[Hornlist] Corno in Ut
date: Sat, 1 Dec 2007 12:10:27 -0600 from: "Bill Gross" <[EMAIL PROTECTED]> subject: [Hornlist] Corno in Ut What key is that? It was handed out this AM. The conductor doesn't have a full score and the rest of us were at a loss. Search on the name "Guido D'Arezzo." Following is a small part of what you'll find: Guido D'Arezzo or Guido Aretinus , c.990-1050, Italian Benedictine monk, known for his contributions to musical notation and theory. ... His work in musical notation included the addition of two lines (one red, one yellow) to the two already serving as a staff and the use of both the lines and the spaces. Also important was his system of solmization (sometimes called, after him, Aretinian syllables), whereby the syllables ut, re, mi, fa, sol, la are used as names for the six tones, C to A, known as the hexachord. The syllable names are based on the first line of a hymn in honor of Saint John the Baptist. UT queant laxis REsonare fibris MIra gestorum FAmuli tuorum, SOLve polluti LAbii reatum, Sancte Ioannes. The notes corresponding with the initial syllables of the six hemistichs are the first six notes of the diatonic scale of C. This led to the syllabic naming of those notes as Ut, Re, Mi, Fa, Sol, La. As the octave replaced the hexachord, an additional syllable, si or ti, was added, and eventually ut was replaced by the more singable do. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] another shameless plug
Hello all, Pardon the mass mailing, but I wanted you to know that the San Francisco Conservatory Brass Ensemble will be premiering a piece that I wrote: Tuesday, December 11, 8:00 PM at the San Francisco Conservatory, 50 Oak St., San Francisco. The piece is called "Elegy Variations" and will be conducted by Paul Welcomer, our Acting Principal Trombone for the SF Symphony, and director of the Conservatory Brass Ensemble. It was written in memory of my late colleague John Keene, who was a close friend of mine when I played in the Denver Symphony many years ago. If you are able to make it, I would be pleased to see you there. Bob Bob Ward Principal Horn San Francisco Symphony http://www.rnward.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Bay Brass Concert
Hi all, For those of you in the Bay Area, I wanted to alert you to the Bay Brass Christmas concert, this year with special guest conductor Donald Runnicles, Music Director of the San Francisco Opera. The concert will take place: Monday, December 10, 2007 7:00 pm For more info, please go to: http://www.gracecathedral.org/calendar/detail.php?eid=1054 Thanks so much, Bob Bob Ward Principal Horn San Francisco Symphony http://www.rnward.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: Playing softly (was: [Hornlist] Rims, Chops, Airstreams (was C series
Thanks to all who replied about this. I think it's going to remain one of horn playing's great mysteries to me, though. Or, as a friend's teacher put it to him, I'm much more suited to be a music lover than a musician. Howard Sanner [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] somewhat NHR: Blindrohr?
Klaus Smedegaard Bjerre writes: > A web search on Adolf Scherbaum lead to this photo of a trumpet which very likely is the one Howard saw illustrated in a book: http://www.asamnet.de/~bayerj/scherb/images/silbtr2.jpg Not identical, but indeed very similar. Thanks for finding this and clarifying the matter. Howard Sanner [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Works for Horn and Flute
>From last May - - to all who suggested the Ewazen work for Horn, Flute and Piano, thank you. We did the Pastorale movement this evening to a big bunch of flute players and it was well received. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Christine Ranson Sent: Tuesday, May 09, 2006 9:57 AM To: horn@music.memphis.edu; [EMAIL PROTECTED] Subject: RE: [Hornlist] Works for Horn and Flute Mr Ewazen's music is so beautiful. >From: "Russ Smiley" <[EMAIL PROTECTED]> >Reply-To: [EMAIL PROTECTED],The Horn List >To: "'Linda'" <[EMAIL PROTECTED]>,"'The Horn List'" > >Subject: RE: [Hornlist] Works for Horn and Flute >Date: Mon, 8 May 2006 20:59:56 -0400 > >I'll second Linda's recommendation. This is a challenging but very >rewarding and accessible work. The Pastorale is simply gorgeous. > >-Original Message- >From: [EMAIL PROTECTED] >[mailto:[EMAIL PROTECTED] On Behalf Of >Linda >Sent: Monday, May 08, 2006 8:49 PM >To: [EMAIL PROTECTED]; The Horn List >Subject: Re: [Hornlist] Works for Horn and Flute > >Ballade, Pastorale and Dance for flute, horn, and piano by Eric Ewazen. >Sound clips and a sample of the score are available at >http://www.ericewazen.com/newsite/music/balladehorn.html > >Linda > >-Original Message- > >From: Bill Gross <[EMAIL PROTECTED]> > >Sent: May 8, 2006 7:21 PM > >To: 'The Horn List' > >Subject: [Hornlist] Works for Horn and Flute > > > >Any list members aware of any works for horn and flute? > > > >I am very fortunate to have been invited to a through back event a >retired > >flute teacher in the area host a monthly "soiree" at her home once a >month. > >The way people found entertainment and friendship before the advent of > >passive devices such as radio and tv. > > > >The retired teacher invites mainly flute players, but others to drop in >once > >a month and play for the others. A modest fee covers the cost of the > >accompanist, supper and wine. We spend a couple of hours listening to >each > >other play, then break bread and have great conversation. It is not that > >far from nirvana. > > > >She asked if there were any works for horn and flute. > > > > > >___ > >post: horn@music.memphis.edu > >unsubscribe or set options at >http://music2.memphis.edu/mailman/options/horn/lacornista%40mindspring.com > > > >___ >post: horn@music.memphis.edu >unsubscribe or set options at >http://music2.memphis.edu/mailman/options/horn/arsmiley%40comcast.net > >___ >post: horn@music.memphis.edu >unsubscribe or set options at >http://music2.memphis.edu/mailman/options/horn/pristine_%40hotmail.com _ Are you using the latest version of MSN Messenger? Download MSN Messenger 7.5 today! http://join.msn.com/messenger/overview ___ 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] Mouthpiece with Schmid horn
[Q] I was wondering what kind of mouthpiece everyone prefers with a E. Schmid horn? Thank you. Robert [/Q] --- Mine The Jack Attack! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Horn in Ut
Like the guy said, Music Theory is "just a theory." -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Fred Baucom Sent: Sunday, December 02, 2007 6:41 PM To: The Horn List Subject: RE: [Hornlist] Horn in Ut Good thing it did! 'Ut, a deer, a female deer', just does not work. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of [EMAIL PROTECTED] Sent: Sunday, December 02, 2007 3:36 PM To: horn@music.memphis.edu Subject: [Hornlist] Horn in Ut Just for the historical record. "Ut" for "C" comes from the original medieval notational system devised by Guido de Arezzo. He noted that each phrase of the hymn, Ut queant laxis began on a successive step higher (for six steps). This hymn became the basis for his hexachord solfege system, which is the predecessor of our modern solfege scale. He named each pitch of the hexachord for the beginning syllable of the the line of text: (Grout page 59 and following) Ut queant laxis Resonare fibris Mira gestorum Famuli tuorum Solve polluti Labii reatum, Sancte Joannes (Grout page 59 and following) I don't know when the "ut" got changed to "do." Probably "do" is easier to sing? DL ___ 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/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] Mouthpiece with Schmid horn
Robert Fant wrote: > I was wondering what kind of mouthpiece everyone prefers with a E. > Schmid horn? One that fits you well? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Playing softly
> Howard, I think a lot of what you are > experiencing IS "paralysis of analysis." You may not believe in it, > but it does exist. Just remember that one of the definitions of > insanity is doing the same thing over and over and expecting > different results. ; ) Here are a few things to consider, and then it > is time to experiment and find your own way. > > "Careful, thorough analysis" is fine to a point. God knows I have > done plenty of it. I do that to sift through the good and bad advice. > But eventually you have to realize that playing the horn is a lot > more like playing baseball- or tennis, as has been noted (and those > "Inner Game" books are great!), than playing chess or writing > computer programs. I think this is fantastic advice. Howard, I think we're similar guys in many ways, although I am a bit younger and less experienced in life. However, as an engineer type AND horn player, I really identify with you. I learned to program computers well before I started the horn, and just naturally I am a very analytical "left-brained" kind of person. I like problems and I like solutions! In the past I always took a very analytical approach to horn playing, similar to the way we might understand how to make airplanes fly or how to build a great wristwatch. When I majored in cognitive science, I learned a lot about human learning, and skill acquisition was always interesting to me. I was also very interested in machine learning and artificial intelligence. I remember spending a semester thinking and talking about how to teach a robot to put on a sweater. It was really really complicated! What we all need to realize is that we're not robots, and the way we learn to put on a sweater is NOT by following a complex set of instructions. Instead, we find a natural, unconscious, coordinated movement based on the desired result. Put another way, if babies had to learn to walk the way that you are trying to learn to play soft, we'd be a crawling species. I highly recommend an experiment. Buy "The Inner Game of Tennis". Read it, all the way through, and translate in your head.. when he talks about serves and footwork and backhands, translate to attacks and slurs and soft playing. Try to adjust ONE aspect of your playing using inner game techniques... really give it a shot. This approach to learning has changed my life, my horn playing, and indeed many other skills. It has not changed my chess game, it has not changed my approach to writing code :-) You have to find the right learning style for the right domains. Best wishes, Marc Gelfo ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mouthpiece with Schmid horn
Is this a trick question? The answer: the one that works for you :-) Richard in Seattle Robert Fant wrote: I was wondering what kind of mouthpiece everyone prefers with a E. Schmid horn? Thank you. Robert ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mouthpiece with Schmid horn
I use a Moosewood E cup with a number 2 rim. -William **Check out AOL's list of 2007's hottest products. (http://money.aol.com/special/hot-products-2007?NCID=aoltop000301) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mouthpiece with Schmid horn
I was wondering what kind of mouthpiece everyone prefers with a E. Schmid horn? Thank you. Robert ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Horn in Ut
Good thing it did! 'Ut, a deer, a female deer', just does not work. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of [EMAIL PROTECTED] Sent: Sunday, December 02, 2007 3:36 PM To: horn@music.memphis.edu Subject: [Hornlist] Horn in Ut Just for the historical record. "Ut" for "C" comes from the original medieval notational system devised by Guido de Arezzo. He noted that each phrase of the hymn, Ut queant laxis began on a successive step higher (for six steps). This hymn became the basis for his hexachord solfege system, which is the predecessor of our modern solfege scale. He named each pitch of the hexachord for the beginning syllable of the the line of text: (Grout page 59 and following) Ut queant laxis Resonare fibris Mira gestorum Famuli tuorum Solve polluti Labii reatum, Sancte Joannes (Grout page 59 and following) I don't know when the "ut" got changed to "do." Probably "do" is easier to sing? DL ___ 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
[Hornlist] Horn in Ut
Just for the historical record. "Ut" for "C" comes from the original medieval notational system devised by Guido de Arezzo. He noted that each phrase of the hymn, Ut queant laxis began on a successive step higher (for six steps). This hymn became the basis for his hexachord solfege system, which is the predecessor of our modern solfege scale. He named each pitch of the hexachord for the beginning syllable of the the line of text: (Grout page 59 and following) Ut queant laxis Resonare fibris Mira gestorum Famuli tuorum Solve polluti Labii reatum, Sancte Joannes (Grout page 59 and following) I don't know when the "ut" got changed to "do." Probably "do" is easier to sing? DL ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Reflector Design
I am the someone! I will look for my write up on this and re-post it when I can. You might also find it in the archives. Loren Mayhew [EMAIL PROTECTED] 001 (520) 289-0700 Good afternoon List, Several years ago, I posted an inquiry requesting a good design for reflectors to place behind the horn section for outdoor performances. Someone sent me an excellent design that incorporated different size "baffles" and chambers within a box placed behind each player. I finally have an opportunity to use the design but I seem to have lost it. Does anyone on the list have this or any other good ideas for reflectors? Thanks for the help. Rick ___ 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: Playing softly (was: [Hornlist] Rims, Chops, Airstreams (was C series
The image I like to use is a string playing metaphor.? String players use "more bow", i.e. pull the bow faster or rather use a longer segment of bow, to play louder.? Your air column is your bow.? Dave Weiner Brass Arts Unlimited -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Sat, 1 Dec 2007 3:49 pm Subject: Re: Playing softly (was: [Hornlist] Rims, Chops, Airstreams (was C series Hello Howard, It has to do with your air pressure/air volume ratio. Loud=lots of volume+lots of pressure. Soft=little volume+lots of pressure, sometimes even more than in F. That's about all I can explain here. As I've mentioned to you, you should come to camp and I'll help you with this. KB Howard S. wrote: Kendall Betts writes: > > always BTSOOI (Blow The Stuff (polite translation) Out Of It) keeping the > resistance of the equipment consistent throughout the note and dynamic ranges. > I know this sounds simple, and in a way it is. This may sound--and be--simple to some, but not to me. What, exactly, does one do to play softly? If one "blows the crap out of it," the dynamic will just be loud. There has to be *some* difference in what one does physically when one is playing loud and soft. I've heard Louis Stout's "blow loud but play soft" admonition. I've even heard Stout do it in person. So that had some meaning for him, and he was able to implement it. I've heard Wendell Rider's explanation and demonstration on his DVD of keeping the air going and just letting your body naturally play softly when that's what you want to do. (His body is natural in ways mine isn't. ) I've heard about thinking of the air stream as a thread and stringing the notes on it like pearls. I've heard about picking a spot on the floor, sighting down the leadpipe, and focusing the air stream on it. And probably some other metaphors that don't come to mind tonight. However, > Ideally, your face > should not feel tense/tight in any register and if you BTSOOI and get the > instrument responding properly, it won't, assuming you practice properly for a > reasonable amount of time on a daily basis. I've never come close to this, and I do practice several hours nearly every day. (Maybe "properly" is the problem? What is "properly"?) I do think that, at least for myself, using a lot of air--making the air do as much, and the chops as little of the work as I can--makes my playing better any way you care to define "better." But controlled soft playing?! So the question is: What's different--chops, tongue, air, gut, pressure, jaw, whatever--between loud and soft? There has to be some difference, and someone, somewhere, must be able to codify it. For the record, I believe in "paralysis by analysis" to the same degree I believe in miracles: not at all. I believe that careful, thorough analysis is how we learn and improve. Maybe that's because my job is, for practical purposes, analysis, but there it is anyway. Thanks for any light anyone can shed. Howard "Mr. Frustration" Sanner [EMAIL PROTECTED] **Check out AOL's list of 2007's hottest products. (http://money.aol.com/special/hot-products-2007?NCID=aoltop000301) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/brassartsunlim%40aol.com More new features than ever. Check out the new AOL Mail ! - http://o.aolcdn.com/cdn.webmail.aol.com/mailtour/aol/en-us/text.htm?ncid=aolcmp000503 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Reflector Design
Good afternoon List, Several years ago, I posted an inquiry requesting a good design for reflectors to place behind the horn section for outdoor performances. Someone sent me an excellent design that incorporated different size "baffles" and chambers within a box placed behind each player. I finally have an opportunity to use the design but I seem to have lost it. Does anyone on the list have this or any other good ideas for reflectors? Thanks for the help. Rick ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Soft playing
Kendall B wrote > always BTSOOI (Blow The Stuff (polite translation) Out Of It) keeping the > resistance of the equipment consistent throughout the note and dynamic ranges. > I know this sounds simple, and in a way it is. Then Howard S. wondered: This may sound--and be--simple to some, but not to me. What, exactly, does one do to play softly? If one "blows the crap out of it," the dynamic will just be loud. There has to be *some* difference in what one does physically when one is playing loud and soft. *** This is because you haven't been paying attention to the subtle nuances of crap, Howard. Those of us who deal with dogs know that this superb substance is quite soft when fresh.Only when it sits and dessicates does it become hard.So if you keep practicing, the humid interior of your horn will keep it moist, making it nice and soft when you blow it out the bell. If you wish to deepen your appreciation of the nuances mentioned above, go to the hornlist archives and reread all my contributions for the last five years. Perhaps some of my postings have little good advice to offer. But the rest, Howard, are full of it. Just went, Cabbage ** Check out AOL's list of 2007's hottest products. (http://money.aol.com/special/hot-products-2007?NCID=aoltop000301) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
