Re: [Hornlist] In response to Horn Trash......
[EMAIL PROTECTED] (mailto:[EMAIL PROTECTED]) popinjays: << In response to the guy talking horn trash. >> What makes you think I was talking to you, personally, and wanted a response from anybody, no less you, and I am not a "guy" I AM A PROFESSOR?! << I know your extreme jealous rant about conductors was tongue in cheek (or something special in your mouth ...HA LOL), but i doubt that helped anyone with their decision on buying their next 9,000 USD WonderHorn. Or did it? >> NOW, I must make the mostestest of honest tellings to you that I am the mostest of certainlies not jealous of conductors, plain and simple, as I just always have been having the hads of a certain disgust at trying to make musics working for bosses who are incompetent and unqualified to lead and I'm sure someone of your mind set is probably sitting around trying to figure out how you can ass kiss your way into your next gig or whatever and I really did not have anything in my mouth, and certainly have never had the thing in my mouth that you are alluding to and find so self congratulatingly funn, which is quite contrary to what you have up your "nether throat" and please do tell me about these "WonderHorns" and where I can get one and are they really worth the money? << Try these two subjects. 1.Maybe some advice on using the proper valve oil with "Getting Ready Emotionally for Beeth 9th"?>> I always make my playings of that piece true to the composers wishes by using the natural horn, so I don't oil my valves at all but I always go into the concert "well oiled," anyways! << 2.Or, slide grease that works best in the palm of your hand out in the woodshed, oh, I mean hotel room. ( if you need me to translate this one, let me know off list, a common theme and problem for some musicians).>> Now, I really don't have the needings of your likeness to translate anything for me but I will most certainly keep you in mind if I need a translator when I am touring Iraq or Afganistan and now I am really beginning to have my doubtings about you, seriously, as this is two sexual innuendi in the same post. << I guess the argument made the the Original Poster was not so boring after all, I thought is was boring at first too oh my, how things change. >> Well, now, having some lookings back at that, I saw no argument, only opinion, and legally speaking, there is a difference, and please remember, that things only change when they want to, be them ideas or underwear. << enjoy, >> Don't tell me what to do!!! GFYS Kindestest of Greetonings and Mostestest of Antibloviationisms, Prof. I. M. Gestopftmitscheist Principal 8th horn and Principal 4th Wagner Tuber, Schplittenotendorf am Oedland Staatsoper und Philharmoniker, (ret.) Solo Horn, Bad Corner Brass Quintet Hornist, Broken Winds WW Quintet Solo 4th Horn (Leader, call me for bookings), Smirnoff Horn Quartet Assistant Associate Principal Mellophone, NJ Turnpike Authority Drum and Bugle Corps, "The Phantom Lane Changers" (summer only) Hornist as Needed, L'Ensemble du Chambre des Palourdes Principal Natural Horn, I Soloisti di Feces Principal Baroque and Hunting Horn, Camarata Vongoleforte World's Leading Hand Horn Soloist Who Brought the Instrument into the 20th Century (buy my CD of the Hindemith Sonata, Gliere Concerto, and the Davies Sea Eagle on the F crook) Adjunct, Part-time, Arms-length Professor of Horn and Pest Control, Exit 2 Community College, Exit 2, NJ (Ret.) Adjunct, Part-time, Arms-length Professor of Horn, Pest Control and Home Petroleum Studies, Northern New Hampshire Technical Institute, Bad Corner, NH Author, "The Kopprasch Connection," "Kopprasch for Fun and Profit," "Kopprasch for the New Millenium: Where Do you Fit In?" "Hooked on Hornonics," "What If Saddam Had Given Ouday and Qusay Olds Ambassador or Conn Pan American Single F Horns and a Kopprasch Book Instead of AK 47's, Booze and Porn?" and "The DaVinci Clam: Why Do Some French Horn Players Think They Are God(s)?" Founder, Director and CEO, Universal Institute for the Study, Preservation and Dissemination of Kopprasch Throughout the Solar System Founder and Guru Extraordinaire, Hornaholics Anonymous Grand Poobah of the Koppraschian Kult Director and Program Manager, The All Kopprasch Channel (AKC), Kopprasch Public Radio (KPR) Host of The Kopprasch Factor on AKC and All Kopprasch Considered on KPR Founder of Kopprasch Depot, your one stop shop for all you need! Owner-Operator, Bad Corner Petroleum Laboratory, "The Worlds Largest Valve Oil Factory" Founder and Disseminator of CLAMSAA, the Universal Holiday for Horn Players Interplanetarily Known Soloist and Artist of Record Exclusive Amborg, Bundy, Carl Fischer, Olds Ambassador, Sansone and Conn Artist Who Does Not Get His Horns For Free Phone: yes Fax: yes Web Site: sort of E-mail: yes "Kopprasch never goes where the sun don't shine."
RE: [Hornlist] Practice Room Acoustics
And don't forget the neighbors who rudely yell and pound on the walls when I'm trying to practice. Timothy A. Johnson Northwestern College St. Paul, Minnesota -Original Message- From: [EMAIL PROTECTED] Sent: Sunday, April 29, 2007 12:39 PM To: horn@music.memphis.edu Subject: Re: [Hornlist] Practice Room Acoustics And there's that * next door with the telly on too loud when I'm trying to sleep. :-) Cheers, Lawrence lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] In response to Horn Trash......
In response to the guy talking horn trash. I know your extreme jealous rant about conductors was tongue in cheek (or something special in your mouth ...HA LOL), but i doubt that helped anyone with their decision on buying their next 9,000 USD WonderHorn. Or did it? Try these two subjects. 1.Maybe some advice on using the proper valve oil with "Getting Ready Emotionally for Beeth 9th"? 2.Or, slide grease that works best in the palm of your hand out in the woodshed, oh, I mean hotel room. ( if you need me to translate this one, let me know off list, a common theme and problem for some musicians). I guess the argument made the the Original Poster was not so boring after all, I thought is was boring at first too oh my, how things change. enjoy, __ 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] Best Schools?
Well...to partly answer your question (at least from my point of view) you have to choose teacher or school...the two may intersect...but not necessarily. I am sure that there will be a lot of the same schools mentioned by everyone..and will spare you my justifications...but as far as schools go (just for their competitiveness and caliber of ensembles) I would say: Julliard, Michigan, CCM, Eastman, NorthWestern (in no particular order). There are tons of others that could be considered betterbut I think those have a good balance of ensembles, competition within the studio etc. If you are looking for teachers there are many great ones. I would suggest: Skip Snead (Alabama), Jerome Ashby (Julliard), Alan Mattingly (Nebraska), Jeff Nelson (Indiana), Randy Gardner (CCM), Doug Hill (Wisconsin), William Ver Meulen (Rice), Roger Kaza (Houston). Is that all.of course not...there are many great teachers in the US...many on this mailing list...many I have overlooked. There is no one answer. I would suggest doing some homework on some of these names (and others people on the list give you). If you want to play in a big time symphony learn from someone who is doing that now...or did. (a la Dale Cleavenger) If you want to go on to higher ed later, I would think of someone well rounded in performance and pedagogy. Above all...find a teacher you like (personality and playing) and you will be just fine. I hope I was more help than hinderance. Good luck to you! Jeff Carter -Original Message- From: [EMAIL PROTECTED] on behalf of michael reeedy Sent: Sun 4/29/2007 9:39 PM To: horn@music.memphis.edu Subject: [Hornlist] Best Schools? Hello, Im a High School student who wants to do music performance for Horn in college and I was wondering if anyone could try to put together a top 5 for the best schools/teachers in the U.S for an undergraduate. Thanks. -Michael _ Invite your mail contacts to join your friends list with Windows Live Spaces. It's easy! http://spaces.live.com/spacesapi.aspx?wx_action=create&wx_url=/friends.aspx&mkt=en-us___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeffrey.carter%40ttu.edu ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Teaching Children
Hi, I had a strange discussion the other day with a couple of players in the community orchestra. They were talking about their side jobs as private teachers, and the consensus among them was that they won't take a student unless they are serious about learning to play the horn, oboe, or trumpet. Funny...I was always under the impression that the goal of teaching music to children was to give them an appreciation for music, not to create the next Dale Clevenger, Joseph Robinson, or Bernie Adelstein. Comments, questions, insults, rebuttals? Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Best Schools?
Hi Well, you didn't say where you live, state wise, and you don't have to if you don't want to. The best place for you to go to undergraduate school is very likely where you live. There are some very fine teachers at state schools that can give you a solid foundation from which to proceed, as well as having good bands and orchestras in which to play (don't turn your nose up at band!). The other thing you have to think about is that only about half of your time as an undergraduate will be spent in music, the other half will be fulfilling course requirements outside of your major. College has become a very expensive thing to do. I can't speak for the rest of the country, but out here in California, a state university will run you about $2000 a year for resident tuition, compared to the year I spent at Northwestern which was close to $16,000 for tuition alone 13 years ago. My advice, such as it is, is to live at home if possible while you go to college. Trust me, you'll need the support. While I'm sure that you're a fine student (most musical students are), college is a huge change. It is just plain stupid to finish your bachelor degree and be in debt up to your eyeballs at age 22 or so. Unless of course you or your family is wealthy, then it doesn't matter much. Another good reason to go the state school route as an undergraduate has to do with the amount of time you will spend in your major. Only about half of the credits are in your major area, the other half are general education requirements. That being said, go to a university that has a horn teacher, and not a teacher that teaches all of the brass instruments. You really can't go wrong at the undergraduate level, provided of course that you take it seriously. In the end, the quality of teacher is not quite as important as the quality of student. Save the big money for graduate school, where all of your money will be spent on your major. Gary --- michael reeedy <[EMAIL PROTECTED]> wrote: > > Hello, > Im a High School student who wants to do music > performance for Horn in college and I was wondering > if anyone could try to put together a top 5 for the > best schools/teachers in the U.S for an > undergraduate. Thanks. > > -Michael > _ > Invite your mail contacts to join your friends list > with Windows Live Spaces. It's easy! > http://spaces.live.com/spacesapi.aspx?wx_action=create&wx_url=/friends.aspx&mkt=en-us___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com > Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Best Schools?
Hello, Im a High School student who wants to do music performance for Horn in college and I was wondering if anyone could try to put together a top 5 for the best schools/teachers in the U.S for an undergraduate. Thanks. -Michael _ Invite your mail contacts to join your friends list with Windows Live Spaces. It's easy! http://spaces.live.com/spacesapi.aspx?wx_action=create&wx_url=/friends.aspx&mkt=en-us___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: The preferred tone/sound these days?
Paul "The Enforcer" Navarro wrote: << This entire discussion is getting pretty boring. >> Now, I must make the mostest of agreements that this has many, many, many truths to it, and we certainly have the mostestest of truths in the mostestest of obvious of ways to us all that the horn sound is the least important and least valued part of our business of musics because the authenticated, notarized, affirmed, borne out, certified, confirmed, corroborated, demonstrated, documented, substantiated, validated, warranted and proven beyond all doubt verifications of this are really, really, really obvious since it is the mostestest of clearly apparants that the the highest paid so-called "artists" in our wild, wonderful, wacky world of sound MAKE NO SOUND AT ALL (except the occasional grunt and groan) as they wave their arms in the air with no apparent effect on anything except their bank accounts and social status and since we have now settled this all important question of horn sound and its variants for all time, we can drop the subject once and for all and then let's all get back to the truly important discussions of slide greasings and valve oilings. Kindestest of Greetonings and Mostestest of convictifications, Prof. I. M. Gestopftmitscheist Principal 8th horn and Principal 4th Wagner Tuber, Schplittenotendorf am Oedland Staatsoper und Philharmoniker, (ret.) Solo Horn, Bad Corner Brass Quintet Hornist, Broken Winds WW Quintet Solo 4th Horn (Leader, call me for bookings), Smirnoff Horn Quartet Assistant Associate Principal Mellophone, NJ Turnpike Authority Drum and Bugle Corps, "The Phantom Lane Changers" (summer only) Hornist as Needed, L'Ensemble du Chambre des Palourdes Principal Natural Horn, I Soloisti di Feces Principal Baroque and Hunting Horn, Camarata Vongoleforte World's Leading Hand Horn Soloist Who Brought the Instrument into the 20th Century (buy my CD of the Hindemith Sonata, Gliere Concerto, and the Davies Sea Eagle on the F crook) Adjunct, Part-time, Arms-length Professor of Horn and Pest Control, Exit 2 Community College, Exit 2, NJ (Ret.) Adjunct, Part-time, Arms-length Professor of Horn, Pest Control and Home Petroleum Studies, Northern New Hampshire Technical Institute, Bad Corner, NH Author, "The Kopprasch Connection," "Kopprasch for Fun and Profit," "Kopprasch for the New Millenium: Where Do you Fit In?" "Hooked on Hornonics," "What If Saddam Had Given Ouday and Qusay Olds Ambassador or Conn Pan American Single F Horns and a Kopprasch Book Instead of AK 47's, Booze and Porn?" and "The DaVinci Clam: Was Kopprasch Possibly God's Other Son?" Founder, Director and CEO, Universal Institute for the Study, Preservation and Dissemination of Kopprasch Throughout the Solar System Founder and Guru Extraordinaire, Hornaholics Anonymous Grand Poobah of the Koppraschian Kult Director and Program Manager, The All Kopprasch Channel (AKC), Kopprasch Public Radio (KPR) Host of The Kopprasch Factor on AKC and All Kopprasch Considered on KPR Founder of Kopprasch Depot, your one stop shop for all you need! Owner-Operator, Bad Corner Petroleum Laboratory, "The Worlds Largest Valve Oil Factory" Founder and Disseminator of CLAMSAA, the Universal Holiday for Horn Players Interplanetarily Known Soloist and Artist of Record Exclusive Amborg, Bundy, Carl Fischer, Olds Ambassador, Sansone and Conn Artist Who Does Not Get His Horns For Free Phone: yes Fax: yes Web Site: sort of E-mail: yes "Some folks got Kopprasch, some don't." AOL now offers free email to everyone. Find out more about what's free from AOL at _AOL.com_ (http://www.aol.com/?ncid=AOLAOF0002000339) . ** 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] OT: Hindemith Trumpet Sonata, Music-Minus-One
Dennis, thanks. It looks like they have the entire Sonata - I will call them tomorrow and find out about getting it, subscribing, or whatever seems the best course of action. -S- > -Original Message- > From: Dennis Herrick [mailto:[EMAIL PROTECTED] > Sent: Sunday, April 29, 2007 8:34 PM > To: 'The Horn List' > Subject: RE: [Hornlist] OT: Hindemith Trumpet Sonata, Music-Minus-One > > You might want to check out SmartMusic. > (http://www.smartmusic.com). This is piano accompaniment > controlled by the computer, and it can even follow you > (although at the end of the first movement it's moving along > pretty good in the piano part.) This is an excellent program > to learn accompaniments and how they fit with the solo part. > When I've had students work with them, the rehearsals with > the pianist are much easier. You can also build practice > loops and that sort of thing, as well as have a built in > metronome and tuner. It's a subscription per year, and since > we have it at our school, I think it's $25 for a year for the > student. If that's available I don't know of anything better. > You can adjust tempos by sections, etc. Great asset. > > > -Original Message- > > From: [EMAIL PROTECTED] > > [mailto:[EMAIL PROTECTED] > > ] On Behalf Of Steve Freides > > Sent: Sunday, April 29, 2007 6:34 PM > > To: 'The Horn List' > > Subject: [Hornlist] OT: Hindemith Trumpet Sonata, Music-Minus-One > > > > I'm trying to see if a recording of the accompaniment to > the Hindemith > > Trumpet Sonata exists - Music Minus One or similar for my son (who > > plays both horn and trumpet). > > > > The Music Minus One web site shows only the second movement of this > > piece, and my son is auditioning with the first movement, > so we're out > > of luck there. I don't know if there are competitors to > Music Minus > > One or otherwise places I should try to find this. > > > > We need this for a simple reason - I accompany my son in > > rehearsal/practice, and the Hindemith is beyond my meager pianist > > abilities. We had our first rehearsal with our actual accompanist > > yesterday and it all went very well, save the Hindemith. > > > > I know I could ask the pianist to record the Hindemith for us, but > > it's quite a tough piece to play without errors, hence my desire to > > find a recording. > > > > Thanks in advance. > > > > -S- > > > > ___ > > post: horn@music.memphis.edu > > unsubscribe or set options at > > http://music2.memphis.edu/mailman/options/horn/herrickd%40hunt > > ingdon.edu > > > > ___ > 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] Re: Preferred horn tone, etc. with optional rant...
On Apr 29, 2007, at 10:00 AM, [EMAIL PROTECTED] wrote: message: 11 date: Sun, 29 Apr 2007 10:08:27 -0400 from: "LOTP" <[EMAIL PROTECTED]> subject: Re: [Hornlist] RE: The preferred tone/sound these days? Corno911 wrote: "The goal of any artist musician is to convey emotional images in sound. To convey a message to the listener." I ask "Who is the listener?" I once had a discussion with a Hornist/psychologist (and former member of this list) in which we came to the conclusion that unlike an actor who MUST have an audience in order to practice his/her art, a musician is still making music when playing with no one else listening. A musician and an entertainer (who is playing an instrument) are really doing two different things while doing exactly the same thing! Paul T. Thank you Paul. Simple, to the point. Well, at least this discussion has traversed a few interesting ideas. It is, however, difficult or perhaps pointless, to try and make generalizations and theories that attempt to explain- or in this culture "bottomline," things which are not inherently "bottomlinable." (Yes i am making up words!) I keep threatening to write a magnum opus called "Dumbing Down- The Worship of The Cult of the Bottom Line." I realize, of course, that these are relatively innocent questions that are posted here, so no offense to anyone is intended. The "tree falling in the forest" stuff is pretty funny though. Is an actor practicing at home or performing for trees in the forest any different than a musician? No. It is the act of expression which IS the important thing, whether someone hears it or not. I love it when academics and theorists step in to explain the real world. We are part actors and part athletes, but no one generalization is going to cut it. If you were to ask, "what is the preferred sound" in this orchestra or that situation then maybe we would have sensible answers. The obvious variables in this discussion have sent us down some interesting, if not empty, roads. Fortunately there are all sorts of beautiful and expressive sounds that we can make- but there is, of course, no universally "preferred sound." We do live in an age of "bottomlining;" where everything has to be dissected down to what will give you the most gain- either monetarily, in notoriety or statistical satisfaction- but this is a sad commentary on our culture as a whole. Movies are judged by their gross revenue. Talent by American Idol. The economy is judged by stock prices and quarterly reports. Build a company? Naw, just a bottom line. Education? Naw, just pass the tests and get into the "right" school. Learn how to communicate with one another and develop social skills? Naw, join a chat room. Practice "medicine," especially preventative medicine? Why bother when you can make more money selling pills to and doing expensive operations on the poor saps who have been eating nothing but one of the ultimate bottomline items- junk food, for most of their lives. Have a political discourse of some kind? Name calling and divisiveness gets you more attention. Run a decent news program on TV? No, giving plugs to Harry Potter movies, showing blood on the street and having wackos as guests brings in more ratings income. The list goes on and on. We turn out audition freaks and super technicians in this country because that will get you a job here. Auditions are king. What is the easiest and least confrontational way to judge an audition? Count up the mistakes. Need to learn concertos and sonatas? Why, if you are never going to be a solo player? Need to know the whole piece? Naw, just the excerpts. Need to have a beautiful sound? Naw, just something that is not objectionable. It is interesting to me how, with certain notable exceptions, that the most musical and moving performances from recent horn symposiums have come from players from outside of this country. Sorry, but it is true. Of course writing music with some actual substance, instead of technical obstacle courses, would help a lot in that regard. OK, enough already. Just a quick word though about a friend of mine, a flute player, who died recently in a freak auto accident. He was just a year older than me and really, he died basically penniless (by modern standards) despite many years of playing and teaching. That subject, of money, never came up at his funeral- in the service, before or after. There were, however, quite a lot of people who did come who had been touched by this person's good spirit, his music making and his teaching, and wanted to share their feelings. Whatever was said always came back to what he left behind for others to be inspired by. Yes, nowadays feelings and emotions are OUT, and rationality, "objectivity," statistics, computer programs, virtual reality and worshipping at the alter of "The Bottomline" are IN. We have to live with that, fo
RE: [Hornlist] OT: Hindemith Trumpet Sonata, Music-Minus-One
You might want to check out SmartMusic. (http://www.smartmusic.com). This is piano accompaniment controlled by the computer, and it can even follow you (although at the end of the first movement it's moving along pretty good in the piano part.) This is an excellent program to learn accompaniments and how they fit with the solo part. When I've had students work with them, the rehearsals with the pianist are much easier. You can also build practice loops and that sort of thing, as well as have a built in metronome and tuner. It's a subscription per year, and since we have it at our school, I think it's $25 for a year for the student. If that's available I don't know of anything better. You can adjust tempos by sections, etc. Great asset. > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] > ] On Behalf Of Steve Freides > Sent: Sunday, April 29, 2007 6:34 PM > To: 'The Horn List' > Subject: [Hornlist] OT: Hindemith Trumpet Sonata, Music-Minus-One > > I'm trying to see if a recording of the accompaniment to the > Hindemith Trumpet Sonata exists - Music Minus One or similar > for my son (who plays both horn and trumpet). > > The Music Minus One web site shows only the second movement > of this piece, and my son is auditioning with the first > movement, so we're out of luck there. I don't know if there > are competitors to Music Minus One or otherwise places I > should try to find this. > > We need this for a simple reason - I accompany my son in > rehearsal/practice, and the Hindemith is beyond my meager > pianist abilities. We had our first rehearsal with our > actual accompanist yesterday and it all went very well, save > the Hindemith. > > I know I could ask the pianist to record the Hindemith for > us, but it's quite a tough piece to play without errors, > hence my desire to find a recording. > > Thanks in advance. > > -S- > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/herrickd%40hunt > ingdon.edu > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Horn Digest, Vol 52, Issue 32
Paul T. asks: PS: I have to go now and get dressed for a concert of Disney film music for a bunch of kids. How should I prepare myself for this significant artistic event? Ears, (large, rounded in shape, black) two each - on head; silly string (in can beneath chair, assorted colors) one can for each of the horn players. You're welcome. Joyce=) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] OT: Hindemith Trumpet Sonata, Music-Minus-One
I'm trying to see if a recording of the accompaniment to the Hindemith Trumpet Sonata exists - Music Minus One or similar for my son (who plays both horn and trumpet). The Music Minus One web site shows only the second movement of this piece, and my son is auditioning with the first movement, so we're out of luck there. I don't know if there are competitors to Music Minus One or otherwise places I should try to find this. We need this for a simple reason - I accompany my son in rehearsal/practice, and the Hindemith is beyond my meager pianist abilities. We had our first rehearsal with our actual accompanist yesterday and it all went very well, save the Hindemith. I know I could ask the pianist to record the Hindemith for us, but it's quite a tough piece to play without errors, hence my desire to find a recording. Thanks in advance. -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE: The preferred tone/sound these days?
But isn't that what Hans and others have been telling us? It's not black and white, but the ability to blend you playing to the ensemble you are with? The dots of black and white blend into shades of gray that do make beautiful art. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Jerry Houston Sent: Sunday, April 29, 2007 5:28 PM To: The Horn List Subject: Re: [Hornlist] RE: The preferred tone/sound these days? [EMAIL PROTECTED] wrote: > > Might be a good time to take another look at Ansel Adams work -- > black, > white, and innumerable shades of gray. Yeah, take a really _close_ look, and you'll see tiny black dots on a white paper background. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: The preferred tone/sound these days?
[EMAIL PROTECTED] wrote: Might be a good time to take another look at Ansel Adams work -- black, white, and innumerable shades of gray. Yeah, take a really _close_ look, and you'll see tiny black dots on a white paper background. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: The preferred tone/sound these days?
In a message dated 4/29/07 8:59:16 AM, [EMAIL PROTECTED] writes: > It dependsAnsel Adams comes to mind. > > Might be a good time to take another look at Ansel Adams work -- black, white, and innumerable shades of gray. Paul N. ** 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: The preferred tone/sound these days?
joey horn guy wrote: If a tree falls on an 8D in the forest, and no horn jocks are around to hear it, does it's sound have more 'core' than a Geyer? fish ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] The preferred tone/sound these days? - Now even more NHR
LOTP wrote:
The paper is white, The "pigment" is black. Grey is the more or less
intense application of the black pigment on white.
This is way off topic (not the first under this subject header) - but
the comment above, and the one about equations just now reminds me of a
strange little math test - here are a couple of examples and their answers:
Solve for x:
1) xray = black + white
(x = g)
2) xlgebrx
(x = a)
Get it? Here we go:
Solve for x:
3) 2x or not 2x. That is the question.
4) (9 + 7x/2 = (4 - 2x(6 - 2x
5) Drifxod
6) $ = mxy
7) hx = altitude
8) xse = nervous
9) asix = stupid
10) Solve for t: cat = dog
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
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Re: [Hornlist] RE; The preferred horn Tone/Sound these days?
In a message dated 29/04/2007 20:14:03 GMT Daylight Time, [EMAIL PROTECTED] writes: Matthew, What is a self centered sound? It doesn't blend in with anyone else and takes over whenever it plays. lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: The preferred tone/sound these days?
Someone said sound doesn't matter any more. If that's the case, I'll listen to the old recordings. I feel sound is a big part of the equation. Ron ** 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; The preferred horn Tone/Sound these days?
Matthew, What is a self centered sound? Ron ** 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: The preferred tone/sound these days?
If a tree falls on an 8D in the forest, and no horn jocks are around to hear it, does it's sound have more 'core' than a Geyer? hans <[EMAIL PROTECTED]> wrote: Paul, there comes another sentence to my mind, when reading your letter: "Is everything real or just imagination ? But of whom ?" This psycho-hornplayer probably constructed an excuse for himself why not playing in public, means for listeners. Indeed, the goal is different for amateur musicians, who often play just for themselves. But as soon as they play in an even very small group, they will play for listeners each other. The professional musician is different, as he or she has to reproduce, what has been created by the composers, reproduce it to entertain an audience. But that is musical business, while the solo player plays alone, unattended by listeners. But wait a moment: the lonely player listens to himself. Or not ? If he or she does not listen to himself or herself, I can understand the first mentioned sentence. And this person should better not treat anybody with his or her playing. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of LOTP Sent: Sunday, April 29, 2007 3:08 PM To: The Horn List Subject: Re: [Hornlist] RE: The preferred tone/sound these days? Corno911 wrote: "The goal of any artist musician is to convey emotional images in sound. To convey a message to the listener." I ask "Who is the listener?" I once had a discussion with a Hornist/psychologist (and former member of this list) in which we came to the conclusion that unlike an actor who MUST have an audience in order to practice his/her art, a musician is still making music when playing with no one else listening. A musician and an entertainer (who is playing an instrument) are really doing two different things while doing exactly the same thing! Paul T. - Original Message - From: To: Sent: Sunday, April 29, 2007 12:41 AM Subject: Re: [Hornlist] RE: The preferred tone/sound these days? > This entire discussion is getting pretty boring. > > The goal of any artist musician is to convey emotional images in sound. > To convey a message to the listener. > > To effectively accomplish this one has to know much about the musical > intentions of the composer and then do their best to bring these > intentions to life > in an effective way. > > This requires that the performer use all aspects of the sound--dynamics, > weight, intensity and color > in a flexible and imaginative way. > In other words, the performer needs to be flexible enough to be able to > change their sound to create an effective rendering of what is being > performed. > > And so must the instrument be sonically flexible enough to aid the > performer > in accomplishing this. > > Would you enjoy looking at an artists paintings who only used one color of > paint? > > Artist performers choose instruments that help enable them to be flexible > and > fulfill these goals, not just because the instrument has a certain built > in > "sound." > > The concept that artists choose a horn because it has a certain sound, and > that the brand is more important than the creativity and imagination of > the > performer, is patently sophomoric and totally misses the point of musical > interpretation and performance. > > Paul Navarro > Custom Horn > Lyric Opera of Chicago (ret.) > > > ** > 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/lotp%40comcas t.net > ___ 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/golfduder%40yahoo.com - Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE: The preferred tone/sound these days?
Paul, there comes another sentence to my mind, when reading your letter: "Is everything real or just imagination ? But of whom ?" This psycho-hornplayer probably constructed an excuse for himself why not playing in public, means for listeners. Indeed, the goal is different for amateur musicians, who often play just for themselves. But as soon as they play in an even very small group, they will play for listeners each other. The professional musician is different, as he or she has to reproduce, what has been created by the composers, reproduce it to entertain an audience. But that is musical business, while the solo player plays alone, unattended by listeners. But wait a moment: the lonely player listens to himself. Or not ? If he or she does not listen to himself or herself, I can understand the first mentioned sentence. And this person should better not treat anybody with his or her playing. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of LOTP Sent: Sunday, April 29, 2007 3:08 PM To: The Horn List Subject: Re: [Hornlist] RE: The preferred tone/sound these days? Corno911 wrote: "The goal of any artist musician is to convey emotional images in sound. To convey a message to the listener." I ask "Who is the listener?" I once had a discussion with a Hornist/psychologist (and former member of this list) in which we came to the conclusion that unlike an actor who MUST have an audience in order to practice his/her art, a musician is still making music when playing with no one else listening. A musician and an entertainer (who is playing an instrument) are really doing two different things while doing exactly the same thing! Paul T. - Original Message - From: <[EMAIL PROTECTED]> To: Sent: Sunday, April 29, 2007 12:41 AM Subject: Re: [Hornlist] RE: The preferred tone/sound these days? > This entire discussion is getting pretty boring. > > The goal of any artist musician is to convey emotional images in sound. > To convey a message to the listener. > > To effectively accomplish this one has to know much about the musical > intentions of the composer and then do their best to bring these > intentions to life > in an effective way. > > This requires that the performer use all aspects of the sound--dynamics, > weight, intensity and color > in a flexible and imaginative way. > In other words, the performer needs to be flexible enough to be able to > change their sound to create an effective rendering of what is being > performed. > > And so must the instrument be sonically flexible enough to aid the > performer > in accomplishing this. > > Would you enjoy looking at an artists paintings who only used one color of > paint? > > Artist performers choose instruments that help enable them to be flexible > and > fulfill these goals, not just because the instrument has a certain built > in > "sound." > > The concept that artists choose a horn because it has a certain sound, and > that the brand is more important than the creativity and imagination of > the > performer, is patently sophomoric and totally misses the point of musical > interpretation and performance. > > Paul Navarro > Custom Horn > Lyric Opera of Chicago (ret.) > > > ** > 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/lotp%40comcas t.net > ___ 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] Practice Room Acoustics
In a message dated 29/04/2007 18:10:22 GMT Daylight Time, [EMAIL PROTECTED] writes: >There are nevertheless a great number of people who are practicing in >the hotel room because they are going to an audition, and would rather >warm up in the privacy of the room rather than together with the >competition. And there are amteurs who are travelling for work and want to stay in shape... And there's that * next door with the telly on too loud when I'm trying to sleep. :-) Cheers, Lawrence lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Practice Room Acoustics
There are nevertheless a great number of people who are practicing in the hotel room because they are going to an audition, and would rather warm up in the privacy of the room rather than together with the competition. And there are amteurs who are travelling for work and want to stay in shape... Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE: The preferred tone/sound these days?
Reruns of either, 1) Ren & Stempy or 2) "Pinky that Brain" or some vintage WB Cartoons. My suggestion any way. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of LOTP Sent: Sunday, April 29, 2007 11:27 AM To: The Horn List Subject: Re: [Hornlist] RE: The preferred tone/sound these days? The paper is white, The "pigment" is black. Grey is the more or less intense application of the black pigment on white. In music the paper is white, The notes are black. The musical effict [EMAIL PROTECTED]&%$ .why don't we just drop the subject and make music! Paul T. PS: I have to go now and get dressed for a concert of Disney film music for a bunch of kids. How should I prepare myself for this significant artistic event? - Original Message - From: "Bill Gross" <[EMAIL PROTECTED]> To: "'The Horn List'" Sent: Sunday, April 29, 2007 12:05 PM Subject: RE: [Hornlist] RE: The preferred tone/sound these days? > BUZ! > > Wrong answer, but thank you for playing. Ansel Adams excelled in the > realm > of "shades of grey." He was not monochromatic but used the varying tones > in > both black and white. > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On Behalf Of > LOTP > Sent: Sunday, April 29, 2007 8:58 AM > To: The Horn List > Subject: Re: [Hornlist] RE: The preferred tone/sound these days? > > Corno911 asked: > "Would you enjoy looking at an artists paintings who only used one color > of > paint?" > > It dependsAnsel Adams comes to mind. > > Paul T. > > > - Original Message - > From: <[EMAIL PROTECTED]> > To: > Sent: Sunday, April 29, 2007 12:41 AM > Subject: Re: [Hornlist] RE: The preferred tone/sound these days? > > >> This entire discussion is getting pretty boring. >> >> The goal of any artist musician is to convey emotional images in sound. >> To convey a message to the listener. >> >> To effectively accomplish this one has to know much about the musical >> intentions of the composer and then do their best to bring these >> intentions to life >> in an effective way. >> >> This requires that the performer use all aspects of the sound--dynamics, >> weight, intensity and color >> in a flexible and imaginative way. >> In other words, the performer needs to be flexible enough to be able to >> change their sound to create an effective rendering of what is being >> performed. >> >> And so must the instrument be sonically flexible enough to aid the >> performer >> in accomplishing this. >> >> Would you enjoy looking at an artists paintings who only used one color >> of >> paint? >> >> Artist performers choose instruments that help enable them to be flexible >> and >> fulfill these goals, not just because the instrument has a certain built >> in >> "sound." >> >> The concept that artists choose a horn because it has a certain sound, >> and >> that the brand is more important than the creativity and imagination of >> the >> performer, is patently sophomoric and totally misses the point of musical >> interpretation and performance. >> >> Paul Navarro >> Custom Horn >> Lyric Opera of Chicago (ret.) >> >> >> ** >> 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/lotp%40comcast.net >> > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/lotp%40comcast.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: The preferred tone/sound these days?
The paper is white, The "pigment" is black. Grey is the more or less intense application of the black pigment on white. In music the paper is white, The notes are black. The musical effict [EMAIL PROTECTED]&%$ .why don't we just drop the subject and make music! Paul T. PS: I have to go now and get dressed for a concert of Disney film music for a bunch of kids. How should I prepare myself for this significant artistic event? - Original Message - From: "Bill Gross" <[EMAIL PROTECTED]> To: "'The Horn List'" Sent: Sunday, April 29, 2007 12:05 PM Subject: RE: [Hornlist] RE: The preferred tone/sound these days? BUZ! Wrong answer, but thank you for playing. Ansel Adams excelled in the realm of "shades of grey." He was not monochromatic but used the varying tones in both black and white. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of LOTP Sent: Sunday, April 29, 2007 8:58 AM To: The Horn List Subject: Re: [Hornlist] RE: The preferred tone/sound these days? Corno911 asked: "Would you enjoy looking at an artists paintings who only used one color of paint?" It dependsAnsel Adams comes to mind. Paul T. - Original Message - From: <[EMAIL PROTECTED]> To: Sent: Sunday, April 29, 2007 12:41 AM Subject: Re: [Hornlist] RE: The preferred tone/sound these days? This entire discussion is getting pretty boring. The goal of any artist musician is to convey emotional images in sound. To convey a message to the listener. To effectively accomplish this one has to know much about the musical intentions of the composer and then do their best to bring these intentions to life in an effective way. This requires that the performer use all aspects of the sound--dynamics, weight, intensity and color in a flexible and imaginative way. In other words, the performer needs to be flexible enough to be able to change their sound to create an effective rendering of what is being performed. And so must the instrument be sonically flexible enough to aid the performer in accomplishing this. Would you enjoy looking at an artists paintings who only used one color of paint? Artist performers choose instruments that help enable them to be flexible and fulfill these goals, not just because the instrument has a certain built in "sound." The concept that artists choose a horn because it has a certain sound, and that the brand is more important than the creativity and imagination of the performer, is patently sophomoric and totally misses the point of musical interpretation and performance. Paul Navarro Custom Horn Lyric Opera of Chicago (ret.) ** 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/lotp%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/lotp%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: Strap or Duck's Foot
I experimented with less and less material, but still it killed the sound (at least enough to bother me) each time. Finally, I tried just a tiny rubber band to hold the strap in place so I wouldn't have to "pick it up" each time. Even that had an effect, so I gave up and just left the thing free swinging. Might not have the same effect on other horns, but it did affect mine. - Steve Mumford Valerie wrote: I don't understand how a strap can deaden the sound any more than a hand gripping the same part of the instrument??? May be your bigger hand doesn't come into contact with the instrument as much as my smaller hand does??? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE: The preferred tone/sound these days?
BUZ! Wrong answer, but thank you for playing. Ansel Adams excelled in the realm of "shades of grey." He was not monochromatic but used the varying tones in both black and white. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of LOTP Sent: Sunday, April 29, 2007 8:58 AM To: The Horn List Subject: Re: [Hornlist] RE: The preferred tone/sound these days? Corno911 asked: "Would you enjoy looking at an artists paintings who only used one color of paint?" It dependsAnsel Adams comes to mind. Paul T. - Original Message - From: <[EMAIL PROTECTED]> To: Sent: Sunday, April 29, 2007 12:41 AM Subject: Re: [Hornlist] RE: The preferred tone/sound these days? > This entire discussion is getting pretty boring. > > The goal of any artist musician is to convey emotional images in sound. > To convey a message to the listener. > > To effectively accomplish this one has to know much about the musical > intentions of the composer and then do their best to bring these > intentions to life > in an effective way. > > This requires that the performer use all aspects of the sound--dynamics, > weight, intensity and color > in a flexible and imaginative way. > In other words, the performer needs to be flexible enough to be able to > change their sound to create an effective rendering of what is being > performed. > > And so must the instrument be sonically flexible enough to aid the > performer > in accomplishing this. > > Would you enjoy looking at an artists paintings who only used one color of > paint? > > Artist performers choose instruments that help enable them to be flexible > and > fulfill these goals, not just because the instrument has a certain built > in > "sound." > > The concept that artists choose a horn because it has a certain sound, and > that the brand is more important than the creativity and imagination of > the > performer, is patently sophomoric and totally misses the point of musical > interpretation and performance. > > Paul Navarro > Custom Horn > Lyric Opera of Chicago (ret.) > > > ** > 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/lotp%40comcast.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: The preferred tone/sound these days?
Corno911 wrote: "The goal of any artist musician is to convey emotional images in sound. To convey a message to the listener." I ask "Who is the listener?" I once had a discussion with a Hornist/psychologist (and former member of this list) in which we came to the conclusion that unlike an actor who MUST have an audience in order to practice his/her art, a musician is still making music when playing with no one else listening. A musician and an entertainer (who is playing an instrument) are really doing two different things while doing exactly the same thing! Paul T. - Original Message - From: <[EMAIL PROTECTED]> To: Sent: Sunday, April 29, 2007 12:41 AM Subject: Re: [Hornlist] RE: The preferred tone/sound these days? This entire discussion is getting pretty boring. The goal of any artist musician is to convey emotional images in sound. To convey a message to the listener. To effectively accomplish this one has to know much about the musical intentions of the composer and then do their best to bring these intentions to life in an effective way. This requires that the performer use all aspects of the sound--dynamics, weight, intensity and color in a flexible and imaginative way. In other words, the performer needs to be flexible enough to be able to change their sound to create an effective rendering of what is being performed. And so must the instrument be sonically flexible enough to aid the performer in accomplishing this. Would you enjoy looking at an artists paintings who only used one color of paint? Artist performers choose instruments that help enable them to be flexible and fulfill these goals, not just because the instrument has a certain built in "sound." The concept that artists choose a horn because it has a certain sound, and that the brand is more important than the creativity and imagination of the performer, is patently sophomoric and totally misses the point of musical interpretation and performance. Paul Navarro Custom Horn Lyric Opera of Chicago (ret.) ** 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/lotp%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: The preferred tone/sound these days?
Corno911 asked: "Would you enjoy looking at an artists paintings who only used one color of paint?" It dependsAnsel Adams comes to mind. Paul T. - Original Message - From: <[EMAIL PROTECTED]> To: Sent: Sunday, April 29, 2007 12:41 AM Subject: Re: [Hornlist] RE: The preferred tone/sound these days? This entire discussion is getting pretty boring. The goal of any artist musician is to convey emotional images in sound. To convey a message to the listener. To effectively accomplish this one has to know much about the musical intentions of the composer and then do their best to bring these intentions to life in an effective way. This requires that the performer use all aspects of the sound--dynamics, weight, intensity and color in a flexible and imaginative way. In other words, the performer needs to be flexible enough to be able to change their sound to create an effective rendering of what is being performed. And so must the instrument be sonically flexible enough to aid the performer in accomplishing this. Would you enjoy looking at an artists paintings who only used one color of paint? Artist performers choose instruments that help enable them to be flexible and fulfill these goals, not just because the instrument has a certain built in "sound." The concept that artists choose a horn because it has a certain sound, and that the brand is more important than the creativity and imagination of the performer, is patently sophomoric and totally misses the point of musical interpretation and performance. Paul Navarro Custom Horn Lyric Opera of Chicago (ret.) ** 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/lotp%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
