Re: [Hornlist] Instrument of the Devil?
Why should he? The Devil wrote Kopprasch ;-P Leigh On Oct 28, 2007, at 11:33 PM, David Lamb wrote: Besides, lets face it: the Devil would never take the time to master Kopprasch. David Lamb in Seattle ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Berlin Phil Hornists CD Opera is here!
Just a note to let you all know that I finally have those Berlin Hornists CD's in stock! (a limited number). Sincerely Ken Pope 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 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Berlin Phil Hornists CD Opera is here!
Ken can you hold a CD and the DVD for me and I will pick them up when I am in Boston next week. Happy for you to change my credit card if you want. Debbie ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Berlin Phil Hornists CD Opera is here!
OOPS Sorry that should have gone directly to Ken, SORRY. Debbie ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Wot, no Kopprasch?
The Alfred purchase of Warner Bros Publications was completed over 2 years ago.? There are absolutely no problems with supply, especially because Alfred runs one of the better publication houses in the industry.? We have never had a problem getting Kopprasch nor any other method or etude book published by Alfred, Carl Fisher,?Hal Leonard, etc.? I suggest if you are having local supply difficulties try a horn specialty store, most of whom participate in some form or other on this and the other list. Dave Weiner Brass Arts Unlimited I think some of the problems of getting the etudes has to do with Warner Music being purchased by Alfreds. That is what was told to me when I was trying to purchase some Getchell books for my students. -Original Message- From: Walter Lewis [EMAIL PROTECTED] To: The Horn List horn@music.memphis.edu Sent: Sun, 28 Oct 2007 9:31 am Subject: RE: [Hornlist] Wot, no Kopprasch? Hi Everyone, I just googled Kopprasch and here's a link to David Thompson's music site (sorry Hans, I remember you and David had a bit of a tiff over the High Horn exercises) www.thompsonedition.com/kopprasch.htm The etudes can be purchased on line for much less than $15.95. I think some of the problems of getting the etudes has to do with Warner Music being purchased by Alfreds. That is what was told to me when I was trying to purchase some Getchell books for my students. Hope this helps, Walt Lewis Jeremy Cucco [EMAIL PROTECTED] wrote: Ha...you must have gotten relocated to my town! The 3 music stores in our area here that service over 1 million in population, over 15 High Schools (public, probably that many private ones too), 25 junior highs and 4 major private lessons studios don't carry Kopprasch either. No Getchell, no Pottag, no Gallay, no Rochut, no Maxime-Alphonse... If you want Standards of Excellence or Famous Movie Themes for French (sic) horn, you're in luck What's that, you want to order Kopprasch from the local music store...? It will take 2 weeks and cost you $15.95. Gee...I wonder why students are struggling with the basic concepts of horn playing! -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Ronald Rhodes Sent: Friday, October 26, 2007 7:25 PM To: horn@music.memphis.edu Subject: [Hornlist] Wot, no Kopprasch? After Hurricane Katrina, we find ourselves now residents in a new city in a new state. Yesterday, I visited a large music store with the intention of replacing some lost music. Imagine my shock and horror when I found out that there were NO Kopprasch volumes in stock! I was not affected personally, since I am able to play the entire set of etudes from memory (mit great ease, of course, as Prof. Schmutzig says). However, just think of the aspiring young musicians here growing up without Kopprasch - a shocking situation. Ronald V. Rhodes ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.c om Internal Virus Database is out-of-date. Checked by AVG Free Edition. Version: 7.5.488 / Virus Database: 269.14.13 - Release Date: 10/16/2007 12:00 AM Internal Virus Database is out-of-date. Checked by AVG Free Edition. Version: 7.5.488 / Virus Database: 269.14.13 - Release Date: 10/16/2007 12:00 AM ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/lewhorn9%40yahoo.com __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/brassartsunlim%40aol.com Email and AIM finally together. You've gotta check out free AOL Mail! - http://mail.aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Berlin Phil Hornists CD Opera is here!
No problem, Debbie. Next time, be sure to include your credit card number.? ;) Dave Weiner Brass Arts Unlimited -Original Message- From: Debbie Schmidt [EMAIL PROTECTED] To: [EMAIL PROTECTED], The Horn List horn@music.memphis.edu Sent: Mon, 29 Oct 2007 9:07 am Subject: Re: [Hornlist] Berlin Phil Hornists CD Opera is here! OOPS Sorry that should have gone directly to Ken, SORRY. Debbie ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/brassartsunlim%40aol.com Email and AIM finally together. You've gotta check out free AOL Mail! - http://mail.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: No Kopprasch?
It could be wab4cor was speaking about administrative support for music in schools rather than 'lack-luster' teaching. I have a friend who recently retired from managing school music programs for a district in Sacramento. She was very much in favor and lobbied very hard for her teachers and their efforts in working with emerging musicians, but she constantly had to fight the district administration's efforts to cut back on music classes and money for those programs. She believes that they will not stop until all music is out of the schools. Fred On 10/29/07, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote: Original Message: from: [EMAIL PROTECTED]: Don't blame the music stores for the lack of Kopprasch, how about the lack-luster music programs in our public schools. Please don't paint all programs with the same broad brush. Have you ever taught music as a regular teacher (as opposed to substitute or private lessons) in a modern middle or high school. The number of issues is myriad and I won't go into all of them, but I'll share a few of my own experiences. I will say over the years that I specialized in taking on problem programs and rebuilding them. The last school where I taught, anyone could take band at any time, whether or not they had any previous instruction. Each year, I would have students who have never played thrown into the band with kids who had already been playing at least three years. When was I supposed to take the time to work with them to get them up to speed? After school you say. Ah, but you see that's the time for jazz band, honors band coaching, and detention. Oh, did I forget to tell you that I was only employed half-time, teaching a full day every other day and had 72 students in band and 95 students in chorus plus guitar and piano classes? Oh so I should take a more advanced student and send them to a practice room? Well, you see, we shared a room with the middle school and my rehearsal time was the middle school teacher's time to do her small group lessons (rote coaching of performance tunes) in the one and only practice room. The school prior to that had the same policy of students dropping in with no prior experience and while I had some students who would have been good at coaching, there was no place to send them. The good thing about that school is that I was full-time, but what did full time entail? In my case it involved doing band (concert and marching), chorus, piano I, piano II (concurrently), guitar I and guitar II (concurrently) as a half-day at the high school and then teaching elementary music (not band) at five elemetaries for the balance of the day, keeping in mind that the elementaries ended their day one and a half hours after the high school which killed any after school rehearsals (jazz band was 7-9 p.m. two nights per week). Lunch was in the car on the way to the school where I was supposed to be fifteen minutes before my last class ended at the high school. My point here in all of this is not to rant and complain about how tough I had it, but to paint a realistic picture of what many band directors go through. Not all situations were that ridiculous. Some permitted me to group the band students by ability and I actually had three or more bands-including beginning band, but those were the exceptions. Many school districts place more emphasis on numbers than on quality and teaching and they tie both funding and whether or not someone is to be rehired on those numbers. So before you go slamming on all band directors and lack-lustre, why don't you walk that proverbial mile in their shoes and see what the real story is. Dana Twiss, Litchfield, Maine Retired band director and now museum curator mail2web - Check your email from the web at http://link.mail2web.com/mail2web ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/fbaucom%40gmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] wherefrom Paxmaha?
Sorry if it came out that way, but sadly no, it's just the opposite. I would love to have a Paxman, but at the moment its a Yamaha. Paxmaha Richard V. West [EMAIL PROTECTED] wrote: Golly! You own a Paxman but would really like a Yamaha? Wanna trade? Richard in Seattle __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: No Kopprasch?
Original Message: from: [EMAIL PROTECTED]: Don't blame the music stores for the lack of Kopprasch, how about the lack-luster music programs in our public schools. Please don't paint all programs with the same broad brush. Have you ever taught music as a regular teacher (as opposed to substitute or private lessons) in a modern middle or high school. The number of issues is myriad and I won't go into all of them, but I'll share a few of my own experiences. I will say over the years that I specialized in taking on problem programs and rebuilding them. The last school where I taught, anyone could take band at any time, whether or not they had any previous instruction. Each year, I would have students who have never played thrown into the band with kids who had already been playing at least three years. When was I supposed to take the time to work with them to get them up to speed? After school you say. Ah, but you see that's the time for jazz band, honors band coaching, and detention. Oh, did I forget to tell you that I was only employed half-time, teaching a full day every other day and had 72 students in band and 95 students in chorus plus guitar and piano classes? Oh so I should take a more advanced student and send them to a practice room? Well, you see, we shared a room with the middle school and my rehearsal time was the middle school teacher's time to do her small group lessons (rote coaching of performance tunes) in the one and only practice room. The school prior to that had the same policy of students dropping in with no prior experience and while I had some students who would have been good at coaching, there was no place to send them. The good thing about that school is that I was full-time, but what did full time entail? In my case it involved doing band (concert and marching), chorus, piano I, piano II (concurrently), guitar I and guitar II (concurrently) as a half-day at the high school and then teaching elementary music (not band) at five elemetaries for the balance of the day, keeping in mind that the elementaries ended their day one and a half hours after the high school which killed any after school rehearsals (jazz band was 7-9 p.m. two nights per week). Lunch was in the car on the way to the school where I was supposed to be fifteen minutes before my last class ended at the high school. My point here in all of this is not to rant and complain about how tough I had it, but to paint a realistic picture of what many band directors go through. Not all situations were that ridiculous. Some permitted me to group the band students by ability and I actually had three or more bands-including beginning band, but those were the exceptions. Many school districts place more emphasis on numbers than on quality and teaching and they tie both funding and whether or not someone is to be rehired on those numbers. So before you go slamming on all band directors and lack-lustre, why don't you walk that proverbial mile in their shoes and see what the real story is. Dana Twiss, Litchfield, Maine Retired band director and now museum curator mail2web - Check your email from the web at http://link.mail2web.com/mail2web ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: No Kopprasch?
Original Message: from: [EMAIL PROTECTED]: Don't blame the music stores for the lack of Kopprasch, how about the lack-luster music programs in our public schools. Please don't paint all programs with the same broad brush. Have you ever taught music as a regular teacher (as opposed to substitute or private lessons) in a modern middle or high school. The number of issues is myriad and I won't go into all of them, but I'll share a few of my own experiences. I will say over the years that I specialized in taking on problem programs and rebuilding them. The last school where I taught, anyone could take band at any time, whether or not they had any previous instruction. Each year, I would have students who have never played thrown into the band with kids who had already been playing at least three years. When was I supposed to take the time to work with them to get them up to speed? After school you say. Ah, but you see that's the time for jazz band, honors band coaching, and detention. Oh, did I forget to tell you that I was only employed half-time, teaching a full day every other day and had 72 students in band and 95 students in chorus plus guitar and piano classes? Oh so I should take a more advanced student and send them to a practice room? Well, you see, we shared a room with the middle school and my rehearsal time was the middle school teacher's time to do her small group lessons (rote coaching of performance tunes) in the one and only practice room. The school prior to that had the same policy of students dropping in with no prior experience and while I had some students who would have been good at coaching, there was no place to send them. The good thing about that school is that I was full-time, but what did full time entail? In my case it involved doing band (concert and marching), chorus, piano I, piano II (concurrently), guitar I and guitar II (concurrently) as a half-day at the high school and then teaching elementary music (not band) at five elemetaries for the balance of the day, keeping in mind that the elementaries ended their day one and a half hours after the high school which killed any after school rehearsals (jazz band was 7-9 p.m. two nights per week). Lunch was in the car on the way to the school where I was supposed to be fifteen minutes before my last class ended at the high school. My point here in all of this is not to rant and complain about how tough I had it, but to paint a realistic picture of what many band directors go through. Not all situations were that ridiculous. Some permitted me to group the band students by ability and I actually had three or more bands-including beginning band, but those were the exceptions. Many school districts place more emphasis on numbers than on quality and teaching and they tie both funding and whether or not someone is to be rehired on those numbers. So before you go slamming on all band directors and lack-lustre, why don't you walk that proverbial mile in their shoes and see what the real story is. Dana Twiss, Litchfield, Maine Retired band director and now museum curator mail2web LIVE Free email based on Microsoft® Exchange technology - http://link.mail2web.com/LIVE ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: No Kopprasch?
Dana has identified one of the serious difficulties that beset school music teachers. Especially in small towns where the money to support a full music program just isn't there. Reminds me of my last public school job almost 50 years ago. I had a HS band, a Jr. HI Band, three beginning band classes and two intermediate classes with a couple of tonette classes in elementary school. I had well over 200 students per day, every day, and tried to give lesson help and have solos, ensembles, and pep bands for the Basketball team work after school hours or before school in the morning. Then we had to sell magazine subscriptions and have candy sales, etc. to provide operating expenses. That's when I decided I could find other employment and went back to school to get a doctorate and break into higher education. That's when I found out the difference between public school and college teachers. The public school teachers all get together and complain about their difficulties; and the college teachers all get together and lie about not having any problems. Cheers, Paul Mansur On Oct 29, 2007, at 2:24 PM, [EMAIL PROTECTED] wrote: Original Message: from: [EMAIL PROTECTED]: Don't blame the music stores for the lack of Kopprasch, how about the lack-luster music programs in our public schools. Please don't paint all programs with the same broad brush. Have you ever taught music as a regular teacher (as opposed to substitute or private lessons) in a modern middle or high school. The number of issues is myriad and I won't go into all of them, but I'll share a few of my own experiences. I will say over the years that I specialized in taking on problem programs and rebuilding them. The last school where I taught, anyone could take band at any time, whether or not they had any previous instruction. Each year, I would have students who have never played thrown into the band with kids who had already been playing at least three years. When was I supposed to take the time to work with them to get them up to speed? After school you say. Ah, but you see that's the time for jazz band, honors band coaching, and detention. Oh, did I forget to tell you that I was only employed half-time, teaching a full day every other day and had 72 students in band and 95 students in chorus plus guitar and piano classes? Oh so I should take a more advanced student and send them to a practice room? Well, you see, we shared a room with the middle school and my rehearsal time was the middle school teacher's time to do her small group lessons (rote coaching of performance tunes) in the one and only practice room. The school prior to that had the same policy of students dropping in with no prior experience and while I had some students who would have been good at coaching, there was no place to send them. The good thing about that school is that I was full-time, but what did full time entail? In my case it involved doing band (concert and marching), chorus, piano I, piano II (concurrently), guitar I and guitar II (concurrently) as a half-day at the high school and then teaching elementary music (not band) at five elemetaries for the balance of the day, keeping in mind that the elementaries ended their day one and a half hours after the high school which killed any after school rehearsals (jazz band was 7-9 p.m. two nights per week). Lunch was in the car on the way to the school where I was supposed to be fifteen minutes before my last class ended at the high school. My point here in all of this is not to rant and complain about how tough I had it, but to paint a realistic picture of what many band directors go through. Not all situations were that ridiculous. Some permitted me to group the band students by ability and I actually had three or more bands-including beginning band, but those were the exceptions. Many school districts place more emphasis on numbers than on quality and teaching and they tie both funding and whether or not someone is to be rehired on those numbers. So before you go slamming on all band directors and lack-lustre, why don't you walk that proverbial mile in their shoes and see what the real story is. Dana Twiss, Litchfield, Maine Retired band director and now museum curator mail2web LIVE – Free email based on Microsoft® Exchange technology - http://link.mail2web.com/LIVE ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/ options/horn/p_mansur1%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Yamaha - was [Hornlist] wherefrom Paxmaha?
Well then, this would be an ideal time to start a Yamaha thread. Who plays what kind of Yamaha on this list? I know there have been some individuals on this or the other list who worked with Yamaha during various stages of horn model development in the past. Any comments from them? Do people have a favorite Yamaha? The worst Yamaha? What about the new Yamahas? My Yamaha started out as a relatively early (circa 1982) 668. I've had the bell cut (with Alexander rings) and a Patterson leadpipe. Otherwise stock. It's gradually become my main horn as I've come to terms with its weaknesses and strengths (and mine). Richard in Seattle David Jewell wrote: Sorry if it came out that way, but sadly no, it's just the opposite. I would love to have a Paxman, but at the moment its a Yamaha. Paxmaha Richard V. West [EMAIL PROTECTED] wrote: Golly! You own a Paxman but would really like a Yamaha? Wanna trade? Richard in Seattle __ 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/hornfella%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: Yamaha - was [Hornlist] wherefrom Paxmaha?
-Original Message- From: Richard V. West [mailto:[EMAIL PROTECTED] Well then, this would be an ideal time to start a Yamaha thread. Who plays what kind of Yamaha on this list? I know there have been some individuals on this or the other list who worked with Yamaha during various stages of horn model development in the past. Any comments from them? Do people have a favorite Yamaha? The worst Yamaha? What about the new Yamahas? We own a Yamaha 666 (predecessor to the 668, made from roughly 1980-85) that's a lovely horn in, IMHO, the 8D tradition. I played it for a while, now it's my son's main horn, and I suspect it will come back to me sooner or later. We owned a 667 for a while, manufactured in 1991, that's in the small/medium bell horn tradition. A pleasant enough horn for what it is, to be sure, and sounds lovely in the right hands, but I had occassion to borrow an Alex 103 a few month after acquiring the 667, and that was the end of my playing the 667. (I eventually settled on an Alex Bb single with a C trigger as my main horn.) -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
