[Hornlist] That Holton slide
Dawn: If that water slide - the one with the symbol - won't go all the way in, try turning it around. At least on some Holtons, the two legs are different lengths and the slide bottoms out if it's reversed. If I misunderstood or you've already tried this, then never mind. Jake Ewalt At 04:20 PM 1/20/2008, you wrote: Tuning of a double horn Yes, it is a Holton horn. Thank you for that information about what that slide is. That water slide (with the symbol) was jammed way out when I first acquiered the horn. After we finally got it out we saw that the slide must have been dropped because the end of the one side was bent which had been why it was jammed immovable to begin with. Now it works. The slide is only a fraction of an inch out past it's mark. When I first got the horn I noticed it was difficult to tune the F side perfectly. When we finally got that slide unjammed and I got it back in it was obvious that the horn tuned to itself much easier. It was a relief to find out what the problem was. Still, it can't be totally in either. Don't know why. I have checked it with tuners many times and there seems to be the slightest off balance if it is in all the way. Maybe it's just one of those funny things about the fact each horn is different. Besides the fact there is never any water there I don't like to pull that slide because it still is slightly out of round enough that it is a nuisance to pull and put back in. So, it pretty much stays in place. T ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] That Holton slide
As I recall, the F Water slide was there because with Holtons you could peform a maneuver to empty out both sides' water from each valve slide by holding down all valves, rolling the horn around so the water in the slides goes back to the vales and then holding the horn upside down you could coerce the water by gravity to go to the thumb valve. Then pressing the Bb slide would get the other Horn's water and dump it into the F Water slide. Why this was never in the little Holton book that came with the Horn when I got my Holton I'll never know. It was a few years before I even knew that you could do that until someone told me. It worked for me like a charm. -William -Original Message- From: James B Ewalt [EMAIL PROTECTED] To: The Horn List horn@music.memphis.edu Sent: Mon, 21 Jan 2008 1:18 pm Subject: [Hornlist] That Holton slide Dawn:? ? If that water slide - the one with the symbol - won't go all the way in, try turning it around. At least on some Holtons, the two legs are different lengths and the slide bottoms out if it's reversed.? ? If I misunderstood or you've already tried this, then never mind.? ? Jake Ewalt? ? At 04:20 PM 1/20/2008, you wrote:? ? Tuning of a double horn? ? Yes, it is a Holton horn. Thank you for that information about what that slide? is. That water slide (with the symbol) was jammed way out when I first? acquiered the horn. After we finally got it out we saw that the slide must have? been dropped because the end of the one side was bent which had been why it was? jammed immovable to begin with. Now it works. The slide is only a fraction of? an inch out past it's mark. When I first got the horn I noticed it was? difficult to tune the F side perfectly. When we finally got that slide? unjammed and I got it back in it was obvious that the horn tuned to itself much? easier. It was a relief to find out what the problem was. Still, it can't be? totally in either. Don't know why. I have checked it with tuners many times? and there seems to be the slightest off balance if it is in all the way. Maybe? it's just one of those funny things about the fact each horn is different.? Besides the fact there is never any water there I don't like to pull that slide? because it still is slightly out of round enough that it is a nuisance to pull? and put back in. So, it pretty much stays in place.? ? T? ? ___? post: [EMAIL PROTECTED] unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/valkhorn%40aol.com? More new features than ever. Check out the new AOL Mail ! - http://webmail.aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Tuning a double horn(playing sharp)
Hans, thank you for your comments. However, I'm not sure I understand what you are trying to tell me. Do you mean that when I work on low horn parts, I'm setting in the lower lip too deeply (Einsetzen?) pulling the lips apart too much and it is causing cramping? Do you mean that I should be using the same basic embouchure set up for all my playing? Please clarify across the pond our language barriers as best you can. Thank you. Valerie It means, that you cramp the one or the opposite way. Whynot playing all relaxed with less vertical pressure,mouthpiece set at the edge of the lower lip so it pulls thelip opening open enough ? You would soon find out that youplay more relaxed without getting sharp or flat. Gettingflat due to playing low parts ? Why ? Because you aredigging into the ground instead of playing the low notesjust as other notes. Try it ! Just practising the one or theother extreme does not improve anything.___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Mouthpiece Insertion Depth - Different on my 2
You'll have the most fun with your Alexander if your mouthpiece has the same taper on its shank that the Alexander mouthpieces have. It's different from the American morse taper shanks. It'll still play reasonably mediochre with the morse taper mouthpiece, but the sound will open up and the horn will be better in tune with itself if you have the right taper. - Steve Mumford ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: tuning a double horn
You'll notice there's not much pull on the main tuning slide on that Schmidt model King. On the earlier ones, it didn't pull at all, the crook was soldered directly to the knuckle leading into the piston valve. The one I'm working on now is from the early 20s and that main slide is not pullable. I've seen other early ones made that same way. They must have gotten some complaints and changed it, but it strikes me that the later ones have such a short pull that it's really only useful for dumping water. All the Kings made up until the (70s?) or so had their own unique receiver taper. I think that's probably why they never really caught on with the professionals after the 20s. They just don't play very well with a standard morse taper mouthpiece. If you have one of those old H-2 mouthpieces, it has that King taper. Originally, your 1928 King would have come with 3 mouthpieces, F-1, F-2, and F-3. They had the same rim, but differing cup depths. If you have the original case, it will have 3 holes for the mouthpieces. The sound really opens up with one of those mouthpieces, but the rim is a little difficult for me, small diameter and a sharp edge. It also would have come with an alternate piston to reverse the action to Bb/F, and an Eb crook. The handguards are made from solid sterling silver. A cool outfit! - Steve Mumford Jack wrote: Steve M. wrote: Interestingly enough, the earliest 103s didn't have a MAIN tuning slide either. The leadpipe fed directly into the change valve, then you had the little Bb slide on the front and the F slide on the back. Totally independent tuning! The earliest Pelletier model Kings with the piston thumb valve did the same thing. - Wow, that must have been a really early Pelletier Schmidt. I have one made circa 1928 that has a main tuning slide + independent Bb and F slides. I will just mention another oddity to that horn. It came stock with an Alexander taper on the mouthpipe. In fact it plays better with an Alexander brand mouthpiece than it does with anything else-it sort of comes more alive. I wonder if all of the pre WWII HN White horns were that way or just the Pelletier Schmidt? The Jack Attack! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Atlantic Brass Quintet Summer Seminars
The Atlantic Brass Quintet would like to announce 2 seminars for the summer of 2008. First, our long-standing 2-week Boston seminar this year at Boston University, and for the second year, a 1-week seminar in conjunction with Sonoma State College. Please see below for details. The Boston University Band Program and its Director, Chris Parks, is proud to present the Atlantic Brass Quintet International Brass Quintet Seminar from July 27 to August 8, 2008. Important Dates! February 15 Application $40 application fee (non-refundable) March 15 Acceptance letter April 15 Tuition deposit of $500 (non-refundable) June 1 Balance of tuition and housing July 27, between 11 a.m. and 3 p.m. Registration day (Boston University, Boston, MA) All students must register by 3:00 pm on July 27. There will be an orientation dinner after registration, at 3:30 pm. July 27 Auditions for group placement Questions? Call: 617 358 BAND [2263] or email: [EMAIL PROTECTED] or visit our websites at: www.bu.edu/bands/concert/chamber/summerprogram or www.atlanticbrassquintet.com The Sonoma State University Music Department is proud to present the Atlantic Brass Quintet 2008 International Brass Quintet Seminar, June 8 to 12, 2008. Important Dates! Enrollment Deadlines 2/15: Application, $25 Application Fee (Non-Refundable) 3/15: Acceptance Letter 4/15: Tuition Deposit of $250 (Non-Refundable) 6/8: Balance of Tuition and Housing upon arrival Tuition and Fees Tuition: $500 Application Fee: $25 Housing and Meal Plan (rates are subject to change) $350 (Includes 3 meals daily, and private room in a suite) Seminar dates Move-in Date Registration: Sunday, June 8 Final Student Concert:Thursday, June 12, 1:00 p.m. Move-out Date:Thursday, June 12 Questions? Email: [EMAIL PROTECTED] Phone: 707.664.2468 Fax: 707.664.4332 Sonoma State University 1801 East Cotati Avenue Rohnert Park, CA 94928 www.sonoma.edu -- Seth Orgel Louisiana State University LSU: http://www.music.lsu.edu LSU Horn Studio: http://www.music.lsu.edu/horn/ Phone: 225.578-1409 ABQ Web Site: http://www.atlanticbrassquintet.com Summer seminar: http://www.atlanticbrassquintet.com/seminar.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Tuning a double horn(playing sharp)
Yes, Valerie, you have understood it right. All has to be played with about the same embouchure setting. The only difference is it, to open more or to close the opening between the lips by the use of the jaw more, but in a very sublime manner. This can work only, if you use not more than the necessary vertical pressure, where vertical means mouthpiece verse lips. Inserting the mouthpiece just at the border of the red flesh of the lower lip helps a lot. It is the wrong way to play the extreme low notes with protruding lips as seen so often. Hope this helps a bit. If you have more questions, please, ask again. Greetings through the language barrier. Hans -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Valerie WELLS Sent: Monday, January 21, 2008 11:30 PM To: horn1 list Subject: [Hornlist] Tuning a double horn(playing sharp) Hans, thank you for your comments. However, I'm not sure I understand what you are trying to tell me. Do you mean that when I work on low horn parts, I'm setting in the lower lip too deeply (Einsetzen?) pulling the lips apart too much and it is causing cramping? Do you mean that I should be using the same basic embouchure set up for all my playing? Please clarify across the pond our language barriers as best you can. Thank you. Valerie It means, that you cramp the one or the opposite way. Whynot playing all relaxed with less vertical pressure,mouthpiece set at the edge of the lower lip so it pulls thelip opening open enough ? You would soon find out that youplay more relaxed without getting sharp or flat. Gettingflat due to playing low parts ? Why ? Because you aredigging into the ground instead of playing the low notesjust as other notes. Try it ! Just practising the one or theother extreme does not improve anything.___ 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
