpa2UgQXV0aG9yaX R5 ICBEcnVtIGFuZCAKQnVnbGUgQ29ycHMsICJUaGUgUGhhbnRvbSBMYW5lIENoYW5nZXJzIi Ao c3VtbWVyIG9ubHkpCkhvcm5pc3QgYXMgIE5lZWRlZCwgTCdFbnNlbWJsZSBkdSBDaGFtYn Jl IGRlcyBQYWxvdXJkZXMKUHJpbmNpcGFsIE5hdHVyYWwgSG9ybiwgSSAgU29sb2lzdGkgZG kg RmVjZXMKUHJpbmNpcGFsIEJhcm9xdWUgYW5kIEh1bnRpbmcgSG9ybiwgQ2FtYXJhdGEgIF Zv bmdvbGVmb3J0ZQpBZGp1bmN0LCBQYXJ0LXRpbWUsIEFybXMtbGVuZ3RoIFByb2Zlc3Nvci Bv ZiBIb3JuIGFuZCBQZXN0ICBDb250cm9sLCBFeGl0IDIgCkNvbW11bml0eSBDb2xsZWdlLC BF eGl0IDIsIE5KIChSZXQuKQpBZGp1bmN0LCBQYXJ0LXRpbWUsICBBcm1zLWxlbmd0aCBQcm 9m ZXNzb3Igb2YgSG9ybiwgUGVzdCBDb250cm9sIGFuZCBIb21lIApQZXRyb2xldW0gIFN0dW Rp ZXMsIE5vcnRoZXJuIE5ldyBIYW1wc2hpcmUgVGVjaG5pY2FsIEluc3RpdHV0ZSwgQmFkIE Nv cm5lciwgIE5ICkF1dGhvciwgIlRoZSBLb3BwcmFzY2ggQ29ubmVjdGlvbiwiICJLb3Bwcm Fz Y2ggZm9yIEZ1biBhbmQgUHJvZml0LCIgIAoiS29wcHJhc2NoIGZvciB0aGUgTmV3IE1pbG xl bml1bTogV2hlcmUgRG8geW91IEZpdCBJbj8iICJIb29rZWQgb24gSG9ybm9uaWNzLCIgIG Fu ZCAKIldoYXQgSWYgU2FkZGFtIEhhZCBHaXZlbiBPdWRheSBhbmQgUXVzYXkgT2xkcyBBbW Jh c3NhZG9yIG9yIENvbm4gUGFuICBBbWVyaWNhbiAKU2luZ2xlIEYgSG9ybnMgYW5kIGEgS2 9w cHJhc2NoIEJvb2sgSW5zdGVhZCBvZiBBSyA0NydzLCBCb296ZSBhbmQgIFBvcm4/ IiAKRm91 bmRlciwgRGlyZWN0b3IgYW5kIENFTywgVW5pdmVyc2FsIEluc3RpdHV0ZSBmb3IgdGhlIF N0 dWR5LCAgUHJlc2VydmF0aW9uIAphbmQgRGlzc2VtaW5hdGlvbiBvZiBLb3BwcmFzY2ggVG hy b3VnaG91dCB0aGUgU29sYXIgIFN5c3RlbQpGb3VuZGVyIGFuZCBHdXJ1IEV4dHJhb3JkaW 5h aXJlLCBIb3JuYWhvbGljcyBBbm9ueW1vdXMKR3JhbmQgIFBvb2JhaCBvZiB0aGUgS29wcH Jh c2NoaWFuIEt1bHQKRGlyZWN0b3IgYW5kIFByb2dyYW0gTWFuYWdlciwgVGhlIEFsbCAgS2 9w cHJhc2NoIENoYW5uZWwgKEFLQyksIEtvcHByYXNjaCAKUHVibGljIFJhZGlvIChLUFIpCk hv c3Qgb2YgVGhlIEtvcHByYXNjaCAgRmFjdG9yIG9uIEFLQyBhbmQgQWxsIEtvcHByYXNjaC BD b25zaWRlcmVkIG9uIEtQUgpGb3VuZGVyIG9mIEtvcHByYXNjaCAgRGVwb3QsIHlvdXIgb2 5l IHN0b3Agc2hvcCBmb3IgYWxsIHlvdSBuZWVkIQpPd25lci1PcGVyYXRvciwgQmFkIENvcm 5l ciAgUGV0cm9sZXVtIExhYm9yYXRvcnksICIgVGhlIFdvcmxkcyBMYXJnZXN0IFZhbHZlIA pP aWwgRmFjdG9yeSIKRm91bmRlciBhbmQgIERpc3NlbWluYXRvciBvZiBDTEFNU0FBLCB0aG Ug VW5pdmVyc2FsIEhvbGlkYXkgZm9yIEhvcm4gIFBsYXllcnMKSW50ZXJwbGFuZXRhcmlseS BL bm93biBTb2xvaXN0IGFuZCBBcnRpc3Qgb2YgUmVjb3JkCkV4Y2x1c2l2ZSAgQnVuZHksIE Nh cmwgRmlzY2hlciwgT2xkcyBBbWJhc3NhZG9yLCBTYW5zb25lIGFuZCBDb25uIEFydGlzdC BX aG8gCkRvZXMgTm90IEdldCAgSGlzIEhvcm5zIEZvciBGcmVlClBob25lOiB5ZXMKRmF4Oi B5 ZXMKRS1tYWlsOiB5ZXMKV2Vic2l0ZTogIG5vCgoiVGhlIG1hbiB3aG8gY2FuIG93biB1cC B0 byBoaXMgY2xhbXMgaXMgZ3JlYXRlciB0aGFuIGhlIHdobyAgbWVyZWx5IGtub3dzIGhvdy AK dG8gYXZvaWQgbWFraW5nICB0aGVtLiIKCgoKCgo= If you look carefully in these letters and numbers you can find CLAMSAA and SATAN. Maybe there are more things. I'm kinda busy. Is this Bible Code or Da Vinci Code? Wendell Rider For information about my book, Real World Horn Playing and the summer seminar, go to my website: www.wendellworld.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Bivavulation
You must have intercepted a coded message. It didn't show up on my machine. Perhaps the are some black helicopters landing in your back yard at this moment? -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Wendell Rider Sent: Friday, December 30, 2005 5:32 PM To: horn@music.memphis.edu Subject: [Hornlist] Bivavulation On Dec 30, 2005, at 10:00 AM, [EMAIL PROTECTED] wrote: message: 2 date: Fri, 30 Dec 2005 11:40:13 EST from: [EMAIL PROTECTED] subject: [Hornlist] Re: Bivalvulation IApTdGV2ZSAiRnJlbmNoeSIgRnJlaWRlcyBpbnF1aXNpdGVzOgoKCkJ1dCBQcm9mZXNzb3 Is IEkgZG8gbm90IHNlZSAiYml2YWx2dWxhdGlvbiIgZXhwbGFpbmVkLiAgIFBsZWFzZSBlbm xp Z2h0ZWQgbWUsCm9yIGF0IGxlYXN0IHRlbGwgbWUgd2hhdCBpdCBtZWFucy4KCgpOb3csIG hl cmUgaXMgdGhlIGRlZmluaXRpb24gYXMgZGVmaW5lZCBpbiAgdGhlIEtvcHByYXNjaCBIZX Jp dGFnZSBEaWN0aW9uYXJ5OgoKYmnCt3ZhbHZlIG4uIDEuIEEgIG1vbGx1c2ssIHN1Y2ggYX Mg YW4gb3lzdGVyIG9yIGEgY2xhbSwgdGhhdCBoYXMgYSBzaGVsbCAKY29uc2lzdGluZyBvZi B0 d28gIGhpbmdlZCB2YWx2ZXMuIC0tYmnCt3ZhbHZlIGFkai4gMS4gSGF2aW5nIGEgc2hlbG wg Y29uc2lzdGluZyBvZiAKdHdvIGhpbmdlZCAgdmFsdmVzLiAyLiBDb25zaXN0aW5nIG9mIH R3 byBzaW1pbGFyIHNlcGFyYWJsZSBwYXJ0cy4gLS1iaeKAnHZhbHZlZOKAnQogYWRqLiAgLS 1i aS12YWx2dWxhdGlvbiB2LiAxLiB0byBjcmVhdGUgdGhlIGNvbnN0YW50IGVtaXNzaW9ucy Bv ZiAKbm8tc3BlYWtpZXMsICBwaHdvcHMsIHBod2FwcywgcGh3dXBzLCBwaHJlZXBzLCBzY2 hw bGF0cywgc2NocGxlYWhzLCBzY2hwbG9vZWVzLCAgCnNjaHBsYWRhdHMsIHNjcGxhZGF0YW 5k b3MsIHNjaHBsb2lua3MsIHNjaHBsaW5rcyBhbmQgIHNjaHBsb29pZW9vaWVvb2llcyBmcm 9t IHRoZSBiZWxsIApvZiBhIGhvcm4uICAyLiAgV2hhdCB3aWxsICBoYXBwZW4gdG8gYSBob3 Ju IHBsYXllciBpbiBhIGNvbmNlcnQgaWYgaGUvc2hlIGhhcyAKbm90ICBwcmFjdGljZWQgS2 9w cHJhc2NoLiBOby4gMS4KClNlYXNvbmluZ3MgR3JlZXRvbmluZ3MgYW5kICBNb3N0ZXN0ZX N0 IG9mIENsYW1zYWFsYXRpb25zIQoKClByb2YuIEkuIE0uICBHZXN0b3BmdG1pdHNjaGVpc3 QK UHJpbmNpcGFsIDh0aCBob3JuIGFuZCBQcmluY2lwYWwgNHRoIFdhZ25lciBUdWJlciwgIF Nj aHBsaXR0ZW5vdGVuZG9yZiBhbSAKT2VkbGFuZCBTdGFhdHNvcGVyIHVuZCBQaGlsaGFybW 9u aWtlciwgKHJldC4pClNvbG8gIEhvcm4sIEJhZCBDb3JuZXIgQnJhc3MgUXVpbnRldApIb3 Ju aXN0LCBCcm9rZW4gV2luZHMgV1cgIFF1aW50ZXQKU29sbyA0dGggSG9ybiAoTGVhZGVyLC Bj YWxsIG1lIGZvciBib29raW5ncyksIFNtaXJub2ZmIEhvcm4gIFF1YXJ0ZXQKQXNzaXN0YW 50 IEFzc29jaWF0ZSBQcmluY2lwYWwgTWVsbG9waG9uZSwgTkogVHVybnBpa2UgQXV0aG9yaX R5 ICBEcnVtIGFuZCAKQnVnbGUgQ29ycHMsICJUaGUgUGhhbnRvbSBMYW5lIENoYW5nZXJzIi Ao c3VtbWVyIG9ubHkpCkhvcm5pc3QgYXMgIE5lZWRlZCwgTCdFbnNlbWJsZSBkdSBDaGFtYn Jl IGRlcyBQYWxvdXJkZXMKUHJpbmNpcGFsIE5hdHVyYWwgSG9ybiwgSSAgU29sb2lzdGkgZG kg RmVjZXMKUHJpbmNpcGFsIEJhcm9xdWUgYW5kIEh1bnRpbmcgSG9ybiwgQ2FtYXJhdGEgIF Zv bmdvbGVmb3J0ZQpBZGp1bmN0LCBQYXJ0LXRpbWUsIEFybXMtbGVuZ3RoIFByb2Zlc3Nvci Bv ZiBIb3JuIGFuZCBQZXN0ICBDb250cm9sLCBFeGl0IDIgCkNvbW11bml0eSBDb2xsZWdlLC BF eGl0IDIsIE5KIChSZXQuKQpBZGp1bmN0LCBQYXJ0LXRpbWUsICBBcm1zLWxlbmd0aCBQcm 9m ZXNzb3Igb2YgSG9ybiwgUGVzdCBDb250cm9sIGFuZCBIb21lIApQZXRyb2xldW0gIFN0dW Rp ZXMsIE5vcnRoZXJuIE5ldyBIYW1wc2hpcmUgVGVjaG5pY2FsIEluc3RpdHV0ZSwgQmFkIE Nv cm5lciwgIE5ICkF1dGhvciwgIlRoZSBLb3BwcmFzY2ggQ29ubmVjdGlvbiwiICJLb3Bwcm Fz Y2ggZm9yIEZ1biBhbmQgUHJvZml0LCIgIAoiS29wcHJhc2NoIGZvciB0aGUgTmV3IE1pbG xl bml1bTogV2hlcmUgRG8geW91IEZpdCBJbj8iICJIb29rZWQgb24gSG9ybm9uaWNzLCIgIG Fu ZCAKIldoYXQgSWYgU2FkZGFtIEhhZCBHaXZlbiBPdWRheSBhbmQgUXVzYXkgT2xkcyBBbW Jh c3NhZG9yIG9yIENvbm4gUGFuICBBbWVyaWNhbiAKU2luZ2xlIEYgSG9ybnMgYW5kIGEgS2 9w cHJhc2NoIEJvb2sgSW5zdGVhZCBvZiBBSyA0NydzLCBCb296ZSBhbmQgIFBvcm4/ IiAKRm91 bmRlciwgRGlyZWN0b3IgYW5kIENFTywgVW5pdmVyc2FsIEluc3RpdHV0ZSBmb3IgdGhlIF N0 dWR5LCAgUHJlc2VydmF0aW9uIAphbmQgRGlzc2VtaW5hdGlvbiBvZiBLb3BwcmFzY2ggVG hy b3VnaG91dCB0aGUgU29sYXIgIFN5c3RlbQpGb3VuZGVyIGFuZCBHdXJ1IEV4dHJhb3JkaW 5h aXJlLCBIb3JuYWhvbGljcyBBbm9ueW1vdXMKR3JhbmQgIFBvb2JhaCBvZiB0aGUgS29wcH Jh c2NoaWFuIEt1bHQKRGlyZWN0b3IgYW5kIFByb2dyYW0gTWFuYWdlciwgVGhlIEFsbCAgS2 9w cHJhc2NoIENoYW5uZWwgKEFLQyksIEtvcHByYXNjaCAKUHVibGljIFJhZGlvIChLUFIpCk hv c3Qgb2YgVGhlIEtvcHByYXNjaCAgRmFjdG9yIG9uIEFLQyBhbmQgQWxsIEtvcHByYXNjaC BD b25zaWRlcmVkIG9uIEtQUgpGb3VuZGVyIG9mIEtvcHByYXNjaCAgRGVwb3QsIHlvdXIgb2 5l IHN0b3Agc2hvcCBmb3IgYWxsIHlvdSBuZWVkIQpPd25lci1PcGVyYXRvciwgQmFkIENvcm 5l ciAgUGV0cm9sZXVtIExhYm9yYXRvcnksICIgVGhlIFdvcmxkcyBMYXJnZXN0IFZhbHZlIA pP aWwgRmFjdG9yeSIKRm91bmRlciBhbmQgIERpc3NlbWluYXRvciBvZiBDTEFNU0FBLCB0aG Ug VW5pdmVyc2FsIEhvbGlkYXkgZm9yIEhvcm4gIFBsYXllcnMKSW50ZXJwbGFuZXRhcmlseS BL bm93biBTb2xvaXN0IGFuZCBBcnRpc3Qgb2YgUmVjb3JkCkV4Y2x1c2l2ZSAgQnVuZHksIE Nh cmwgRmlzY2hlciwgT2xkcyBBbWJhc3NhZG9yLCBTYW5zb25lIGFuZCBDb25uIEFydGlzdC BX aG8gCkRvZXMgTm90IEdldCAgSGlzIEhvcm5zIEZvciBGcmVlClBob25lOiB5ZXMKRmF4Oi B5 ZXMKRS1tYWlsOiB5ZXMKV2Vic2l0ZTogIG5vCgoiVGhlIG1hbiB3aG8gY2FuIG93biB1cC B0 byBoaXMgY2xhbXMgaXMgZ3JlYXRlciB0aGFuIGhlIHdobyAgbWVyZWx5IGtub3dzIGhvdy AK dG8gYXZvaWQgbWFraW5nICB0aGVtLiIKCgoKCgo= If you look carefully in these letters and numbers you can find CLAMSAA and SATAN. Maybe there are more things. I'm kinda busy. Is this Bible Code or Da Vinci Code? Wendell Rider
[Hornlist] False notes
Mr. Bamberg tells us of his son's ability to play all the notes between the first and second intervals or partials or your favorite label. Claude Gordon and Jimmy Stamp taught the use and playability of this area to their students. See Mr. Gordons Systematic Approach and Velocity Studies. Perhaps if the horn community would bury its parochialism and investigate other brass pedigoguies for new insight into brass skills and teaching concepts, playing a low E on an F horn would have been easy to do. I was taught this technique by my teacher, a Gordon student. It's not easy, but doable. Lucky me, I also had to accomplish this on the appropriate area of the Bb horn also. I know some will say, Why learn an unneccesary skill, as we have double horns?. Why not? Can we ever learn to much? Query. Is a false note well played a false note. I've seen this term used for 7th and 11th interval applications. When is a note false? Who dreams up our terminology? Maybe Prof I.M.G. has a disfunctional answer. --wabotte ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Horn music for sale
Hello again, I have another 3 sets of music available for sale on eBay this week, on 5-day auction. French Horn Music Set of 4 works including horn Item number: 7378817344 http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItemitem=7378817344rd=1sspagename=STRK%3AMESE%3AITrd=1 French Horn Music Set of 4 chamber works including horn Item number: 7378818170 http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItemitem=7378818170rd=1sspagename=STRK%3AMESE%3AITrd=1 French Horn Music Set of 4 books: Etudes and methods Item number: 7378819224 http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItemitem=7378819224rd=1sspagename=STRK%3AMESE%3AITrd=1 Please take a look. I have really appreciated all the interest in the music. I am thrilled to have people using it! Thanks! Penny ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Brahms Songs
There is a excellent recording of various choral pieces by Brahms on Nimbus Records featuring The Kansas City Chorale. (Nimbus #5524) The hornists on the Op. 17 Songs are Dave Everson and Steve Multer.This recording was made 7 or 8 years ago, but it should still be readily available. Happy listeing, Pete Jilka Kansas City, MO ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Geschtopftmitscheist ??
MAY WE MOVE ONPLEASE! -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Friday, December 30, 2005 7:45 AM To: [EMAIL PROTECTED] Subject: [Hornlist] Re: Geschtopftmitscheist ?? Wendell Schmendell Rider wronged: Dear fellow listers one and all- Merry Xmas and a Happy Near Year! Well, now we have a real mess brewing here. Maybe an international incident. I'm very concerned about the two of you canceling each other out. People disappear all the time. Stranger things have happened! It would be a shame to lose both of you over this. Merry Xopprasch and a Happy Clamsaa to you too and sometimes it is best that horn players disappear especiallies during horn concertos or even symphonies or band concerts because they did not make the practicings of Kopprasch No. 1 I must also say that I have to disavow any responsibility for the actions of my former student, Herr Geschtopftmitscheist. He was an earnest, perhaps a bit obsessive lad with a wild imagination. His broken home and subsequent lack of monetary support caused him to rely on his street smarts to survive. As you can see, his ability to read people and his charismatic personality have taken him far from his humble beginnings. He used to tell me stories and do my gardening to pay for his lessons. Frankly, I never knew when he was telling the truth or if he knew what weeds were but it didn't seem to matter. He had that kind of effect. NOW, this is not me and you should have been knowing this since the name is spelled differently and besides that, and as my prize pupil, Kenny Betts, told you about me yesterday, my matriculations were making in Bad Lippstadt with Herr. Otto Fisch not in Sane Jose with you. I did start him out on Kopprasch, so perhaps there is some blame for me to accept there. Really though, how could I know things would go this far? Everyone needs to do Kopprasch! A lot of Kopprasch. Kids nowadays just don't do enough Kopprasch. Its pathetic. Kids today are wimps when it comes to Kopprasch. He had a similar fascination with Bruckner, transcribing entire Masses for horn ensemble. The problem with his many transcriptions is that they have no rests. NOW, yes, this is true, which shows that your credulances as a teacher are vital but again, and the facts do not make liars of us all so the mostest, thoroughestest of studies of my Kopprasch with Herr Otto Fisch for 15 years were havings in Bad Lippstadt but I did also make some advanced studies of Nos. 2-10 with Oscar Franz, Franz Strauss, Oscar Strauss and Franz Oscar due to my mother's close connections to them and I also studied all the Wagner Tube concerti with the great Italian WT virtuoso Enrico Vongole when my train was delayed for a week one night in Milan many years ago and I have not the times been having to make transcriptions of Bruckner as I spend all of my mostest precioussest of free times looking anywheres and everywheres for the long lost symphonies, concertos, operas, divertimentos, cassations, serenades, lieders, masses, marches, polkas, cake-walks and rags by our beloved Kopprasch! A great part of his life was taken up with the search for the Holy Mouthpiece. I know most of us have joined this Crusade at one time or another but again Geschtopftmitscheist carried things a bit too far, sometimes stalking people he thought might have the elusive artifact. He came to me several times, almost accusing me of hoarding a rare gold mouthpiece I had received from the master- saying that he should have it because I wasn't using it. NOW, again, this is all confusings of the realestest of issues as everyone who knows me knows that the Holy Mouthpiece, if it truly exists, is CHROME, not gold, plated and it is the original Fisch PDC used by him in the world premiere of the now long lost Symphony No. 1, der Schtooper by C. Kopprasch and the reason I say the Holy Mouthpiece's existences or nots are discussed in the greatestest of lengths in the recent best seller, The Da Vinci Clam. He is, however, always willing to care for stray horns, taking in many over the years. If you have a horn you don't want that needs a good home, give him a call. His generosity to other people has not been mentioned enough here either. Many of the problems he faced in his life were brought about because he gave to much of himself to others. I think we should all look upon his recent gifts to us of the poem and the holiday as a cry for help and redemption. What has happened here? Do we really understand the depth of this event? Is there some way we can respond appropriately? Some day day we may all look back on this with great reverence. Or not. Now, this is the onliest of resemblings of
