RE: [Hornlist] Schmidt Double Horn For Sale
It sold very quickly. Steve -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Paul Manly Sent: Saturday, February 24, 2007 10:32 PM To: The Horn List Subject: Re: [Hornlist] Schmidt Double Horn For Sale Item has already been removed. - Original Message - From: "Steven Ovitsky" <[EMAIL PROTECTED]> To: "'The Horn List'" Sent: Saturday, February 24, 2007 7:29 PM Subject: [Hornlist] Schmidt Double Horn For Sale >I have just put up for sale a mint condition Weimar C.F. Schmidt double > horn. Photos and a full description of this wonderful instrument are at: > > http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&ih=005&sspagename=STRK%3AMESE% > 3AIT&viewitem=&item=150095657905&rd=1&rd=1 > > Cheers, > > Steve > > Steven Ovitsky > Executive Director > Santa Fe Chamber Music Festival > www.sfcmf.org > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/pmanly%40icehouse.net > > > -- > No virus found in this incoming message. > Checked by AVG Free Edition. > Version: 7.5.446 / Virus Database: 268.18.3/699 - Release Date: 2/23/2007 > 1:26 PM > > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/sotone%40cybermesa.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Schmidt Double Horn For Sale
Item has already been removed. - Original Message - From: "Steven Ovitsky" <[EMAIL PROTECTED]> To: "'The Horn List'" Sent: Saturday, February 24, 2007 7:29 PM Subject: [Hornlist] Schmidt Double Horn For Sale I have just put up for sale a mint condition Weimar C.F. Schmidt double horn. Photos and a full description of this wonderful instrument are at: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&ih=005&sspagename=STRK%3AMESE% 3AIT&viewitem=&item=150095657905&rd=1&rd=1 Cheers, Steve Steven Ovitsky Executive Director Santa Fe Chamber Music Festival www.sfcmf.org ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/pmanly%40icehouse.net -- No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.446 / Virus Database: 268.18.3/699 - Release Date: 2/23/2007 1:26 PM ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Schmidt Double Horn For Sale
I have just put up for sale a mint condition Weimar C.F. Schmidt double horn. Photos and a full description of this wonderful instrument are at: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&ih=005&sspagename=STRK%3AMESE% 3AIT&viewitem=&item=150095657905&rd=1&rd=1 Cheers, Steve Steven Ovitsky Executive Director Santa Fe Chamber Music Festival www.sfcmf.org ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] synaesthesia
Hi, Mr D-- I'm glad you are ok. If interested about more on synaesthesia, may I recommend "The Man Who Tasted Shapes?" Sorry, can't remember author's name. With best wishes, Dave Kaslow University of Denver Horn Professor Emeritus Web site: www.du.edu/~dkaslow Home: 2707 Valmont Rd #111D, Boulder, CO 80304 Phone: 720 406-3496 Author, "Living Dangerously with the Horn: Thoughts on Life and Art" and "With Aspirations High: Discussions and Exercises for Musicians" Published by Birdalone Books: www.birdalone.com - Original Message - From: [EMAIL PROTECTED] Date: Saturday, February 24, 2007 11:00 am Subject: Horn Digest, Vol 50, Issue 26 > Send Horn mailing list submissions to > horn@music.memphis.edu > > To subscribe or unsubscribe via the World Wide Web, visit > http://music2.memphis.edu/mailman/listinfo/horn > or, via email, send a message with subject or body 'help' to > [EMAIL PROTECTED] > > You can reach the person managing the list at > [EMAIL PROTECTED] > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of Horn digest..." > > > Please edit replies to include only relevant text. Please DO NOT > include the entire digest in your reply. For more netiquette > information, see: > > http://www.netmeister.org/news/learn2quote.html > > Today's Topics: > > 1. RE: Re: Synesthesia (Robert Dickow) > > > --- > --- > > message: 1 > date: Fri, 23 Feb 2007 10:04:29 -0800 > from: "Robert Dickow" <[EMAIL PROTECTED]> > subject: RE: [Hornlist] Re: Synesthesia > > I was diagnosed with Synesthesia about 26 years ago. In my case it > was = > quite > uninteresting; I saw bright flashes of light upon sudden noises, > such as > doors shutting, etc. After about 2 years it went away. I had a lot > of = > other > symptoms though too at the time, such as hallucinations (in > various = > sensory > areas), and while I was living in France some of the neurologists > theredescribed the syndrome as 'artistic hypersensitivity.' Others > thought I = > had > a brain tumor. In the end, it was the artistic sensitivity I > guess. Long > story, but I rather like the artistic sensitivity bit. Aside from a > childhood period of strange (but extremely pleasurable) 'out-of-body' > experiences, I have been completely normal, unfortunately. ;-) > (also, = > see: > Oliver Sacks et al on temporal lobe epilepsy/migrane equivalents) > > Robert Dickow > Lionel Hampton School of Music=20 > > -Original Message- > From: [EMAIL PROTECTED] > [EMAIL PROTECTED] On Behalf Of > [EMAIL PROTECTED] > Sent: Thursday, February 22, 2007 7:46 PM > To: horn@music.memphis.edu > Subject: Re: [Hornlist] Re: Synesthesia > > > Hello- > > For more info about "synaesthesia" look at the Wikipedia article at: > http://en.wikipedia.org/wiki/Synesthesia > > I know that this can vary greatly in severity. The wonderful Russian > painter Wassily Kandinsky (1866-1944) also had this. This quite > obvious = > from > his very brilliant colors. Apparently he painted some of his = > masterpieces > when listening to Gershwin. I remember reading that he > experienced = > music as > an ocean of colors in his mind.=20 > > I know a few students in my ear-training class who can tell (quite > reliably) what key something is in by its "color." I don't mean > color as = > in > sound timbre, I mean actual visual color. F major is blue, A major is > Yellow, like that.=20 > > Certain psychedelic drugs can induce this affect - though I will > not = > comment > on whether I know of this from first hand experience... - and it > can be > quite vivid.=20 > > =20 > > Happy Practicing Everyone,=20 > > Dave Meichle > Lawrence University=20 > > > > FREE Reminder Service - NEW from AmericanGreetings.com > Click HERE and never forget a Birthday or Anniversary again! > http://track.juno.com/s/lc?s=3D197335&u=3Dhttp://www.americangreetings.co= > m/produ > cts/online_calendar.pd?c=3Duol5752 > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/dickow%40uidaho.edu > > > > -- > > ___ > post: horn@music.memphis.edu > http://music2.memphis.edu/mailman/listinfo/horn > > End of Horn Digest, Vol 50, Issue 26 > > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Holton improvements
Hello--I own a 1978 H-180 which is okay, but plays sharp (it's tuned to 442, I understand). What are some improvements (not too $$$) that can be done to the horn? A typical one is a new lead pipe (Lawson?). Others?Jonathan YoderCentral Illinois _ Discover the new Windows Vista http://search.msn.com/results.aspx?q=windows+vista&mkt=en-US&form=QBRE___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] synethsesia
Hello all, Dave Meichle offered: "I know a few students in my ear-training class who can tell (quite reliably) what key something is in by its "color." I don't mean color as in sound timbre, I mean actual visual color. F major is blue, A major is Yellow, like that." From the little I have read on synethsesia, the colors, or shapes, or textures that a synethsete sees when s/he hears sounds are unique to each individual. That is, a person with synethsesia that sees green collums whever she hears an F major will reliabaly see the same green collums each time. Another synethsete may reliably see different shapes or colors. I suspect this is as reliable as perfect pitch. I think the example of two or more ear-training students who hear the same colors may be an example of conditioned pitch or perfect pitch with associations. When I taught beginning strings and tuned several dozen instruments a day, I could find an "A" pretty reliably, but I often had to start over again on Mondays. Incidently I also once had a beginning horn student who clearly had perfect pitch... in F. I think of it as more a blending or crossing of two or more senses. not just what we hear effecting what we see. I have read that it is believed that all babies are born with it (as I have also heard that all humans are born with potential perfect pitch). Given the importance of touch and taste to infant development I find this very believable and fascinating. Unfortunately this means that none of us will ever see or feel or touch Messaien's music as he perceived it. Fascinatin' topic. Steve _ With tax season right around the corner, make sure to follow these few simple tips. http://articles.moneycentral.msn.com/Taxes/PreparationTips/PreparationTips.aspx?icid=HMFebtagline ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Brass Week deadline approaching
The seventh annual Bar Harbor Brass Week will take place this year June 24-July 1. It is open to pre-professional, college, and high school brass players. Tuition, housing, and food are free for accepted college participants. Information can be found at the following website: http://www.barharborbrass.org/ A small group of students will be selected based on audition tapes and applications to form a college brass choir and a high school brass choir for performances in the Bar Harbor area. Students will also perform in chamber groups, attend clinics, recitals, lessons, and rehearsals with our distinguished faculty. The application deadline is approaching very soon, March 15 for college students. The faculty includes Christopher Martin (Principal Trumpet, Chicago Symphony), Blair Bollinger (Bass Trombone, Philadelphia Orchestra), Matthew Vaughn (Associate-Principal Trombone, Philadelphia Orchestra), Adam Unsworth (Horn, Philadelphia Orchestra), and Stephen Dumaine (Tuba, National Symphony). Matt Vaughn Music Director, Bar Harbor Brass Week [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] (no subject)
Yes - this is in Farkas, The Art Of French Horn Playing - legato pg38,
staccato pg42. No chocolate until you get it right.
hans wrote:
Who knows ? Do you recall the Nile act of Aida ? The violin
introduction ? I do that on the horn occasionally : low c,
c1, c2 , c3, c3, c2, c1, c - one half step lower, a full
step lower, etc. - but not legato, but tongued. Good
targetting exercise.
===
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of Carlberg Jones
Sent: Saturday, February 24, 2007 9:40 PM
To: The Horn List
Subject: RE: [Hornlist] (no subject)
At 9:36 PM +0100 2/24/07, hans wrote:
Practise one octave jumps tongued and slured, practise the
same way for
nineth, tenth, eleventh, twelvth, thirteenth, fourteenth,
fifteenth &
finally double octaves.
Would practicing intervals larger that two octaves give a
greater margin of safety?
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
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RE: [Hornlist] (no subject)
At 10:21 PM +0100 2/24/07, hans wrote: Who knows ? Do you recall the Nile act of Aida ? The violin introduction ? I do that on the horn occasionally : low c, c1, c2 , c3, c3, c2, c1, c - one half step lower, a full step lower, etc. - but not legato, but tongued. Good targetting exercise. What might the advantages be of tonguing over slurring such an exercise? I think you answered this with "targetting exercise," but are there any other thoughts? Would it make a difference if one were to start with the c's and work down or if one started on a lower note and worked up? -- Carlberg Jones Skype - carlbergbmug Guanajuato, Gto. MEXICO ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Night Watch - 2 octave jump
F-horn on the low (23) & Bb-horn (23) for the high note.
Here the double is of great advantage.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of David Goldberg
Sent: Saturday, February 24, 2007 10:07 PM
To: The Horn List
Subject: Re: [Hornlist] Night Watch - 2 octave jump
None of the excellent responses so far have addressed the
possibility of fingering issues in this death-defying
clef-hanger of a double-octave leap. It might to an extent
turn out to be horn-specific what change of fingering will
best allow for both a smooth transition and a high
probability of landing on the high Ab. I assume that all
appearances of in-between notes are to be regarded as
impurities.
{ David Goldberg: [EMAIL PROTECTED] } { Math Dept,
Washtenaw Community College }
{ Ann Arbor Michigan }
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de
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RE: [Hornlist] (no subject)
Who knows ? Do you recall the Nile act of Aida ? The violin introduction ? I do that on the horn occasionally : low c, c1, c2 , c3, c3, c2, c1, c - one half step lower, a full step lower, etc. - but not legato, but tongued. Good targetting exercise. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Carlberg Jones Sent: Saturday, February 24, 2007 9:40 PM To: The Horn List Subject: RE: [Hornlist] (no subject) At 9:36 PM +0100 2/24/07, hans wrote: >Practise one octave jumps tongued and slured, practise the same way for >nineth, tenth, eleventh, twelvth, thirteenth, fourteenth, fifteenth & >finally double octaves. Would practicing intervals larger that two octaves give a greater margin of safety? -- Carlberg Jones Skype - carlbergbmug Guanajuato, Gto. MEXICO ___ 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] Night Watch - 2 octave jump
None of the excellent responses so far have addressed the possibility of
fingering issues in this death-defying clef-hanger of a double-octave
leap. It might to an extent turn out to be horn-specific what change of
fingering will best allow for both a smooth transition and a high
probability of landing on the high Ab. I assume that all appearances of
in-between notes are to be regarded as impurities.
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
___
post: horn@music.memphis.edu
unsubscribe or set options at
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Night Watch - 2 octave jump
Try starting with a 1 octave (or smaller) jump at a tempo slow enough that it can be done reliably. Then, slowly increase the speed to the performance tempo. Next, increase the size of the interval, and slow the tempo. I 'think' it would be possible to find an embouchure / jaw position that allows both the low, and high note to be played without need for a drastic position change. Perhaps using a 'mid-range' position would work. The position might not be ideal for either note, but could allow the "legato tounged two octive jump" to be done. Jay Kosta Endwell NY amateur, not teacher... --- Thore Dosdall dosda009 at morris.umn.edu asked - Hello all, I am working on a piece called Night Watch: A Dialog for Flute, Horn and Kettledrums by Ellis Kohs. The piece has a legato tounged two octive jump between the a-flat below middle c to the a-flat above the clef. Any suggestions on how to attempt and practice that section? Thore ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] (no subject)
At 9:36 PM +0100 2/24/07, hans wrote: Practise one octave jumps tongued and slured, practise the same way for nineth, tenth, eleventh, twelvth, thirteenth, fourteenth, fifteenth & finally double octaves. Would practicing intervals larger that two octaves give a greater margin of safety? -- Carlberg Jones Skype - carlbergbmug Guanajuato, Gto. MEXICO ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] (no subject)
Practise one octave jumps tongued and slured, practise the same way for nineth, tenth, eleventh, twelvth, thirteenth, fourteenth, fifteenth & finally double octaves. It is a technical study, not practising a certain piece or a certain passage, which makes you master a certain difficulty. And that are double "octaves" not "octives". Admitted, such a jump is not the safest ever, giving headache to the pros also. But, why did you select this piece ?? No alternative ? We have a vast choice of literature for our instrument from all epoques. And it cannot be the a-flat above the clef. It should be the a-flat above the staff. Is it that difficult to remember even the minimum of terminology in music ? I used a brand new Viennese Horn today for a rehearsal of a ballet. One of my young colleagues saw it & said: What a wonderful looking horn, but what is that ? This young colleague was not from Mars or from another continent than Europe, but from Europe, but had never learned anything about the instruments we use as professional horn players except double horn & high F-horn. The colleague had studied with a very famous teacher. So I must blame the teacher, as the teacher has never explained or at least talked with the students about the history & development of the instrument. What a negligence . === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Thore Dosdall Sent: Saturday, February 24, 2007 8:34 PM To: Submission to Horn; [EMAIL PROTECTED] Subject: [Hornlist] (no subject) Hello all, I am working on a piece called Night Watch: A Dialog for Flute, Horn and Kettledrums by Ellis Kohs. The piece has a legato tounged two octive jump between the a-flat below middle c to the a-flat above the clef. Any suggestions on how to attempt and practice that section? Thore ___ 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] (no subject)
Hello all, I am working on a piece called Night Watch: A Dialog for Flute, Horn and Kettledrums by Ellis Kohs. The piece has a legato tounged two octive jump between the a-flat below middle c to the a-flat above the clef. Any suggestions on how to attempt and practice that section? Thore ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
