[Hornlist] The Queen of Sheba
Steven Ovitsky wrote:
Christine Ranson wrote:
I know of 2 trumpet players who have blacked out and had their piccs
written off whilst performing Arrival of The Queen of Sheba.
That's quite a feat, considering that the Arrival of the Queen of
Sheba has no trumpets.
Steven Ovitsky
Changing the subject ever so slightly - there is an arrangement of The
Arrival of the Queen of Sheba for 2 oboes and piano (Fentone Music
F163). It sits well for 2 horns - highest note f2; in the key of Bb;
must transpose to C; lots of fast16th note runs. Fun fanfare!
_
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
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RE: [Hornlist] Re: Pressure NHR sort of not NHR: one can choose:
Christine Ranson wrote: >I know of 2 trumpet players who have blacked out and had their piccs >written off whilst performing Arrival of The Queen of Sheba. That's quite a feat, considering that the Arrival of the Queen of Sheba has no trumpets. Steven Ovitsky ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Yamaha vs 8d
At 03:40 PM 5/16/06 +, you wrote: .Now I do not know Yamahas as well as I would like; being an 8d player for 25 years myself. The one thing I was told about the Yamahas was that they required constant oiling; had a small bore (perhaps the 668 is the exception) but I truly never tried one out in performance therefore cannot advise. I think all Yamaha horns, including student models, have a bore of 0.472". The 8D bore is 0.468". I don't know about Yamaha rotary valves, but their piston valves have a tendency to stick when they are new. Richard ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Ear Training
At 6:18 PM + 5/16/06, [EMAIL PROTECTED] wrote: 6) Stay AWAY from those electrical tuners. 7) Strobotuners. Now, these are good ??? Now I am confused. No matter. In August I'm taking a huge driving trip through the west and north part of the US and when I get to Ann Arbor, Michigan, the furthest east I'll be, I'll have at least seven tuners waiting for me, and some of them are both metronomes and tuners rolled into one each. Yes, it really doesn't matter. I don't tune the horn. I tune my body. Exercise, both physical and on the horn. Seven of my slides haven't been moved in over 20 years, and the other two have been in the same position for the same amount of time. I'm talking about my main axe here, a Conn 8D. While I can't attest to it myself, others have said that I play in tune. Oops, I've got to stop now. I have to oil my valves again. Regards, Carlberg -- Carlberg Jones Guanajuato, Gto. MEXICO mailto:[EMAIL PROTECTED] Skype: carlbergbmug My ISP feels that some of my e-mails are not worthy of deliverance. If you do not receive something you expect, please ask me to resend. I apologize for my ISP's evaluation of my e-mail's worthiness. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Snobbery vs. Knowledge
Thank you so much for your posting! It is so true and telling. Not about me, but about you. Every mail application has a "Delete" button. Please use it, if you find my postings boring. Klaus Smedegaard Bjerre --- Wendell Rider <[EMAIL PROTECTED]> wrote: > > On May 15, 2006, at 10:00 AM, [EMAIL PROTECTED] wrote: > > > message: 9 > > date: Mon, 15 May 2006 09:32:55 -0700 (PDT) > > from: Klaus Bjerre <[EMAIL PROTECTED]> > > subject: RE: [Hornlist] horn advice > > > > If you had read my post thoroughly, you would have noticed, that I > > precisely addressed the point > > in my comments even if my wording about demographics and > > linguistics may have passed by way over > > the heads of some readers. > So I guess you don't care whether people consider you a snob, > arrogant, rude and just plain mean. Actually i find your intellectual > posturing boring in the extreme. We are not impressed. By the way, no > one ever lost the opportunity to audition for an orchestra in this > country because of bad spelling. Get real. Lighten up and be a human > being. Maybe we will change our minds about you.. > > > > This list is about the horn and communication between the devotees > > of that instrument. Even if I > > am a general brass player/conductor/musicologist, I dont want this > > list taken down to the level > > of other brass fora, where one can count the relevant posters > > without taking off ones socks. In > > some cases even one mitten may stay in place. > Please tell us more of what this list is about. Please enlighten us. > Please save us from a horrible fate of actually enjoying the freedom > to express what we want to here. This isn't the Hague Debating > Society. Knock it off with parliamentary procedure stuff. Your > "humor" doesn't come off so well either when you are lording it over > everyone. The fact is that we are past this kind of snobbery. I'm > sure your are well educated and knowledgeable, but that does not make > you an authority or someone we would want to listen to, let alone > have a beer with. One thing about Hans, he is fun to have a beer with > and he can back up what he says from personal experience and real > research, not just intellectualizing. > The good news for us is that no matter how hard you try to bring the > rest of us up to your standards, we will refuse to do so. That will > be frustrating for you I'm sure. There is a cure if you want it though. > > > > Am I harsh? Am I true? You bet! > Are you harsh? Wow, yes, ooh, harsh. Yikes!. Please, no more > harshness. Please. Are you true? No. Well if you think you are, I > guess that's obviously enough for you. Are you proud to be a grumpy > old coot? Yes. Hey, some of my best friends are grumpy old coots so > all is not lost. > > > > Klaus Smedegaard Bjerre > This isn't Europe, late 1800's. Thank God for that. > 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/yorkmasterbbb%40yahoo.com > __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Pressure NHR sort of not NHR: one can choose:
On Tue, 16 May 2006, Benjamin Reidhead wrote: My music teacher told a story where the trumpet soloist of Bach's (3rd? I can't remember) Brandenburg concerto (the one with the really high trumpet writing) died of a brain hemmorage after the 3rd performance of it. I'm not sure that it's such an uncommon occurrence: http://news.bbc.co.uk/1/hi/health/948374.stm Another reasont to stick with horn... I'm not sure the horn's any better in that respect? My physiology textbook says that trumpet players can raise their intra-thoracic pressure to 100mmHg. I can blow into a sphyg hard enough to get 150. I wonder if any of the new automatic blood pressure monitors could measure our blood pressure whilst we're playing. I suspect the results would be interesting. Speaking of which, anyone know how Pip Eastpop hit top top top A on the london horn sound CD? Please tell me he didn't do it on an ordinary mouthpiece and instrument?! Kit ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Pressure NHR sort of not NHR: one can choose:
I know of 2 trumpet players who have blacked out and had their piccs written off whilst performing Arrival of The Queen of Sheba. From: Benjamin Reidhead <[EMAIL PROTECTED]> Reply-To: The Horn List To: The Horn List CC: horn@music.memphis.edu Subject: [Hornlist] Re: Pressure NHR sort of not NHR: one can choose: Date: Tue, 16 May 2006 09:31:39 -0600 (Mountain Daylight Time) My music teacher told a story where the trumpet soloist of Bach's (3rd? I can't remember) Brandenburg concerto (the one with the really high trumpet writing) died of a brain hemmorage after the 3rd performance of it. Another reasont to stick with horn... Ben On Tue, 16 May 2006 15:26:07 + [EMAIL PROTECTED] wrote: > Hornfolks: > I do have another 'suggestion' post on the 'pressure question' but I do wish to relate something I saw on a bulletin board during a music theatre gig. > > It related (quite horribly and graphically) the story of a 'screech' trumpet player who enjoyed a long career until one day, during performance of a jazz work; he hit a particularly high note and one side of his head actually exploded outward from the pressure, killing him instantly. (No, I don't think anyone caught his horn for him) > > Now, this was NOT in the National Enquirer, nor in the Star, but in the Mercury News; so I sort of took it seriously and thought of this for a time, but then forgot about it. I still do not know if it truly happened to the poor guy but I am nothing if not cautious with my own high playing. > > I have known quite a few screech trumpet players (and still play gigs with some) but none of them; despite playing in the stratosphere, ever have had this happen although a few individuals (because of throat closure or some kind of back pressure) turned beet red (and all this applies to hornplaying as well). If you should witness a colleague turning beet red while playing; this is an indication that something is being done incorrectly where back pressure is concerned. It is the road to either a stroke or heart attack or perhaps both and I have met unfortunate folks this has happened to (they either no longer play or play at a greatly reduced capacity). > > Advising them on their 'condition'. I can give no suggestion; it depends upon your particular relationship with that person. > > Rachel Harvey > ___ > post: horn@music.memphis.edu > unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/breidhea%40psdschools.org Benjamin Reidhead [EMAIL PROTECTED] Poudre School District, Ft. Collins, Co. "No opera plot can be sensible, for people do not sing when they are feeling sensible." W. H. Auden (1907 - 1973) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/pristine_%40hotmail.com _ The new MSN Search Toolbar now includes Desktop search! http://join.msn.com/toolbar/overview ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Horn advice - to those that this applies to
OWNED. (Capitals used, of course, to emphasise my vehemence towards the act of pre-judging. There is too much of it in the 'business'). From: [EMAIL PROTECTED] Reply-To: The Horn List To: horn@music.memphis.edu Subject: [Hornlist] Horn advice - to those that this applies to Date: Mon, 15 May 2006 21:09:05 -0400 To those of you who take great pleasure in commenting about my grammatical prowess or lack there of, you need only know that due to a birth accident, I was left with significant disabilities. The least of them being dyslexia. That being said, you should know that I was one of 4 high school students allowed to take three honors mathematics my senior year. Music is largely the application of mathematics to sound. I hope that you will continue to provide me with the musical and technical advice I seek and find a more willing subject for your insensitive comments. I do hope that none of you are professors. I would hate to think that your treatment of me is reflective of your treatment of your students. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/pristine_%40hotmail.com _ Are you using the latest version of MSN Messenger? Download MSN Messenger 7.5 today! http://join.msn.com/messenger/overview ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: NHR RE: [Hornlist] What is a word?
Bill Gross wrote: Not unlike the derivation of the word flammable. Some folks worried that working folks who dealt with petroleum products and the like would think that inflammable meant it wouldn't burn as opposed to something that is easily ignited. Thus we got the new word that was suppose to convey a warning with less chance of error. And a great comedy routine from George Carlin. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
NHR RE: [Hornlist] What is a word?
Not unlike the derivation of the word flammable. Some folks worried that working folks who dealt with petroleum products and the like would think that inflammable meant it wouldn't burn as opposed to something that is easily ignited. Thus we got the new word that was suppose to convey a warning with less chance of error. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Jerry Houston Sent: Tuesday, May 16, 2006 4:30 PM To: The Horn List Subject: Re: [Hornlist] What is a word? Paul Mansur wrote: > If I'm not mistaken, "irregardless" is a language innovation > introduced by president Calvin Coolidge. It is a double negative and is > still > poor usage. My mama told me this many, many years ago. Seems to be used mostly by folks who can't decide whether to say "irrespective" or "regardless." Almost sounds like a Bushism. What is it with these presidents? ___ 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] What is a word?
Jerry Houston wrote:
What is it with these presidents?
Yeah, irregardful, whatever. But then there was president James
Garfield who is known not only for having been assassinated, but also
for having invented an original proof of the Pythagorean Theorem.
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
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[Hornlist] more on pressure
In googling the exploding head story, I ran into a couple of equally interesting musical interludes. You must see this one for yourself: http://www.shout.net/~jmh/articles/cheeks.html Here is the National Enquirer story about Ugo Solari, the exploding trumpet player. But scroll down to the next story, which shows what can happen if your repertoire is limited: http://www.forumusica.com/forum/index.php?act=ST&f=1&t=7423 David Goldberg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] What is a word?
Paul Mansur wrote: If I'm not mistaken, "irregardless" is a language innovation introduced by president Calvin Coolidge. It is a double negative and is still poor usage. My mama told me this many, many years ago. Seems to be used mostly by folks who can't decide whether to say "irrespective" or "regardless." Almost sounds like a Bushism. What is it with these presidents? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] For Hans; rehearsing pros
Hello Rachel, if a horn player drinks a strong coffee or two before Bruckner no.4 or Fidelio, he gets a fine "natural vibrato". If a conductor smokes something or drinks several glasses champagne before the concert, he starts making very weird gestures, but women adore him then, ha, ha . So is the world. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Tuesday, May 16, 2006 5:41 PM To: horn@music.memphis.edu Subject: [Hornlist] For Hans; rehearsing pros Hans: I WISH that our orchestra would do just that and everything else you said. It would make me so happy to know that true quality was being achieved. Unfortunately; our conductor is not only tone-deaf; he IS partially deaf (from going to too many rock concerts); half of the time he is smoking 'something' beforehand so his perceptions are not all that accurate; shall I go on? And, as I may have said before, he, like most conductors, does not like to be 'called on the carpet' for something that is out of balance, out of tune, whatever. But we do good music, so I play along. Such is the life of a horn player. thanks and good wishes to you Rachel >stop half way; pluck to pieces ___ 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] What is a word?
If I'm not mistaken, "irregardless" is a language innovation introduced by president Calvin Coolidge. It is a double negative and is still poor usage. My mama told me this many, many years ago. Cheers, Paul Mansur On Tuesday, May 16, 2006, at 04:03 PM, Bo Gusman wrote: Irregardless is not a word, Webster's Third New International Dictionary, Unabridged, 1976, page 1196. It may not be pretty, but it's there. This makes the point: language changes. Bo ___ 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] Re: Thin Rim Mouthpieces
In a message dated 5/16/2006 12:43:35 PM Eastern Standard Time, [EMAIL PROTECTED] writes: While we're on the subject, does anyone have an idea for a vendor who actually _stocks_ the Laskey 85G? --- There are plenty of vendors out there who would be thrilled to stock the Laskey 85G. What they need is for the manufacturer to actually produce and ship the product and quantities they order, and in a timely fashion. Dave Weiner Brass Arts Unlimited ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Assistantships for Spring, 2007
UNIVERSITY OF LOUISIANA AT LAFAYETTE SCHOOL OF MUSIC ANNOUNCES FOR SPRING 2007 OR FALL 2007 M A S T E R O F M U S I C CONCENTRATIONS Performance, Music Education, Conducting, or Theory/ Composition. Curricula are very flexible and may be customized according to each student's interests. FINANCIAL AID Graduate Assistantships (GA) are available based on departmental need and students' performance level. GAs provide a tuition waiver and a stipend of $5,500. Assistantships are renewable for up to two academic years dependent upon GPA, progress towards degree, and departmental evaluation of assistantship duties. Housing awards worth $1,300 are also available. A limited amount of financial aid is available from the Friends of Music also based on departmental need and students' performance level. Amounts are generally between $1,000 and $1,500 per semester. Also, for graduate students in music education, the Teacher Tuition Incentive and Exemption program is available on a limited basis through the University College. This provides a partial waiver of tuition. Eligibility criteria are available from University College ([EMAIL PROTECTED]). In-service teachers may also wish to consult their local school boards for tuition assistance and sabbatical leave possibilities. QUALIFICATIONS Completed bachelor's degree by December, 2006. Meet graduate school entrance requirements, including general GRE requirements. Entrance audition. SEMESTER BEGINS Spring: January 11, 2007; Fall: August 16, 2007 INFORMATION Located at the junction of I-10 at I-49, Lafayette is the hub of a major North-South and East-West transportation corridor for the US and is one of Louisiana’s fastest growing cities. UL is the largest of nine publicly supported state institutions governed by the University of Louisiana System and is a Doctoral II Research Institution with approximately 15,500 students and over 500 faculty. Since 1952 all programs have been fully accredited by National Association of Schools of Music (NASM). See our web site at http:// music.louisiana.edu APPLICATION Address inquiries to: Dr. Andrea Loewy, Graduate Coordinator UL School of Music, P.O. Drawer 41207 Lafayette, LA 70504-1207 (337) 482-5214 (email: [EMAIL PROTECTED]) Address questions regarding horn study to: Dr. Catherine Roche-Wallace, horn professor UL School of Music, P.O. Drawer 41207 Lafayette, LA 70504-1207 (337) 482-5208 (email: [EMAIL PROTECTED]) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: Stolen horn in Salt Lake City
Just as a reminder, there is a stolen brass instruments list up at www.cornetconnection.com/lost.htm. Any stolen or lost instruments can be posted there. Joyce > date: Tue, 16 May 2006 11:09:01 -0600 > from: "Alison Pruett" <[EMAIL PROTECTED]> > subject: [Hornlist] Stolen horn in Salt Lake City > > Hello all- > Last weekend (May 14th), my car window was smashed in and my horn was > stolen. This occurred in Salt Lake City, Utah. The horn is an Atkinson > silver "Heinrich A. Wolff" double in a soft-sided case. It has a small > nick > in the plating on the neck near the mouthpiece joint. If anybody sees it > or > has any advice for finding it, I would greatly appreciate any info. I'm > already checking all the pawn and used instrument shops in the area. > Thanks > for any help. > -Alison Pruett > -- No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.1.385 / Virus Database: 268.5.6/337 - Release Date: 5/11/2006 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Horn Digest, Vol 41, Issue 23
On May 16, 2006, at 12:45 PM, [EMAIL PROTECTED] wrote: date: Tue, 16 May 2006 12:26:32 -0700 from: Robert Ward <[EMAIL PROTECTED]> subject: Re: [Hornlist] Worth another look? Sounds like an Urban Myth to me. I want to see sources... B On May 16, 2006, at 11:35 AM, Wendell Rider wrote: It related (quite horribly and graphically) the story of a 'screech' trumpet player who enjoyed a long career until one day, during performance of a jazz work; he hit a particularly high note and one side of his head actually exploded outward from the pressure, killing him instantly. (No, I don't think anyone caught his horn for him) Sorry Bob, This was part of something Rachel sent in. I goofed when I selected the text for reply. You will have to ask her. Good luck with that. Sincerely, Wendell Rider For information about my book, "Real World Horn Playing" and the summer seminar, go to my website: www.wendellworld.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Pressure NHR sort of not NHR: one can choose:
There was such an article in the National Enquirer. It is reproduced at http://www.shout.net/~jmh/articles/explode.html >= Original Message From The Horn List = >Hornfolks: >I do have another 'suggestion' post on the 'pressure question' but I do wish to relate something I saw on a bulletin board during a music theatre gig. > >It related (quite horribly and graphically) the story of a 'screech' trumpet player who enjoyed a long career until one day, during performance of a jazz work; he hit a particularly high note and one side of his head actually exploded outward from the pressure, killing him instantly. (No, I don't think anyone caught his horn for him) > >Now, this was NOT in the National Enquirer, nor in the Star, but in the Mercury News; so I sort of took it seriously and thought of this for a time, but then forgot about it. I still do not know if it truly happened to the poor guy but I am nothing if not cautious with my own high playing. [snip] -- Jonell Lindholm Reisterstown, MD USA [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Snobbery vs. Knowledge
On May 15, 2006, at 10:00 AM, [EMAIL PROTECTED] wrote: message: 9 date: Mon, 15 May 2006 09:32:55 -0700 (PDT) from: Klaus Bjerre <[EMAIL PROTECTED]> subject: RE: [Hornlist] horn advice If you had read my post thoroughly, you would have noticed, that I precisely addressed the point in my comments even if my wording about demographics and linguistics may have passed by way over the heads of some readers. So I guess you don't care whether people consider you a snob, arrogant, rude and just plain mean. Actually i find your intellectual posturing boring in the extreme. We are not impressed. By the way, no one ever lost the opportunity to audition for an orchestra in this country because of bad spelling. Get real. Lighten up and be a human being. Maybe we will change our minds about you.. This list is about the horn and communication between the devotees of that instrument. Even if I am a general brass player/conductor/musicologist, I don’t want this list taken down to the level of other brass fora, where one can count the relevant posters without taking off ones socks. In some cases even one mitten may stay in place. Please tell us more of what this list is about. Please enlighten us. Please save us from a horrible fate of actually enjoying the freedom to express what we want to here. This isn't the Hague Debating Society. Knock it off with parliamentary procedure stuff. Your "humor" doesn't come off so well either when you are lording it over everyone. The fact is that we are past this kind of snobbery. I'm sure your are well educated and knowledgeable, but that does not make you an authority or someone we would want to listen to, let alone have a beer with. One thing about Hans, he is fun to have a beer with and he can back up what he says from personal experience and real research, not just intellectualizing. The good news for us is that no matter how hard you try to bring the rest of us up to your standards, we will refuse to do so. That will be frustrating for you I'm sure. There is a cure if you want it though. Am I harsh? Am I true? You bet! Are you harsh? Wow, yes, ooh, harsh. Yikes!. Please, no more harshness. Please. Are you true? No. Well if you think you are, I guess that's obviously enough for you. Are you proud to be a grumpy old coot? Yes. Hey, some of my best friends are grumpy old coots so all is not lost. Klaus Smedegaard Bjerre This isn't Europe, late 1800's. Thank God for that. 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] What is a word?
Irregardless is not a word, Webster's Third New International Dictionary, Unabridged, 1976, page 1196. It may not be pretty, but it's there. This makes the point: language changes. Bo ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Tsintsades
Bill "I'll take a" Gross writes: I don't know but the way things have been going with correspondence on this list one can't help but believe that the good Professor I. M. G. will arrive to comment and elucidate on events here it. It has been a trend of the good Professor I. M G. to do just that. nowthisistruebecauseiamsickandtiredofallthisbsandcrapaboutlanguages,grammars,c ultures,respects,disrespects,apologies,afflictions,etcs.butwhatis reallypissingmeoffthemostisthedumkopfwhohastorespondtoeverymessageandthinksthatanyofusrea llycaresonmicroclamaboutwhatthosethoughtsaresogetalifeoratleastgopracticekoppr aschno1onthe fsideuntilyougetitrightorsomethings! Kindestest of Greetonings and Mostestest of Dysclamifications from Mt. Washington by the Sea, NH 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," "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?" and "The DaVinci Clam: Are Their Any Sane Things About Horn Players?" 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 "Some people played Kopprasch last night. Kopprasch lost!" ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Horn Digest, Vol 41, Issue 19
On May 15, 2006, at 10:00 AM, [EMAIL PROTECTED] wrote: from: Carlberg Jones <[EMAIL PROTECTED]> subject: RE: [Hornlist] horn advice Greetings - There's an article in the Christian Science Monitor today on e-mails - http://www.csmonitor.com/2006/0515/p13s01-stct.html - which I found interesting. " . . . First and foremost, e-mail lacks cues like facial expression and tone of voice. That makes it difficult for recipients to decode meaning well. . . . " I'm always wondering why writing and understanding e-mails is thought to be difficult. After all, most of us read books and we have a reasonable understanding of what the author means, even though we generally don't communicate with him. Carlberg Hey Carlberg, This is a great article that everyone should read. Thanks for posting it. How much energy do we waste every day trying to respond to posts that are not well thought out and manage to convey something on the order of the opposite of what the poster may have intended, especially when it comes to tone? I think email has led to a resurgence in writing- especially for those of us who had pretty much given up on snail mail, a time honored tradition. Think about how much we know about composers and other historical figures based on their letters. Will our emails serve the same purpose to historians in the future? The problem is that writing skills have deteriorated over the years, especially in our educational system, and the visual mediums have become the de-facto standard. Yikes!! Look at the verbal expression on TV and the movies nowadays. The internet increases the possibility of communication, especially over long distances and across cultures, but our communication skills seem to be diminishing. The ability to just post anything that comes to mind without regard to the consequences makes for a lot of meaningless and often mean-spirited exchanges. There is a skill to writing emails. I have definitely tried to hone my skills after realizing that much of what I say is very dependent on my delivery, one that is based on human interaction and subtle nuances, not on the impersonal, virtual reality of cyberspace. I hope people will look over their emails more closely before sending them, especially in regard to tone. Would you like someone to speak with you that way? Would you speak the same way if you were there in person, perhaps even in a group of people? When my symphony went under I did some substituting in the public schools for a while so I'm pretty sure things are going to get worse before they get better. Anyway, everyone have a great day. Sincerely, Wendell Rider For information about my book, "Real World Horn Playing" and the summer seminar, go to my website: www.wendellworld.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Thin Rim Mouthpiece for Jerry Houston
[EMAIL PROTECTED] wrote: sorry Jerry, it's not a Laskey or I'd tell you. However there are some mouthpiece makers out there who can fine tune your dimensions to spec. how about Moosewood? Thanks, already been there, done that. And based on my Moosewood purchase, two or three weeks to get a Laskey would seem like an eyeblink. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Worth another look?
Sounds like an Urban Myth to me. I want to see sources... B On May 16, 2006, at 11:35 AM, Wendell Rider wrote: It related (quite horribly and graphically) the story of a 'screech' trumpet player who enjoyed a long career until one day, during performance of a jazz work; he hit a particularly high note and one side of his head actually exploded outward from the pressure, killing him instantly. (No, I don't think anyone caught his horn for him) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Conductors: for Herb Foster
Hi I envy you your conductor. Whatta guy! Can we trade? As long as he doesn't blame the horns for something THEY didn't do; I'm fine with it. best Rachel >bawled out the tubas for something he did himself; apologized to >them >afterward ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Thin Rim Mouthpiece for Jerry Houston
sorry Jerry, it's not a Laskey or I'd tell you. However there are some mouthpiece makers out there who can fine tune your dimensions to spec. how about Moosewood? good luck in your searching Rachel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Women Brass Players-for Carlberg
In a message dated 5/16/06 2:31:17 PM, [EMAIL PROTECTED] writes: > Now the finals which are not screened; > Some orchestras have screened finals most notably the MET. > > > But this is what I know about auditions from experience (anyone feel free to > correct me if I am wrong about anything here): > > 1) Major orchestras will usually not accept auditions without major > metropolitan orchestra experience. Sometimes they will take a tape but who > knows if they even listen to it. > NY Philharmonic and Chicago Symphony listen to everyone that applies. > 2) If a hornist misses a note; that's all she wrote; he/she is out of the > game. > Actually I have the opposite experience and have missed a note or 2 and been advanced > > > 4) Yes, some of the proctors have been known to 'rat out' whomever is > auditioning to the judges in order that the 'preferred' hornists are selected > for > the finals. PM's are normally part of management these days and have no > interest in getting a favorite a spot. > > 5) Unless you have an inside connection with a hornist in the section; you > are not going to know a) what kind of horn they want b) what kind of sound > they want c) whatever else they wantso how are you supposed to make it > up? > Play like the angels I suppose. > Sorry, that is just wrong several notable orchestras have hired players recently where the horn the winning candidate play was not used in the section. I could go on about this but several orchestras in the past have specified horns acceptable and hired folks playing different instruments then specified. > 6) The finals. The big one. Well it's a crap shoot; really. > That is a true statement. > If one plays > beyond the expectations of the archangels, well there is a chance that the > bored-beyond-belief conductor might notice. > Sorry conductors have not listened to the 200 or so people along the way they are just in to listen to the last 8 or so ... they have not had a chance to get bored yet. > Maybe even the horn section may notice if they haven't already selected > their 'favorite' for the spot. However, in most cases, the hornist has been > already pre-selected and in these cases, it's a waste of everyone's time. If > a > major orchestra is going to do that, then DO it and stop wasting all of our > time.. > Sorry I whole heartily disagree with that. > > > And then there was the amazing hornist who won every audition he went to; > every one; but for some reason he was tossed out of each section after only 2 > weeks there. I have no idea why. I understand this gentleman now enjoys a > seat in a major symphony; well done! > I could go on about collegiality, about blending with and following other section leaders and matching intonation with the WW's and matching volume. Not everyone fits into every section. > > > > And, to finish, there are 'personality' requirements; now how does one > behave in a new section? Well, I would expect with total respect for the > other > members and follow the leader, be it the principal horn or the > conductor...and > sometimes when both are at odds; this is difficult to select between. WHO > do you follow when the 1st horn and the conductor disagree?? This is the > impossible question as far as I am concerned. However, it is not uncommon > for a > horn section to develop a dislike for a new member for no reason whatsoever > and therefore have him/her tossed after the requisite probation period. And > if they LIKE the person; I guess that is good luck or whatever. Who knows? > If I am going to sit next to some guy for the next 25 years it is reasonable o expect a certain amount of civility. Rachel, Sorry you have had bad experiences in auditions the cynicism and rancor under cut the positive comments you make to the list. Debbie Schmidt Tisch center for the Arts > > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Tsintsades
Howdy, again. Geez, I had to oil my valves again today, so I recorded the below event. It's 520 KB and seven seconds long. Ask for it and you've got it! At 11:47 AM -0500 5/16/06, Carlberg Jones wrote: PS - I oiled my valves yesterday. I wish you could have seen how I cleaned the oil bottle afterwards. Let me know if you want to see the process next time and I'll send you an AVI file of it. It's awesome. C -- Carlberg Jones Guanajuato, Gto. MEXICO mailto:[EMAIL PROTECTED] Skype: carlbergbmug My ISP feels that some of my e-mails are not worthy of deliverance. If you do not receive something you expect, please ask me to resend. I apologize for my ISP's evaluation of my e-mail's worthiness. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] For Bill Tyler NHR:
Being lucky has absolutely nothing to do with it. best wishes Rachel Harvey >consider yourself lucky ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Worth another look?
It related (quite horribly and graphically) the story of a 'screech' trumpet player who enjoyed a long career until one day, during performance of a jazz work; he hit a particularly high note and one side of his head actually exploded outward from the pressure, killing him instantly. (No, I don't think anyone caught his horn for him) Just reposted because I really like this story. I wanted to make sure everyone saw it. 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] For Fred Baucom
Nope; he was not offended by my playing in the least. In fact he keeps trying to hire me for gigs but I don't want to drive 20 miles over the hill to Santa Cruz. In fact, he has been begging to teach me the Claude Gordon method for over 10 years (I have been his best friend 30 yrs). He was a Claude Gordon protege and an authorized method teacher (Claude has since departed this earth-he was a fine trumpet player and teacher and a nice person). The reason for the lessons was not to improve my sound but to increase my endurance, nothing more. And this guy loves horns; loves them; he just can't play one to save his own life. best wishes Rachel Harvey >Maybe the sax player was offended by your sound, hence the offer >of >lessons...I'd be willing to bet that sax players have no more >appreciation of >horns than vice-versa... ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Women Brass Players-for Carlberg
Hey Carlberg Sorry, I don't get your meaning on this. Do you mean that women brass players are categorically discriminated against in screened auditions where the proctor sneaks around and rats out the auditionees to the judges? A woman has to play sometimes 3X as well as a male hornist in audition in order to get the judges' attention and that is probably in the prelims, not in the finals. Now the finals which are not screened; well then the women has to play absolutely awesomely without question, and yes, women have won major auditions. But this is what I know about auditions from experience (anyone feel free to correct me if I am wrong about anything here): 1) Major orchestras will usually not accept auditionees without major metropolitan orchestra experience. Sometimes they will take a tape but who knows if they even listen to it. 2) If a hornist misses a note; that's all she wrote; he/she is out of the game. 3) I have discovered that many times the seat provided behind the screen is too high for me and I am too hyped up to ask for another oneand therefore my playing suffers. No one cares about that. 4) Yes, some of the proctors have been known to 'rat out' whomever is auditioning to the judges in order that the 'preferred' hornists are selected for the finals. 5) Unless you have an inside connection with a hornist in the section; you are not going to know a) what kind of horn they want b) what kind of sound they want c) whatever else they wantso how are you supposed to make it up? Play like the angels I suppose. 6) The finals. The big one. Well it's a crap shoot; really. If one plays beyond the expectations of the archangels, well there is a chance that the bored-beyond-belief conductor might notice. Maybe even the horn section may notice if they haven't already selected their 'favorite' for the spot. However, in most cases, the hornist has been already pre-selected and in these cases, it's a waste of everyone's time. If a major orchestra is going to do that, then DO it and stop wasting all of our time.. In fact I went to one audition; sat in a big house warming up with a lot of folks and then was told the audition was off 'because the person they wanted to win did not show up'. Well, at least they were honest about that one. And then there was the amazing hornist who won every audition he went to; every one; but for some reason he was tossed out of each section after only 2 weeks there. I have no idea why. I understand this gentleman now enjoys a seat in a major symphony; well done! And, there was the 'perpetual audition' for a major metropolitan orchestra for 3rd horn. Hornists went; hornists WON, but NO one was hired. Why? Because they had a 'favorite' sub who they wanted to play and the guy didn't want the job because he had another job but he wanted to do 2 orchestras. And, to finish, there are 'personality' requirements; now how does one behave in a new section? Well, I would expect with total respect for the other members and follow the leader, be it the principal horn or the conductor...and sometimes when both are at odds; this is difficult to select between. WHO do you follow when the 1st horn and the conductor disagree?? This is the impossible question as far as I am concerned. However, it is not uncommon for a horn section to develop a dislike for a new member for no reason whatsoever and therefore have him/her tossed after the requisite probation period. And if they LIKE the person; I guess that is good luck or whatever. Who knows? hope you are enjoying the Mexico sunshine and the horchata! best wishes Rachel >gender slightly more ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Ear Training
Hello This is a larger subject than it appears. And, this is HARD, but I will do my best to give suggestions that you may or may not choose to use: Before I start: one question: make SURE you are not TONE DEAF. If you are; none of these options will help you in any way.. Ok, here we go: 1) Obtain the use of a WELL TUNED PIANO. Start with the middle C. Bang the key a lot. Listen to it. Yes you will feel rather silly doing this, but trust me it is the way I learned piano from age 3. 2) Again, listen well to that C. Get that C into your head until you are sick of it. Really sick of it until you never want to hear it again. That is the point that it has burrowed into your brain someplace. 3) If you are versed in music theory; then you would next go to a perfect 5th; the G above the middle C. Listen to the C and then the G. Obtain the connection BETWEEN them in your head both backwards (down) and forwards (up). After this, go to the perfect 4th; the F above middle C; obtain the connection. After that, do it all over again until you can hear it in your head and you are totally sick of it. 4) After the 'perfect' intervals, begin with the other notes; choose whichever suit your fancy. However, START with the middle C; THEN the perfect intervals, THEN the others. The reason for this is because most folks have what is called 'relative pitch' and can 'relate' another note to a 'known' note. Therefore, you want to fix the 'known' notes into your brain before going into unknown territory. And please remember, you want to get 'sick' of ALL of these notes; the entire chromatic scale eventually. This is what ear training takes, although college professors teach a different curriculum. 5) These exercises will not be easy unless you have perfect pitch. Perfect pitch is the ability to generate, without the aid of any device whatsoever, a note which you can positively identify, sing back, and confirm using whatever sound producing device is handy. Now, here's the rub on perfect pitch-it is a PAIN to learn to play horn in F when one has perfect pitch because the person keeps 'hearing' concert pitch when the actual wanted pitch is a 4th step below it. I have perfect pitch and had to go through this for 2 years before I finally 'got' it. I am sorry, I am unable to recall the 'way' I 'got' it; but I did it, finally. 6) Stay AWAY from those electrical tuners. If you put two together, they will not match. And they are garbage. All of them; garbage. Anyone on this list can dispute this privately with me but I will hold my ground. Oboe players are completely silly in using them to tune orchestras or other groups as it prevents them from using their own perfectly good ears. Here's a story that is true: My own orchestra's oboist tuned the orchestra to three separate A's, using the tuner. Guess what happened? The string A was A=446, the Woodwind A was A=439 and the brass; about an average of the two. Needless to say, I complained about this vigorously and in public for about six months until the conductor asked me to stop. What can you do when your oboist is completely confused and using bad equipment instead of his ears-and he's offended at the 1st horn player for ratting him out to the entire orchestra on his A? Finally-after about 10 years, the oboes finally figured it out for themselves and now give one tuning A; thank God; whatever it is. If it's way out of tune or if the orchestra itself is out of tune with 'itself'; what I do now is, well into the rehearsal; politely ask if 'we can tune again'. 7) Strobotuners. Now, these are good, especially the ones with twelve windows; however they are HARD to find and probably only owned by a school. If you can get to one, here's a good exercise for the ear: SING a pitch; any pitch and STOP the window from spinning. You will know (by the name of the window) which pitch you are singing and you can go from there. 8) Even better, if you have a Strobotuner w/twelve windows, play a SCALE on your horn for it. If you can stop all twelve windows; your horn is in tune; wonderful! If you can SING a scale and stop all twelve windows; that is even better! I wish you well on this; it will not be easy and it will be a long road to haul unless you already have perfect pitch. If you have perfect pitch; it is a piece of cake to get all this, with the exception of a capella choirs (a very different story). With even practicing the horn; you have to get the piece learned so well that you are sick and tired of it-and that is when you know you have truly learned it. I have provided the best suggestions that I know of and hope that they are of assistance to you in some way (or all). Trust me; the more work you put into this, the more you gain. Rachel Harvey ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/
[Hornlist] Re: Ear Training
>shouting "Bad ears! Bad ears!" at the top of your lungs Funny, that's exactly the technique I use in all the ear training courses here; that, and a bullwhip. In the case of certain instrumentalists, electrical current is effective as well. You can also tell students to "listen harder." Jeremy --- Jeremy C. Hansen Assistant Professor of Horn and Theory Eastern Illinois University 600 Lincoln Ave. Charleston, Illinois 61944 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] For Hans NHR
Hans I do not care one whit about whateve it takes for you to make your point. I understand you. Everyone else does too. The fussy ones; well you know how to treat the fussy ones; just like those bad conductors. You are one of the world class horn players on this list and I respect you totally for it. Grammar means nothing to me; I understand every word you say and I appreciate all of the advice and information you offer including things I have never heard of before you shared them with us. Please do not pay attention to anyone who says otherwise; you make your point and share your expertise especially about rare music extremely well. best wishes Rachel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] For Chris Earnest NHR
ha ha, hate to tell you but real and famous authors DO write in this manner at times: Chris, did you not read the Red Dwarf novels by 'Grant Naylor' (an amalgam of two authors working in conjunction)? These fellows wrote in this style this ALL of the time and it was terminally funny. You may want to watch the series as well as it actually imitates the book very closely. It is produced by the BBC and on the West Coast USA shows on ComCast Ch54 I think. Here's an example: If you pass through a black hole, you'll be turned inside-out faster than a pair of Lister's (main character) old underpants.and that's not the half of it (some material is not suitable for the under-18 crowd). Quote from digest: Bad writing, though, can also be quite grammatical, as these actual analogies and metaphors found in high school essays illustrate: ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Horn Digest, Vol 41, Issue 20
On the subject of ending sentences with prepositions, people often recount a story involving Winston Churchill. When an editor dared to change a sentence of Churchill's that appeared to end inappropriately with a preposition, Churchill responded by writing to the editor, "This is the kind of impertinence up with which I shall not put." His purpose, of course, was to illustrate the awkwardness that can result from rigid adherence to the notion that prepositions at the end of sentences are always incorrect. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Tuesday, May 16, 2006 12:27 PM To: horn@music.memphis.edu Subject: Re: [Hornlist] Re: Horn Digest, Vol 41, Issue 20 Irregardless is not a word, and constitutes a double negative. Also, a preposition is not a good word to end a sentence with regardless of the rules that YOU grew up with. -Original Message- From: Bo Gusman <[EMAIL PROTECTED]> To: horn@music.memphis.edu Sent: Mon, 15 May 2006 21:18:23 -0700 Subject: [Hornlist] Re: Horn Digest, Vol 41, Issue 20 Two, supposedly different writers said... > Intentionally > sloppy writing, in email or anywhere else, is not something up with which > anyone should have to put. > > ROTFLMAO! > Flaming another user because > their chosen mode of communication doesn't meet your grammar > standards doesn't only reflect on their literacy, it reflects on your > own [digital] literacy as well. > Er, shirley you meant [digital] illiteracy. You know, folks, much ado about nothing. Language lives, it breaths, it changes, it dies. Irregardless of the rules that YOU grew up with, I myself refuse to be harASSed by those who can't pronunciate HAIRass. Can we go back to talking about something that we have control over? Like, uh, screw rim bell grease? Bo ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ 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] Re: Horn Digest, Vol 41, Issue 20
Irregardless is not a word, and constitutes a double negative. Also, a preposition is not a good word to end a sentence with regardless of the rules that YOU grew up with. -Original Message- From: Bo Gusman <[EMAIL PROTECTED]> To: horn@music.memphis.edu Sent: Mon, 15 May 2006 21:18:23 -0700 Subject: [Hornlist] Re: Horn Digest, Vol 41, Issue 20 Two, supposedly different writers said... > Intentionally > sloppy writing, in email or anywhere else, is not something up with which > anyone should have to put. > > ROTFLMAO! > Flaming another user because > their chosen mode of communication doesn't meet your grammar > standards doesn't only reflect on their literacy, it reflects on your > own [digital] literacy as well. > Er, shirley you meant [digital] illiteracy. You know, folks, much ado about nothing. Language lives, it breaths, it changes, it dies. Irregardless of the rules that YOU grew up with, I myself refuse to be harASSed by those who can't pronunciate HAIRass. Can we go back to talking about something that we have control over? Like, uh, screw rim bell grease? Bo ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] For Philip Otterness NHR
Hi Philip I had a big problem with this as I too get a digest version of the list. There is a 'bug' in the software that activates at times. What happens to me is that when I hit the 'reply' button on a digest; all I get is the header; not the digest which I intended to edit out. What happened? About 6 of my messages got bounced by the mailer-daemon for the hornlist because they were 'too big' due to 'unedited digests' plus I received a stern warning about this. Multiple times. I thought I was going to be kicked off the list for something I did not do deliberately. Thereafter, I had a few conversations with the admin of this list; came to a mutual understanding and I have decided to compose original clean text (not a reply) to every email I wish to respond to. Yes it takes time but I type fast so it is not a problem. The admin is aware of the situation; has his own particular 'fix' for it; knows what I intend to do and is ok with it; however many hornists on this list who do the digest version and 'reply' may not know that the software is actually showing them just the header while (unbeknownst to them) piling on the entire undeleted digest-and then either bouncing the mail or letting it go on to the list with a lot of unwanted digest material. It is going to take a programmer to figure this one out. This is a problem that does need to be repaired somehow but it is out of my hands. I am doing only what I can to keep from doing what happened in the past. best wishes; Rachel Harvey >too lazy to edit out entire digests ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] For Walter Lewis NHR
On 5/16/06, [EMAIL PROTECTED] <[EMAIL PROTECTED]> wrote: "I have this tendency to write a ton of email and have even been 'flamed' once for 'writing too much email to the list', believe it or not!" I find nothing to disbelieve in that statement. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Stolen horn in Salt Lake City
Hello all- Last weekend (May 14th), my car window was smashed in and my horn was stolen. This occurred in Salt Lake City, Utah. The horn is an Atkinson silver "Heinrich A. Wolff" double in a soft-sided case. It has a small nick in the plating on the neck near the mouthpiece joint. If anybody sees it or has any advice for finding it, I would greatly appreciate any info. I'm already checking all the pawn and used instrument shops in the area. Thanks for any help. -Alison Pruett _ Express yourself instantly with MSN Messenger! Download today - it's FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] For Walter Lewis NHR
Hello Walter; You are not going to like what I am going to say; but I am nothing if not honest. I have a Master's degree in horn performance; tested out of English with the CLEP test. I may not be a college professor but my English is high level as I worked as an admin for over 20 years for a high tech company and have done technical writing, contracts, and document control which require high level English. Nevertheless, in the enthusiasm of responding to horn posts, could we find it within ourselves to ignore the dropped apostrophe, the poor grammar, the faulty sentence structure, bad spelling, and the rest of the works (too many to enumerate)? Many folks here are probably just as educated (and perhaps more so) than yourself but email gets us hornists excited and extremely ready to respond, suggest help, give out other tips, myself included. I have this tendency to write a ton of email and have even been 'flamed' once for 'writing too much email to the list', believe it or not! I have found myself needing to proofread my emails before sending them and I find mistakes in every one every single time. I will not ask you to downgrade your own high standards, but I can only 'suggest' that perhaps you can 'ignore' the errors that occur in every single email that you see. If you do not wish to read them, then feel free to delete them or store in a folder for later reading. I do not know in which format you receive your mails; but I get mine all together in a digest which makes it easy for me to skim down and select those to which I wish to respond. I have read and written thousands of emails since 1991 and have seen every type of error that can exist including indecipherable symbols. I have ignored all errors with no problem and deleted what I did not wish to read as well. People are going to be people.. All best wishes to you; please feel free to respond via private mail if you wish to discuss this issue further. Rachel Harvey ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] NHR: Horn advice
And you're just a few miles from the San Andreas fault! The NRC should know about this. Herb Foster --- [EMAIL PROTECTED] wrote: > ... Luckily, my university > maintains vaults in caves deep underneath the campus, where > dangerous waste of this kind can be stored safely for many > centuries without threatening the environment. > __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] For Hans; rehearsing pros
As I have said, I am fortunate to have true gentlemen as conductors. The other week, the band conductor bawled out the tubas for a bad entrance, when it was he who had confused everyone with a conducting mistake. Afterwards I pointed this out to him. He thanked me and apologized to the tubas. Needless to say, I would not have done this with other conductors. Is it any wonder that he has intense loyalty from the band? Herb Foster --- [EMAIL PROTECTED] wrote: > ... he, like most conductors, does not > like to be 'called on the carpet' for something that is out of balance, out > of tune, whatever. > ... __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Tsintsades
I don't know but the way things have been going with correspondence on this list one can't help but believe that the good Professor I. M. G. will arrive to comment and elucidate on events here it. It has been a trend of the good Professor I. M G. to do just that. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Tsintsades
At 4:08 PM + 5/16/06, [EMAIL PROTECTED] wrote: Did any of you get to hear the guy from BYU who played the Tsintsades solo at a Santa Barbara workshop, sometime in 1988? No, sorry, but I missed it. But, I did hear an exquisite performance of Nearer My God to Thee played by a horn choir of 16 in a cathedral in Paris in 1969. It was outstanding, and I wish you all could have heard it. It lives in my memory and dreams. Sometimes I wake up feeling almost righteous. Regards, Carlberg PS - I oiled my valves yesterday. I wish you could have seen how I cleaned the oil bottle afterwards. Let me know if you want to see the process next time and I'll send you an AVI file of it. It's awesome. -- Carlberg Jones Guanajuato, Gto. MEXICO mailto:[EMAIL PROTECTED] Skype: carlbergbmug My ISP feels that some of my e-mails are not worthy of deliverance. If you do not receive something you expect, please ask me to resend. I apologize for my ISP's evaluation of my e-mail's worthiness. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Thin Rim Mouthpieces
[EMAIL PROTECTED] wrote: Hornfolks: The thing I wish to state first is "if it works, use it". This was one of the first things my grad school teacher told me and I have never forgotten it. While we're on the subject, does anyone have an idea for a vendor who actually _stocks_ the Laskey 85G? I just received an 80G, and am very pleased with it, but have a nagging feeling that I could use just a little bit bigger rim. Although it supposedly measures the same diameter as my Wick 4N, it doesn't _feel_ as big. Probably due to the Wick's sharper inner rim. So I'd like to give the 85G a try before I make a final decision, but everywhere I look I'm told "two to three weeks." I'd rather use those two to three weeks getting used to the new mouthpiece, if I can find someone who can actually send one out right away. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] For Hans; rehearsing pros
Hans: I WISH that our orchestra would do just that and everything else you said. It would make me so happy to know that true quality was being achieved. Unfortunately; our conductor is not only tone-deaf; he IS partially deaf (from going to too many rock concerts); half of the time he is smoking 'something' beforehand so his perceptions are not all that accurate; shall I go on? And, as I may have said before, he, like most conductors, does not like to be 'called on the carpet' for something that is out of balance, out of tune, whatever. But we do good music, so I play along. Such is the life of a horn player. thanks and good wishes to you Rachel >stop half way; pluck to pieces ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Mahler 5 for Chris Tedesco
Chris; I stand corrected on the Mahler history. thank you Rachel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: 3rd horn clam for 'Geronimo' sort of NHR
GEEroniMO! That 3rd horn; he's not dead. I don't know where he is and do not care to see him again. I don't kill horn players for making clams. Yes I have been known to do, and have a bit of a reputation for yelling at hornplayers who showed up STONED for a rehearsal, but I think I had the upper hand in that case. Typically I do not raise my voice at the horn section; in fact, the more softly I speak, the more they will listen and take me seriously. I also have a big problem with vain GOOD hornists coming into my orchestra and immediately attempting to 'take over' the first horn spot. *NOT* on my shift, thank you. I don't care who they are, they are subject to the same seniority precepts that the rest of the section is. If they want to leave, good riddance; there are always more around; kind of like cockroaches (you see one, there are 100 under your dryer). Yeah, they found Bat Boy and Jimmy Hoffa in the same grave; turned out they were married and had a kid on the way :} anything else from the National Enquirer you care to share with us? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Works for Horn and Flute
I have an original composition called 'Feathers' for flute and horn (viola can replace horn if wanted). However there are a few issues that need fixing; therefore I cannot release it as yet: 1) The work was originally intended as an exercise in counterpoint; therefore it is not 'musically rewarding' as I would wish. This needs to be re-done. 2) There are some rhythm issues and wrong notes that I need to fix. Should I succeed in repairing the work and making it a tad more graceful in the musicianship department, I am willing to make it available to anyone who requests it via private email (although copyrighted, I grant full permission to use as one wishes). Rachel Harvey ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Burt
May Burt rest in peace. He was a fine person and excellent with advice on the horn. I shall truly miss his presence on this list. Rachel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Tsintsades
Hornfolks Did any of you get to hear the guy from BYU who played the Tsintsades solo at a Santa Barbara workshop, sometime in 1988? Flawless! The guy was a world class virtuoso. It was a beautiful piece to boot! Rachel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Thin Rim Mouthpieces
Hornfolks: The thing I wish to state first is "if it works, use it". This was one of the first things my grad school teacher told me and I have never forgotten it. And the second thing I wish to state is "use ONE and only ONE mouthpiece". A second 'different' mouthpiece will alter and eventually destroy one's embouchure. I had it happen myself in a professional gig to boot. This was completely embarrassing. Had it not been for the kind intervention of a famous hornist (who shall not be named here), perhaps I would have suffered even longer with this problem. I even encountered a colleague who gleefully showed me his 'collection' of over 12 different mouthpieces and then proceeded to play each of them one at a time, during a professional rehearsal. I did try to gently warn him about this one or two times, but was ignored as he was 'so proud to be playing first horn'...Big DEAL.. Ok, I'd let the guy dig his own grave. And so he did; his embouchure crashed and burned big time. Oh yes, he learned his lesson and now plays only one mouthpiece. I had been playing for years on a Giardinelli C8; was 'mostly' happy with it but in later years, began experiencing some loss of high range and endurance for reasons I do not know. A happy coincidence happened at this time; we were recording a CD of Petrouchka; I was 1st horn and expected to perform (and we had just done a full rehearsal pre-recording the day previously). I was a little skeptical of my own performance but resolved to do the best I could. Now this is what happened; I somehow forgot my C8 at home and had nothing to play upon at the recording. Fortunately, my 4th hornist had a spare. It was a brand I will not name here for my own reasons. And, that mouthpiece was BETTER than the C8. It worked fantastically the first time around. That was all it took. I gave the guy 50 bucks for it and happily sold the C8 to a student (who plays on it to this day). As far as thin rims go, I had very good luck with this one. In fact I sought out a dealer of the same brand, found the exact rim and cup; matched them perfectly and have a backup, should this one fail (and I've been playing this one since 1988). This is what is called 'serendipity'. That mouthpiece worked the first time around. I could play without pressure. I did not miss more than 2 notes in all of Petrouchka on the recording. My high range was up there. My low range as well. It was comfortable. Yes it had a thin rim but I was not discouraged as I had originally considered the thing a loaner, nothing else. But now I know that thin rims DO discourage the usage of pressure. I back this up with years of experience on the thing. Now there are folks out there who require thick rims and I wish them the best of it; but for me the thin rim was the key. I know it is always up to the individual's taste and will never give 'advice' on this subject only 'suggestions' if at all possible. best wishes Rachel Harvey ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Horn Quiz
How about this one? It's rather old, but some may enjoy. This IS the SYMPhony...that SCHUbert wrote and never FINished. There is also one about Mozart 40 but I cannot recall it. When I do, you shall know about it. First movement: It's a BIRD, it's a PLANE, it's a MOZart! Last movement: Mozart's in the CLOSet - let him out, let him out, let him out! -- Kjellrun K. Hestekin School of Music, MUN St. John's, NFLD. CANADA A1C 5S7 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Yamaha vs 8d
Hornfolks: I viewed a post from an individual who sought to choose between a Yamaha and an 8d (had some issues with both horns). Now I do not know Yamahas as well as I would like; being an 8d player for 25 years myself. The one thing I was told about the Yamahas was that they required constant oiling; had a small bore (perhaps the 668 is the exception) but I truly never tried one out in performance therefore cannot advise. Being a Merker player now (and quite pleased with the horn after 6 years on it) the one thing I can suggest about 8ds is IF one chooses to go with it, I would strongly suggest an Elkhart 8d L,M,N series or earlier. These are the good horns. These are the horns that entire sections in major groups fight to acquire. Yes, of course some may need work but it is WORTH it. These are the horns that unfortunately end up in antique shops, destined for a doctor's wall as a garden ornament. At least this is the way I acquired my L series; from a little antique store that had 2 of them and did not know what they had, nor their true value. In fact, the guy had cut the strings from the levers as he thought they were something a 'kid' had tied on! Warning: one wishes to steer clear of the Texas made horns. They are garbage; clear and simple. As far as the 'new' 8d series; I do not know; not having tried any. How did I get the guy to bump the price down to 150.00? (he had raised it to 250.00). He asked me to take the horn and play it for the 'guy across the street' (another antiques dealer). So I did some horn calls and he was satisfied. Didn't need the strings; played it all on open F horn. Best deal I ever made in my life. best wishes Rachel Harvey I cannot say anything about he 'new' 8ds out there; but I can categorically state that if one purchases an 8d made in the Texas factory; well it's a crapshoot if that horn will even play. As I mentioned in a previous post; I ended up with a 'hybrid' of an Elkhart and a Texas horn. It did not play even close to the quality of my old L series (lovely horn) (too bad I sold it). Oh well. live and learn. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Pressure NHR sort of not NHR: one can choose:
My music teacher told a story where the trumpet soloist of Bach's (3rd? I can't remember) Brandenburg concerto (the one with the really high trumpet writing) died of a brain hemmorage after the 3rd performance of it. Another reasont to stick with horn... Ben On Tue, 16 May 2006 15:26:07 + [EMAIL PROTECTED] wrote: > Hornfolks: > I do have another 'suggestion' post on the 'pressure question' but I do wish > to relate something I saw on a bulletin board during a music theatre gig. > > It related (quite horribly and graphically) the story of a 'screech' trumpet > player who enjoyed a long career until one day, during performance of a jazz > work; he hit a particularly high note and one side of his head actually > exploded outward from the pressure, killing him instantly. (No, I don't think > anyone caught his horn for him) > > Now, this was NOT in the National Enquirer, nor in the Star, but in the > Mercury News; so I sort of took it seriously and thought of this for a time, > but then forgot about it. I still do not know if it truly happened to the > poor guy but I am nothing if not cautious with my own high playing. > > I have known quite a few screech trumpet players (and still play gigs with > some) but none of them; despite playing in the stratosphere, ever have had > this happen although a few individuals (because of throat closure or some > kind of back pressure) turned beet red (and all this applies to hornplaying > as well). If you should witness a colleague turning beet red while playing; > this is an indication that something is being done incorrectly where back > pressure is concerned. It is the road to either a stroke or heart attack or > perhaps both and I have met unfortunate folks this has happened to (they > either no longer play or play at a greatly reduced capacity). > > Advising them on their 'condition'. I can give no suggestion; it depends > upon your particular relationship with that person. > > Rachel Harvey > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/breidhea%40psdschools.org Benjamin Reidhead [EMAIL PROTECTED] Poudre School District, Ft. Collins, Co. "No opera plot can be sensible, for people do not sing when they are feeling sensible." W. H. Auden (1907 - 1973) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Pressure NHR sort of not NHR: one can choose:
In a message dated 5/16/06 11:26:58 AM, [EMAIL PROTECTED] writes: > If you should witness a colleague turning beet red while playing; this is > an indication that something is being done incorrectly where back pressure > is concerned. It is the road to either a stroke or heart attack or perhaps > both and I have met unfortunate folks this has happened to (they either no > longer play or play at a greatly reduced capacity). > Bud Herseth is still alive and kicking after a 50 year career turning beet red in Chicago. Debbie ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Pressure NHR sort of not NHR: one can choose:
Hornfolks: I do have another 'suggestion' post on the 'pressure question' but I do wish to relate something I saw on a bulletin board during a music theatre gig. It related (quite horribly and graphically) the story of a 'screech' trumpet player who enjoyed a long career until one day, during performance of a jazz work; he hit a particularly high note and one side of his head actually exploded outward from the pressure, killing him instantly. (No, I don't think anyone caught his horn for him) Now, this was NOT in the National Enquirer, nor in the Star, but in the Mercury News; so I sort of took it seriously and thought of this for a time, but then forgot about it. I still do not know if it truly happened to the poor guy but I am nothing if not cautious with my own high playing. I have known quite a few screech trumpet players (and still play gigs with some) but none of them; despite playing in the stratosphere, ever have had this happen although a few individuals (because of throat closure or some kind of back pressure) turned beet red (and all this applies to hornplaying as well). If you should witness a colleague turning beet red while playing; this is an indication that something is being done incorrectly where back pressure is concerned. It is the road to either a stroke or heart attack or perhaps both and I have met unfortunate folks this has happened to (they either no longer play or play at a greatly reduced capacity). Advising them on their 'condition'. I can give no suggestion; it depends upon your particular relationship with that person. Rachel Harvey ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE: Ear Training
I started out knowing this would happen. Then I figured what the hell people who wanted to help would. The rest, well. . . -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Tuesday, May 16, 2006 9:22 AM To: horn@music.memphis.edu Subject: [Hornlist] RE: Ear Training Bill G would appreciate . any suggestions on "ear training" available to an amateur with no ready access to a piano. I used Google and found 133 separate listings. ** You may start training your ears when they are seven or eight weeks old, Bill. I applaud your willingness to try this at home - just remember to be patient, consistent, and positive. Never repeat commands - your ears should obey the first time. Avoid showing favoritism toward one ear - believe me, you will be in a lot of trouble if one of your ears is jealous of the other. (I always cringe when someone tells me they have "a good ear.") Always reward your ears when they obey. And if they disobey - well, don't worry if you don't have a piano - I find that a rolled-up newpaper works just well. Just whack your ears with it, shouting "Bad ears! Bad ears!" at the top of your lungs. Soon, you'll have the best trained ears in town, or the second-best, if you live here in San Jose. Gotta go, Cabbage Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ 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
[Hornlist] Re: ha ha for Cabbage
Hey Cabbage; long time no see either yourself or your progeny and it's been probably since that 1997 Mahler 1 that I sampled your kind gift of Oreos. Anyhow, I do agree with you that politics is horn related if you decide to practice your horn in front of a CNN broadcast. It's bad enough that they broadcast CNN on the little TVs you see in banks while standing in a long line. Maybe I should bring my horn next time; but they would probably toss me out of the bank. A 'mouthpiece'; well that seems to be a big Silicon Valley buzz word along with about 300 others. You see, a CEO is not 'allowed' to 'say' that a person is 'representing' him/her (you know-language is everything to a CEO), therefore the 'mouthpiece' is a fine neutral term that cannot be used against someone by those corporate vulture attorneys. Once, as a prank at work, I made up a list of every technical 'buzz word' I could think of and came up with over 150. The rest of the department loved it. I can't locate the list now, but big deal; as the English language has been unbearably corrupted with 'made up' words and foreign words and the list is undoubtably over 500 words by now. best wishes; and btw you and your son are on the sub list for Redwood; should we need lots of horns for another Mahler 1 (we've begun the cycle again) Rachel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Scammers: NHR: NHR: for Hans...
Hans; I love your story; well done about checking out the passport of that scammer. I would have done the same-and perhaps verified a bank account into the bargain! As far a dangerous places go; I have also found that one of the most dangerous places one can travel to is the Sonora Desert in Mexico (it is rife with bandidos who will kill single Americans traveling in their own vehicles and rip off all of their things; burying the poor souls wherever). If I go to Mexico again it will be via air, never by vehicle. I once took a 44 hour bus ride from Mexico City to Tiujana for the specific purpose of using the salida paper I had acquired from my attorney in the place of my exit visa which had expired. Doing this was no mean feat; the 'Gobernacion' headquarters requires an applicant for 'salida' papers to come back five DAYS in a row; going to a different office at each time. I patiently did so and finally received the papers. Anyhow, on that bus, no less than 6 times; we were stopped and pulled off the bus by 'federales'; inspected, asked for our passports AND our salida papers and then allowed to re-board without incident to any of us. Let me tell you it was not a fun trip. 44 hrs on any trip is nasty but it had to be done. I managed to sleep most of the time; only awaking for a funky chicken dinner in some hole-in-the-wall and then being transferred to a different bus somewhere because the lavatory overloaded in a most disgusting manner. Of course, after living in Mexico 3+ years; one takes all these things with good grace and does not complain. I was only grateful that none of us were killed by the federales.and they could have done it on a whim; papers or no. Now, if one has lots of cash "la mordida" (the bite) perhaps one can bribe an officer to let one go if the papers are not to their standards; but thank God this was not required of any of us at any time. It was a complete turn-around, transferring from Tijuana to San Diego; passport firmly in hand. What a difference in cleanliness-as Tijuana is a total pigsty! anyway; cheers and there will be more posts (I messed up on the hornlist address yet again) (dumb-and-stupid-me) Rachel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: Ear Training
Bill G would appreciate . any suggestions on "ear training" available to an amateur with no ready access to a piano. I used Google and found 133 separate listings. ** You may start training your ears when they are seven or eight weeks old, Bill. I applaud your willingness to try this at home - just remember to be patient, consistent, and positive. Never repeat commands - your ears should obey the first time. Avoid showing favoritism toward one ear - believe me, you will be in a lot of trouble if one of your ears is jealous of the other. (I always cringe when someone tells me they have "a good ear.") Always reward your ears when they obey. And if they disobey - well, don't worry if you don't have a piano - I find that a rolled-up newpaper works just well. Just whack your ears with it, shouting "Bad ears! Bad ears!" at the top of your lungs. Soon, you'll have the best trained ears in town, or the second-best, if you live here in San Jose. Gotta go, Cabbage Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Just a few questions..
1) remove all slides, soak the horn in the bath tube filled with mild warm water & some mild dish washer solution. After a while, use the shower tube to spill all residue out of the valve tube shanks. If that does not work properly, check for a company using ultra sonic cleaning. They might put the horn into one of their devices to clean the residue away. To avoid this happen again ? Use as little grease as possible & necessary. Push all slides in completely after playing 2)The manufacturers use machine (tools) assisted hand lapping, as the feeling is more sensitive than a pure machine. 3)if you speak of the bell section, do you mean the vey end of the bell, like a detachable bell ? Yes, a robot can do that work, by just pressing the flat sheet metal upon a mandrel. But the thickness of the wall would be not even as the metal has to be stretched. Forming the bell out of flat metal sheet on a flat rotating mandrel using a forming (pressing) tool, works the same way but presses the wall against the mandrel in a 90 degree shifted way, resulting in the same uneveness. Best works, what you named hammering. But this is widely misunderstood. The real bell makers produce the bell from a musroom shaped sheet metal piece, wound together & hard soldered, then roughly formed by using a plastic or wooden hammer, heated, hammered, heated & hammered again until the rough form is achieved. The end side is allready prepared by the wider diameter. The whole piece is pressed upon a long steel mandrel then and pressed flat on this mandrel (which rotates around ist length axis) with the help of a steel tool with a long wooden handle (it requires a lot of power). In this way, the eveness of the wall thickness is better preserved and so the durability together with the playing qualities (resonance). The very last bell segment (detachable bell) is cut after the kranz or the thread is fixed at the edge & the female screw is soldered on the bell section. All can be seen at www.pizka.de/making.htm 4) This it not outsourcing but delegating special tasks as a special task is better performed by specialists and a special very expensive machine has to be used every day to bring the invested money back. A computer commanded lathe for the valve production costs some 150.000 USD up, a laser cutter for the metal sheet would be the dream of every maker, but is not affordable. Some valve maker do their job exclusively, some other instrument makers are specialists in bells (which are made upon special order from the single makers who provided their own mandrel), and accept orders by colleagues to fill their order book or just keep their worksmen employed. Most horn makers are rather small companies of three to five people, or even single masters with one assistant. And, one cannot be a specialist in all fields. Why to make the screws by yourself, if another has the machinery & has even the products for sale. Some have made their own tools to make the valve keys, others have made special forms for all kind of valve slides, even upon special orders from colleagues. Others are specialists in bell screws, others in horn cases or mouthpieces. The specialists for the valve slides have a special calibrating machine, but calibrating can be done by the single master also, just by pushing one calibrating steel ball after the other through the slide, which is positioned in a strong form made of hardwood or semi-liquid & hardened powder metal mixture. Do you have any idea which valve slide would be the most expensive say for a Viennese pumpenhorn ? Guess, please ! The shortest slide ! Right ! All can be made by a single master, but are you willing to pay for that excess work ? Surely not. So they divide work. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Alon reuven Sent: Tuesday, May 16, 2006 5:50 AM To: horn@music.memphis.edu; Dennis Houghton Subject: [Hornlist] Just a few questions.. Hi all, So many questions , and it's only morning here in Israel.. 1) I've got a descant horn , and since I do not use it all the time , some residue has been collecting in the slides and it is impossible for me to push them in.How do I clean this residue? 2) Is it really essential to do works like lapping by hand ?several customize rs and manufacturers are always mentioning it , but the very act does not seem to have to many variations that would prevent a machine from doing it . 3 ) In the production of Bell sections-why can't it be done by a robot rather then being hand hammered ? It would definitely be more precise. How come horn parts are still being processed by hand, by several famous firms? 4 ) How come several horn manufacturers would use outsourcing ( buying the valve section from minelschmit and the bell section somewhere else ) and some don't ? it seems like some of the machinery needed for pr
RE: [Hornlist] horn advice
Hello Klaus, yes - there was nothing else than peace between us, even we discuss things we both see from different views. Regarding the 11th partial: The 11th partial is written as "f2" allways, no matter if the horn stands in F or C or G or D. This fact makes it IMPOSSIBLE to name it (concert) Bb in your nomenclature, as this is limited to the F-tonality. And there is no 11th partial Bb. That´s why I called it comparing apple with pears. That´s the one thing. And we have no F horns in this particular Sinfonia. So the 11th partial CANNOT be Bb (concert), but C for the G-horns & G for the D-horns. Resume: talking about partials require to talk them as NOT TRANSPOSED, means as written. They remain the same allways, but sound different according to the instruments tonality. Concert pitch has no place here, when talking partials, please, but to make it understandable better for the laymen, concert pitch should be given within brackets. It becomes problematic really at the Adagio cadenza, where (notated) f & a meet together for both pairs of horns, the G-horns first, followed by the D-horns. Here the rather flat a meets the rather sharp f. This is much easier on Descant horns than on open played natural horns. No wonder your G-descant Alexander gets in trouble when down-tuned to F, as this cylindrical F-crook shifts the whole proportions of the sound-tube out of the regular. I do not speak of valves here, - and, please do not misunderstand me here -, it is a very very big difference, if a true high grade professional plays that extreme pieces or an even experienced amateur. Agreed ? Sorry, I cannot accept that & I refuse to believe it, that the Danish producer eliminated the solo horn from this particular aria in the first act, as it is one of the very high lights in the whole opera. Please check again if we do not talk about different numbers. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Klaus Bjerre Sent: Tuesday, May 16, 2006 2:57 AM To: The Horn List Subject: RE: [Hornlist] horn advice In a way its silly that we take up a fight, Hans! We are both old school persons with huge personal libraries. I love German culture, but I also hate it, as it even more than my own (Danish) one constitutes a conch. But then you are a true and honest German as opposed to some plastic politically high-ranking persons. As for our divergences upon Giulio Cesare: I always referred to the Sinfonia for horns in G and D only. And once again I am right. The Bb is the problematic 11th partial of the horn in F. You take the point of view of a horn player by calling that note F or F# all according to the method of modifying the pitch by the right hand. As a player, conductor, arranger, and scholar I have been around just about any transposing and clef thinkable. To avoid madness I at some point of time decided to call every note by the name it would have if played on a piano tuned to A=440. I havent been through the whole Händel score, but most of it, including the said F major aria with the obligato 1st horn part, which is doubled by the 1st violins. It appears like the Copenhagen director made a theatrically very effective decision: The leader of the 1st violins entered the stage in her black dress and played the obligato as a very effective duet with the counter tenor. My ears heard no horn in that duet. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] discovery
I will not do the biography as a free service, so I will ask the present owner of these things to allow me a copy of those works I can publish. There will be no problem with the Strauss family, as it is a copists manuscript & Franz Strauss is dead since 101 years. No rights to nobody. But the publisher & editor will have the rights then. Greetings Hans ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
