[Hornlist] copyright question

[Ralph Mazza]

I assume that under U.S. law, if I copied, or made an arrangement, working solely from the original manuscript of a 
composer who died more than a hundred years ago, I would not be vulnerable to any claims or complaints based on copyright. 
Does anyone know of any circumstances, under European law, where that would not be a safe assumption?


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Re: [Hornlist] Horns, dynamics, Conns, Alexanders, etc.

[G]

Great post.

The primary mission of a horn player is to be told by
the conductor that it is too loud. Or at least it
ought to be. That way at least you know you're being
heard.

And I love the 'paint by numbers' analogy. I'm going
to remember that. There's a time for oils, a time for
acrylics, and a time for watercolors. But there is
never a time for numbers.

It often seems that horn players, more than any other
musician, obsess about equipment, often at the expense
of musicianship. I think Professor Pizka would agree. 

I hope.

Gary

Get Firefox!!http://www.mozilla.org/products/firefox/central.html
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[Hornlist] Horns, dynamics, Conns, Alexanders, etc.

[rob schmidtke]

 All this talk about Conn's makes me think. I've had 5  8ds over the years, 
I still have two both are newer, one I bought new about 3 years ago , and the 
other I got at a garage sale. They have all been good horns, not great but 
good.  I now play Alexanders, mainly a 301 and also a 103. 
  I think it's how you play and what you are trying to get in the tone and 
response areas. I've noticed where I live in Minnesota Conn's and holtons are 
the norm at the college level. I think people go to a "big" horn to to get a 
bigger sound. But I don't hear people blowing the horn, using a full dynamic 
range. One college concert I went to at one of the better music schools in the 
area, had 6 or 8 horns in their top band , and you never heard them, unless it 
was an absolute solo, and then it still sounded weak( not loud enough). I was 
amazed. So I started noticing this trend in groups in the area. Community 
groups and college groups. I haven't heard the Minnesota Orchestra live, but I 
have heard amazing playing from the St Paul Chamber orchestra. I play in a 
couple groups on a regular basis that fit for me. Mainly because the horn 
players play with dynamics. About a month ago, our first horn player had to 
miss a rehearsal, and got a sub. It was a busy concert with
 Till, and Der Rosenkavilier suite. It got frustrating  that the sub never 
played with any conviction, or for lack of a better term aggressiveness. The 
sub was very accurate, and in tune, nice sound, a good player, but it was kinda 
paint by numbers. At one point he did fire it up even with a bit of brassiness, 
and the trumpet player said " that's the first time you played out all night"  
and the sub said  I hate playing that way.  It made me think  why don't you 
play the kazoo.  Safe is not good  safe is boring.   Of course you don't  play 
Mozart like Mahler, Beethoven , or Brahms. This safe playing is wrong for all 
types of music. I think people get in a rut, or never learned how to play 
correctly to begin with.
 I have found that different types of horns I sound the same as I always do 
after a week or two. If it's bright I find myself closing my hand more, or 
opening it if it's dark. I'm gonna get the sound that I want, the thing is to 
find a horn that does this the easiest for you . I can play with a Bigger more 
focused sound on my alexes than I can on a conn. The alex is less buzzy, brassy 
edgy than the conn at a forte dynamic. I have also found that the center of the 
tone is more user friendly on the alex than the conn. 
Rob Schmidtke


   
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[Hornlist] RE: [horn] A slightly embarrassing request

[Bruce Kelley]

Hi Wendell,

 

I'm not sure if this is the one you're looking for, but you're welcome to
use it:

http://www.brucekelley.com/images/DSC_5179a.jpg

(Great lip-trill lesson, by the way!)

 

There are a few other Tuscallosa photos at
http://www.brucekelley.com/ihs_2005.htm.

 

-- Bruce Kelley in Redmond, WA

 

  _  

From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of John
Kowalchuk
Sent: Tuesday, April 24, 2007 12:22 PM
To: [EMAIL PROTECTED]
Subject: Re: [horn] A slightly embarrassing request

 

At 12:00 PM 4/24/2007 -0700, Wendell Rider wrote:
>Someone recently sent me a very nice picture of me at the Tuscaloosa 
>Workshop giving my lecture on lip trills.
>
>I would also like to know who the other person in the picture is. 

If the pupil is a graying, heavy-set man with short hair and a moustache
wearing khakis, it is likely a photo taken by Bruce Kelley. The pupil is me.

The moustache is not wearing the khakis in the photo, I am.
I hope that spared me a Cabbaging.

John Kowalchuk maker of mutes/horns/canoes/paddles/bikes
Oshawa, Ontario http://home. 
ca.inter.net/~horn1

Canadians don't surf the net, we paddle it.__,_._,___ 

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[Hornlist] Conn 8D from a "NON-Conn Artist"

[Bill Hollin]

I'm not a "Conn Artist" by any stretch of the imagination, but I went in the 
hall to hear my colleagues play the Bruch Violin Concerto 2wice this weekend 
(Rachel Burton-Pine - and she is as MAGNIFICENT as is her 1742 Guanari - and I 
enjoyed her MORE than I did Perlman playing the same piece last year here in 
Montana w/GFSO) and our 1,2,3 are 8D and our 4th is Yamaha 668V2.
   
  I have to tell you, they sounded just GREAT.  Balance/blend/intonation/and 
warmth of sound was just beautiful.  Many ways to skin a cat, and for our 
section, the 8D does just fine.
   
  (I play a Pax 40XL when playing Asst.1 with them.)
   
  BTW we did Shosta 5 as the closer at the "controversial slow tempo" favored 
by someconductors in the finale.  The reviewer claimed we induced labor in his 
wife.  Not bad, methinks.
   
  Review:
  http://www.missoulian.com/articles/2007/04/24/news/local/news04.txt
   
  Re; Slow Tempo in the finale - Academia seems to support it, but daggonit!  I 
like it heroic!  Yes, a slow tempo can reinforce the notion of the brutality of 
Stalinism, and it's been done this way in many places for 30 years now ( I 
heard it done this way in DC w/Rostropovich around 1979 - but as a 19 year-old 
I hated it!)
   
  Now, I find it interesting.  Just have to hold on to high A's for a good long 
while fff, but the Trumpets have it worse!  I remember at that DC concert Adel 
Sanchez turning bright redlike the old seat covers in the "old" hall.  
Rather than risk our lead trumpet an embollism, we went to 4 trumpets and 
everyone survived.

   
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[Hornlist] Re: What makes Conns desirable?

[Alon reuven]

I have been playing the same old N series Conn for the past 17 years . I
think that Conns are really  inconsistent ,  and one instrument is very
different from the other . But I do have some Idea why a good Conn would
make a good choice .
The Conn , as far as I could realise and as opposed to what some others may
think , does not have a strong character . I , personally heard Conns
sounding dark or bright and it seems like an instrument which one may impose
him\herself on .
you can play the loudest forte on a conn without braking that sound . I have
played my Conn as a soloist , chamber player and within an orchestra .
this instrument can fit allmost every situation , probably not bach cantatas
, and  Hydn 48\52  , but playing britten serenade was quite fun .
the Conn's bell ring is compatible with alexander , lawson , and many other
good makers , and the choices which you can make in order to buy a bell are
inormous .thats what makes conn desirable , you horn shoper .
Alon Reuven
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[Hornlist] A slightly embarrassing request

[Wendell Rider]

Hi,
Well, I do get a lot of emails. That's my excuse. The thing is this.  
Someone recently sent me a very nice picture of me at the Tuscaloosa  
Workshop giving my lecture on lip trills. I managed to save the  
picture, which i would like to put up on my web site now that i have  
some time, but i have lost the email and i can't remember who sent  
it. I have looked through every email box i have and searched, etc.,  
to no avail. I was sure i saved the email and put it where i would  
answer it, but, apparently not. At this point i am pretty sure that  
the original letter has been deleted (I do a lot of that too).
I would be very grateful if the person who sent me that would contact  
me. I would also like to know who the other person in the picture is.  
I am also sorry that I apparently did not send a reply at the time.  
Thank you, whoever you are. I know i will kick myself when i find out.

Sincerely,
Wendell Rider
For information about my book, "Real World Horn Playing", the Summer  
Seminar and Internet Horn Lessons go to my website: http:// 
www.wendellworld.com





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[Hornlist] RE: 8D

[MUMFORDHornworks]

Most people tend to focus on one aspect of a horn and think that that 
describes it.  The 8D has a larger bell throat than most horns, but trace it 
back and you'll notice that the bell is smaller in the farther back areas than 
most small throated ones.  Additionally, the leadpipe starts smaller.  Ahh, so 
it's not just a tanker truck, there's some balance there.  
Most people today seem to be listening for the "small bore trombone as 
heard on an old 78 rpm record" aspect of the sound rather than the resonance.  
If they don't hear that edge, they get uncomfortable and don't think they're 
projecting.  If you really listen INTO a single note, you may hear a component 
of the tone that seems to be up high, another component down low (sometimes 
referred to as "core").  If those two components integrate with each other in 
the middle, you'll get some amazing resonance and projection.  You'll hear that 
sound, even at pp, right to the back of the hall.  If you hear both components, 
but they're not having anything to do with each other, you've got an average, 
boring sound.  If you've only got the high component - you got bupkus!
It don't mean a thing, if it ain't got that - resonance!

- Steve Mumford
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[Hornlist] Conn 8D

[Larry Jellison]

I apologize that I didn't identify in my post that the
large throated belled Conn horn with the "velvet fog"
sound is the 8D.

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[Hornlist] Re: What makes Conn horns desirable?

[Larry Jellison]

The dominate acoustic characteristic of the horn is
the large bell.  The large (throated) bell produces
the characteristic "velvet fog" sound.  The horn isn't
easy to play, but consider too that the easiest
playing horns aren't always the best sounding horns. 
Last fall I heard a concert of "Hornswaggle",
basically the local San Diego horn club consisting of
professionals and amateurs.  There were a variety of
horns, and in my opinion the player with the best
overall tone (a person who wasn't the best player of
the group) played an 8D.

Larry

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