RE: [Hornlist] Bartok question
As Steven said, I'm sure Bartok's intention was that you hand stop alternate bars. Bartok I'm sure knew enough about the horn to know about hand stopping and the effect that can be achieved with rapid changed between stopped and open notes. I'm not familiar with the piece, but can you describe exactly how those bars are notated? Do they say con sord and senza sord or are the notes on alternate bars marked with a + sign? I rather suspect the latter, in which case Bartok's intention is perfectly clear - he intended the notes to be hand stopped. Regards Jonathan West ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Bartok question
Jonathan, in all honour, who of the younger players is using hand stopping ? If I look around, all use the stopping mute thus the trouble complications. They never think about the right use of the right hand. They learned it that way. Why ? Because they play everything except low g on the Bb-side, - at least here in Europe. Those who adopted the handhorn as a fun tool or a welcome tool to make some extra money, they have no problems, neither playing on the F-side nor with hand stopping. And they know that hand stopping works well on the F-side only, just with a very few notes on the Bb horn (if they master the intonation problems then) never on the high F-side, if using a triple or Bb-high F. Who is to be blamed ? The inadequate teachers, teachers with inefficient experience in the professional orchestra - and such teachers are abundant. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Jonathan West Sent: Wednesday, February 28, 2007 11:24 AM To: The Horn List Subject: RE: [Hornlist] Bartok question As Steven said, I'm sure Bartok's intention was that you hand stop alternate bars. Bartok I'm sure knew enough about the horn to know about hand stopping and the effect that can be achieved with rapid changed between stopped and open notes. I'm not familiar with the piece, but can you describe exactly how those bars are notated? Do they say con sord and senza sord or are the notes on alternate bars marked with a + sign? I rather suspect the latter, in which case Bartok's intention is perfectly clear - he intended the notes to be hand stopped. Regards Jonathan West ___ 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] Bartok question
Jonathan, in all honour, who of the younger players is using hand stopping ? If I look around, all use the stopping mute thus the trouble complications. They never think about the right use of the right hand. They learned it that way. Why ? Because they play everything except low g on the Bb-side, - at least here in Europe. Hi Hans, Well, I'm of the younger generation (at least, I'm a generation younger than you, I have a good 20 years to go before retirement) and I was taught handstopping in my teenage years. I don't own and never have owned a stopping mute. I never saw the necessity. If anybody asks me, I make it clear that handstopping is a necessary technique to learn if you want to become proficient on the horn, precisely because pieces like the Bartok make use of the technique. I'm sure you know even better than I do the range of pieces that make use of handstopping, including quite a few where rapid changes between stopped and open take place. And that includes some quite mainstream orchestral pieces. For instance, if I recall correctly the Polovtsian Dances from Prince Igor have a passage for horn where you have to alternate between stopped and open for consecutive notes. There's no way you can do that with a stopping mute! Regards Jonathan West ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Bartok question
-Original Message- From: Jonathan West [mailto:[EMAIL PROTECTED] Sent: Wednesday, February 28, 2007 12:57 PM To: The Horn List Subject: RE: [Hornlist] Bartok question Jonathan, in all honour, who of the younger players is using hand stopping ? If I look around, all use the stopping mute thus the trouble complications. They never think about the right use of the right hand. They learned it that way. Why ? Because they play everything except low g on the Bb-side, - at least here in Europe. Hi Hans, Well, I'm of the younger generation (at least, I'm a generation younger than you, I have a good 20 years to go before retirement) and I was taught handstopping in my teenage years. I don't own and never have owned a stopping mute. I never saw the necessity. One more data point from a novice player - I find, whenever I'm unsure of my right hand position inside the bell of the horn, if I make sure I can move from stopped to open, I end up in the right spot. It's become something of a test/warmup for me - if I can't hand stop, then I know my hand isn't in the right spot. -S- If anybody asks me, I make it clear that handstopping is a necessary technique to learn if you want to become proficient on the horn, precisely because pieces like the Bartok make use of the technique. I'm sure you know even better than I do the range of pieces that make use of handstopping, including quite a few where rapid changes between stopped and open take place. And that includes some quite mainstream orchestral pieces. For instance, if I recall correctly the Polovtsian Dances from Prince Igor have a passage for horn where you have to alternate between stopped and open for consecutive notes. There's no way you can do that with a stopping mute! Regards Jonathan West ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/steve%40fridays computer.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Bartok hand stopping
Actually, the Bartok part specifically says con sord and senza sord, which is why I thought he specifically had in mind to use a straight mute. However, hand stopping sounds to be the only practical alternative. As for the use of the stopping mute. I have a very small hand and have always had an issue with hand stopping, even though I play on an Alex 103. I know how to stop and do so regularly, but in exposed melodic passages, I opt for a stopping mute, because the sound and the pitch are just all around better. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] jumping point to point
corno folk I have never had the desire to analyze what happens before, during, or after a long range jump on the horn. The same thing goes for analyzing pitch; are you going to be watching your tuner's needle while you are doing that Mahler 5 solo? My own method for long horn jumps is to focus on the goal note, make sure I am set for it, and do the jump; not thinking of anything else but that goal note. Visualizing both notes as being right next to one another is also a good way to avoid anxiety about : (insert your favorite rip here). 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] Bartok hand stopping
As for the use of the stopping mute. I have a very small hand and have always had an issue with hand stopping, even though I play on an Alex 103 Here is a thing that I have heard mentioned as a solution for such a problem: http://www.pyp.f2s.com/html/ease_stop.htm I think it would work- I haven't ever used it myself- but it seems like a good idea. William Foss Paul Ingraham's advice to young horn players: Find a good teacher. Practice diligently. Watch what you say to your colleagues. _ Mortgage rates as low as 4.625% - Refinance $150,000 loan for $579 a month. Intro*Terms https://www2.nextag.com/goto.jsp?product=10035url=%2fst.jsptm=ysearch=mortgage_text_links_88_h27f6disc=yvers=743s=4056p=5117 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Performance of Note in Dallas
Mount Vernon Music will perform a FREE CONCERT March 5 at 7:30 pm in Kessler Park United Methodist Church, 1215 Turner at Colorado Blvd. Dallas Symphony players James Nickel, horn and Steven Harlos, piano will be joined by John Scott, clarinet; Mark Miller, violin; Ute Miller, viola; and Carol Harlos, cello in a program including: Janus Variations for piano and strings by Dallas composer Simon Sargon, Bohuslav Martinu's Rhapsody Concerto for viola and piano and the Sextet in C major by Erno Dohnanyi. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
