[Hornlist] Lost in Translation?
Having lived abroad and seen well meaning funny translations, I get amused easily with this kind of thing. Here a page of horn descriptions: http://muinstrum.com/french-horns/ For example, the Conn 11DS Symphonic: Flawless craftsmanship and unexampled chant by means of the next features: francis scott key of F/Bb (reversible), Geyer-style, .468 tire, 12 medium-throat yellowed memorial tablet drive in ship's bell, tapering rotors and charges, and open varnish goal. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Horn Digest, Vol 64, Issue 19
Now I'm dying to know what Bill's 200 High C Project is... Orlando ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2. memphis.edu/mailman/options/horn/pandolfi%40deerfield.edu ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Pick-up notes
It seems to me that most melodies can have words added to them. I'm sure many of us do this when trying to teach our students how we want them to phrase or to illustrate the emotional content. A singer has to have a very clear picture of the entire phrase before he starts, especially the emphasis points to which the breath leads. If the libretto has been set effectively, the stressed syllables will fall on the strong beats, and the words with the most emotive content will have the longest duration and be sung with a mezza di voce i.e. slight swell (emphasis on slight, NOT twah-twah), to make sure that the air continues to move forward rather than become static. Pick-up notes aren't thrown away, but neither are they goals in a phrase, the strong beats and sustained notes are the goals, and appogiaturae are especially important points of stress to which the air must lead and blossoom through. Frequently, students make the highest note of the phrase the goal or are confrontational about the first note regardless of its relative weight in the overall phrase, thus leading to interpretations that frequently put the em-PHA-sis on the wrong syl-LA-bel, which only serves to inhibit technical execution. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Phrasing
Debbie reminds us, Classical music is always either going to someplace or coming from someplace ... And sometimes both; the end of one phrase can also be the beginning of the next phrase which makes for some interesting mental gymnastics. Please refer to David Kaslow's book, With Aspirations High for a succinct discussion of phrasing principles. Loren Mayhew, Owner Computer Intelligence LLC, dba CI Music [EMAIL PROTECTED] www.mayhews.us/CI/Finke 001 (520) 289-0700 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Phrasing
Very well said, Debbie! -S- -Original Message- From: Debbie Schmidt [mailto:[EMAIL PROTECTED] Sent: Saturday, April 19, 2008 11:06 PM To: The Horn List Subject: 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/steve%40fridays computer.com No virus found in this outgoing message. Checked by AVG. Version: 7.5.524 / Virus Database: 269.23.2/1387 - Release Date: 4/19/2008 11:31 AM ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Pick-up notes
In teaching a group of beginners (10-11 year olds) their first solo (required) for SE as 6th graders at Collierville (TN) Middle School, the beginning introduces them to syncopation - well actually, there is an exercise in the Time for Band book that precedes it. So we sing: Sen Sa' tion al, sen SA' tion al, syn co pot ta' to, I like ap-ple pie. After they can sing that, we sing: one and' and 3 (4), one and' and 3 (4); one and'(2) and'(3) four, one' and two and three'(4). This goes on for the entire piece. The first group I taught helped me make up the words. This inductive learning works well because many, if not most, of the kids coming from Memphis and Shelby County elementary schools have had Orff music, and learn rhythm patterns related to words. For example, four 16th notes = Mis'-si-sip-pi. I have even had older students sing words for rhythm patterns they are having difficulty with. For example, the triplets in the Haydn 2nd Horn concerto, Mvt. 3, are very easy to play as 2 16th notes followed by an 8th note, so they sing one-lol-ly or lo-ly-pop or some word with 3 syllables of equal length with emphasis on the first syllable. It is also nice to equate rhythm patterns to nursery rhymes or commonly known poetry. Just make certain the words aren't too silly or some of these kids will get the giggles every time they think of the words that correlate to the rhythm. I have only had the giggles get too much and on that one occasion, 3 8th grade girls got so tickled and they could not play their trio at SE. Fortunately, their judge loved laughter and let them return and play; they earned a one and learned a lesson at the same time about the ability to control their giggles. She or he gave them 6 minutes to come back with their emotions under control. Just one teacher's use of word to teach rhythm - it has worked for me, but there are many other ways I am certain. Ellen Manthe, DMA On 4/20/08 8:23 AM, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote: It seems to me that most melodies can have words added to them. I'm sure many of us do this when trying to teach our students how we want them to phrase or to illustrate the emotional content. A singer has to have a very clear picture of the entire phrase before he starts, especially the emphasis points to which the breath leads. If the libretto has been set effectively, the stressed syllables will fall on the strong beats, and the words with the most emotive content will have the longest duration and be sung with a mezza di voce i.e. slight swell (emphasis on slight, NOT twah-twah), to make sure that the air continues to move forward rather than become static. Pick-up notes aren't thrown away, but neither are they goals in a phrase, the strong beats and sustained notes are the goals, and appogiaturae are especially important points of stress to which the air must lead and blossoom through. Frequently, students make the highest note of the phrase the goal or are confrontational about the first note regardless of its relative weight in the overall phrase, thus leading to interpretations that frequently put the em-PHA-sis on the wrong syl-LA-bel, which only serves to inhibit technical execution. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/ellenmanthe%40earthlink.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] 200 High C Project
Now I'm dying to know what Bill's 200 High C Project is... http://www.thepetersonproject.com/ look for season 1 episode Vermeulen Horn Crew. -Jay ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Pick-up notes
___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Phrasing
Kendall, I didn't understand this. How do you equate the bar with the entire phrase. Or am I misdefining bar. Ron In a message dated 4/19/2008 9:11:11 P.M. Eastern Daylight Time, [EMAIL PROTECTED] writes: 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. **Need a new ride? Check out the largest site for U.S. used car listings at AOL Autos. (http://autos.aol.com/used?NCID=aolcmp0030002851) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Phrasing
___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Flute,Horn Piano plus--
If anyone's interested, I have a piece for flute, clarinet, horn and piano called Island In The Sun --pub. by Media Press (www.mediapressinc.com)It seems to be selling well and getting some performances here and there. Also have some quintets +piano and a Cappricio for solo horn. Well, just blowing my own horn, as it were. Regards to all Otto Henry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Lost in Translation?
Whoa! Now I know where to go for all my aberrant lineament instrumentate needs. The strange thing is that when you go look at the More info... pages, it makes sense, as if it were translated from English to Chinese and back by some bad translation software. The domain name registration is anonymized through a Swiss registrar, and they make you enter a code to see the ordering page, which I'm guessing was stolen from someone and protected from searchbots with said code. If you hover on what looks like links to reputable places, you see that it will redirect you to the other sites through kqzyfj.com, which I wouldn't trust to end happily, either. John Baumgart -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Dennis Herrick Sent: Sunday, April 20, 2008 8:20 AM To: 'The Horn List' Subject: [Hornlist] Lost in Translation? Having lived abroad and seen well meaning funny translations, I get amused easily with this kind of thing. Here a page of horn descriptions: http://muinstrum.com/french-horns/ For example, the Conn 11DS Symphonic: Flawless craftsmanship and unexampled chant by means of the next features: francis scott key of F/Bb (reversible), Geyer-style, .468 tire, 12 medium-throat yellowed memorial tablet drive in ship's bell, tapering rotors and charges, and open varnish goal. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/john.baumgart%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
