[Hornlist] Strap or Dunk's Foot
I use a home made strap similar to the horn holding strap sold at Osmun's < http://store.osmun.com/browse.cfm/2,62.html > I don't find it causes me to use more mcp pressure and it's a neccessity for preventing painful cramping of my left hand. The weight of the horn is supported by my whole hand because I leave my pinky "free floating." If I were you, I'd try one of these to see if you like a strap. If you do, then you can spend the money to have the longer lasting leather Clebsch Strap installed on your horn. Valerie, Balanced Embouchure Student ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: What makes Conns desirable?
I have seriously enjoyed this whole discussion. I'm so grateful to those who took the time to patiently explain technical details to me, share opinions, experiences, horn model information, etc. I've learned so much my head is spinning! Thanks everyone. I've taken all this info & put into a big file to be slowly digested later. I think the most valuable thing I've learn from this discussion is there are LOTS of good horns out there & the most important part of horn playing is the player not the horn. So back to my practice room! Valerie, Balanced Embouchure Student ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: Horns, dynamics, Conns, Alexanders, etc.
I have a friend whose theory is that when the conductor extends "the left hand of fellowship". It's probably not so much a matter of being too loud, but more of a tone quality thing. All edge and harshness, and you'll probably get the hand, round full and heroic, you just get a smile. You can often play a little softer and yet be heard better. Consider that if you make a unique sound within the orchestra texture, you'll be heard (I mean unique in a good way!). If you sound like a trumpet, you'll be masked by the trumpets, like a trombone, the trombones will drown you out. Sound uniquely like a horn, you'll be heard without having to force. The loud stuff's easy anyway, let's talk about playing slow exposed pianissimo whole notes! - Steve Mumford ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] copyright question
From: "Jay Anderson" <[EMAIL PROTECTED]> > If you got it as an illegal copy from some private owners, they might sue you, but not for copyright violation. What is an illegal copy? I can check out/borrow a work which is in the public domain and legally copy it and even re-distribute that copy if ... Obtaining coverage by copyright is associated with making the work public. This might not necessarily be the same as publication, but (in the US) it theoretically involves sending a copy to the Library of Congress, where the work is publically available. If you obtan a copy of a work of intellectual property that is not published or publically available, and which might not (yet?) be covered by copyright, it is still someone's property and an making public an illegitimately-obtained copy might be subject to damages. [So if next week you find an unpublished, unknown manuscript by Bach, you might not legally be free to publish it, although I dont know of any case where anyone or any court has not assumed that the ancient copyright, if it had been obtained, would have expired... But this is an interesting side issue. I have acces to an I lawyer -- I'll see if he has an opinion about this.] One of the oddities of intellectual property is that there is no clear definition of "public domain" and no clear way to place something in the public domain. You can clearly state, in the inside cover of a document, that you intend this document to be in the public domain, but (as another lawyer once eplained to me) that doesn't have legal force. A better way is to claim all possible rights to an item of intellectual property (i.e. claim strict and exhaustive copyright) and they grant those rights to everyone freely. This better fits the concepts of intellectual property. I cannot grant you the right to copy an item if my intellectual property and do whatever you like with it unless I claim I have the right to that property. [See the Free Software Foundation and its discussions of "copyleft" to understand some of these issues. This is an organiation that wnts to keep their software free and to prevent anyone else from establishing rights to modified versions of their software. To do so, they need to retain all rights in the first place in order to grant rights to anyone else.] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] copyright question
IANAL, but this is a decent overview: http://imslp.org/wiki/Public_domain It has a comparison of the copyright law in the US, EU, and Canada. The gist: EU - life + 70 Canada - life + 50 US - More complicated. Generally anything published before 1923 is public domain. This life + whatever includes the composer or editor. So if it has been re-edited recently that edition may not be in the public domain. This isn't always the case however. For example, in Germany urtext editions only last 25 years before they enter the public domain. In any case 100 years might not quite be old enough in the EU. For example, a composer writes a work when he's 20 in 1907 (That makes it 100 years old). He dies when he's 70 in 1957. That's only 50 years ago and well within the life + 70. If you got it as an illegal copy from some private owners, they might sue you, but not for copyright violation. What is an illegal copy? I can check out/borrow a work which is in the public domain and legally copy it and even re-distribute that copy if I wanted. Of course I agree that it is good form to acknowledge the source and thank them, but is there a legal reason for doing this? What could they sue for? I guess if they own the only copy and you broke in and made a copy you could be charged with breaking and entering. -Jay ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] A new Member
I just joined this list today. While I'm primarily a trumpet player, I DO know not to use the F word as an adjective for horn!!! I've been well trained by another list member. You may have read last week about the passing of my good friend Bobby Collins. His wife has asked me to find out the value of his horns and assist with selling them. To that end I've got photos posted and would really appreciate any opinions as to their valve. I know it's variable, depends on the market and how badly someone wants something, how well it plays and that kind of thing, but it would be of great help if you could give some idea of their value. I also know they range from "wall hangers" to "really good"!! http://herrick.huntingdon.edu/horns/Album/album/index.html Once you click on a thumbnail and get a slide, if you want a REALLY BIG view, click in the bottom middle of the slide and you will get the full size image (REALLY BIG). If more photos would assist, let me know and I'd be glad to add them. I appreciate all your assistance!!! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE;Hand Strap or Ducks Foot...just about the same.
A hand strap and ducks foot are the same. A hand Strap is more comfortable, but helps support the horn in the SAME place on your hand as a ducks foot, the first finger knuckle. It just wraps around the back of your hand, which gives it the added feeling of support. Depending on the players hand size and the horn they choose, the hand strap might be the best choice. The Alexander brand Hand Strap is the best one I have seen, great leather and good padding, if you like that sort of thing. I use neither I move my pinky ring down, closer to my hand, in the stronger part of my pinky. An idea that I got from Julie Landsman. Matthew Scheffelman __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] NHR 8D from a non-Conn artist
> -Original Message- > From: Fred Baucom [mailto:[EMAIL PROTECTED] > Sent: Wednesday, April 25, 2007 1:44 PM > To: The Horn List > Subject: Re: [Hornlist] NHR 8D from a non-Conn artist > > Must be difficult to hold onto your 8d thru this, however... Cabbage says he's working on a way for me to hold the horn while doing these, but apparently it involved the lead pipe inserted in my ..., well, never mind. Just kidding, folks. -S- > - Original Message > From: Steve Freides <[EMAIL PROTECTED]> > To: The Horn List > Sent: Wednesday, April 25, 2007 10:42:47 AM > Subject: RE: [Hornlist] RE: 8D from a non-Conn artist > > > Since we're digressing, allow me to offer "skin the cat" is > an excellent exercise - hang from a pullup bar or a set of > rings, bring your legs up and through your arms, continuing > to rotate until your torso has basically done as much of a > full 360 as you can manage safely, then return to the > starting position. Please do not fall down, however! > > -S- > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/fbaucom%40sbcglobal.net > ___ > 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
Re: [Hornlist] NHR 8D from a non-Conn artist
As long as there's no lanolin in your grease, you'll be fine. At 12:44 PM 4/25/2007, you wrote: Must be difficult to hold onto your 8d thru this, however... - Original Message From: Steve Freides <[EMAIL PROTECTED]> To: The Horn List Sent: Wednesday, April 25, 2007 10:42:47 AM Subject: RE: [Hornlist] RE: 8D from a non-Conn artist Since we're digressing, allow me to offer "skin the cat" is an excellent exercise - hang from a pullup bar or a set of rings, bring your legs up and through your arms, continuing to rotate until your torso has basically done as much of a full 360 as you can manage safely, then return to the starting position. Please do not fall down, however! -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/fbaucom%40sbcglobal.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jbewalt%40iastate.edu ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Posts on different horn sounds
There have been some great posts lately about the different kind of horn sounds. I am a simple guy in a complex and contradictory kind of way, but what I think is the goal of one's horn sound as well as of one's all around horn playing, is that your soul is to be in the music that you play. I want you, all of you, to be in that sound. __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Strap or Duck's Foot
I had the pinky ring removed from my horn more than 10 years ago and the horn has never slipped or dropped, even under the hottest, sweatiest circumstances. I use a tennis racket grip, which provides plenty of "traction" to hold the horn steady. Jack Martin Tallahassee, FL Jeremy Cucco wrote: Hello Friends! I have a curious inquiry here. I've had "duck's feet" on my various horns now for quite some time and never found the use for them. In fact, I have found them to be of significant detriment as I feel that they generally encourage me to *pull* the instrument into my face and create unneeded pressure. For the first week or so that I use one, I feel great. Then, however, I quickly discover that my chops are sore and fatigued after very little playing. On the other hand though, I'm finding that the pinky ring isn't really helpful either. In fact, there are many times where I simply remove the pinky from the support ring and play with it "floating." I would simply remove the pinky ring, but I have fears of the horn crashing to the ground on particularly sweaty gigs under hot lights or hot summer sun (outdoor concerts...YUCK!) I've read and heard in numerous places that the Clebsch Strap is different and does not encourage the same kind of excess pressure that the duck's foot does. Those of you with experience on the matter, could you kindly comment and let me know your opinions on the matter. I am very curious. Thank you very much! Jeremy No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.5.463 / Virus Database: 269.6.1/776 - Release Date: 4/25/2007 12:19 PM ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/martinj5060%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] One double post deserves another.
On Apr 25, 2007, at 10:00 AM, [EMAIL PROTECTED] wrote: message: 2 date: Tue, 24 Apr 2007 12:00:41 -0700 from: Wendell Rider <[EMAIL PROTECTED]> subject: [Hornlist] A slightly embarrassing request 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 Thanks, John and Bruce for clearing this up! 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 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: 8D from a non-Conn artist
A very good friend of mine, a successful Conn Artist, was originally taught "There is more than one way to skin a cat." After years of experience, he has modified the age old adage to, "You can fleece the same sheep over and over, but you can only skin it once." -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Wed, 25 Apr 2007 10:28 AM Subject: [Hornlist] RE: 8D from a non-Conn artist Bill H offered this: Many ways to skin a cat, and for our section, the 8D does just fine. *** I hope you you will fill us in on how to skin a cat with an 8D, Bill. This is an aspect of horn technique which seems to be missing from Farkas's book. Alas, I have lost my copy of Dauprat's Méthode d'écorcher un chat. Besides, it was never updated for the modern valve horn. gotta go, Cabbage ** See what's free at http://www.aol.com. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com AOL now offers free email to everyone. Find out more about what's free from AOL at AOL.com. =0 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] NHR 8D from a non-Conn artist
Must be difficult to hold onto your 8d thru this, however... - Original Message From: Steve Freides <[EMAIL PROTECTED]> To: The Horn List Sent: Wednesday, April 25, 2007 10:42:47 AM Subject: RE: [Hornlist] RE: 8D from a non-Conn artist Since we're digressing, allow me to offer "skin the cat" is an excellent exercise - hang from a pullup bar or a set of rings, bring your legs up and through your arms, continuing to rotate until your torso has basically done as much of a full 360 as you can manage safely, then return to the starting position. Please do not fall down, however! -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/fbaucom%40sbcglobal.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE: 8D from a non-Conn artist
> -Original Message- > From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] > Sent: Wednesday, April 25, 2007 1:28 PM > To: horn@music.memphis.edu > Subject: [Hornlist] RE: 8D from a non-Conn artist > > Bill H offered this: > > Many ways to skin a cat, and for our section, the 8D does just fine. > > *** > I hope you you will fill us in on how to skin a cat with an 8D, Bill. > This is an aspect of horn technique which seems to be missing > from Farkas's book. Alas, I have lost my copy of Dauprat's > Méthode d'écorcher un chat. Besides, it was never updated for > the modern valve horn. > > gotta go, > Cabbage Since we're digressing, allow me to offer "skin the cat" is an excellent exercise - hang from a pullup bar or a set of rings, bring your legs up and through your arms, continuing to rotate until your torso has basically done as much of a full 360 as you can manage safely, then return to the starting position. Please do not fall down, however! -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE: 8D from a non-Conn artist
> Bill H offered this: > > Many ways to skin a cat, and for our section, the 8D does just fine. > > *** > I hope you you will fill us in on how to skin a cat with an 8D, Bill. > This is an aspect of horn technique which seems to be missing > from Farkas's book. Alas, I have lost my copy of Dauprat's > Méthode d'écorcher un chat. Besides, it was never updated for > the modern valve horn. LOL. Wonderful! A fine Cabbaging! Regards Jonathan West ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: 8D from a non-Conn artist
Bill H offered this: Many ways to skin a cat, and for our section, the 8D does just fine. *** I hope you you will fill us in on how to skin a cat with an 8D, Bill. This is an aspect of horn technique which seems to be missing from Farkas's book. Alas, I have lost my copy of Dauprat's Méthode d'écorcher un chat. Besides, it was never updated for the modern valve horn. gotta go, Cabbage ** See what's free at http://www.aol.com. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: Plating horns
Another solution to the green hands problem is just to cover the area the hands touch. I have used packaging tape and nail polish successfully. The area is so small that it does not affect the sound. Every month or so you remove and reapply. Herb Foster --- [EMAIL PROTECTED] wrote: > If considering silver plating just the bell of the horn, again consider > the amount of material that will be removed in preparing the bell for > plating. It used to be popular to plate the inside of the bell to > "strengthen" the old metal and "protect" it from acid hands. > If the buffing and preparation removes 5 thousandths (possibly more) and > the silver plating adds half a thousandth, I think you have a net loss, but > then I wasn't a math major. > Look at the horns of your trumpet player friends and you'll see the > effects of acid hands on silver plate. It makes deep pits. Raw brass tends > to wear more evenly and not pit as badly. Something to consider if you have > acidic hands. Green hand, or holes in the bell? > > - Steve Mumford > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/herb_foster%40yahoo.com > __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Strap or Duck's Foot
Hello Friends! I have a curious inquiry here. I've had "duck's feet" on my various horns now for quite some time and never found the use for them. In fact, I have found them to be of significant detriment as I feel that they generally encourage me to *pull* the instrument into my face and create unneeded pressure. For the first week or so that I use one, I feel great. Then, however, I quickly discover that my chops are sore and fatigued after very little playing. On the other hand though, I'm finding that the pinky ring isn't really helpful either. In fact, there are many times where I simply remove the pinky from the support ring and play with it "floating." I would simply remove the pinky ring, but I have fears of the horn crashing to the ground on particularly sweaty gigs under hot lights or hot summer sun (outdoor concerts...YUCK!) I've read and heard in numerous places that the Clebsch Strap is different and does not encourage the same kind of excess pressure that the duck's foot does. Those of you with experience on the matter, could you kindly comment and let me know your opinions on the matter. I am very curious. Thank you very much! Jeremy No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.5.463 / Virus Database: 269.6.1/776 - Release Date: 4/25/2007 12:19 PM ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Horns, dynamics, Conns, Alexanders, etc.
Yes, Gary, I agree & I preach the same. But hornplayers are not alone with that. Trumpetplayers & tubaists seem to be similar or worse. One sentence by a highly venerated composer-conductor said: "If you only see the horns, they are too loud allready." - Who was that man ? - But he had reason for that anyway. Do we need to satisfy ourselves by playing loud enough to be heard over the blast ? I rather think, it will give you more satisfaction to be part of an organism (re)producing the masterpieces. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of G Sent: Wednesday, April 25, 2007 6:10 AM To: The Horn List Subject: Re: [Hornlist] Horns, dynamics, Conns, Alexanders, etc. 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.htm l ___ 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] Horns, dynamics, Conns, Alexanders, etc.
Robert, you have a quite funny meaning about playing in an ensemble, but you are not alone with that. Too many players of all levels think, they must be heard. Yes, I agree. But it depends when & where in the hall & in the piece. Our main goal is it, to blend woods with brass & strings because of our great possiblities with the vast amount of overtones or co-sounding harmony tones, but to appear as solo or within the group or the whole group as a dynamic force or color or whatever, but not at all times if there is written forte or fortissimo. All dynamics are relative & must be seen within the context. One must be able to recognize the principal voice & accompany or enforce it. There are not many spots, where the horns should "shoot up" or "blast". You could "blast" your Mahler (for me "Maleur" most of the time - big "gulash" - sometimes still fun to play), but not the Wagner & Strauss. And even in the incredible loud fortissimo the horns dominating the whole orchestra, they have to remain civilized and tamed, means under full control & sonorous, but in most cases they sound just super loud & often like "dino-farts" without any culture. Yes, this behaviour or maltreatment of the horns contributed to some unfavoreable picture of the Conns here in Europe. But this picture is unjust. And, why should a principal horn play all the loud dynamics of a piece at full, if it is just a rehearsal. Demonstrating it occasionally during the movement or the piece, fine, so the conductor can know your abilities, that´s enough. One has to care about the embouchure, special on the first chair. Let the other, who play the same spot unison with you, let them do the job. The sound will be much better. For the concert: if both with the same melody, if both reduce "speed" they remain same strong but without "blasting", still noble. I have tried many Conns & found them as flexible as other excellent horns. The players are those who ruin the fame of certain instruments. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of rob schmidtke Sent: Wednesday, April 25, 2007 4:54 AM To: The Horn List Subject: [Hornlist] Horns, dynamics, Conns, Alexanders, etc. 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 - Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ___
RE: [Hornlist] copyright question
Hello Ralph, The European copyright expires 70 years after the death of the owner (author, composer, designer, etc.). The owner could also be a publishing company. If the publishing company of your source still exists, the source might be copyright protected. But if you use the copy of an original manuscript, you must not fear any claims. The source material would not be under protection any more. If you got it as an illegal copy from some private owners, they might sue you, but not for copyright violation. If you received a permission by the owners (perhaps a library or collection), to use their material for a publication, arrangement etc., they would have set rules as to mention the source, mention your gratitude for thew permission ..., and you might have to send them one or two copies of the result, as free evidence exemplares. Some European countries might protect intellectual property just for 50 years instead of 70 years after the death of the original owner. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Ralph Mazza Sent: Tuesday, April 24, 2007 6:21 AM To: horn@music.memphis.edu Subject: [Hornlist] copyright question 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? ___ 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
