Re: [Hornlist] Pedagogical tools (was Mouthpiece buzzing)
On 09/08/07, Johnson, Timothy A [EMAIL PROTECTED] wrote: Hi Jonathan, I did not intend to imply that Reba was a beginning or unprofessional player. That is why I changed the subject line and omitted her original comments that prompted the new thread. I was responding to your comment that buzzing had little value. As others have supplied better articulated support for a similar position such as held by Arnold Jacobs, I'll leave it at that. I did point out a number of cases where buzzing was useful - practicing, where your horn is unavailable, and for diagnostic purposes in lessons. I've not yet had a chance to look up Wendell's links on the subject, but I will, and comment more after that. All I can say is that my experience has not given me reason to need to buzz in circumstances other than those I have described. As far as I can see, The key point if you want to devise a new teaching technique is first to define the learning intention. In other words, what are you trying to get the student to achieve with the lesson? Now, it is quite probable that Arnold Jacobs and others did have a specific learning intention in mind with their buzzing exercises, and some people here have mentioned what those learning intentions might be. I suspect others have simply been told that buzzing is a good idea and so do it because they were told to, and in turn tell their pupils to, without there being any understanding as to why. This does, however, lead me to wonder about some of the pedagogical tools that are used without necessarily understanding why or when they may no longer be useful ( I am certainly not referring to anyone on this list). Thus, if Arnold Jacobs recommended buzzing a particular song and that got passed along without his rationale, it may be that it has taken on the status of a totem. Perhaps its value does not require full comprehension, but I suspect that it will be more valuable if understood. An awful lot of teaching practice (and not just on the horn, this is in education generally) is based on somebody trying something, finding it works for them, and the idea getting passed from hand to hand, often without anybody really analysing matters closely. Education is still much more of an art than a science, and it is my opinion that it will remain so until we can usually answer the question How can you know that what you are doing is right?. At present, we susually don't know, and are working with our best guess, on the basis that it is probably better than our second-best guess. I'll give another example. I was at a middle school concert not too long ago, and it sounded like there was a 50 member percussion section. Nearly all the players were dutifully tapping (some almost stomping) their right foot, just as their teacher told them to. My sons were taught, as I was taught, to tap a foot in order to internalize the beat. At what point does one instruct students to break that habit? I never was. I play in the Minnesota State Band; we had one recording session ruined because someone was heavily tapping a foot and it was picked up by the recording equipment. I would regard that as exceedingly bad teaching. If you are wanting to play together, you have to listen to each other and watch the conductor to ensure that you are all in time together. I would actively discourage foot-tapping while playing, since it gives you a false sense of security in terms of your belief that you are in time with anything other than your foot. If you looked carefully during the middle school concert, you may have noticed that the feet weren't quite all in time with each other! If a student can manage to internalize the beat without foot tapping, then that should be done, in order to avoid bad habits getting established in the first place. There are plenty of techniques available for helpring with that, some involving using a metronome, others without. If some physical movement is found to be absolutely necessary, let be a movement of the pupil's toes *inside* their shoe! How about tuning one's horn to concert B flat (just because that is what the band always tunes to)? Tuning to a Bb is a pretty good idea. In one of the community orchestras I play in, the oboe does give a tuning Bb to the brass before giving an A to the rest of the orchestra. On the F side, a concert A is not a very good note to tune to, because the open E tends to be a bit on the flat side. Provided your valves are properly in tune (and once they are, they should rarely if ever need adjusting) tuning to a concert Bb by playing F open on the Bb side or with 1 on the F side will probably give you better results. Regards Jonathan West ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Flight case
Loren \@() [EMAIL PROTECTED] 011 1 (520) 289-0700 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Greg Campbell Sent: Wednesday, August 08, 2007 8:39 PM To: The Horn List Subject: Re: [Hornlist] Flight case Loren Mayhew wrote: The TE cases probably won't fit on smaller planes. The MB7 compact case should fit. I recently traveled on a smaller plane with my full size MB7 case and they allowed me to carry it on but it did not fit in overhead (it very nearly fit though). Has anyone seen or tried the new MB8? At 24x14x6.5 it's a bit wider than the MB7C (20x14x8) but thinner. Which dimension usually poses the biggest problem in small overhead compartments? Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/loren%40mayhews.us ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Flight case
In my experience, the case's height is usually the reason it fits or not in a plane's overhead so an MB8 should easily fit. The next most important dimension would be the width and the MB8 is the same as an MB7 at 14 so again it should fit. I don't think the 24 length is a problem but on smaller planes you might have to find an empty bin to put it in. On larger planes I can often put my MB7 case in endwise which makes more room for other passengers; I think the MB8's 24 would not fit that way however. Loren Mayhew \@() Finke Horns [EMAIL PROTECTED] www.mayhews.us/CI/Finke 011 1 (520) 289-0700 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Greg Campbell Sent: Wednesday, August 08, 2007 8:39 PM To: The Horn List Subject: Re: [Hornlist] Flight case Loren Mayhew wrote: The TE cases probably won't fit on smaller planes. The MB7 compact case should fit. I recently traveled on a smaller plane with my full size MB7 case and they allowed me to carry it on but it did not fit in overhead (it very nearly fit though). Has anyone seen or tried the new MB8? At 24x14x6.5 it's a bit wider than the MB7C (20x14x8) but thinner. Which dimension usually poses the biggest problem in small overhead compartments? Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/loren%40mayhews.us ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Horns for Sale
I now have 3 horns for immediate tryout and purchase ― 1 new horn and 2 used horns. The new horn is a Finke Americus double, gold brass; view this horn at http://www.mayhews.us/CI/Finke/FHFIDAGFB.htm. A used Finke Americus triple, yellow brass horn (2003) in very good condition at a bargain price; view this horn at http://www.mayhews.us/CI/Finke/FHFITAYFBf.htm. A used Conn 6d double horn (the price has been reduced for quick sale; this would be a great starter horn for a junior or senior high school student); view this horn at http://www.mayhews.us/CI/Finke/Conn6d.htm. Loren Mayhew \@() Finke Horns [EMAIL PROTECTED] www.mayhews.us/CI/Finke 011 1 (520) 289-0700 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Flight case
I have the MB8 case in stock - and partially helped Marcus with the idea of it. It is indeed the least tall of the cases. It also has the option of zip on 'extras' like a suit bag, or a music case. Between the MB6,7, and 8 - there are plenty of airline friendly cases. I would agree with Paul Navarro that the most certain one to fit would be the MB3 since it does come apart into 2 sections. Sincerely Ken Just Put Your Lips Together And Blow http://www.poperepair.com US Dealer: Kuhn Horns Bonna Cases Pope Instrument Repair 80 Wenham Street Jamaica Plain, MA 02130 617-522-0532 Has anyone seen or tried the new MB8? At 24x14x6.5 it's a bit wider than the MB7C (20x14x8) but thinner. Which dimension usually poses the biggest problem in small overhead compartments? Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Pedagogical Tools
On Aug 9, 2007, at 10:00 AM, [EMAIL PROTECTED] wrote: message: 14 date: Thu, 9 Aug 2007 13:57:03 +0100 from: Jonathan West [EMAIL PROTECTED] subject: Re: [Hornlist] Pedagogical tools (was Mouthpiece buzzing) This is not just for Jonathan. I did point out a number of cases where buzzing was useful - practicing, where your horn is unavailable, and for diagnostic purposes in lessons. I've not yet had a chance to look up Wendell's links on the subject, but I will, and comment more after that. All I can say is that my experience has not given me reason to need to buzz in circumstances other than those I have described. As far as I can see, The key point if you want to devise a new teaching technique is first to define the learning intention. In other words, what are you trying to get the student to achieve with the lesson? Now, it is quite probable that Arnold Jacobs and others did have a specific learning intention in mind with their buzzing exercises, and some people here have mentioned what those learning intentions might be. I suspect others have simply been told that buzzing is a good idea and so do it because they were told to, and in turn tell their pupils to, without there being any understanding as to why. This is getting rather humorous now. First of all, Arnold Jacobs never did anything that did not have a specific intent. He was the most observant, insightful and purposeful teacher i have ever met. It is too bad so many never had the chance to work with him or see him in action. The Windsong Press website does, however, have some little videos of him at masterclasses that everyone should see. Everyone. I did a little satire the other day about the song buzzing thing. Most people got it, I think. Hello, it's not what song you play, but how you play it that counts. Is it clear to everyone now? The song doesn't matter at all. Time does not permit... An awful lot of teaching practice (and not just on the horn, this is in education generally) is based on somebody trying something, finding it works for them, and the idea getting passed from hand to hand, often without anybody really analysing matters closely. Education is still much more of an art than a science, and it is my opinion that it will remain so until we can usually answer the question How can you know that what you are doing is right?. At present, we susually don't know, and are working with our best guess, on the basis that it is probably better than our second-best guess. Jonathan, you are correct on this. This is one of my big issues- fixing the pedagogy. But you are guilty of the very things you decry. You have dismissed mouthpiece buzzing without researching it and the other day you suggested to someone to get extra support from the diaphragm, (for the high register) which we all know to be a muscle that pulls air into the lungs rather than pushing it out. Even if we substitute the words abdominal muscles for diaphragm, the context is misleading, since pushing air is a bad concept, and focussing on abdominal breathing only reduces air intake, which is the most important thing of all. To assume that so many people just parrot their teachers (who were just repeating theirs) may have some accuracy but you said All I can say is that my experience has not given me reason to need to buzz in circumstances other than those I have described. Well, there you go, contributing to the very thing that you criticize. Tuning to a Bb is a pretty good idea. In one of the community orchestras I play in, the oboe does give a tuning Bb to the brass before giving an A to the rest of the orchestra. On the F side, a concert A is not a very good note to tune to, because the open E tends to be a bit on the flat side. Provided your valves are properly in tune (and once they are, they should rarely if ever need adjusting) tuning to a concert Bb by playing F open on the Bb side or with 1 on the F side will probably give you better results. Again, you have made a good statement but missed other issues. The bottom line E on F horn does not tend to be flat, it IS flat and should not be used for tuning. Doing so will likely have you playing sharp on all the other notes. (That's like saying fourth line D on T12 tends to be sharp on most horns. It doesn't tend to be sharp, it IS sharp unless you have tuned your slides just for that note, which will, of course throw off all your first and second valve notes.) Fine. To suggest tuning to an open Bb concert on Bb horn, however, is very dangerous. This note is an extremely wide slot and is virtually useless for tuning because of that unless you are an expert at centering pitches consistently, which i find to be a big problem with many players. Regards Jonathan West Jonathan, you say a lot of good things, but you need to be as careful as the rest of us. Sincerely, Wendell Rider For information about
[Hornlist] Re: mouthpiece buzzing
On Aug 9, 2007, at 10:00 AM, [EMAIL PROTECTED] wrote: message: 4 date: Wed, 08 Aug 2007 12:02:31 -0700 from: Valerie WELLS [EMAIL PROTECTED] subject: [Hornlist] Re: Mouthpiece buzzing Being a little on the obtuse side, I resisted the whole notion of buzzing, because I just couldn't see the point. I had the privilege to have a lesson w/ Wendell Rider in July he took me thru the paces with buzzing the mouthpiece using air only to gently slide, glissando style up and down a step or two from second line G. Nothing big, dramatic, just slowly gently up down with air while resisting the urge to lip it. I was fuzzy on why I was doing it, but I've persisted with the hope that I'd eventually grasp the concept. It's been a month now that I've spent just a few minutes a day buzzing I'm starting to see, feel hear benefits from it. It helping me get the feel of finer control of the air stream it's effect on pitch tone. I tend to be too lippy the gentle slow buzzing using only air to raise lower the pitch gives me another tool to develop better tone. Hmmm Does this make sense to anyone? ~Valerie, balanced embouchure student Hey Valerie and all, Just to be clear, i did not recommend using the air only to change notes once you get the concept. That can be instructive initially, but what I said to practice was to find the balance of lip tension and air speed to keep the buzzy tone at all times and use the air to keep the tone steady. The sound of the buzz is the important thing. Otherwise Valerie's comments are right on target. Sound is always the most important thing. If i was blind i could still teach what i do because you can hear what is going on, or what isn't. Sincerely, 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] Re: Pedagogical Tools
This is getting rather humorous now. First of all, Arnold Jacobs never did anything that did not have a specific intent. He was the most observant, insightful and purposeful teacher i have ever met. It is too bad so many never had the chance to work with him or see him in action. I wasn't suggesting otherwise in respect of Arnold Jacobs. I was suggesting that it is common for well-thought-out ideas from good teachers to get passed on without those doing the passing having a clear idea of the reasons why. It is also the case that other teachers have ideas that happen to work after a fashion, but are not well throught out, and that they get passed on as well. I remember reading about John Cleese once being told by director Charles Crichton during the filming of A Fish Called Wanda: Always vary the order of scenes. Never cut ABC, ABC. Cleese asked him why, to which Crichton replied *I* don't know, but that is what I was told by the people who made the Keystone Cops films. At present, we susually don't know, and are working with our best guess, on the basis that it is probably better than our second-best guess. Jonathan, you are correct on this. This is one of my big issues- fixing the pedagogy. I'm with you all the way on that! But you are guilty of the very things you decry. You have dismissed mouthpiece buzzing without researching it Not quite correct. I did indicate occasions where I knew it to be of value, but said I had not found an occasion to use it as part of practice when I actually have a whole horn available. I've tried today to have a look at the video on your site, but a poor connection meant I couldn't see more then the first 5 seconds. I said I would take a look and I will, and I will comment further when I have. and the other day you suggested to someone to get extra support from the diaphragm, (for the high register) which we all know to be a muscle that pulls air into the lungs rather than pushing it out. Even if we substitute the words abdominal muscles for diaphragm, the context is misleading, since pushing air is a bad concept, and focussing on abdominal breathing only reduces air intake, which is the most important thing of all. Fair cop on diaphragm vs abdominal muscles, though in my defense I'll say that both are in a similar part of the body, and so the overall effect on the student is much the same, even if I happen to have used the wrong term. As for pushing air, you are putting words into my mouth which I did not use, and I would appreciate it if you didn't do that. To assume that so many people just parrot their teachers (who were just repeating theirs) may have some accuracy but you said All I can say is that my experience has not given me reason to need to buzz in circumstances other than those I have described. Well, there you go, contributing to the very thing that you criticize. No, I'm describing my own experience, which has been based on my own playing, the sensations I have noticed while playing and the conclusions I have drawn from thinking about it all, in addition to what I have been taught. Tuning to a Bb is a pretty good idea. In one of the community orchestras I play in, the oboe does give a tuning Bb to the brass before giving an A to the rest of the orchestra. On the F side, a concert A is not a very good note to tune to, because the open E tends to be a bit on the flat side. Provided your valves are properly in tune (and once they are, they should rarely if ever need adjusting) tuning to a concert Bb by playing F open on the Bb side or with 1 on the F side will probably give you better results. Again, you have made a good statement but missed other issues. The bottom line E on F horn does not tend to be flat, it IS flat and should not be used for tuning. I'll agree on that, though I think we are splitting hairs over the addition of two words. Doing so will likely have you playing sharp on all the other notes. Which was my point, though I didn't put it quite as baldly as that. Perhaps I should, though I try hard not to sound too dogmatic here, out of respect for you and other professionals on this list. I therefore try not to lay down the law, but rather describe my own experiences of playing. People can then decide whether my experiences are relevant to them and use or not use what I say as they see fit. Interestingly, your point about E being flat rather goes against the idea suggested recently here by Steve Burg (The Student Question thread) that you should play on the F side from second-line G downwards. Not far below that changeover point you get to the flat open E on the F side and the notes down to C# that are based on the same harmonic. The fact that these notes are flat seems to me to be good reason not to make F/Bb changeover as a matter of course, in addition to the other points I made against the idea at the time. Would you agree? (That's like saying fourth line D on T12
[Hornlist] Giardinelli C10 mouthpieces
Hello, hornists! I'm new to the list. Does anyone have any information about the availability of Giardinelli C10 mouthpieces? I went to my usual sources and have had trouble finding them. Does anyone know what's up or where I should be looking instead? Thanks, Beth Duhon Private Lesson Teacher Katy, TX www.musiciansintraining.com http://www.musiciansintraining.com/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Giardinelli C10 mouthpieces
I don't know how reliable this information is, but I do know that Giardinelli was bought out by Musician's Friend (ARGHH) - the company which also owns Guitar Center and what used to be Mars Music. Since that happened, I've had the hardest time finding any 2 piece Giardinelli's and only a few of their older C-series models. Quite frustrating. If anyone does know of a secret cache or knows someone who makes duplicates, I'm sure there'd be money to be made!!! -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Beth Duhon Sent: Thursday, August 09, 2007 4:17 PM To: horn@music.memphis.edu Subject: [Hornlist] Giardinelli C10 mouthpieces Hello, hornists! I'm new to the list. Does anyone have any information about the availability of Giardinelli C10 mouthpieces? I went to my usual sources and have had trouble finding them. Does anyone know what's up or where I should be looking instead? Thanks, Beth Duhon Private Lesson Teacher Katy, TX www.musiciansintraining.com http://www.musiciansintraining.com/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.c om No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.476 / Virus Database: 269.11.10/943 - Release Date: 8/8/2007 5:38 PM No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.5.476 / Virus Database: 269.11.10/943 - Release Date: 8/8/2007 5:38 PM ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Giardinelli C10 mouthpieces
From: Jeremy Cucco [EMAIL PROTECTED] If anyone does know of a secret cache or knows someone who makes duplicates, I'm sure there'd be money to be made!!! Moosewood. For all things mouthpiece. Except possibly Pizka,.who makes and vends his own. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Giardinelli C10 mouthpieces
Try John Stork. His prices are not cheap, but his work is first class. www.storkcustom.com Best regards, Martin Bender On 9-Aug-07, at 4:49 PM, Jeremy Cucco wrote: I don't know how reliable this information is, but I do know that Giardinelli was bought out by Musician's Friend (ARGHH) - the company which also owns Guitar Center and what used to be Mars Music. Since that happened, I've had the hardest time finding any 2 piece Giardinelli's and only a few of their older C-series models. Quite frustrating. If anyone does know of a secret cache or knows someone who makes duplicates, I'm sure there'd be money to be made!!! -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Beth Duhon Sent: Thursday, August 09, 2007 4:17 PM To: horn@music.memphis.edu Subject: [Hornlist] Giardinelli C10 mouthpieces Hello, hornists! I'm new to the list. Does anyone have any information about the availability of Giardinelli C10 mouthpieces? I went to my usual sources and have had trouble finding them. Does anyone know what's up or where I should be looking instead? Thanks, Beth Duhon Private Lesson Teacher Katy, TX www.musiciansintraining.com http://www.musiciansintraining.com/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy% 40sublymerecords.c om No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.476 / Virus Database: 269.11.10/943 - Release Date: 8/8/2007 5:38 PM No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.5.476 / Virus Database: 269.11.10/943 - Release Date: 8/8/2007 5:38 PM ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/ options/horn/embee%40magma.ca ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Giardinelli C10 mouthpieces
John Stork makes copies of all the Giardinelli mouthpieces. Tom Greer at Moosewood can also make them. Dave Be yourself; everyone else is already taken. Oscar Wilde ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Giardinelli C10 mouthpieces
John Stork can replicate any of the older Giards. I don't know about current models. His web address is http://www.storkcustom.com/html/Johns%20testimony.html Hope that helps, Richard Smith www.rgsmithmusic.com -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Beth Duhon Sent: Thursday, August 09, 2007 3:17 PM To: horn@music.memphis.edu Subject: [Hornlist] Giardinelli C10 mouthpieces Hello, hornists! I'm new to the list. Does anyone have any information about the availability of Giardinelli C10 mouthpieces? I went to my usual sources and have had trouble finding them. Does anyone know what's up or where I should be looking instead? Thanks, Beth Duhon Private Lesson Teacher Katy, TX www.musiciansintraining.com http://www.musiciansintraining.com/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/music%40rgsmithmusic.com No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.476 / Virus Database: 269.11.10/943 - Release Date: 8/8/2007 5:38 PM No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.5.476 / Virus Database: 269.11.10/943 - Release Date: 8/8/2007 5:38 PM ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Giardinelli C10 mouthpieces
Sorry. Looks like I should have read all of the posts before jumping in :) RS -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of martin bender Sent: Thursday, August 09, 2007 3:56 PM To: The Horn List Subject: Re: [Hornlist] Giardinelli C10 mouthpieces Try John Stork. His prices are not cheap, but his work is first class. www.storkcustom.com Best regards, Martin Bender On 9-Aug-07, at 4:49 PM, Jeremy Cucco wrote: I don't know how reliable this information is, but I do know that Giardinelli was bought out by Musician's Friend (ARGHH) - the company which also owns Guitar Center and what used to be Mars Music. Since that happened, I've had the hardest time finding any 2 piece Giardinelli's and only a few of their older C-series models. Quite frustrating. If anyone does know of a secret cache or knows someone who makes duplicates, I'm sure there'd be money to be made!!! -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Beth Duhon Sent: Thursday, August 09, 2007 4:17 PM To: horn@music.memphis.edu Subject: [Hornlist] Giardinelli C10 mouthpieces Hello, hornists! I'm new to the list. Does anyone have any information about the availability of Giardinelli C10 mouthpieces? I went to my usual sources and have had trouble finding them. Does anyone know what's up or where I should be looking instead? Thanks, Beth Duhon Private Lesson Teacher Katy, TX www.musiciansintraining.com http://www.musiciansintraining.com/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy% 40sublymerecords.c om No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.476 / Virus Database: 269.11.10/943 - Release Date: 8/8/2007 5:38 PM No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.5.476 / Virus Database: 269.11.10/943 - Release Date: 8/8/2007 5:38 PM ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/ options/horn/embee%40magma.ca ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/music%40rgsmithmusic.com No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.476 / Virus Database: 269.11.10/943 - Release Date: 8/8/2007 5:38 PM No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.5.476 / Virus Database: 269.11.10/943 - Release Date: 8/8/2007 5:38 PM ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] tongueing
Somebody asked about tongueing a little while ago. Put in earplugs and play. You'll be able to hear your tongeing better. Try some different ways and you'll be able to tell when it's better and cleaner. Then just do it that way. Try to describe what you did in words, and I bet nobody else will understand what you're trying to say! - Steve Mumford ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] stopped horn
Whenever I play stopped horn in orchestra everyone turns around and glares at me. Especially if it's a low exposed passage. How can I stop this? Reba ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] stopped horn
A pointy stick ought to do the trick. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Reba McLaurin Sent: Thursday, August 09, 2007 11:49 PM To: horn@music.memphis.edu Subject: [Hornlist] stopped horn Whenever I play stopped horn in orchestra everyone turns around and glares at me. Especially if it's a low exposed passage. How can I stop this? Reba ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.c om No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.476 / Virus Database: 269.11.10/943 - Release Date: 8/8/2007 5:38 PM No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.5.476 / Virus Database: 269.11.10/943 - Release Date: 8/8/2007 5:38 PM ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] stopped horn
Ok, this is getting ridiculous. Gary --- Reba McLaurin [EMAIL PROTECTED] wrote: Whenever I play stopped horn in orchestra everyone turns around and glares at me. Especially if it's a low exposed passage. How can I stop this? Reba ___ 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
RE: [Hornlist] stopped horn
Do not care about this. Stopped horn sounds somewhat comical, so these children in the orchestras tend to lookk for the player, children, who do not understand the stopped horn. Many orchestras consist of a bunch of children (mentally children). You have to live with this fact. PS: Perhaps you do exaggerate the stopping where it should be most decent ??? -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Reba McLaurin Sent: Friday, August 10, 2007 4:49 AM To: horn@music.memphis.edu Subject: [Hornlist] stopped horn Whenever I play stopped horn in orchestra everyone turns around and glares at me. Especially if it's a low exposed passage. How can I stop this? Reba ___ 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
