[Hornlist] Re: Horn Digest, Vol 51, Issue 16
As I suffer from sound induced tinnitus, I regularly use various kinds of ear plugs. 1. With trumpets right behind me, i use the drugstore orange rubber ones w/dB attenuation of 30. The biggest limitaion is when it gets soft, it gets hard to hear anything and they have to be removed. Often this can't be done quickly. 2. With the wall behind me but a really loud piece i.e "Pines" I use my westones. -professional musicians plugs - 25dB remediation. 3. In a Jazz Big Band, I use the orange plugs again. Basically, the "impact" of the volume is taken in more serious consideration than just the volume. Dealing with Tinnitus has been the greatest challenge of my life. It was worse than my Divorce, a rejection from a coveted Graduate program, The Cubs blowing it (again). You name it. I changed jobs - going from teaching an excellent Band/Marching Band/Jazz Ensemble in a culturally rich and exciting area to teaching strings an hour from the Unabomber's hideaway not far from the fools who make up the remnants of Aryan Nation. . All because of what became physical and emotional limitations of raging, screaming, shreeking Tinnitus. If you do not yet have tinnitus, and are exposed to high dB's PLUG UP NOW You can e-mail me off-list for further discussion. - Be a PS3 game guru. Get your game face on with the latest PS3 news and previews at Yahoo! Games. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Missouri Horn Day
Dear List I would like to invite everyone to Missouri Horn Day on April 14. Here is a link to more information: http://hornsociety.org/NETWORK/user-news/user-news-article.asp?title=Missouri+Horn+Day It's not listed in the article, but we are considering a smash-a-mellophone fundraiser (it has been done with pianos, and what "instrument" would horn players rather smash?). Of course, the smashing will be done with good humor, not maliciously. William Foss Paul Ingraham's advice to young horn players: Find a good teacher. Practice diligently. Watch what you say to your colleagues. _ Find what you need at prices youll love. Compare products and save at MSN® Shopping. http://shopping.msn.com/default/shp/?ptnrid=37,ptnrdata=24102&tcode=T001MSN20A0701 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] YouTube again
> from: "hans" <[EMAIL PROTECTED]> > subject: [Hornlist] YouTube again > > Hello list members: this is a warning > The copyright infringement coming from the "most lawful" > country mostly (sorry, this is the reality) is unbearable > anymore. Give us some reasonable way to arrange for small-scale rights and we will flood to it. If I want to release a small-scale recording of previously recorded works I either have to spend months tracking down and negotiating with individual rights holders or send the Harry Fox Agency an outrageous amount of money, since they don't deal in anything less than 500 units. Paying rights for 500 units when you only want to sell 100 is ludicrous. If I want to make a copy of a piece of printed music, even one that is out of print, I have to again waste an incredible amount of time and effort dealing with print firms that don't want to deal with someone who wants to make a single copy (I do not include small publishers such as yourself in this categorization, Hans). If I can find someone to grant permission they will often charge an outrageous fee, even though I may have to locate an original myself to make an "authorized" archive copy since they don't have one any more. Make the music available on-line and let me pay a reasonable amount per page and I will gladly do it. "But you could pay for one copy and xerox several more," you say? I can do that now. Give me an alternative and I will use it. The current copyright system is totally biased in favor of large-scale users because the rights agencies have no interest in coming up with reasonable accomodations for the individual licensee. I am not saying the people who are abusing copyright on Youtube/etc. are in the right, but they have damned few reasonable alternatives available to license content. This is the internet era; rights holders should promulgate a micropayment system that would ensure that rights holders are appropriately compensated for their work. The problem with that is they would lose control as well as lose control over the huge amount they skim off the top to maintain their bloated bureaucratic corporations. Copyright was intended to protect the rights of the author for a reasonable and limited amount of time but in the US has devolved into a joke where almost nothing ever goes out of copyright any more. The original intent of copyright was not to give the accumulators the right to tie up the rights to everything basically forever; thanks to "Sonny Bono" that's effectively the case now. Ron Boerger PS - Since you're slamming the US and to a much lesser extent Europe, you might also want to note the huge amount of counterfeiting going on in China and the Far East. China doesn't even pay lip service to protecting the rights of foreign copyright holders and there are billions of dollars in losses in things like counterfeit DVDs and all sorts of other counterfeit goods coming from China. Fair is fair. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Playing with earplugs
When it comes to protecting the ears, there's no question: use the plugs. Every time your ears ring, you've done some damage. Etymotic http://www.etymotic.com sells musician's earplugs for $12. I use them. I also use them in noisy environments so I can hear speech more easily. They have a flat frequency response, so you can hear the music. They fit deeply in the ear canal, so you get less of the drumming you get with foam plugs. Buy the strap too. That way you can wear them around your neck and jam them in just before the loud stuff starts, e.g. a Sousa march. If I were a professional musician, I'd probably spend the hundreds of dollars for fitted earplugs. Herb Foster --- Anna Henry <[EMAIL PROTECTED]> wrote: > Hello all, > > I thought I would ask the lists' opinions on playing with earplugs. In my > orchestra, my section has been put directly in front of the drumset and toms > for Bernstein's Symphonic Dances from West Side Story. We are using > reflectors for our sound, but nothing for our ears. We're also playing the > musical soon, and I'm sure that in the pit, we'll not escape the percussion, > either. > > I've recently purchased earplugs from the local guitar shop, since the > percussion was starting to hurt my ears. They are the kind developed to > reduce decibels, but not to the point where you cannot hear (I believe the > rating is a 6dB reduction). I've found that I do not have problems hearing > the orchestra while using them, but I don't hear pitch as well. (Could be > because nobody else is in tune, either.) Have any of you used these before? > If so, what did you do to adjust to the difference in sound and correct your > pitch? > > Thanks, > > Anna > > > - > No need to miss a message. Get email on-the-go > with Yahoo! Mail for Mobile. Get started. > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/herb_foster%40yahoo.com > Expecting? Get great news right away with email Auto-Check. Try the Yahoo! Mail Beta. http://advision.webevents.yahoo.com/mailbeta/newmail_tools.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
re: [Hornlist] flat chin
I was planning on staying out of this, but . . . Yes, Farkas does write about the flat chin. It is not in the Art of Horn Playing. It is in the Art of Brass Playing. He includes illustrations on pp. 17 and 18 (of the Wind Music, Inc. edition, 1989). These photographs illustrate the bunched up chin, which resembles a "peach pit" and then the flat chin, which should show the "u-shaped" valley below the lower lip. Another book that might be of interest to you is Hickman's "Trumpet Pedagogy." It's not cheap, but goes into more detail than any of Farkas' books, and discusses more subjects. As much as we don't want to admit it, there are more similarities than differences between horns and trumpets. I'm sure that the trumpets don't like to admit it, either. I don't know Smiley's method, but his website kind of turned me off of it, because of his condescending tone and sweeping generalizations. If the language on the website had a more positive and enlightened tone, I doubt we'd even be having this discussion now. However, I struggled with the high register myself, and wore my Farkas book to pieces until I started studying with a teacher who had studied with Farkas. My teacher clarified many of Farkas' writings, which I had misinterpreted, added a little Arnold Jacobs, and now I'm much more proficient in the higher register. I'm going to go with firm corners and fast air, seems to be working for me. Anna ** message: 16 date: Wed, 14 Mar 2007 17:33:05 -0700 (PDT) from: matthew scheffelman <[EMAIL PROTECTED]> subject: [Hornlist] flat chin I was curious that I might had been right when I said to myself" there is something seriously wrong with this whole argument". I was right. I went back over Farkas's book today, "the Art of French Horn Playing" and found not one reference to a demand for a "flat chin" or anything of the nature. Farkas kind of says to balance the embouchure finding that magical spot one day. His objective outline between the "smiling" embouchure and the "whistling" embouchure begged a middle of the road approach. More than once he prods the horn student to practice the extremes registers of their chosen instrument, no system though. Are there more writings in which Farkas says to have a flat chin? Also, in Jeff's book, Jeff refers to the "flat chin" and refers to Farkas..( he mis-spells Farkas, "Farkis"). This may negate this whole game, or as another post mentioned,it is all B.S. Matthew - Looking for earth-friendly autos? Browse Top Cars by "Green Rating" at Yahoo! Autos' Green Center. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] NHR - How to play Rachmaninoff
http://www.youtube.com/watch?v=ifKKlhYF53w
--
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
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Re: [Hornlist] flat chin
I think it should be noted that Farkas wrote of the "Brass players' U" which should be apparent on the face with a firm chin and the corners of the lips also firm. This is as opposed to the player with a "peach pit chin" or bunched-up chin. Let me note that I have never had any brass student have any degree of success with a bunched up chin. I think the apparent 'U' on the face is an essential for any degree of brass success or development of range and control. The only person who might be termed successful with puffed out cheeks is Dizzy Gillespie and I always felt he lacked control of his pitch and played with less than optimum tone control. Again, I always felt he could have been a much better trumpeter if he'd fix his embouchure. My 2 cents worth. Paul Mansur On Mar 14, 2007, at 8:33 PM, matthew scheffelman wrote: I was curious that I might had been right when I said to myself" there is something seriously wrong with this whole argument". I was right. I went back over Farkas's book today, "the Art of French Horn Playing" and found not one reference to a demand for a "flat chin" or anything of the nature. Farkas kind of says to balance the embouchure finding that magical spot one day. His objective outline between the "smiling" embouchure and the "whistling" embouchure begged a middle of the road approach. More than once he prods the horn student to practice the extremes registers of their chosen instrument, no system though. Are there more writings in which Farkas says to have a flat chin? Also, in Jeff's book, Jeff refers to the "flat chin" and refers to Farkas..( he mis-spells Farkas, "Farkis"). This may negate this whole game, or as another post mentioned,it is all B.S. Matthew __ __ Get your own web address. Have a HUGE year through Yahoo! Small Business. http://smallbusiness.yahoo.com/domains/?p=BESTDEAL ___ 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: Earplugs
On Mar 14, 2007, at 3:40 PM, Margaret Dikel wrote: [snip] One suggestion: try working with just one earplug. You may find that works to allow you to block out most of the percussion while still hearing enough to be comfortable. I'll second this opinion. I was once seated for a season in front of and very close to a large and "enthusiastic" trumpet section in a community band setting. I found that a nice compromise was seating myself so that one ear was closer the trumpets (that ear had and ear plug) and the other ear was unprotected and facing away from them. Note that I was using one of those common, inexpensive, compressible- foam plugs that reduce sound by 30 dB, so putting two of them in seriously attenuated the ambient sound. Playing with them both in was do-able, but decidedly odd, so rather than re-train my ear, I went with the solution I described. I recall that many years ago, there was a discussion on the list of professional musician's earplugs that reduce sound put preserve sound quality. If anybody uses these and would care to comment, that would be nice. Later, Carlisle ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] YouTube again
Basically You tube and Viacom will come up with a deal that covers the use of Viacom owned material. Yes it will probably cost You Tube some money along the way. Maybe I am a skeptic but I don't see that as helping all the other illegal uses that occur on a daily basis that infringe on the rights of the "little guy" or even the medium size guy. Debbie ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] YouTube again
Hans et al., This issue is beginning to be addressed in the courts. Google/ YouTube is being sued by Viacom for copyright infringement to the tune of US$ 1 billion. You can find details, ironically enough, using Google. Carlisle On Mar 15, 2007, at 6:34 AM, hans wrote: Hello list members: this is a warning The copyright infringement coming from the "most lawful" country mostly (sorry, this is the reality) is unbearable anymore. [snip] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] scales
Bravo Daniel, so D# & Eb are not the exactly the same. I have the feeling always, Eb leading down & D# leading up, so I use the rather flat 3rd octave of the Ab horn (Bb-horn 1st valve) for the Eb and the 10th step of the harmonic scale of the E-horn (F-Horn + 2nd valve) for the D# if both pitches follow each other. This is also a nice effect in the Strauss op.11 concerto with the consecutive written d2: one Bb-horn 12, one Bb-horn 3 & one open F-horn. Try it, but avoid intonation differences, but watch the heard difference in sound character. If you add different expression, you are still better off again. Too many on such lists as ours forget the fact you mentioned. They measure all electronic, all in metric grades. A sound ear training is much better than any tuning machine. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Daniel Canarutto Sent: Thursday, March 15, 2007 10:53 AM To: The Horn List Subject: [Hornlist] scales May I add that the scales are not all the same, the corresponding intervals are actually slightly different. For example, C-E is not exactly the same interval as F-A. This aspect gives each scale its own character. (This may be not true for an electronic instrument). Daniel ___ 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] Another You tube pirate clip....Beethoven's Fifth Sym.
Hallo Hans, Robert Freund plays first - the assistant sits left to him from viewer - and Willi Janezic plays 2nd horn, the assistant or doubler sitting to his right (from viewer). Both assistants are not recognizeable. This is the usual setting in Vienna when doubling a two horn symphony. So first horn & 2nd have the usual close contact, as the doublers just act together with the main pair. Some nice f2 clams - you could see them on Dr.Boehm´s face also as usual - his tiger or wolf face, but he was not that like with me. We had a very close & extremely good understanding. Nevertheless, it is performance rights infringement to send such videos up to YouTube. Hetzel was concertmaster, Huebner lead the 2nd violins, Herbert Tachezi (also a well known organ player) lead the violoncelli, Adolf Holler the trumpets. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Thursday, March 15, 2007 10:08 AM To: horn@music.memphis.edu Subject: [Hornlist] Another You tube pirate clipBeethoven's Fifth Sym. PMJILKA wrote: >This clip from Beethoven's Fifth Symphony is quite outstanding. http://www.youtube.com/watch?v=r32QPNdopVg >Can we guess who is playing First horn? >From what I can see: the left player with the Alex103 is Robert Freund (Professor for horn and publisher of a very good Horn School), the next to the right is Willibald Janesic (normaly 2nd),and next right seems to be Hans Fischer (normally 4th). Hans Pizka might know who plays first, or Albert Heitzinger, Professor for Horn in "Anton Bruckner Privatuniversität Linz". The Orchestra is definitely the Vienna Philharmonic with Karl Böhm conducting Liebe Gruesse/Best regards, Hans Illich ___ 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] YouTube again
Hello list members: this is a warning The copyright infringement coming from the "most lawful" country mostly (sorry, this is the reality) is unbearable anymore. People (enthusiasts, perhaps, or just naseweiss people) steal videos from any source including home pages of artists (it happen with my own videos) & send them up to YouTube. They have zero respect for the belongings of other people, they take (electronic) hands on other peoples propriety. They might get permission if asking. But they just act without using their brain. Or has the understanding of personal rights sunk so bottomless deep ? In your country, where even every word is weighted for good or bad ? What happen ? Why does this happen ? Is the society (and I speak here for our European society also) so weak in the understandings of the basic rights of the individuals on the one side when it goes about ones own self-realization, but 180 degrees different when it goes about ones own rights ? Anyway, as informative such videos might be, they are contraproductive as are all these sites providing copyright free music for free. This will lead to a complete collapse of the real productions (recorded music, printed music, recorded video) & thus to a artistic desert, where just the main things will be available with no informations and material about the less good sellers. We are on the best way to such a desert (not dessert !!). Copyright infringement & violation of personal rights (read: rights of the performers) should be taken to court. The fines & compensations be as in the past in the six-digit numbers & higher. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] scales
May I add that the scales are not all the same, the corresponding intervals are actually slightly different. For example, C-E is not exactly the same interval as F-A. This aspect gives each scale its own character. (This may be not true for an electronic instrument). Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Another You tube pirate clip....Beethoven's Fifth Sym.
PMJILKA wrote: >This clip from Beethoven's Fifth Symphony is quite outstanding. http://www.youtube.com/watch?v=r32QPNdopVg >Can we guess who is playing First horn? >From what I can see: the left player with the Alex103 is Robert Freund (Professor for horn and publisher of a very good Horn School), the next to the right is Willibald Janesic (normaly 2nd),and next right seems to be Hans Fischer (normally 4th). Hans Pizka might know who plays first, or Albert Heitzinger, Professor for Horn in "Anton Bruckner Privatuniversität Linz". The Orchestra is definitely the Vienna Philharmonic with Karl Böhm conducting Liebe Gruesse/Best regards, Hans Illich ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE: Student quits ... blames horn teacher
We have to have a closer look to these warm-ups & their abuse. Also in Europe, we had & still have similar things than the Farkas warm-ups: The old fashion Josef Schantl method. It was abused the same way as is Farkas. Teachers & students as well thought that all exercises have to be followed point to point. If the exercise is going up to c3, the student has to play up to the c3. WRONG ! Double WRONG ! Why ? The student has not even improved the g2. So what to do ? Improve the (reduced) average range first and improve it again, not by the same exercises, but by equally cut exercises. The next exercises go higher for a half step. Until this next step is not improved & double improved, no further next step, means, the cuts remain the same: nothing higher than g2 or g#2. And the same is for the lower notes: step by step also. Quality before quantity, read: quality before range extension. PUNCTUM !!! So no wonder, why your teacher & you did not make any progress regarding upper range extension. You cannot force that, except ruining everyday what you gained the other day. This is false ambition, false ambition. Everything must be acquired step by step not by jumping two steps perhaps. And what is so beautiful with the high range ? The whistling tone quality ? All seem to run for the high notes for their own satisfaction. Isn´t music a reproducing art & a mere service to the creators of the master pieces ? Not only for the professionals, but also for the vast mass of amateurs. Isn´t it a great satisfaction to take part on this reproduction to the joy of others, to the entertainment of other - no matter on what position ? Dont we need threetimes the number of tutti players than the first players ? (Except the two horn or eight horn pieces, few six horn pieces, some few three, five or seven horn pieces, rarely one horn alone - just to be correct). But there are many amateurs using playing music as some kind of self entertainment to sprinkle incense each other .. The Smiley method might be found useful by some players, but it is not the only medicine. There are more than a single street leading to Rome ! - And, sorry Valerie, we professionals might know more books on horn playing than you even can imagine. Most of them you have never heard about. - Besides two players a hundred miles away from my area of seven professional full time orchestras in one city (three of them in the rank of the best paid & biggest in Germany) with 39 full time professional horn players, I have not seen any one using this Smiley method book. With the Smiley book it is the same with many others: one has to read them (best under the guideline of a rare objectively judging teacher) & work them NOT from top to bottom, but taking out the ESSENCE of it, the useful essence. If so, there will be a solution for most problems. But if one is not gifted for an instrument, if the person is physically not conditioned for a particular instrument, if the nervous constitution does not match the requirements for a particular instrument, all books cannot help, special if read alone without a guiding teacher. And remember: it is not you who judges your playing, but your audience. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Valerie WELLS Sent: Monday, March 12, 2007 6:35 PM To: horn@music.memphis.edu Subject: [Hornlist] RE: Student quits ... blames horn teacher Good point, Matthew. But, I don't blame the horn teachers for MY decision to quit. I found other things I'd rather do than continue to blast my brains out & work my fanny off hours a day making absolutely NO gains in range for 2 1/2 years. That was so frustrating, that even NURSING seemed more appealing to a 19 year old college sophomore! ha ha ha! Now that I'm done with nursing & have found a humble trumpet teacher who has shown me HOW to increase my range, I'm enjoying playing the horn again! I'm now my blasting my brains out & working my fanny off for hours a day and actually getting somewhere doing it! It's so fun, now, I feel like a high school kid again. Life is grand! :o) (Please pardon me if my euphoria is a bit overbearing!) So you see, I don't blame my horn instructors for my decision to quit. I only blame them for not knowing how to pull myself out of the mire of limited RANGE LIMBO! Thanks, again, Matthew for giving me yet another opportunity to express my satisfaction with Jeff Smiley's balanced embouchure program. Valerie ___ 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] Laying it down.....
what does "lay it down" mean? Lawrence lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
