RE: [Hornlist] Ligetti horn trio
A superb source for buying horn chamber music is Eble Music in Iowa City. Their website has a good search system, their staff is very helpful when you call and they have a very large stock. www.eble.com telephone (319) 338-0313 Steve Ovitsky ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Ligetti horn trio
Actually you want the score and I always play the piece from the score. I would think that it would be virtually impossible to put the Trio together without all 3 performers playing from the score. Debbie Schmidt Tisch Center for the Arts ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Ligetti horn trio
On Sat, 23 Jun 2007, Carlberg Jones wrote: Also available from Schott directly - http://www.schott-music.com/shop/1/show,37705.html - for 24,95 ¤ including VAT and plus delivery of 3 ¤ to Germany, 7,50 to the rest of Europe, and 10,00 ¤ international, all standard service. Maybe the VAT wouldn't be required if shipped outside the EU. That's just the score though - they sell the parts for about 50 euros, which is comparable with the sheetmusiconline price. Kit___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Ligetti horn trio
On Sat, 23 Jun 2007, Debbie Schmidt wrote: Actually you want the score and I always play the piece from the score. I would think that it would be virtually impossible to put the Trio together without all 3 performers playing from the score. The parts = 1 score (piano, horn and violin) for the pianist 2 horn/violin parts (often with the piano part underneath) When I saw it performed, the performers had huge easels with the parts photocopied and glued into one huge montage. Apart from the pianist, who had a page turner. Kit Debbie Schmidt Tisch Center for the Arts ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/c.j.l.wolf%40newcastle.ac.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: P for high register
On Jun 23, 2007, at 10:00 AM, [EMAIL PROTECTED] wrote: message: 10 date: Sat, 23 Jun 2007 07:50:48 +0200 from: hans [EMAIL PROTECTED] subject: RE: [Hornlist] P for high register, was Wendell's exercises Valerie, the consonant P requires the lips being closed definitely. So one has to break open this closure to initiate a sound. It resultes, as you observed well, in a plop at the beginning of the sound. It also requires some more tension in the front part of the lips, the lips pressed together far too much. This all results from the ansetzen technique. If one uses a light einsetzen technique (setting the rim of the mouthpiece at the edge of the red flesh), he or she will pull open the lip opening in the middle and the sound can develop without a plop or even blop, if the high notes are initiated by a tongue enforced ha. But I still do not understand, why people are so crazy about high notes. The overall register from low C (below fourth ledger line below staff) up to a2 occasionally up to c3 has to be cultivated, not just getting the notes, but getting them in nice quality. Hans, I agree with you, almost completely. The reasons people are so crazy' about the upper register is that so many of them have trouble with it. There are the band directors who force the high register too soon and they are a big part of the problem- often spending more time worrying about their band's ratings than teaching proper techniques. Many of the people writing in are victims of that process. I get in trouble with youth group directors at times because i insist that my students build their playing gradually with solid fundamentals. Of course they always catch and pass the anything goes students, so i am well liked by the directors eventually. Just so you don't have to aim any more of this at me or others who are sincerely vexed by the upper register, I want you to know that I don't advocate anything that would not make the absolutely most beautiful sound possible. That is a given for me, and, frankly, I don't know any other teachers who do advocate things that intentionally produce a bad sound just to get high notes. Magically, what produce the best results also produces the best sound, so these are not necessarily, and should not be, mutually exclusive goals. What I find more often is that there is, as i have said before, a need to explain things better- a better pedagogy. The horn is the most mouthpiece setting critical/dependent instrument there is. The tuba and the trombone have the whole mouth in the mouthpiece, with the tuba getting the prize as the easiest setting to find because if you can find your nose, and the mouthpiece will do that for you, you can get the right setting. Of course, what you do inside the mouthpiece is another story, but amazingly enough, it is pretty much what we do- line up the lips and blow, except you can't use the mouthpiece as a crutch. The trumpet is much like us, but because the rims on the mouthpiece are wider and the range is skewed for higher notes, there is more margin for error. OK, this is the short version, but the horn, with its huge range and small mouthpiece on an instrument exactly the same size as a trombone with an F extension, needs a lot more attention to placement. Throw in all the haphazard natural settings out there that come from trying to get too high too soon, bad breathing and bad advice and you can see why there are so many people struggling with the upper register. Then there is the matter of trying to explain how to use the muscles once you have a decent setting. This has NOT been clear in the past and even the good parts are not effective for people with bad embouchures, so we have a whole new set of people struggling along. As our illustrious Emperor would say, I't s hard work. But is it? If our Emperor had not started wrong to begin with, not listened to good advice and stubbornly refused to change in the face of overwhelming evidence of folly, there would not be an impossible mess to fix now. Fortunately, no one has died while changing (or not changing) an embouchure. : ) Sincerely, and getting a little OT Wendell Rider For information about my book, Real World Horn Playing, the DVD and Regular 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] Ligetti horn trio
Incidentally, I think you can get copies of the parts in Ligeti's own hand, as oppose to Schott's version, which is typeset (or whatever the musical equivalent is). Ligeti's version looked nigh on illegible, which possibly accounts for all the errors in the piano part in Schott's version (errata included). Kit On Sat, 23 Jun 2007, C.J.L. Wolf wrote: On Sat, 23 Jun 2007, Debbie Schmidt wrote: Actually you want the score and I always play the piece from the score. I would think that it would be virtually impossible to put the Trio together without all 3 performers playing from the score. The parts = 1 score (piano, horn and violin) for the pianist 2 horn/violin parts (often with the piano part underneath) When I saw it performed, the performers had huge easels with the parts photocopied and glued into one huge montage. Apart from the pianist, who had a page turner. Kit Debbie Schmidt Tisch Center for the Arts ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/c.j.l.wolf%40newcastle.ac.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/c.j.l.wolf%40newcastle.ac.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Metal allergies
from: Daniel B. Hrdy [EMAIL PROTECTED] subject: [Hornlist] Re: mouthpiece kits Allen, what are the symptoms of your mouthpiece allergy? What are other peoples symptoms of allergies to mouthpieces and horns? A lot of these are not true allergies. Dan Dan - It's possible that metal allergy is less appropriate than sensitivity to some kinds of metal. I wear very little jewelry because the metals to which I'm sensitive cause irritation that manifests itself as raised, itchy bumps and, if I don't remove the metal, broken skin. I cover my keys and the tiny nicks in the lacquer in my old 6D's bell with clear fingernail polish, and use a leather hand guard, as well. My trusty old Farkas mouthpiece has nothing in it that bothers me, so I leave it alone. It's not a big deal, but I do have to be careful if I'm going to be comfortable. On the other hand, it's a great excuse to avoid having to wear a wrist watch (she says, ignoring the plastic ones just because she can...) Joyce ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
