Re: [Hornlist] Mahler 3 Orchestra Prank Answer
"Harvey, tell them what they've won!" - Double Dare -William In a message dated 6/1/2006 5:35:35 P.M. Central Daylight Time, [EMAIL PROTECTED] writes: ok, I've tortured all of you enough on Mahler 3 Nope from: "Fred Baucom" <[EMAIL PROTECTED]> I'm guessing the unison horn line from Shosta. 5th, 1st mvmt Yup from: [EMAIL PROTECTED] The theme in the last movement of Brahms 1 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mahler 3 Orchestra Prank Answer
ok, I've tortured all of you enough on Mahler 3 Nope from: "Fred Baucom" <[EMAIL PROTECTED]> I'm guessing the unison horn line from Shosta. 5th, 1st mvmt Yup from: [EMAIL PROTECTED] The theme in the last movement of Brahms 1 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Clevenger: For Hans Pizka
No, this is not the method. It should better read "Adjust to your environment !" , as Josef Schantl told the young Karl Stiegler, then solohorn in Wiesbaden: "Think allways about the room & its acoustic, where you are playing !". -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Thursday, June 01, 2006 7:19 PM To: horn@music.memphis.edu Subject: [Hornlist] Clevenger: For Hans Pizka Hornfolks & Hans: I am very aware of Dale's expertise in checking all of the qualities of the venues he plans to perform in and expecially the way he plans to sound in any hall; however I'd like to add a little 'something' I heard from Phil Myers during a master class. Phil is very good at making his point without using too many words and this is one of the best pieces of advice I ever received from a master teacher. He did go into some detail on methodology; but the precept he made and the words he used were: "Adjust your environment". best wishes Rachel ___ 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] Corroborating Clevenger 'story'
>he sounded less than 'pretty' on stage but wonderful when you got >out to the audience. ___ Sothis says a lot for those "down" the row (section) that have much to say, judgementally, about another's playing. Once in the audience, it is music? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Pitch: For Cabbage; For Mark Sueron; For Rebecca Gonzalez
Hornfolks: 1) Cabbage is right. Perfect pitch is useless. 2) Mark; get some Oreos from Cabbage. They should help the 25% of pitches you don't get :} especially the double stuf ones :}} 3) Rebecca; I have a 21 yr old cockatiel who was taught 'Pop Goes the Weasel' in 1985 by me. He still knows it. Now this is funny-that bird does not have perfect pitch; but he has pitch recognition. I actually got him to sing the melody while whistling the harmony with him-and for the 1st or 2nd tries he messed up because he thought I was doing the original tune; but for some reason now he is able to 'ignore' the harmony and so we have this little duet going. I was thinking of calling up Guinness because he is so old (cockatiels usually die at age 21 and he is past that and in good health). The 3 Stooges? I've got every tape they ever made and then some, including rare comics. Larry was an actual violinist; I don't know about the other 5 Stooges' musical backgrounds if there were any (yes there were a total of 6 Stooges). What I do know is that they fought viciously amongst themselves all of the time off the set and did all of their own stunts. hest wishes Rachel Harvey Go figure. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Pitch: for Mark Sueron
Mark & Hornfolks My first answer to Mark's question below is 'who cares?' No one cares, honestly. I have a lot to say in another planned long post on perfect pitch but would like to answer this one individually, please. My opinion explained; it DOES NOT MATTER about 'having a 440=A pitch because no ensemble on this earth ever keeps to a 440=A unless they are a major orchestra and have a real oboe player with good ears who doesn't use 'the box' and EVERYONE takes time to tune instead of piddling around with valve oil or gossiping with the brass section or showing off with the Siegfried Horn Call. You know what I think of the box..stamp on all of them as far as I'm concerned. One with perfect pitch is 'cursed' as I said because we must adapt to whatever A the ensemble is providing; be it ever so many cents off. I have played in ensembles that gave 3 separate A's, all different. It was absolute torture for me. You have no idea what that was like unless it has happened to you. My father has a Steinway piano tuned to a 440A. I learned for 8 yrs on that piano and my pitch was tuned to that A. However, the moment I got into my elementary school band and jr high band and high school band; the A's changed radically. I could no longer use the 440A as the clarinets were flat; the tubas didn't know where the pitch was; the flutes were sharp, the trumpets played so loudly that no one could hear anyhow, and most of the time I could not hear what I was playing myself and had no idea what KEY the group was in. In my opinion, the only thing distinguishing a true 'perfect pitch' person is this: one can self-generate (ok sing) any tone, IN TUNE within a few cents of the usual identifiable tone, and properly identify the note. I will not even go into 'temper tuning'; that is for pianos, not for people like us and the temper tuning method is complex beyond belief-and the notes are OUT OF TUNE (the piano is in tune with itself but the notes themselves are out of tune in a particular formula in order to make the piano in tune with itself) Weird but true, ask any piano tuner. Unless you sit at your little Steinway the rest of your life or you manage to properly tune your horn in a practice room, your A will change daily. And the moment you leave the practice room to play a gig someplace; you are now at the mercy of whatever A they use there. Unless, they recognize you as someone with perfect pitch and accept your A (but there ARE 11 other pitches too and you cannot 'temper tune' an ensemble at all; the mechanics of doing this are beyond anyone's skill except a piano tuner (and he only does pianos)). The worst part of the curse is if you play in a constantly out of tune ensemble, your pitch recognition will change and your pitch will go off and then you will have to think about what you are 'generating' and wonder if it is even correct. Even worse than this is when your pitch is 'off' and you can no longer properly distinguish some intervals; then you are truly in trouble because now your 'relative pitch' has gone by the wayside. And no one cares about pitch anyhow because in an ensemble, relative pitch is everything and perfect pitch matters not a hoot unless you love to transpose and can hear all the 12 tones and read down all the clefs. At any rate; that is only something a person with good perfect pitch and transposition skills can benefit from. The transposition bit is meant for horn players who get handed trombone or trumpet parts to play at the last minute, or horn players in chamber music workshops who get handed off the viola part to the Dumke Trio (play the thing in D horn and you will be fine). One more thing; if you sing in an a capella choir. Forget it. They will go flat on you; and although YOU are the only one truly on pitch; everyone else is laughing at you because you are the only one they hear who is OFF pitch. I do have a lot of other responses to other posts but wish to incorporate them into one single post in order not to flood the hornlist. This is going to take some time. best wishes Rachel Harvey >question for those with perfect pitch . Within how many cents is >your pitch >perfect to tuned piano with 440=a? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Hornplaying Focus
Hornfolks: I've read a number of posts mentioning questions about 'what type of horn was the guy playing; how far away was he; how loud was he; did he have a brassy or wooly sound, and all the rest of the little things that go into hornplaying. My call on this one is IF you have got to stop to analyze every little thing that is going on externally while you are playing; you will become distracted from the primary focus of your musicianship. I promise, you get unfocused, you will fail. One must plan in advance and then 'run on autopilot' as I like to do when I can. Yes, sometimes one cannot do this when the piece is horn intensive; but I have played over 600 concerts in Mexico City; most being Mozart & Beethoven symphonies and it became an 'autopilot' thing for me most of the time. Example: Let's say you've got a solo that has a high C coming up. Yes, you've got the chops for it; you're in shape, you know the piece, but you are THINKING about the high C. Not as in 'oh, I am scared of that high C', just thinking about the thing coming up INSTEAD of incorporating it into your musical phrasing and treating it exactly the same as a mid range note (and believe me, this can be easily done). Well, chances are you will miss that note because of what I just said before. I have missed MID range notes, simply because I 'thought' about them in advance. There was no reason; there was nothing wrong with my chops or horn but the note 'kacked' out. I came to realize that I had to plan out everything I did completely and totally in advance; plan the phrases well ahead; the road maps, the transposition; the dynamics; everything; and then after planning I was free to focus on doing it right. So the purpose of this email is to encourage one to focus upon what one is doing. This means 100% of the time; there is no room for distraction of any kind, not if you wish to be accurate. More of my opinion is that there is no point in analyzing someone else's 'custom' horn or if the metal is different from yours, or if they have a nice or a crappy sound, or if they hate your guts, or if they are seated so close to you that you feel like a pair of Siamese Twins.. This is always about your own playing; not theirs. Do you think anyone in your section cares about your playing or if you screw up? Unless you are good buddies; it's a big NO. And even if you ARE good buddies, you will be so busy gossiping to them during rehearsal about the freaks at the bus station that you'll miss your solo 4 after D or whatever. It makes no difference to me at least, where another hornist is seated or how far away the audience is, or how I sound, or whatever UNLESS I happen to be the soloist of the group and can command my environment to become what I wish it to be. If this is your case, God bless and may the Force be with you :} 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] Corroborating Clevenger 'story'
Hornfolks: I 'cop' to writing that very post; that event with Dale happened during a master class in Mexico City when he invited all of us to sit next to him on stage while he blasted some triple F passage on his little horn. Yes, it sounded less than pretty. It was indeed somewhat louder than a 100 piece brass band, I imagine and the sound was most akin to one or 17 of those big ugly euphoniums or mellos (well you mello and euph aficionados have to forgive me on this one; it's not to be taken personally, ok?) But we knew this was DALE; a world class player; and he, of all people would not do something like that without a real teaching purpose. He told all of us to walk to the back of the 3000 seat auditorium and listen again. He did the same passage again. And yes, there was the Dale we all knew well; a wonderful, velvety, crisp, just bright enough sound, loud enough but not too loud and not ugly in the slightest. I learned a real hard lesson from this; it took years, but I learned. best wishes Rachel >he sounded less than 'pretty' on stage but wonderful when you got >out to the >audience. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mute intonation
Hello -= I talked to my teacher about this problem and he suggested sanding down/thinning my mute corks, as his thought was that the mute was NOT going far enough into the bell (like not one's hand (which is why it was playing quite sharp)). I did that, and it fixed the problem. I did try using the "tuning tube" in the mute, but it did not lower the pitch quite enough. Any ideas why a mute would be in tune farther out in a small bell horn but out of tune (sharp!) farther in a large bell horn? One of the reasons I got this mute is because of the fact that it was tunable. The red and white Stonelined mutes... had creative intonation tendencies on my horn. In any case, the problem is now fixed. Thanks, Ben On Thu, 1 Jun 2006 10:46:44 -0700 Wendell Rider <[EMAIL PROTECTED]> wrote: > > On Jun 1, 2006, at 10:00 AM, [EMAIL PROTECTED] wrote: > > > message: 3 > > date: Wed, 31 May 2006 21:19:52 -0600 > > from: Benjamin Reidhead <[EMAIL PROTECTED]> > > subject: [Hornlist] Mute intonation > > > > Hello - > > With my recent purchase of an 8D to replace my Atkinson, I have > > run across an unexpected problem. Whereas before muted horn was > > perfectly in tune (on the medium bell Atkinson), muted horn on the 8D > > is now quite sharp (20-30 cents). I currently use a large Ion Balu > > mute (which is supposed to match larger bell horns) with thicker > > corks. > > Would the thicker corks be causing the intonation issue? How can I > > lower the pitch of the mute? > > Ben > > > Since you are playing a larger bell horn now, the mute goes in > farther, effectively shortening the length of the horn and thus it > plays sharp. This is why we have tunable mutes. Maybe this is > simplistic but I think it sums it up. If there is a movable tube > inside your mute you need to adjust it. > I always check the intonation of a mute when I switch horns and I > wouldn't own anything but a tunable mute. > 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/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
[Hornlist] Lawson Descant horn on Ebay
This is just a note to let players know that there is a Lawson descant for sale on E bay ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mute intonation
On Jun 1, 2006, at 10:00 AM, [EMAIL PROTECTED] wrote: message: 3 date: Wed, 31 May 2006 21:19:52 -0600 from: Benjamin Reidhead <[EMAIL PROTECTED]> subject: [Hornlist] Mute intonation Hello - With my recent purchase of an 8D to replace my Atkinson, I have run across an unexpected problem. Whereas before muted horn was perfectly in tune (on the medium bell Atkinson), muted horn on the 8D is now quite sharp (20-30 cents). I currently use a large Ion Balu mute (which is supposed to match larger bell horns) with thicker corks. Would the thicker corks be causing the intonation issue? How can I lower the pitch of the mute? Ben Since you are playing a larger bell horn now, the mute goes in farther, effectively shortening the length of the horn and thus it plays sharp. This is why we have tunable mutes. Maybe this is simplistic but I think it sums it up. If there is a movable tube inside your mute you need to adjust it. I always check the intonation of a mute when I switch horns and I wouldn't own anything but a tunable mute. 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] Re: Horn Digest, Vol 42, Issue 1
On Jun 1, 2006, at 10:00 AM, [EMAIL PROTECTED] wrote: from: "Steve Freides" <[EMAIL PROTECTED]> subject: RE: [Hornlist] Why do some horn players tune the slides differently Hans Pizka wrote: -snip- Lipping up or down is quite dangerous for not so experienced horn players, special late beginners, as it might ruin the development of the embouchure. "hand tuning down" or "hand tuning up" (open the bell hand wider than usual) is very easy & not counterproductive to the embouchure. Yes, this describes me, and it's something I am now very aware of. I do my best to try and focus on _not_ lipping things when I practice, but I confess it is very difficult. For example, I am still getting used to the amount of air playing the horn requires - I am well able to provide sufficient air, but horn playing wants more air than singing does, at least for me, and I have been supplying air to make music as a singer for decades. Insufficient air also changes pitch, so sorting out what exactly is the current situation - am I giving enough air, or perhaps am I not giving enough air but lipping the pitch up, or am I forcing too much air and lipping the pitch down - is something that requires great vigilance in practice. There are several variables when it comes to tuning the horn and other variables in the mechanics of playing also enter in. I think there are 4 main aspects to good intonation. Each must be understood and addressed. Here are some very brief summaries for consideration. 1. The ability to reproduce notes at the same pitch every time you play them. This has mostly to do with air support and flow because if you are constantly "lipping" notes you never develop a center of pitch for that note. Feeling the air speed for a note is much more consistent than random lipping. I won't take tuning a student too seriously until they can do this. I call this becoming an "air driven" player. 2. Hand position. If you don't have an effective, stable hand position, any attempts to tune will be fruitless. This may seem obvious but I find it to be one of the most common reasons for bad intonation. You need to understand all the aspects of hand positioning. 3. Tuning the horn. There are at least 2 or 3 ways or philosophies to choose from in regards to tuning the slides on the horn. Picking some standard lengths and working from there is one. It is very important to understand the pitch of certain harmonics and the effect of more than one valve fingerings in making your choices. Farkas recommended tuning for compromise of all the fingerings and I offer another suggestion in my book. Obviously, the horn cannot be tuned perfectly with any system, it just isn't possible. Finding a tuning method you like and sticking with it is very important. 4. Development of your ear. This is the most critical of all in the final analysis. The other three have to do with the horn. This one has to do with your development as a musician. Sincerely, Wendell Rider For information about my book, "Real World Horn Playing", the Summer Seminar, and Internet Horn Lessons 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] Clevenger: For Hans Pizka
Hornfolks & Hans: I am very aware of Dale's expertise in checking all of the qualities of the venues he plans to perform in and expecially the way he plans to sound in any hall; however I'd like to add a little 'something' I heard from Phil Myers during a master class. Phil is very good at making his point without using too many words and this is one of the best pieces of advice I ever received from a master teacher. He did go into some detail on methodology; but the precept he made and the words he used were: "Adjust your environment". best wishes Rachel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Strange Mouthpiece on eBay
Back in the day when I played tenor (Eb) horn & converted from the darkside to French horn, I had an extension made for my mouthpiece so I could continue playing in brass bands! It was a little odd to say the least. >From the question and answer now showing on the auction, it seems to be a French Horn mouthpiece (maybe) for a horn player to use to play cornet. -S- _ 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
[Hornlist] Re: Horn & Trombone Music
Hornfolks: I am preparing several posts incorporating all of the wonderful responses, especially where orchestra pranks are concerned and I am going to do my best NOT to post a LOT, but I wish to respond to this one request: I do not know of any horn & trombone duets; however there IS the Poulenc Trio for Trumpet, Horn & Trombone. As an aside; I had to play this along w/the other coaches at a youth music camp. We had a fine trumpet & trombone player & were very well rehearsed. Well, guess what happened? We come out on stage and begin playing and boy, does it sound STRANGE. Rather like twelve-tone music and since we were in performance, we could not stop to find out what was going on. We found out in the end that the trumpet part was in C and our trumpet player had accidentally loaded up his B Flat trumpet (and this is a guy who loved to carry 4 or 5 axes in one case just to 'show off'. He was also what I call an 'arrogant' trumpet player (it kind of goes with being a principal trumpet player); but that day he was nothing, if not completely embarrassed with himself. I and the trombonist made no comment as none was necessary. And, this is even funnier; the audience loved it-and they had no idea we were doing it wrong :} This is a nice little work and lots of fun. I recommend it highly, should you not be able to locate something for horn and bone. However, if you wish to practice your C in bass clef (or for that matter your E flat horn transposition); go right ahead and score some trombone duets and have at it. Some of those 1st bone ledger lines can be challenging. I got accustomed to them while playing 1st bone in a stage band back in '75, but back then they didn't hit you with a hundred sharps or flats and one had a chance to have at least one rehearsal on the music. However, it had been oh, about 25 years since I'd seen what I'm about to tell you about here. In my church, last Sunday, I just did 2 shows of what I call an 'attempted suicide' piece; on 1st trombone as some of the bone players were not there and I had a tacet sheet on the work for horn. This bone part included sight reading 6 flats and 5 ledger lines all the way through. The piece was 176 to the quarter note and done in 2/2 , not to mention the good ol' fast swing style with double DSS 'road maps' which all churches love because you can do the choruses OVER and OVER and OVER again for more of that spiritual experience or whatever. After that one, I seriously wanted to go out into my car and take a nice lie-down and remember that I am supposed to be a horn player, not a bone player :} best wishes Rachel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Why do some horn players tune the slides differently
Hans Pizka wrote: -snip- > Lipping up or down is quite dangerous for not so experienced > horn players, special late beginners, as it might ruin the > development of the embouchure. "hand tuning down" or "hand > tuning up" (open the bell hand wider than usual) is very easy > & not counterproductive to the embouchure. Yes, this describes me, and it's something I am now very aware of. I do my best to try and focus on _not_ lipping things when I practice, but I confess it is very difficult. For example, I am still getting used to the amount of air playing the horn requires - I am well able to provide sufficient air, but horn playing wants more air than singing does, at least for me, and I have been supplying air to make music as a singer for decades. Insufficient air also changes pitch, so sorting out what exactly is the current situation - am I giving enough air, or perhaps am I not giving enough air but lipping the pitch up, or am I forcing too much air and lipping the pitch down - is something that requires great vigilance in practice. All this reminds me of stories of singers who lived with their teachers and did all their singing under supervision. Such a situation would benefit my late beginner horn playing now. Hans, have a spare room for me? :) -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Irish Horn player needed
I almost made this work Carolyn, but couldn't quite get it together. Hope you found someone. Heather [EMAIL PROTECTED] wrote: Hello Irish Colleagues, A group that I am touring with soon needs a 2nd horn player. It is the Bach Festival Choir and chamber orch. from Winter Park, Florida. Concerts are June 5, St Canices Cathedral, Kilkenny, June 7, Galway Cathedral and June 10at St Mary's Cathedral in Dublin. I think the concerts are at 7:30pm. There are logistic and accoustic rehearsals in the morning of 5-7 June and evening rehearsals in Dublin 8&9 June. You would not likely be required to attend all the rehearsals. Repertoire is Mozart Coronation Mass, Adagio for Violin, Impressario Overture and Requiem Also some Beethoven, Mendelssohn, and American choral music. Also needed is a timpani player and his instruments. I will be in Dublin on Friday of this week. Please contact me off list by Wednesday evening or Thursday morning if you are interested and available. Thank you. Carolyn Blice [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hephorn%40yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Why do some horn players tune the slides differently
Hornplayers & other musicians tend to develop a certain habit & get fixed on that. What has that to do with the slides ? Yes, it has to do with this, as hornplayers get used to their lipping up or down according to their first instrument & when they have not developed the right skill either to hit the notes on the place where they are located nor the skill to tune them right by use of the right hand. Many of them get hardship regarding storing the placement of the different natural pitches of the horn into their memory instantly. More than that, many hornplayers seem to have difficulties to remember the right position of the (doublehorn) six to eight slides, a very simple task indeed, but seemingly too difficult for many players, some professionals included. As a consequence of this deficit in knowledge, they hit the notes at the wrong position either too sharp or too low, according to their hammered-in habit. Well, this is the cause, why they position the slides differently. The tumb rule is it, first slide out for 12mm, second for 9-10mm, third for a bit more than 12mm, all speaking for the F-side; the Bb-slides out a bit less. If the main tuning slide is out longer than usual, all slides must be out a bit more. Slides pushing full in before laying the horn aside for a while, yes, I recommend this also. Readjusting them is very simple. But I can confirm what Daniel said below. Lipping up or down is quite dangerous for not so experienced horn players, special late beginners, as it might ruin the development of the embouchure. "hand tuning down" or "hand tuning up" (open the bell hand wider than usual) is very easy & not counterproductive to the embouchure. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Daniel Canarutto Sent: Thursday, June 01, 2006 8:52 AM To: horn@music.memphis.edu Subject: [Hornlist] Re: A few slide questions Hello Steve, I use to put the slides all fully back in because otherwise, according to my experience, after some time this operation tends to become more difficult; and I want to be free to adjust them at will. Yes I found that different players may tune the same horn differently. This is certainly true for me and the owner of a horn I'm going to buy soon. He is a pro, but I'm careful with regard to intonation and I'm having frequent lessons with a top level hornist, also playing along with him; so I think I know what I'm saying. By the way, the above said owner of my next horn is the second hornist of the main pro orchestra here in Florence, and he even tunes his horn slightly differently according to which of the two principals he is going to play with. Daniel Steve Freides wrote: >1. When I put my horn away in its case, should I leave the slides >adjusted or slide them all fully back in? I recall someone saying I >shouldn't leave them where I play them ... > >2. Is tuning a particular horn going to be different for people, e.g., >one of my horns was purchased from my teacher who carefully marked the 'right' >position for each tuning and slide, 9 in total on this double horn. >This is rather an academic question for me at this point - I will leave >them as my teacher has set them because I'm a beginner with perfect >pitch and I lip all my notes into some sort of tune no matter where the >slides are - but I am curious to know, e.g., if two people who play the >same horn, or even one player using two different mouthpieces, might >adjust any of the slides differently (assuming the same environment, temperature, etc., of course). ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: A few slide questions
Hello Steve, I use to put the slides all fully back in because otherwise, according to my experience, after some time this operation tends to become more difficult; and I want to be free to adjust them at will. Yes I found that different players may tune the same horn differently. This is certainly true for me and the owner of a horn I'm going to buy soon. He is a pro, but I'm careful with regard to intonation and I'm having frequent lessons with a top level hornist, also playing along with him; so I think I know what I'm saying. By the way, the above said owner of my next horn is the second hornist of the main pro orchestra here in Florence, and he even tunes his horn slightly differently according to which of the two principals he is going to play with. Daniel Steve Freides wrote: 1. When I put my horn away in its case, should I leave the slides adjusted or slide them all fully back in? I recall someone saying I shouldn't leave them where I play them ... 2. Is tuning a particular horn going to be different for people, e.g., one of my horns was purchased from my teacher who carefully marked the 'right' position for each tuning and slide, 9 in total on this double horn. This is rather an academic question for me at this point - I will leave them as my teacher has set them because I'm a beginner with perfect pitch and I lip all my notes into some sort of tune no matter where the slides are - but I am curious to know, e.g., if two people who play the same horn, or even one player using two different mouthpieces, might adjust any of the slides differently (assuming the same environment, temperature, etc., of course). ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
