[Hornlist] Re: Schumann in St. Louis
Oh, no, this was a guest appearance for VerMeulen in St Louis. Several other notables, including, but not limited to, Daniel Gingrich and Eli Epstein have appeared this season as guests. Hopefully, the vacant principal chair will be filled soon, as auditions are underway this May. Bruce On Apr 19, 2008, at 12:00 PM, [EMAIL PROTECTED] wrote: from: Paul Mansur [EMAIL PROTECTED] subject: Re: [Hornlist] Re: Schumann in St. Louis This is news to me. Has Ver Meulen moved from Houston and Rice to St. Louis? Paul Mansur On Apr 18, 2008, at 2:06 PM, Bruce Gordon wrote: It was Bill VerMeulen, who also excelled as principal in a fine section effort for SLSO's performance of Sinfonia Domestica a few months back. Bruce On Apr 18, 2008, at 12:00 PM, [EMAIL PROTECTED] wrote: from: Alex Camphouse [EMAIL PROTECTED] subject: [Hornlist] Schumann in St. Louis Hello horn world, Does anyone know who was playing Principal horn with St. Louis Symphony on Schumann 3 recently? I've had reports that whoever it was sounded great. Thanks. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Phrasing, was changing tone color
On Apr 19, 2008, at 10:00 AM, [EMAIL PROTECTED] wrote: message: 10 date: Fri, 18 Apr 2008 17:12:04 -0700 (PDT) from: Herbert Foster [EMAIL PROTECTED] subject: Re: [Hornlist] Re: Phrasing, was changing tone color Wendell, I have read your article and have looked at your video. I do thank you for your helping us. I don't think I have got it, though I think I know what you mean by arsis and thesis, which are new to me. It's Greek to me :-). For example when I perform America the Beautiful, I sing or play it as I would say it. That means that the pick-up notes O and for in O beautiful for spacious skies, are not emphasized, as I think I have heard teachers say. However, these are not just notes in the rhythm, but I think and perform them as leading into the following notes, which have more emphasis. Maybe that's what you mean, and I do get it. I have heard the next phrase performed as For amber waves OF grain. That's unmusical to me, though the of is the highest note. Herb Foster Hi Herb, Arsis and thesis are just nice, handy terms that we can use to identify certain types of notes and their place in the greater scheme of things. It seems that this kind of terminology has been pretty much missing for most of us in our efforts to discuss the wonderful world of phrasing and expression so it is nice that we can find something that has a historical reference that goes back to the dawn of civilization. The Thurmond book is great and there is another book that has just come out that I have not read yet, but I have it on order, called Sound in Motion. It seems that there is a cosmic flux in favor of books about phrasing now, GOOD NEWS, with mine in the works, too. How we eventually decide to use these notes eventually just boils down to style and taste. Maybe emphasis is too confining and limiting a term to use- kind of too crude to say what we need to say. In America the Beautiful, I'm sure we can all the think of different ways we have heard the piece sung and played, from classical to country to modern to unaccompanied free form. Its all about expression, and when you add music to the spoken word it does change things a bit. It might help to imagine a great orator giving those lines a little extra something, but the possibilities are numerous, whether it is speaking or with music. Isn't O a word or note- or both in this case, that you want to use to set the tone of this wonderful piece? It doesn't have to be emphasized per se., It just needs it due. What that is depends on the style or expression you are looking for. I can can see that note done on the casual side or with much expression, as in a gospel version, like the Amazing Grace that was posted recently. Either way it is a leading note, as you say. You just can't leave that note hanging- try it. It carries us into beau, which will get the natural emphasis of the strong beat as a thesis note. Ti is another arsis note that needs expressive weight (but not too much) as it leads to ful. In song, the syllables are part of the music and they take on different emphasis according to the music. Its like poetry. For leads to the thesis spa. Then the arsis cious goes to (thesis) skies. For to am (thesis) ber (arsis) waves thesis- but should be considered part of an arsis string that leads to grain.Of ends up as the most expressive note in the phrase. Partly because the composer chose to make it such as the highest note and a full quarter note and partly because it is a strong arsis or pickup to grain in the expressive scheme of things. Grain should be less than of, but we don't really have to try to make that real obvious because its position as the final thesis in this phrase gives it a natural emphasis. It is almost impossible not bring that note (of) out a little. Try suppressing it. It feels very uncomfortable. Imagine a conductor going along and slightly broadening of and signaling a slight fall off (diminuendo) to grain without losing the continuity and connection of the phrase. Or the composer might write it that way. That is one possibility and would be very expressive considering there is more to this song coming up that builds to a climax the next time around. Or you could go through more strongly instead. Possibilities abound. Musical, as in what is or isn't musical, is what speaks to us, as people. That is why we all love music so much. There are styles and some rules that are really just a common sense of the styles of the day or the composer, but its not cut and dry and it speaks to our feelings and humanity. In these times, we need all of that we can get. Actually, all of this is tempting me to make an little video about this example. Some things are really hard to express in just words. : ) Ok, gotta get back to work. Sincerely, Wendell Rider For information about my book, Real World Horn Playing, the DVDs and
[Hornlist] Porcine Passover Greetings!
Hello, Everyone. I got a big kick out of the website below. I think you all will, too. Cartoon Pigs wishing Passover Greetings http://frumhouse.blogspot.com/2007/03/pesach-greetings.html Bear Woodson Composer in Tucson, Arizona, USA Home: 520 - 881 - 2558 Bear Woodson [EMAIL PROTECTED] (from the respectful, fuzz-faced Gentile!) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Phrasing
As taught by Tabuteau, DeLancie, Fearn, etc. and examined to a great degree in Dr. Thurmond's book: General rules: Pick ups are strong, downbeats are weak, the following notes of the bar (or beat) go up through the last beat (or end of the subdivision), to the weakened downbeat of the next bar (or beat) unless it's the end and perhaps then you make it stronger as the peak of the phrase to give a feeling of finality. Also, the highest note of the phrase will sound like the peak unless you do something about it, namely weakening or cushioning that note and moving up to the rhythmic peak. This all has to do with the concept of making a line within the dynamic which is a way to make playing more interesting both to the musician at play and the audience. When there is a printed dynamic change such as a crescendo from P to F, it's pretty obvious what needs to be done, and if one does it, the composer's intentions hopefully get through. Some music doesn't have printed dynamics, or very general ones. Then you have more license for interpretation and the weakening/strengthening of beats and the direction of the phrasing becomes more important. It's also a way to help keep your air moving, which gives your chops a better chance to respond properly improving accuracy and articulations. When singing lyrics, you have to phrase with the lyrics, which can change the emphasis within the rhythm. I think playing is different, as there are no lyrics, unless you make some up in your head to help you phrase or keep good rhythm or something like that. For example, opening of Strauss 1: Here I stand, make a crack or a clam, don't despair use my air, just keep go-ing. or my teacher's (Prof. IMG's) words to Till: This poor horn play-er, this poor horn play-er, this poor horn play-er will-be-luck-y-if-he/she-does-'nt F*** this up! Or, the March to the Scaffold: Six-teenths are hard, 'spe-cial ly-when fol-low ing-the dot-ted eighth note! Herb, mention this to me at camp and I'll talk about it. This is much easier to explain in person (with demonstrations, perhaps), than to write about it here. KB In a message dated 4/19/2008 1:00:58 P.M. Eastern Daylight Time, [EMAIL PROTECTED] writes: message: 10 date: Fri, 18 Apr 2008 17:12:04 -0700 (PDT) from: Herbert Foster [EMAIL PROTECTED] subject: Re: [Hornlist] Re: Phrasing, was changing tone color Wendell, I have read your article and have looked at your video. I do thank you for your helping us. I don't think I have got it, though I think I know what you mean by arsis and thesis, which are new to me. It's Greek to me :-). For example when I perform America the Beautiful, I sing or play it as I would say it. That means that the pick-up notes O and for in O beautiful for spacious skies, are not emphasized, as I think I have heard teachers say. However, these are not just notes in the rhythm, but I think and perform them as leading into the following notes, which have more emphasis. Maybe that's what you mean, and I do get it. I have heard the next phrase performed as For amber waves OF grain. That's unmusical to me, though the of is the highest note. Herb Foster - Original Message From: Wendell Rider [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Friday, April 18, 2008 2:09:09 PM Subject: [Hornlist] Re: Phrasing, was changing tone color On Apr 18, 2008, at 10:00 AM, [EMAIL PROTECTED] wrote: message: 10 date: Fri, 18 Apr 2008 09:48:15 -0700 (PDT) from: Herbert Foster [EMAIL PROTECTED] subject: Re: [Hornlist] Changing tone color As well as being a fine teacher, Douglas is a singer, and he adds that perspective to his teaching. This brings up a question. We are taught not to de-emphasize pick- up notes, if not to emphasize them. However, when I am singing, pick-up notes are usually on weak syllables. How do I sing on the horn with these seemingly contradictory directions? Herb Foster Hi Herb, I'm not sure what you mean by weak syllables, so maybe this won't help, but pick-up notes and other weak beats are the most expressive notes in music. That is where all expression begins. This was part of what I was writing about in my article in the February Horn Call, if you have it, and what I demonstrated on the video that is now sitting on my web site. This goes back to the ancient Greeks and their poetry. When you set a piece or phrase in motion it is the weak beats or off beats or the weak parts of beats that control the space between the stronger or more static down beats. Its like starting to move your feet when you walk, run or dance. The first move you make sets the tempo for when the feet will come down again. Rhythm comes from what is in between the beats. The pick-up note sets the whole phrase in motion. Don't worry about syllables, if I catch your meaning. Get into the flow, which is
Re: [Hornlist] Re: Phrasing
I will add a couple of general things . Classical music is always either going to someplace or coming from someplace, plan your phrases accordingly. Conductors act as architects putting those phrases together to move as units to some place and away from it, so that each movement has a direction as a whole and direction for each phrase. Have a plan, all F's are not created equal, your movement or piece needs to have an apex. Be your own best conductor, once you have a plan for the phrases, make the movement or piece work as a whole. In terms of dynamics where you leave off a phrase is where you start the next phrase, unless there is a dynamic marking to tell you otherwise. Debbie Schmidt Tisch Center for the Arts ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Horn Digest, Vol 64, Issue 19
Hi Gang - yes it was me on the Schumann in St. Louis. I was just filling in on Principal Horn as the St. Louis Symphony is without one this season. They are a terrific bunch and a fabulous orchestra but I remain in Houston as Principal Horn and at Rice as Professor of Horn. This thread was getting to the point that rumors were starting and I don't want my subbing in St. Louis to be misconstrued, much as the 200 high C gag video that I did for the Peterson Project was. I still get grief from some about that. Wow! I am glad you enjoyed the concert. Bill William VerMeulen International Soloist and Recording Artist Professor of Horn - Rice University Shepherd School of Music Principal Horn Houston Symphony - Houston Symphony Chamber Players President - VerMeulen Music, L.L.C. 5327 Dora St. Houston, TX 77005-1817 (713) 520-7234 (713) 818-4459 Cellular [EMAIL PROTECTED] [EMAIL PROTECTED] On Apr 19, 2008, at 12:00 PM, [EMAIL PROTECTED] wrote: message: 4 date: Fri, 18 Apr 2008 13:06:08 -0500 from: Bruce Gordon [EMAIL PROTECTED] subject: [Hornlist] Re: Schumann in St. Louis It was Bill VerMeulen, who also excelled as principal in a fine section effort for SLSO's performance of Sinfonia Domestica a few months back. Bruce On Apr 18, 2008, at 12:00 PM, [EMAIL PROTECTED] wrote: from: Alex Camphouse [EMAIL PROTECTED] subject: [Hornlist] Schumann in St. Louis Hello horn world, Does anyone know who was playing Principal horn with St. Louis Symphony on Schumann 3 recently? I've had reports that whoever it was sounded great. Thanks. -- message: 6 date: Fri, 18 Apr 2008 12:43:10 -0700 (PDT) from: Nepthalie Villanueva [EMAIL PROTECTED] subject: Re: [Hornlist] Re: Schumann in St. Louis Is he a guest principal,I thought he is in Houston Symphony Nep Bruce Gordon [EMAIL PROTECTED] wrote: It was Bill VerMeulen, who also excelled as principal in a fine section effort for SLSO's performance of Sinfonia Domestica a few months back. Bruce On Apr 18, 2008, at 12:00 PM, [EMAIL PROTECTED] wrote: from: Alex Camphouse subject: [Hornlist] Schumann in St. Louis Hello horn world, Does anyone know who was playing Principal horn with St. Louis Symphony on Schumann 3 recently? I've had reports that whoever it was sounded great. Thanks. ___ - message: 7 date: Fri, 18 Apr 2008 15:51:59 -0400 from: Paul Mansur [EMAIL PROTECTED] subject: Re: [Hornlist] Re: Schumann in St. Louis This is news to me. Has Ver Meulen moved from Houston and Rice to St. Louis? Paul Mansur On Apr 18, 2008, at 2:06 PM, Bruce Gordon wrote: It was Bill VerMeulen, who also excelled as principal in a fine section effort for SLSO's performance of Sinfonia Domestica a few months back. Bruce On Apr 18, 2008, at 12:00 PM, [EMAIL PROTECTED] wrote: from: Alex Camphouse [EMAIL PROTECTED] subject: [Hornlist] Schumann in St. Louis Hello horn world, Does anyone know who was playing Principal horn with St. Louis Symphony on Schumann 3 recently? I've had reports that whoever it was sounded great. Thanks. ___ 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
