[Hornlist] Re: Bell Flares
I use an Ambronze bell on my valve horn, and think this delays the onset of edge even more than yellow brass, and would love to find one with a garland, but I like edge for projection of the sound. Richard Burdick Red brass tends to be darker at low-to-moderate volume levels but to brighten up quickly when pushed. A neckel silver flare would be more even in timbre. A yellow brass bell with garland would delay the onset of the edge the longest. For a more detailed explanation see the article at http://osmun.com/prod/Schmid/Schmidbell.htm. Bob Osmun www.osmun.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Corno in Ut
Glad to hear someone else is "normal." My biggest problem, believe it or not, is horn in E!! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Corno in Ut
Where does one get Wendell Rider's book??? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: mouthpiece w/ Schmid horn
Steven Mumford wrote: > One thing to check is whether it takes the European mouthpiece shank > taper. It will play a lot better if the shank fits in the right distance. > Along those lines, I've been trying to find a way to adapt my favorite mouthpiece (Laskey 85G) to the European receiver on my Kalison C horn, so far without success. Even Laskey wasn't overly enthusiastic about the idea, at least within the foreseeable future. To be honest, I don't play that horn very much, so it's not life-and-death, but maybe with the right mouthpiece, I'd use it more. Instead of adapting something that I know fits me well, does anyone know of a vendor from whom I could simply BUY a moutpiece outright, that would be similar? I believe the rim diameter is 18.5 mm, and it seems to have a medium-deep cup, compared with others that I own. I knew there would be a difference with the right taper, but I didn't realize just how much difference, until I noticed that an old mouthpiece in my collection doesn't fit very far into any of my other horns. The only markings on it are "E-Z Tone U.S.A." I suspected it might be a European taper, and tried it in the Kalison just yesterday, discovering that it fits perfectly. No wobble. And that horn plays like it never has before. Unfortunately, its rim is way too narrow for my teeth/embouchure. So of the manufacturers who do make mouthpieces specifically for the European taper, where else should I look for one that will fit both me and my horn? Thanks in advance! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] for Walt
Walt Lewis, sorry about that, my finger misfired and I lost your message and email address. Could you write me back? - Steve ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: mouthpiece w/ Schmid horn
One thing to check is whether it takes the European mouthpiece shank taper. It will play a lot better if the shank fits in the right distance. Bob's post reminds me of a fun little test to check if the mouthpiece resistance is balanced for you. Play a middle C softly then crescendo to forte. Don't try to keep the pitch steady, just let it do whatever it wants to do as you crescendo. If the pitch wants to go down, you might try a mouthpiece with a little more resistance. If the pitch wants to go up, try something less resistant. It's surprisingly accurate! - Steve Mumford Bob wrote: message: 4 date: Mon, 3 Dec 2007 11:56:39 -0500 from: "Robert Osmun" <[EMAIL PROTECTED]> subject: RE: [Hornlist] Mouthpiece with Schmid horn The most important characteristic to be aware of in matching a mouthpiece to a specific horn is the relationship of the bore size of the mouthpiece to the venturi (narrowest point) of the mouthpipe. For best results they should balance each other. Large bell throat instruments, such as 8D's, Kruspes, etc. usually have small venturis, so they work well with wider mouthpiece throats in the 4-12 range. Smaller bell horns, like Alexanders, Yamaha 667's, etc. have larger venturis, so a bore in the 10-18 range is better. Schmid horns have venturis on the small-to-medium end of the scale so most mouthpieces with moderate bores (8-14) work well with them. Of course, Schmid mouthpieces are provided with bore sizes from 25-18, but almost no American players use bores that small. Most cup shapes work well on Schmids and other similar horns, cups with very large volume (like our New York cups), less so. I'm sure many listers will have other, more specific, information for you, but here's a place to start. Bob Osmun www.osmun.com -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Robert Fant Sent: Sunday, December 02, 2007 8:30 PM To: The Horn List Subject: [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] Mouthpiece with Schmid horn
In a message dated 12/2/2007 7:31:47 PM Central Standard Time, [EMAIL PROTECTED] writes: I was wondering what kind of mouthpiece everyone prefers with a E. Schmid horn? Thank you. Robert Hi Robert, Fair question, as my experience with the Schmid is that it is very MPC sensitive. The Lawson S660 cup works well on mine. As others have pointed out on the list, it makes sense to use a screw rim so you can at least keep the rim that you normally use while experimenting with different cups. The Lawson has an 11 bore which works for my hi F triple. Be sure to check the receiver and determine if it is Morse 0 (zero) or the European taper that is common on the Schmid. This may affect playing characteristics somewhat if it does not match your MPC shank. Also, the location of the venturi relative to the end of the MPC should be understood and considered when experimenting with MPCs. The venturi varies from 1/4 inch to almost 1 full inch into the receiver on my horns and it seldom relates to how far the shank goes into the receiver. The end of the MPC should be as close to the Venturi as possible, IMHO. This relationship may affect slurs, notches, intonation, etc. I've indicated the depth of the venturi on the outside of the leadpipe on most of my horns with a small needle file mark. IMHO, the shank fit and venturi location must be considered for accurate and meaningful MPC testing. BTW, Moosewood may have a recommendation as well as Bob Osmun (who imports the Schmid horns). I welcome corrections/modifications to the above. Regards,Jerry in Kansas City **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] Corno in Ut
Something similar happened to me just a few months ago. I'm a recent come back horn player & am busting my buns to develop my skills to the point that I will be a useful contribution to my local orchestras. I was asked to substitute during a rehearsal for an absent principle on a Gluck overture in C and Beethoeven's 1st, if I remember correctly. All the pieces except for one little section were in C horn. I spent three intense days preparing for transposing in C horn by playing almost nothing but C horn stuff. During the rehearsal, I was so pround of myself because I played the C horn parts w/ hardly a single error. Then, when when we started the one little section w/ horn in F, I missed the WHOLE thing because I couldn't think in F horn again! DUH! I was S bummed because it was the only real melodic part of both pieces. If memory serves me correctly it was the beginning of the second movement of Beethoven's 1st. Sure . . . practice horn in F horn as well as the other transpositions! Actually, I've started using the warm up section of Wendell Rider's book as both a warm up & a transposition exercise. I play each arpeggio first as a lips slur, then I play each using double horn fingerings. The whole time, I'm trying to think of the transposition the whole time. This way, I transpose to a different key every few bars, every single day. Valerie ___ 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
The most important characteristic to be aware of in matching a mouthpiece to a specific horn is the relationship of the bore size of the mouthpiece to the venturi (narrowest point) of the mouthpipe. For best results they should balance each other. Large bell throat instruments, such as 8D's, Kruspes, etc. usually have small venturis, so they work well with wider mouthpiece throats in the 4-12 range. Smaller bell horns, like Alexanders, Yamaha 667's, etc. have larger venturis, so a bore in the 10-18 range is better. Schmid horns have venturis on the small-to-medium end of the scale so most mouthpieces with moderate bores (8-14) work well with them. Of course, Schmid mouthpieces are provided with bore sizes from 25-18, but almost no American players use bores that small. Most cup shapes work well on Schmids and other similar horns, cups with very large volume (like our New York cups), less so. I'm sure many listers will have other, more specific, information for you, but here's a place to start. Bob Osmun www.osmun.com -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Robert Fant Sent: Sunday, December 02, 2007 8:30 PM To: The Horn List Subject: [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/rosmun%40osmun.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Bell Flares
Red brass tends to be darker at low-to-moderate volume levels but to brighten up quickly when pushed. A neckel silver flare would be more even in timbre. A yellow brass bell with garland would delay the onset of the edge the longest. For a more detailed explanation see the article at http://osmun.com/prod/Schmid/Schmidbell.htm. Bob Osmun www.osmun.com -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Jim McDermott Sent: Monday, December 03, 2007 10:42 AM To: horn@music.memphis.edu Subject: [Hornlist] Bell Flares There has been lots of discussion on the list lately about the efficacy of a new leadpipe, which leads to my next question. How much different will a particular horn play with a different bell flare. I have a 1 year old Atkinson with a rose brass bell and I've noticed I can't play as loudly as I could on my old 8D before the tone takes on that characteristic raspy edge. Any thoughts? Would a nickle silver bell flare in the 300,000 series size change the playing characteristics very much? Jim McDermott Deep into the Christmas concert season - 5 down, 5 more to go. Lake Area Community Orchestra and Lake Chamber Ensemble. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/rosmun%40osmun.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
Hello all, On the issue of blowing "loud" but playing soft, Dave Weiner's comment on string players using more bow to play louder is very helpful. I offer these additional comments: String players can play stronger in several different ways, each giving a different timbre. They can pull the bow faster/use more bow, they can tilt the hair so that more hair is in contact with the string, they can move the contact point closer to the bridge (usually with an increase in speed and/or weight to avoid crunching) and they can use more weight (make the bow "heavier"). Since most notes can be played on more than one string, string choice can also be a factor. Of course they can also "press" more sound out of the string but this gives a less satisfactory tone. Similar to when my students try to play louder by blowing harder but without opening the aperture to balance the equation. What is the difference between making the bow "heavier" and simply "pressing" the bow into the string? It is the same as the difference between playing "loud" and playing "strong." We can't just blow harder, we have to shape the air. Make it "spin" or focused or whatever we want to call it. I call it "voicing" the tone. Steve Burian *** _ Share life as it happens with the new Windows Live.Download today it's FREE! http://www.windowslive.com/share.html?ocid=TXT_TAGLM_Wave2_sharelife_112007___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Bell Flares
There has been lots of discussion on the list lately about the efficacy of a new leadpipe, which leads to my next question. How much different will a particular horn play with a different bell flare. I have a 1 year old Atkinson with a rose brass bell and I've noticed I can't play as loudly as I could on my old 8D before the tone takes on that characteristic raspy edge. Any thoughts? Would a nickle silver bell flare in the 300,000 series size change the playing characteristics very much? Jim McDermott Deep into the Christmas concert season - 5 down, 5 more to go. Lake Area Community Orchestra and Lake Chamber Ensemble. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Corno in Ut
Steven Slaff wrote: >It is called Cinquante Exercices a Changement de >Ton pour Cor (20 Exercises for horn with change of keys). > > >Unfortunately I have no idea where to find it - the one >I am using is borrowed from my teacher. In case you are interested, we do distribute the full line of Leduc titles, including the Thevet book. That can be found on our web site at: http://www.thompsonedition.com/product_detail.php?id=14070 and you are welcome to contact us off-list if you have any questions. David B. Thompson, President Thompson Edition, Inc. http://www.thompsonedition.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Corno in Ut
*Goes searching through my horn etudes* There is a book published by Alphonse Leduc and by Lucien Thevet that is perfect for this. It is called Cinquante Exercices a Changement de Ton pour Cor (20 Exercises for horn with change of keys). Basically, this book is made of etudes that change keys every 2 or 4 bars. They start out fairly simply, but quickly get complicated and each one is full of common pitfalls (like written Cb in D horn)! Unfortunately I have no idea where to find it - the one I am using is borrowed from my teacher. Steven Slaff On Dec 3, 2007 9:10 AM, <[EMAIL PROTECTED]> wrote: > What happens to horn in A, Ab, B, and Bb? Arn't they referred to as La? Our > orchestra recently did an opera with a vocal group. I did so much > transposing, I almost forgot how to read Horn in F at one place. Any tricks > in transposing when the keys change so ofen? > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/sslaff%40gmail.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Corno in Ut
What happens to horn in A, Ab, B, and Bb? Arn't they referred to as La? Our orchestra recently did an opera with a vocal group. I did so much transposing, I almost forgot how to read Horn in F at one place. Any tricks in transposing when the keys change so ofen? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
