Re: [Hornlist] Franck Symphony; for Lawrence Yates
I don't remember if the bassoon player told me what was the cause of the horn player's death. As I said, this was a tale told to me - I wasn't there myself and I don't know who the horn player was. I have only played in one performance where one of the musician's died (although I have played in several where members of the audience or choir have gone to meet their maker, two of them during separate perfomances of the Verdi Requiem) The night Sid died we were playing South Pacific in a theatre in Bolton. About half way through the second act the trumpet player behind me began to frantically tap on my shoulder - Lawrence, Lawrence, Sid's dead. What do you mean, Sid's dead? He's dead - look. Sure enough, Sid, the elderly percussionist was slumped over his timps. We managed to get a message through to the front of the orchestra (the pit was long and thin with only one way in an out) for someone to phone for an ambulance. We then passed Sid along the orchestra (he was still alive at this point but not very well and hardly conscious.). Eventually the ambulance came and he died soon afterwards. I was telling this story to one of my students as one of the funniest things that had happened that week. (If you don't understand the English sense of humour, please don't comment on this.) Anyway, unlike most people, she didn't laugh. She let me finish my tale then unsmiling said, Yes, I know, it was my grandad. All the best, Lawrence þaes ofereode - þisses swa maeg _http://lawrenceyates.co.uk_ (http://lawrenceyates.co.uk/) Dulcian Wind Quintet: _http://dulcianwind.co.uk_ (http://dulcianwind.co.uk/) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Franck Symphony; for Lawrence Yates
apologies for the apostrophe in musician's - I do know when and when not to use the apoostrophe - it's something that infuriates me when I see it done incorrectly. Sorry, Lawrence þaes ofereode - þisses swa maeg _http://lawrenceyates.co.uk_ (http://lawrenceyates.co.uk/) Dulcian Wind Quintet: _http://dulcianwind.co.uk_ (http://dulcianwind.co.uk/) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Conductors, theory,music, etc
What will you do, if you have a conductor in front, who knows everything about a certain big piece and leads the piece following every flydropping in the score like it were the Holy Evangelium, but has not 1/1000th percent of charisma taste ? Who is a fleshless, temperamentless superbly studied very friendly polite fellow, but cannot recognize if a chord in a progression is false or not. If he doesn´t even hear the wrong note ? But he is highly traded internationally ? Here the ear counts, but the ear combined with the instant recognition facility to distinguish wrong in style or still possible for that piece. It would be better definitely, if the conductor would know the score by heart, but this might be too much on expectation, even these particular conductors have conducted this piece on a multitude of occasions. Knowing by heart does not definitely mean, that he could write it down by heart, but (as did Karajan) it would mean, that all the acoustical sensations would be stored in ones memory, so any deviation from that would disturb bring the conductor to a halt, make him look into the score, find (extract) the wrong note get it played correctly by the particular musician. But if that does not happen with the conductor, how would you estimate this gentleman ? Ohh, he has a superb baton technique. This is not a real but a true story could happen everywhere has happen at many places. All you need is a very good management a rigorous lobby. You will get to the top. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Recent updates to hornplayer.net (21st May 2006)
Updates to hornplayer.net since 14th May 2006: FRENCH HORNS FOR SALE - New adverts [Photo] Meinel Sohn - Natural horn - 900 EUR ? http://www.hornplayer.net/advert.asp?id=5704 Paxman - Case - Fixed Bell - 70 UK sterling http://www.hornplayer.net/advert.asp?id=5707 [Photo] Knopf - Full Double - 4600 US $ http://www.hornplayer.net/advert.asp?id=5709 [Photo] Seraphinoff Halari Cor d'Orchestre - Natural horn - 4200 US $ http://www.hornplayer.net/advert.asp?id=5710 [Photo] Lawson Nickel Bronze Lite - Bell only - 1000 US $ http://www.hornplayer.net/advert.asp?id=5711 Paxman 20L - Full Double - 4250 US $ http://www.hornplayer.net/advert.asp?id=5712 Holton Farkas 179 Case - Case - Fixed Bell - 50 US $ http://www.hornplayer.net/advert.asp?id=5714 Alexander 106 Modified - Descant - Full Double - 3800 US $ http://www.hornplayer.net/advert.asp?id=5715 [Photo] Soft Backpack Case - Case - Detachable Bell - 15 US $ http://www.hornplayer.net/advert.asp?id=5717 [Photo] Protec - Case - Fixed Bell - 80 US $ http://www.hornplayer.net/advert.asp?id=5718 [Photo] Paxman 40 - Bb/A/f Alto Full Double - 6050 US $ http://www.hornplayer.net/advert.asp?id=5719 Reunion Blues Leather - Case only - 150 US $ http://www.hornplayer.net/advert.asp?id=5721 - For a complete list of horns for sale, visit http://www.hornplayer.net/advert.asp - Signup at http://groups.yahoo.com/group/hpn_new_adverts to get - - an email every time a new advert is added to hornplayer.net - Looking for a professional quality used horn? www.hornsaplenty.com has your next horn New and updated teacher listings: Liesl Hansen (USA, MI, Lansing) http://www.hornplayer.net/teachers.asp?rd=12884 Nicholas Williams (USA, WASHINGTON, Redmond) http://www.hornplayer.net/teachers.asp?rd=12935 Thomas Haunton (USA, MA, Wilmington) http://www.hornplayer.net/teachers.asp?rd=1710 Curt Vellenga (USA, KS, Kansas City Area) http://www.hornplayer.net/teachers.asp?rd=3215 Stella Disney (UK, Worcestershire, Kidderminster) http://www.hornplayer.net/teachers.asp?rd=12906 Eric Pullen (USA, AZ, Chandler) http://www.hornplayer.net/teachers.asp?rd=7454 Matt Menger (USA, TX, Houston) http://www.hornplayer.net/teachers.asp?rd=12282 Eric Renfro (USA, TX, Dallas/Forth Worth) http://www.hornplayer.net/teachers.asp?rd=12910 Joseph Johnson (USA, GA, Augusta) http://www.hornplayer.net/teachers.asp?rd=12923 Alan Parshley (USA, VT, Colchester) http://www.hornplayer.net/teachers.asp?rd=12944 - For a complete list of teachers, visit http://www.hornplayer.net/teachers.asp New and updated section listings: Baltimore Symphony Orchestra http://www.hornplayer.net/sections/s15.html Columbus (GA) Symphony Orchestra http://www.hornplayer.net/sections/s41.html Montgomery Symphony Orchestra http://www.hornplayer.net/sections/s104.html Orquesta Sinfonica Munipal de Caracas-Venezuela http://www.hornplayer.net/sections/s345.html Bury Youth Orchestra http://www.hornplayer.net/sections/s356.html Louisiana State Symphonic Winds http://www.hornplayer.net/sections/s1449.html Menomonee Falls Symphony Orchestra http://www.hornplayer.net/sections/s9114.html Banda De Conciertos Simon Bolivar http://www.hornplayer.net/sections/s9131.html United States Navy Band http://www.hornplayer.net/sections/s2851.html Musikkapelle Kirchberg http://www.hornplayer.net/sections/s3592.html Orquesta Sinfonica Juvenil http://www.hornplayer.net/sections/s8158.html Ocala Youth Symphony http://www.hornplayer.net/sections/s9107.html Fulham Symphony Orchestra http://www.hornplayer.net/sections/s9108.html - For a complete list of sections, visit http://www.hornplayer.net/sections.asp Hornplayer.net recommends Amazon.com horn CDs and books: Strauss: Horn Concertos - David Pyatt http://www.amazon.com/exec/obidos/asin/B03X3B/thehornplayersre ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Franck Symphony; for Lawrence Yates
It is done in the German language, so I have to apologize as I adopted it mistakingly too often in my English letters. H.Pizka = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Sunday, May 21, 2006 10:03 AM To: horn@music.memphis.edu Subject: Re: [Hornlist] Franck Symphony; for Lawrence Yates apologies for the apostrophe in musician's - I do know when and when not to use the apoostrophe - it's something that infuriates me when I see it done incorrectly. Sorry, Lawrence þaes ofereode - þisses swa maeg _http://lawrenceyates.co.uk_ (http://lawrenceyates.co.uk/) Dulcian Wind Quintet: _http://dulcianwind.co.uk_ (http://dulcianwind.co.uk/) ___ 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] Franck Symphony; for Lawrence Yates
Message text written by The Horn List Anyway, unlike most people, she didn't laugh. She let me finish my tale then unsmiling said, Yes, I know, it was my grandad. Dear Lawrence and List Hmmm - this reminds me of a rehearsal years ago with a certain conductor who has now got quite a high reputation. Two deputy violinists - one an old pro and one a fresh young budding superstar were sharing a desk. The rehearsal was going very badly and, during a pause for a 'scrub', the older player turned to the younger and said words to the effect of (probably stronger) this conductor is a complete idiot and I have just about had it up to here! The younger player retorted he is practically my brother in law! The rehearsal continued with the older player frantically wondering how to dig herself out of this one. There was another pause for a 'scrub' at which point the younger player turned round and said but I completely agree with you!. Mind you, I once went offstage after a choral concert in Scunthorpe and in to the men's bandroom where there was a babble of angry comments about this conductor, beat, tempi, understanding of the music, total idiot, waste of space, take the money, get to the pub and then off home etc., etc. I myself did not take part in this and was the only one to see a man taking off a tail coat in the corner and obviously about to burst into tears. But I must admit that, in the same hall, I once totally wrecked a horn solo during the rehearsal of a choral concert (actually, I think that you were on that one Lawrence - off stage horn call in 'The Canterbury Pilgrims' - rest of horn section in fits of mirth when I returned to the stage - ring any bells?). I think I got it right on the night (it was over 30 years ago) but, changing afterwards, I found myself standing next to one of the choristers who said what was wrong with that French Horn player this afternoon? I responded I don't know but he has got to go! - and with that, I left. Cheers Paul A. Kampen (W. Yorks UK) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music Theory for Josh and others
At 3:31 AM + 5/21/06, [EMAIL PROTECTED] wrote: You do NOT need to hear any pitches in music theory with the exception of differentiating between the intervals (a basic exercise). Just spell them exactly as instructed. Sort of like learning how to spell without learning what the words mean? Carlberg -- Carlberg Jones Guanajuato, Gto. MEXICO mailto:[EMAIL PROTECTED] Skype: carlbergbmug - http://skype.com/ 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] Music Theory for Josh and others
--- Steve Freides [EMAIL PROTECTED] wrote: You have all read Steves fine posting, so I wont quote it. It made me wonder, why I never really can remember the precise composition of the Napolitan chord. So I found it on a web page, and then I knew why: During my musicological studies, I have been quite a bit around jazz theory. And there the same chord (Db in C major is not considered a subdominant, but a tritone-substitution for the dominant, usually with the Db in the bass and with at least a minor seventh added. The classical purpose of the Napolitan chord is to approach the Tonica in the melody line from a semitone above via a semitone below (the leading note). The jazz purpose is to approach the root in a chromatic way. The normal jazz cadenza in a simplified version is ii7-V7-I. In C major giving the bass line D-G-C. The substitution version is ii7-bII7-I giving the bass line of D-Db-C. For me there is no split between the classical and the jazz approaches, as they are all about creating a tension to be released on the Tonica. This relates to a recent thread about Lacher, where Hans like the other posters excluded the alleged horn obligato to be intended for horn. Hans suggested the zink/cornetto, which I applauded. The Napolitan discussion took me back to the Lacher score, as I remembered a figure of some soloist line notes with a sequence similar to that of a Napolitan cadenza. They were not true Napolitan, rather sort of appogiaturas leading to the main note, which in casu was the third of the subdominant. This is all very subtle in a horn context, but it leads to the point of several posters including me: horn players shall play their horn well, but they shall also be thorough musicians, which includes knowledge of style and of harmony. I only have played Mendelssohns violin concerto once at a reading. I was 2nd horn and another, very good, but back then quite young, list member was first. Most of the way we played in natural horn harmonies for horn in E, but suddenly we had to play one or more top-of-the-staff Fs in unisono. Not an obvious range to meat within. But there is a clear reason behind the composers writing. Which is that reason? Only to be told by those knowing about orchestral horn playing of the period. Klaus Smedegaard Bjerre __ 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] Music Theory for Josh and others
At 3:31 AM + 5/21/06, [EMAIL PROTECTED] wrote: I got in big trouble with music theory because I 'could' hear the chors and MISSPELLED them as many chords SOUND the same but LOOK different. I did not believe this for a few years until my teacher sat me down and explained that I must not 'listen' to the chords; only spell them as outlined in the text. It seems to me that unless you know the function of a chord its spelling is a moot point. If you are asked to write down this chord, and you hear only the chord, any spelling is correct, I'd say. When you wrote text at the end of the above quote, did you mean context? Then I think spelling would matter. When one hears the word read, how can one know if it's spelled that way or red, (or reed, for that matter) without know the context or the word's meaning? As in music, the English language has many words which sound the same but are spelled differently. Carlberg -- Carlberg Jones Guanajuato, Gto. MEXICO mailto:[EMAIL PROTECTED] Skype: carlbergbmug - http://skype.com/ 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] Music Theory for Josh and others
In a message dated 21/05/2006 15:17:32 GMT Daylight Time, [EMAIL PROTECTED] writes: As in music, the English language has many words which sound the same but are spelled differently. Like Viola and Cat þaes ofereode - þisses swa maeg _http://lawrenceyates.co.uk_ (http://lawrenceyates.co.uk/) Dulcian Wind Quintet: _http://dulcianwind.co.uk_ (http://dulcianwind.co.uk/) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music Theory for Josh and others
At 10:26 AM -0400 5/21/06, [EMAIL PROTECTED] wrote: Like Viola and Cat Voilà, ya got it, mighty! -- Carlberg Jones Guanajuato, Gto. MEXICO mailto:[EMAIL PROTECTED] Skype: carlbergbmug - http://skype.com/ 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] Music Theory for Josh and others
Klaus Bjerre wrote: -snip- During my musicological studies, I have been quite a bit around jazz theory. And there the same chord (Db in C major is not considered a subdominant, but a tritone-substitution for the dominant, usually with the Db in the bass and with at least a minor seventh added. The classical purpose of the Napolitan chord is to approach the Tonica in the melody line from a semitone above via a semitone below (the leading note). The jazz purpose is to approach the root in a chromatic way. The normal jazz cadenza in a simplified version is ii7-V7-I. In C major giving the bass line D-G-C. The substitution version is ii7-bII7-I giving the bass line of D-Db-C. For me there is no split between the classical and the jazz approaches, as they are all about creating a tension to be released on the Tonica. Thanks you, Klaus. I will point out two differences that I are, at least to this theory teacher, significant. The first - in classical music, the Neapolitan chord is usually seen as a triad in first inversion, while in jazz it's usually a 'dominant' (major third, minor seventh) seventh chord in root position. In the key of C, the classical chord is spelled F-Ab-Db, while the jazz chord is spelled Db, F, Ab, Cb. The classical Neapolitan is more often used in music in a minor key because it fixes what would otherwise be a diminished chord. Ed Aldwell and Carl Schacter give this chord, which they call the Phryigian II, excellent treatment in the second volume of their text book, Harmony and Voice Leading. The Neapolitan 6/3 chord may, in fact, be followed by a tonic chord, but that will almost always be a cadential 6/4 version of the tonic chord, which will then be followed by the dominant chord and then the final tonic itself. In Aldwell/Schacter parlance, one does not even call the tonic 6/4 chord used this way a tonic chord at all. (To say more on this would open Pandora's Box - suffice it to say their theory text is excellent and explains all this very well.) Secondly, in jazz, as you rightly observe, it's a substitute for a dominant triad or seventh chord, while in classical music it usually functions much like a II (supertonic), that is, a chord that goes to the dominant chord which then goes to the tonic. The jazz version is often refered to as a sub-V, meaning a substitute for a V chord. So here its function is different, one level more removed from the tonic in classical music in terms of how it functions. The jazz useage is fun to play with. If you take, e.g., a standard like All The Things You Are (which, I understand, was recently voted best popular song of all time by the members of some musical organization - I'm afraid I forget the details) in its original key of Ab major, at the text, promised kiss of near the beginning where the melody is a repeated G, you can play either Eb dominant seven to get you to the following Ab major chord, in which case the melody note is the third of the chord, or you can play A (natural) dominant seventh and have the melody be the seventh of the chord, the latter being the jazz sub-V useage. You can even use one followed by the other and it sounds good. Sorry to venture off the topic of horns so much. Horn content - if anyone would like to sell me an Alexander 103 for very little money, I'm interested - I had a chance to play one for the first time a few days ago and I am in love. :) -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music Theory for Josh and others
I suppose I wasn't quite clear in my earlier post. My point was that ear training in many schools is insufficient in comparison to music theory. Unfortunately, I can't speak from personal experience, but I watched some of my peers either breeze through or pass completely out of music theory courses. In every case, they had strong listening (ear training) skills. Some were self taught, others had private lesson instructors who insisted on ear training. Many of the things I learned in music theory didn't make sense until I went through my recent ear training courses. Concepts which had at the time seemed complex, became very basic. Original Message Follows From: [EMAIL PROTECTED] Reply-To: The Horn List horn@music.memphis.edu To: horn@music.memphis.edu Subject: [Hornlist] Music Theory for Josh and others Date: Sun, 21 May 2006 03:31:55 + Josh and Hornfolks I got in big trouble with music theory because I 'could' hear the chors and MISSPELLED them as many chords SOUND the same but LOOK different. I did not believe this for a few years until my teacher sat me down and explained that I must not 'listen' to the chords; only spell them as outlined in the text. Only in ear training/musicianship will you be required to use your ears and it is only in the last year of musicianship that a 'chord' test may be given (the teacher (at least at SJSU) played an amalgam of notes on the piano for the last test and the student's job was to identify each and every note. Don't worry about Neopolitan chords, 9th chords, 13th chords, or French Sixths or whatever; as long as you follow the teacher's specific instructions on how to spell each one, you will be just fine. Now, a cautionary word; IF you have perfect pitch; yes you will hear each chord but this is where I got into trouble; because, trust me on this, many many chords SOUND the SAME but are SPELT differently. You want to follow the teacher's instructions and (if you have perfect pitch) try to turn it 'off' for the duration of the class and for your homework. You do NOT need to hear any pitches in music theory with the exception of differentiating between the intervals (a basic exercise). Just spell them exactly as instructed. best Rachel Josh wrote: What good does it do to teach a young music student how to correctly spell a Neopolitan 6 chord if they can't even hear it? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music Theory for Josh and others
Good explanation and more in depth than mine! Klaus Smedegaard Bjerre --- Steve Freides [EMAIL PROTECTED] wrote: Klaus Bjerre wrote: -snip- During my musicological studies, I have been quite a bit around jazz theory. And there the same chord (Db in C major is not considered a subdominant, but a tritone-substitution for the dominant, usually with the Db in the bass and with at least a minor seventh added. The classical purpose of the Napolitan chord is to approach the Tonica in the melody line from a semitone above via a semitone below (the leading note). The jazz purpose is to approach the root in a chromatic way. The normal jazz cadenza in a simplified version is ii7-V7-I. In C major giving the bass line D-G-C. The substitution version is ii7-bII7-I giving the bass line of D-Db-C. For me there is no split between the classical and the jazz approaches, as they are all about creating a tension to be released on the Tonica. Thanks you, Klaus. I will point out two differences that I are, at least to this theory teacher, significant. The first - in classical music, the Neapolitan chord is usually seen as a triad in first inversion, while in jazz it's usually a 'dominant' (major third, minor seventh) seventh chord in root position. In the key of C, the classical chord is spelled F-Ab-Db, while the jazz chord is spelled Db, F, Ab, Cb. The classical Neapolitan is more often used in music in a minor key because it fixes what would otherwise be a diminished chord. Ed Aldwell and Carl Schacter give this chord, which they call the Phryigian II, excellent treatment in the second volume of their text book, Harmony and Voice Leading. The Neapolitan 6/3 chord may, in fact, be followed by a tonic chord, but that will almost always be a cadential 6/4 version of the tonic chord, which will then be followed by the dominant chord and then the final tonic itself. In Aldwell/Schacter parlance, one does not even call the tonic 6/4 chord used this way a tonic chord at all. (To say more on this would open Pandora's Box - suffice it to say their theory text is excellent and explains all this very well.) Secondly, in jazz, as you rightly observe, it's a substitute for a dominant triad or seventh chord, while in classical music it usually functions much like a II (supertonic), that is, a chord that goes to the dominant chord which then goes to the tonic. The jazz version is often refered to as a sub-V, meaning a substitute for a V chord. So here its function is different, one level more removed from the tonic in classical music in terms of how it functions. The jazz useage is fun to play with. If you take, e.g., a standard like All The Things You Are (which, I understand, was recently voted best popular song of all time by the members of some musical organization - I'm afraid I forget the details) in its original key of Ab major, at the text, promised kiss of near the beginning where the melody is a repeated G, you can play either Eb dominant seven to get you to the following Ab major chord, in which case the melody note is the third of the chord, or you can play A (natural) dominant seventh and have the melody be the seventh of the chord, the latter being the jazz sub-V useage. You can even use one followed by the other and it sounds good. Sorry to venture off the topic of horns so much. Horn content - if anyone would like to sell me an Alexander 103 for very little money, I'm interested - I had a chance to play one for the first time a few days ago and I am in love. :) -S- ___ 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
[Hornlist] Rachel´s postings NHR
Hi Rachel, I think you have a lot of great things to say, but is there any possibility you could keep it down to one posting a day or at least consolidate your postings? Today there were at least 6 postings that could have been skillfully consolidated into one posting. Your thoughts and ideas would be a lot more meaning filled to me if I read one big snippet on a similar subject instead of six little ones. Thanks, Hoss Johnson Lost somewhere in Mexico (Literally) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Alexander triple
Nelson, I currently play an Alex 309 triple. It's like the 107 descant I had before, but with a compensating low F side added on. This horn does everything!!! Am currently using a Pizka mouthpiece on it, which has really opened up the bottom, but has also make the area above the staff rock solid. More volume, too. For additional info, mail to: [EMAIL PROTECTED] Wilbert in SC ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Shameless advertising (new)
Two of my nice double horns are ready for shipment. Both silver gold plated as usual. If you are interested seriously, write me off the list please. There is a possibility also, to make two Viennese Pumpenhorns with the valve pistons made of titanium (means ever lasting), special light fast action. Would take between two three months for delivery. I have three machines ready (1 titanium, two brass, plus 6 others, nearly ready, including the other titanium set). Please inquire. Pictures at www.pizka.de/PizWrHorns.htm www.pizka.de/PizClasHr.htm ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
