[Hornlist] Recent updates to hornplayer.net (6th May 2009)

[webmaster]

--
Looking for a professional quality used horn?
  www.hornsaplenty.com has your next horn
--



Updates to hornplayer.net since 23rd April 2009:


FRENCH HORNS FOR SALE - New adverts

Alexander 103 - Full Double - 5000 EUR ?
http://www.hornplayer.net/advert.asp?id=8844

Alexander 103MAL - Full Double - 5950 US $
http://www.hornplayer.net/advert.asp?id=8863

[Photo] Alexander 1103 - Full Double - 5599 EUR ?
http://www.hornplayer.net/advert.asp?id=8846

[Photo] Conn 6D - Full Double - 1000 US $
http://www.hornplayer.net/advert.asp?id=8854

[Photo] Conn 8D - Full Double - 2100 US $
http://www.hornplayer.net/advert.asp?id=8840

[Photo] Duerk D3 - Full Double - 5900 EUR �
http://www.hornplayer.net/advert.asp?id=8856

Hans Hoyer 6802N - Full Double - 3500 CDN $
http://www.hornplayer.net/advert.asp?id=8834

Holton H105 - Full Double - 4800 US $
http://www.hornplayer.net/advert.asp?id=8866

[Photo] Paxman Seria3 - Full Double - 2000 EUR �
http://www.hornplayer.net/advert.asp?id=8831

Ricco Kuhn 293 - Full Double - Offers US $
http://www.hornplayer.net/advert.asp?id=8857

[Photo] Yamaha  YHR-662  - Full Double - 1250 US $
http://www.hornplayer.net/advert.asp?id=8845

[Photo] Alexander 307 - Full Triple - 6000 US $
http://www.hornplayer.net/advert.asp?id=8842

Alexander  - Single F - 1400 EUR ?
http://www.hornplayer.net/advert.asp?id=8843

[Photo] Mönnig 5 valve Bb - Single Bb - 2000 EUR ?
http://www.hornplayer.net/advert.asp?id=8828

[Photo] Holton H-200 - Descant - Full Double - 2500 UK sterling
http://www.hornplayer.net/advert.asp?id=8851

[Photo] Lawson 8211 - Descant - Full Double - 9200 US $
http://www.hornplayer.net/advert.asp?id=8853

[Photo] Yamaha YHR-881 - Bb/A/f Alto Full Double - 3700 US $
http://www.hornplayer.net/advert.asp?id=8836

Henri Pourcelle Cor d'Orchestre - Natural horn - 3200 US $
http://www.hornplayer.net/advert.asp?id=8837

[Photo] Kalison Ancient  Reproduction - Natural horn - 2600 US $
http://www.hornplayer.net/advert.asp?id=8838

Laskey  75G, 775J - Mouthpiece Collection - 60 US $
http://www.hornplayer.net/advert.asp?id=8835

Various Various - Mouthpiece Collection - Offers US $
http://www.hornplayer.net/advert.asp?id=8830

Bach 3 - Mouthpiece - 15 US $
http://www.hornplayer.net/advert.asp?id=8861

E. Schmid 11.5 - Mouthpiece - 55 US $
http://www.hornplayer.net/advert.asp?id=8850

E. Schmid 6 - Mouthpiece - 55 US $
http://www.hornplayer.net/advert.asp?id=8849

E. Schmid 8 - Mouthpiece - 55 US $
http://www.hornplayer.net/advert.asp?id=8848

Holton MC - Mouthpiece - 15 US $
http://www.hornplayer.net/advert.asp?id=8859

Holton MDC - Mouthpiece - 40 US $
http://www.hornplayer.net/advert.asp?id=8858

Paxman 4-B - Mouthpiece - 40 US $
http://www.hornplayer.net/advert.asp?id=8862

Schilke 30C2 - Mouthpiece - 40 US $
http://www.hornplayer.net/advert.asp?id=8829

Yahama Thomas Bacon Signature - Mouthpiece - 40 EUR ?
http://www.hornplayer.net/advert.asp?id=8865


---
Halstead Music - The world's finest professionally tested horns
   www.halsteadmusic.co.uk
---


->  For a complete list of horns for sale, 
  visit http://www.hornplayer.net/advert.asp

->   Signup at http://groups.yahoo.com/group/hpn_new_adverts to get   <-
->   an email every time a new advert is added to hornplayer.net  <-


New and updated teacher listings:

Matthew B. Smith (USA, VA, Norfolk)
http://www.hornplayer.net/teachers.asp?rd=792

Sonja Reynolds (USA, UT, American Fork)
http://www.hornplayer.net/teachers.asp?rd=1324

Scott Hoehn (USA, CO, Greeley/Aurora)
http://www.hornplayer.net/teachers.asp?rd=29311

Matthew Haislip (USA, OH, Cincinnati)
http://www.hornplayer.net/teachers.asp?rd=3894

Roger Novak (USA, VA, Yorktown/Hampton/Newport News)
http://www.hornplayer.net/teachers.asp?rd=5007

Ieuan Davies (UK, Dorset, Bournemouth)
http://www.hornplayer.net/teachers.asp?rd=5139

Bruno Hiron (Portugal, Portugal, Lisbon)
http://www.hornplayer.net/teachers.asp?rd=7921

Egidijus Stanelis (Lithuania, LITHUANIA, VILNIUS )
http://www.hornplayer.net/teachers.asp?rd=13783

Mary P. Boudreault (USA, NC, Greensboro and Winston-Salem)
http://www.hornplayer.net/teachers.asp?rd=14037

Nick Wolny (USA, IL, Galesburg/Urbana)
http://www.hornplayer.net/teachers.asp?rd=14532

Kevin Miescke (USA, NV, Reno)
http://www.hornplayer.net/teachers.asp?rd=14874

Teno Ware (USA, FL, Melbourne)
http://www.hornplayer.net/teachers.asp?rd=18849

Kathleen Chang (Canada, Ontario, North Yor

Re: [Hornlist] Re: Horn Solo in Beatles "For No One"

[Martin Bender]

Au contraire, mon ami-- not if your name is Geoff Bryant!

Regards,
martin bender






On 5-May-09, at 8:02 PM, Carl Ek wrote:

Haha!  what recording studio is going to allow anybody, let alone a  
Hornist to:


a) arrive that late (in the presence of Sir Paul)
b) start fussing with a case and a jacket while the other musicians  
start playing.
c) bring a magazine for reading material and plop it down by his  
stand.
d) screw on his bell during recording only 30 seconds before his  
obligato solo.


This has got to be staged.  Although YouTube has some synch- 
problems, it certainly doesn't even look like he is playing.


Anyone who believes this is a real recorded take, I double dog dare  
you to try any of the above.
You're likely not going to be called back.  You'll be playing in  
Oxtongue Lake Studio 3 for Moose Chips.


Regards,
Carl Ek
MooseLip, Canada



Sarah Hogan pax25horn at aol.com
Sorry if this has already been posted...  For No One - in the studio,
on youtube.

http://www.youtube.com/watch?v=w5gwd3FvPYM&feature=related

Sarah Hogan
___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/embee%40magma.ca



___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Re: Horn Solo in Beatles "For No One"

[Steve Haflich]

valkh...@aol.com wrote:

   It may have been a situation where they didn't want to wait an extra minute 
for the horn player to get ready. If the guy can do it quietly while 
   they're  recording it wastes less time that way.

   To me it's highly plausible that he wasn't late, that he came in as they  
   went to the next song (without much of a rest if at all) and let him play. 
He 
seems to know how to get his horn together pretty quietly so that could be 
   a  clue.

I suspect there was some joke intention here.  Studio time is expensive,
but it is still worth to do a quick check of tuning and a sound check so
the horn doesn't clobber the strings.

More relevant to the earlier discussions about the pitch, note that the
recording (as it sounds on YouTube) is in Bb, not B.

  http://www.youtube.com/watch?v=w5gwd3FvPYM&feature=related

Even more interesting to us hornists is another McCartney solo-guiter
>performance that does not have a horn at all.  He does the horn part on
mouth kazoo, crossing his eyes and uttering the words "French horn" in
the middle.

  http://www.youtube.com/watch?v=nhXK3ktGZH4&feature=related

By the way, this performance is in C, as are some other YouTube
performances by McCartney where the horn part is done on synthesizer.
___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Re: Horn Solo in Beatles "For No One"

[Valkhorn]

 
It may have been a situation where they didn't want to wait an extra minute 
 for the horn player to get ready. If the guy can do it quietly while 
they're  recording it wastes less time that way.
 
To me it's highly plausible that he wasn't late, that he came in as they  
went to the next song (without much of a rest if at all) and let him play. He 
 seems to know how to get his horn together pretty quietly so that could be 
a  clue.
 
-William
 
In a message dated 5/5/2009 8:03:51 P.M. Eastern Daylight Time,  
car...@hotmail.com writes:

Haha!  what recording studio is going to allow anybody, let alone  a 
Hornist to:

a) arrive that late (in the presence of Sir Paul)
b)  start fussing with a case and a jacket while the other musicians start  
playing.
c) bring a magazine for reading material and plop it down by his  stand.
d) screw on his bell during recording only 30 seconds before his  obligato 
solo.

This has got to be staged.  Although YouTube has  some synch-problems, it 
certainly doesn't even look like he is  playing.

Anyone who believes this is a real recorded take, I double dog  dare you to 
try any of the above.
You're likely not going to be called  back.  You'll be playing in Oxtongue 
Lake Studio 3 for Moose  Chips.

Regards,
Carl Ek
MooseLip, Canada


 
**Remember Mom this Mother's Day! Find a florist near you now. 
(http://yellowpages.aol.com/search?query=florist&ncid=emlcntusyelp0006)
___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org

RE: [Hornlist] Baroque CD tips

[Adam Black]

Hi Robson,

Barry Tuckwell has a double CD called simply, "Horn Concertos". It is I think 
probably the best overall selection around of what you are looking for. It 
includes 4 concertos by Stich (Punto), along with concertos by Michael and 
Josef Haydn, Leopold Mozart, Forster, Telemann, Weber and Cherubini. You should 
be able to find it on amazon.

Cheers,

Adam Black
 
> Date: Tue, 5 May 2009 16:38:46 -0300
> From: robson.ad...@gmail.com
> To: horn@music.memphis.edu
> Subject: [Hornlist] Baroque CD tips
> 
> I know some great names like Barry Tuckwell, Hermann Baumann, Ifor James,
> Peter Damm, Zdenek
> Tylsar,
> but I still have just few horn CD’S...
> 
> 
> 
> Please help me to buy something very very good. I’m looking for baroque
> music CD’S (specially the really high horn concertos). What’s your favorite
> baroque CD? What’s the baroque CD that you still don’t have but you are
> looking forward to buy?
> 
> 
> 
> Thank you very much
> 
> 
> 
> Robson
> 
> 
> P.S. If one day you decided to buy trumpet CD’S just ask to me that I will
> give my humble and honest opinion.
> ___
> post: horn@music.memphis.edu
> unsubscribe or set options at 
> http://music2.memphis.edu/mailman/options/horn/adamblack65%40hotmail.com

_
Looking to change your car this year? Find car news, reviews and more
http://a.ninemsn.com.au/b.aspx?URL=http%3A%2F%2Fsecure%2Dau%2Eimrworldwide%2Ecom%2Fcgi%2Dbin%2Fa%2Fci%5F450304%2Fet%5F2%2Fcg%5F801459%2Fpi%5F1004813%2Fai%5F859641&_t=762955845&_r=tig_OCT07&_m=EXT___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Hoch

[Steve Freides]

What lovely singing from one of the legendary voices!  It's such a
shame that so many of today's singers seem obsessed with the
athleticism of producing a sound and care nothing for the music.

And lovely horn playing, too, of course.

-S-

On Tue, May 5, 2009 at 7:52 PM, Steven Mumford  wrote:
>
>
>    All this talk of high horns put me in mind of the video on You Tube of 
> Hermann Baumann playing the Quoniam from the B minor Mass on a single high G 
> horn.
>
> http://www.youtube.com/watch?v=I5DYhyiJtoE&feature=PlayList&p=7D02097020E7F21E&playnext=1&playnext_from=PL&index=10
>
> Sorry, the video seems a little out of sync, but the fingerings work out well 
> on the G horn.  If you try this on the more common single high F horn, many 
> of the trills are really inconvenient to finger.
>
> So, the question is, can anybody think of repertoire that would work well on 
> single high horns in other keys, for instance how about a single high D 
> horn?  Or single E?  Trumpet players seem to have a different key trumpet for 
> every day of the week.  I'm feeling deprived having only 2 or 3 keys to 
> choose from!
>
> - Steve Mumford
> ___
> post: horn@music.memphis.edu
> unsubscribe or set options at 
> http://music2.memphis.edu/mailman/options/horn/steve.freides%40gmail.com
>
___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org

[Hornlist] Re: Horn Solo in Beatles "For No One"

[Carl Ek]

Haha!  what recording studio is going to allow anybody, let alone a Hornist to:

a) arrive that late (in the presence of Sir Paul)
b) start fussing with a case and a jacket while the other musicians start 
playing.
c) bring a magazine for reading material and plop it down by his stand.
d) screw on his bell during recording only 30 seconds before his obligato solo.

This has got to be staged.  Although YouTube has some synch-problems, it 
certainly doesn't even look like he is playing.

Anyone who believes this is a real recorded take, I double dog dare you to try 
any of the above.
You're likely not going to be called back.  You'll be playing in Oxtongue Lake 
Studio 3 for Moose Chips.

Regards,
Carl Ek
MooseLip, Canada



Sarah Hogan pax25horn at aol.com 
Sorry if this has already been posted...  For No One - in the studio,  
on youtube.

http://www.youtube.com/watch?v=w5gwd3FvPYM&feature=related

Sarah Hogan
___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org

[Hornlist] Hoch

[Steven Mumford]

   All this talk of high horns put me in mind of the video on You Tube of 
Hermann Baumann playing the Quoniam from the B minor Mass on a single high G 
horn.  

http://www.youtube.com/watch?v=I5DYhyiJtoE&feature=PlayList&p=7D02097020E7F21E&playnext=1&playnext_from=PL&index=10

Sorry, the video seems a little out of sync, but the fingerings work out well 
on the G horn.  If you try this on the more common single high F horn, many of 
the trills are really inconvenient to finger. 

So, the question is, can anybody think of repertoire that would work well on 
single high horns in other keys, for instance how about a single high D horn?  
Or single E?  Trumpet players seem to have a different key trumpet for every 
day of the week.  I'm feeling deprived having only 2 or 3 keys to choose from!

- Steve Mumford 
___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org

[Hornlist] Re: NHR - rhythm lesson

[Carl Ek]

The way Snowball bounces up and down, the bird most definitely plays a woodwind 
instrument.

Regards,
Carl Ek


-
David Goldberg goldberg at wccnet.org writes:
Sun May 3 12:31:47 CDT 2009 
This guy puts everything he has into his rhythm - a good lesson for us 
chair-bound players.

http://www.youtube.com/watch?v=cJOZp2ZftCw
 


___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org

[Hornlist] Vince De Rosa Event in the Northwest

[Richard V. West]

Hornisti:

In the event this hasn't been posted yet, I send this along for your 
attention: Apologies for the double posting.


For those of us old crocks from the LA area (like me) who hung around 
the fringes of the LA Horn Club in the 1950s, this is a really nostalgic 
event.


Richard in Seattle

*“Tales from LA, a visit with Vincent DeRosa”*

This is very special in so many ways, I hope you can come. There aren’t 
many musicians left from this era of horn sound. Please come!!! And 
spread the word. Please let your students know.


Saturday, May 30^th 1 pm
Eugene, Oregon
Brass Society Hall
Corner of Franklin Blvd & Nugget Way
RSVP:p...@capehorncoffee.com 

Vince is now 88, but who’s counting. A chance to meet a legend you have 
heard all your life. Those glorious horn calls in cinema soundtrack, 
popular recording background and much more.Admission is limited:  
Donation is optional – a rose, a can of spaghetti sauce and a large bag 
of spaghetti [for the food bank, why not!1]


It is my treat and privilege to support this event. I do hope you can 
attend


*/Paul Leighton
/**/CapeHorn/Tristao/
email: p...@capehorncoffee.com 
Cape Horn Coffees, Inc.
1863 Pioneer Parkway E. #301
Springfield, OR  9747
Ph (541) 726 5282   (fax 5281)
**Mobile  (541) 914 5808*

___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] New Amsterdam Brass Band and the Tenor Horn

[Gareth Owen]

I play for my local (british) brass band on tenor horn, and the one  
thing i find that I have to control is the vibrato. Any slow piece,  
exposed melody or whatever, without a generous amount of vib the horn  
sounds dead and colourless. So i have to watch my lip when i switch  
back to curly horn that the vib doesn't dominate.

 It's well worth getting a mouthpeice adaptor, mind you.
Cheers

P.S. York make the best tenor horns about the place nowadays =]

Sent from my iPod

On 5 May 2009, at 08:18 PM, "CI"  wrote:


   Most tenor horns are, as you say, shithooks. There are, however, a
couple of manufacturers that do make good ones that can be played  
with good
intonation, but I don't now remember the brands as it has been many  
years
since I've played a tenor horn in the brass band. I used a shank  
adaptor and
played on my regular horn mouthpiece to the chagrin of the purists  
in the
group, but I was not about to ruin my horn playing. When I had an  
important

horn rehearsal or concert, I refused to play in the brass band the day
before so I didn't mess up my horn.

Loren Mayhew, Owner
Computer Intelligence LLC, dba
CI Music
c...@mayhews.us
www.mayhews.us/CI/Finke
001 (520) 289-0700

-Original Message-
From: horn-bounces+loren=mayhews...@music.memphis.edu
[mailto:horn-bounces+loren=mayhews...@music.memphis.edu] On Behalf Of
lewho...@yahoo.com
Sent: Monday, May 04, 2009 8:52 AM
To: The Horn List
Subject: Re: [Hornlist] New Amsterdam Brass Band and the Tenor Horn

Thank you Lawrence for your very insightful remarks on British Brass  
Bands.


I was invited to play Tenor in a newly established band in the  
Detroit area,

and I did one concert with the group. I can tell everyone that the
intonation on the Tenor Horn is horrendous! In this particular band,  
the

Solo Tenor Horn player also is an accomplished hornist, and during the
rehearsal we kept putting our heads together to get alternate  
fingerings to
get as Hans describes the Tenor Horn (in English) as a shithook,  
lol. Now I

know why he calls them that! I also can relate that the next day, my
slotting was off due to the differences of the mouthpiece. It was  
that fact

that persuaded me not to pursue playing any longer on a "shithook"!

I still enjoy the sound of a British Brass Band, and I am in the  
process of
hiring a very good one for a 65th Anniversary concert of D-Day for  
the city

that I am priviledged to serve as a member of the city's cultural
commission.

Walt Lewis
Walt
Sent from my Verizon Wireless BlackBerry


___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/gareth.owen01%40virgin.net

___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] New Amsterdam Brass Band and the Tenor Horn

[Lawrence Yates]

Hi Robson,

Maybe it's a national thing, certainly I've never come across that view of
the Wick mouthpiece (which is not to say that that view doesn't exist).  I
tend to equate them with Bach mouthpieces.

As a standard "catch-all" mouthpiece for young cornet players we normally
recommend a Wick 3 or 4, for trumpets, a Bach 7C.

Cheers,

Lawrence


-- 
Lawrenceyates.co.uk
___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] New Amsterdam Brass Band and the Tenor Horn

[Robson Adabo de Mello]

Some people even call Denis Wick "cookie cutter" mouthpieces. I tried just
once a Wick 2FL for my fluegelhorn, but to me the rim was uncomfortable. I
used a Monette B1-1 rim for everything and probably it's the roundest rim of
the market...maybe I'm not a reference.

If you get used with the rim for sure Wick mouthpieces are a great choice.

Robson

2009/5/5 Lawrence Yates 

> That's true, especially for the larger instruments Besson Sovereigns are
> very highly respected.
>
> The Denis Wick mouthpieces are very popular - they are deep but I would not
> consider the rims to be "sharp like a knife" at all.
>
> The "Denis Wick 4" cornet mouthpiece has saved many a failing young player
> from falling into the rubbish bin.
>
> Cheers,
>
> Lawrence
>
> 2009/5/5 Robson Adabo de Mello 
>
> > I’m not British, but I believe the top brands for a British Brass Band
> are:
> > Besson, Yamaha and Courtois. At least for cornet these brands represent
> the
> > pinnacle.
> >
> > Robson
> >
> > P.S. Curiosity: Almost everybody uses Denis Wick mouthpieces on a Brass
> > Band. They are deep and the rim is narrow and sharp like knife!
> >
>
> --
> Lawrenceyates.co.uk 
>  ___
> post: horn@music.memphis.edu
> unsubscribe or set options at
> http://music2.memphis.edu/mailman/options/horn/robson.adabo%40gmail.com
>
___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] New Amsterdam Brass Band and the Tenor Horn

[Lawrence Yates]

That's true, especially for the larger instruments Besson Sovereigns are
very highly respected.

The Denis Wick mouthpieces are very popular - they are deep but I would not
consider the rims to be "sharp like a knife" at all.

The "Denis Wick 4" cornet mouthpiece has saved many a failing young player
from falling into the rubbish bin.

Cheers,

Lawrence

2009/5/5 Robson Adabo de Mello 

> I’m not British, but I believe the top brands for a British Brass Band are:
> Besson, Yamaha and Courtois. At least for cornet these brands represent the
> pinnacle.
>
> Robson
>
> P.S. Curiosity: Almost everybody uses Denis Wick mouthpieces on a Brass
> Band. They are deep and the rim is narrow and sharp like knife!
>

-- 
Lawrenceyates.co.uk
___
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 77, Issue 5

[dalleyhn]

That is true. The composition is in B flat. The horn goes to high D, I think 
three times. The vinyl, typical of the practice in that era, was produced from 
a tape master that was sped up to inprone the 'brightness' of the recording. If 
you look at the vidio of the recording studio you can see the fingerings that 
the horn player used, which confirms the original pitches of the notes he 
played. Regards
___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] New Amsterdam Brass Band and the Tenor Horn

[Robson Adabo de Mello]

I’m not British, but I believe the top brands for a British Brass Band are:
Besson, Yamaha and Courtois. At least for cornet these brands represent the
pinnacle.



Robson


P.S. Curiosity: Almost everybody uses Denis Wick mouthpieces on a Brass
Band. They are deep and the rim is narrow and sharp like knife!


2009/5/5 CI 

>Most tenor horns are, as you say, shithooks. There are, however, a
> couple of manufacturers that do make good ones that can be played with good
> intonation, but I don't now remember the brands as it has been many years
> since I've played a tenor horn in the brass band. I used a shank adaptor
> and
> played on my regular horn mouthpiece to the chagrin of the purists in the
> group, but I was not about to ruin my horn playing. When I had an important
> horn rehearsal or concert, I refused to play in the brass band the day
> before so I didn't mess up my horn.
>
> Loren Mayhew, Owner
> Computer Intelligence LLC, dba
> CI Music
> c...@mayhews.us
> www.mayhews.us/CI/Finke
> 001 (520) 289-0700
>
> -Original Message-
> From: horn-bounces+loren=mayhews...@music.memphis.edu
> [mailto:horn-bounces+loren =mayhews.us@
> music.memphis.edu] On Behalf Of
> lewho...@yahoo.com
> Sent: Monday, May 04, 2009 8:52 AM
> To: The Horn List
> Subject: Re: [Hornlist] New Amsterdam Brass Band and the Tenor Horn
>
> Thank you Lawrence for your very insightful remarks on British Brass Bands.
>
> I was invited to play Tenor in a newly established band in the Detroit
> area,
> and I did one concert with the group. I can tell everyone that the
> intonation on the Tenor Horn is horrendous! In this particular band, the
> Solo Tenor Horn player also is an accomplished hornist, and during the
> rehearsal we kept putting our heads together to get alternate fingerings to
> get as Hans describes the Tenor Horn (in English) as a shithook, lol. Now I
> know why he calls them that! I also can relate that the next day, my
> slotting was off due to the differences of the mouthpiece. It was that fact
> that persuaded me not to pursue playing any longer on a "shithook"!
>
> I still enjoy the sound of a British Brass Band, and I am in the process of
> hiring a very good one for a 65th Anniversary concert of D-Day for the city
> that I am priviledged to serve as a member of the city's cultural
> commission.
>
> Walt Lewis
> Walt
> Sent from my Verizon Wireless BlackBerry
>
>
> ___
> post: horn@music.memphis.edu
> unsubscribe or set options at
> http://music2.memphis.edu/mailman/options/horn/robson.adabo%40gmail.com
>
___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org

[Hornlist] Baroque CD tips

[Robson Adabo de Mello]

I know some great names like Barry Tuckwell, Hermann Baumann, Ifor James,
Peter Damm, Zdenek
Tylsar,
but I still have just few horn CD’S...



Please help me to buy something very very good. I’m looking for baroque
music CD’S (specially the really high horn concertos). What’s your favorite
baroque CD? What’s the baroque CD that you still don’t have but you are
looking forward to buy?



Thank you very much



Robson


P.S. If one day you decided to buy trumpet CD’S just ask to me that I will
give my humble and honest opinion.
___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org

RE: [Hornlist] New Amsterdam Brass Band and the Tenor Horn

[CI]

Most tenor horns are, as you say, shithooks. There are, however, a
couple of manufacturers that do make good ones that can be played with good
intonation, but I don't now remember the brands as it has been many years
since I've played a tenor horn in the brass band. I used a shank adaptor and
played on my regular horn mouthpiece to the chagrin of the purists in the
group, but I was not about to ruin my horn playing. When I had an important
horn rehearsal or concert, I refused to play in the brass band the day
before so I didn't mess up my horn.

Loren Mayhew, Owner
Computer Intelligence LLC, dba
CI Music 
c...@mayhews.us
www.mayhews.us/CI/Finke
001 (520) 289-0700

-Original Message-
From: horn-bounces+loren=mayhews...@music.memphis.edu
[mailto:horn-bounces+loren=mayhews...@music.memphis.edu] On Behalf Of
lewho...@yahoo.com
Sent: Monday, May 04, 2009 8:52 AM
To: The Horn List
Subject: Re: [Hornlist] New Amsterdam Brass Band and the Tenor Horn

Thank you Lawrence for your very insightful remarks on British Brass Bands. 

I was invited to play Tenor in a newly established band in the Detroit area,
and I did one concert with the group. I can tell everyone that the
intonation on the Tenor Horn is horrendous! In this particular band, the
Solo Tenor Horn player also is an accomplished hornist, and during the
rehearsal we kept putting our heads together to get alternate fingerings to
get as Hans describes the Tenor Horn (in English) as a shithook, lol. Now I
know why he calls them that! I also can relate that the next day, my
slotting was off due to the differences of the mouthpiece. It was that fact
that persuaded me not to pursue playing any longer on a "shithook"!

I still enjoy the sound of a British Brass Band, and I am in the process of
hiring a very good one for a 65th Anniversary concert of D-Day for the city
that I am priviledged to serve as a member of the city's cultural
commission. 

Walt Lewis
Walt
Sent from my Verizon Wireless BlackBerry


___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Jasper Rees on NPR

[gbcondon]

Sorry, wrong post.  geoff


- Original Message - 
From: "Glick, Ed" 

To: 
Sent: Tuesday, May 05, 2009 11:11 AM
Subject: [Hornlist] Jasper Rees on NPR


I was recently in correspondence with Jasper Rees (author of "I Found My 
Horn"/"A Devil to Play")and he told me that about an upcoming appearance on 
NPR (National Public Radio. I thought that some of you might be interested 
in hearing it. This is what he sent me:


I thought I'd alert you to an interview I've done with the NPR music 
programme Studio 360 which will be posted on www.studio360.org and available 
as a podcast on iTunes from Thursday 7 May EST.  It will broadcast on 
American public radio stations across the country over the weekend - full 
station listing here: .studio360.org/listings. Health warning: I regret 
to say they made me take my horn to the studio. You may want to block your 
ears for that bit...


If you've read either edition of his book, you'll understand the reason for 
his "warning" in the last two sentences.


Ed Glick
___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/gbcondon%40charter.net 


___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Jasper Rees on NPR

[gbcondon]

ED
  Thanks for thinking of me. I forwarded the email to the local horn 
players. I am familiar with "A Devil to Play". One of the horn players in 
the community band is reading it currently. Sherry was in Hawaii two weeks 
ago. I was planning on getting the Mini on the road, paint and carpet the 
master bedroom. Needless to say, the bedroom was completed barely. I missed 
my coffee date with you guys. Work is extremely busy because of the low 
interest rates. Tell the guys to consider refinancing if it pens out. I have 
a ceiling fan that is being replaced in a bedroom. Do you want it for you 
shop?

  Hope all is well. How's the Morgan project?   geoff condon


- Original Message - 
From: "Glick, Ed" 

To: 
Sent: Tuesday, May 05, 2009 11:11 AM
Subject: [Hornlist] Jasper Rees on NPR


I was recently in correspondence with Jasper Rees (author of "I Found My 
Horn"/"A Devil to Play")and he told me that about an upcoming appearance on 
NPR (National Public Radio. I thought that some of you might be interested 
in hearing it. This is what he sent me:


I thought I'd alert you to an interview I've done with the NPR music 
programme Studio 360 which will be posted on www.studio360.org and available 
as a podcast on iTunes from Thursday 7 May EST.  It will broadcast on 
American public radio stations across the country over the weekend - full 
station listing here: .studio360.org/listings. Health warning: I regret 
to say they made me take my horn to the studio. You may want to block your 
ears for that bit...


If you've read either edition of his book, you'll understand the reason for 
his "warning" in the last two sentences.


Ed Glick
___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/gbcondon%40charter.net 


___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org

[Hornlist] Jasper Rees on NPR

[Glick, Ed]

I was recently in correspondence with Jasper Rees (author of "I Found My 
Horn"/"A Devil to Play")and he told me that about an upcoming appearance on NPR 
(National Public Radio. I thought that some of you might be interested in 
hearing it. This is what he sent me:

I thought I'd alert you to an interview I've done with the NPR music programme 
Studio 360 which will be posted on www.studio360.org and available as a podcast 
on iTunes from Thursday 7 May EST.  It will broadcast on American public radio 
stations across the country over the weekend - full station listing here: 
.studio360.org/listings. Health warning: I regret to say they made me take 
my horn to the studio. You may want to block your ears for that bit...

If you've read either edition of his book, you'll understand the reason for his 
"warning" in the last two sentences.

Ed Glick
___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org

[Hornlist] Re: Mendelssohn Nocturne

[Wendell Rider]

On May 5, 2009, at 8:41 AM, horn-requ...@music.memphis.edu wrote:


message: 14
date: Tue, 5 May 2009 16:17:19 +0100
from: Martin Grainger 
subject: Re: [Hornlist] Mendelssohn Nocturne

Just a figure of speech - "in anger" meaning "for real", in concert :)

Not looking for an absolute metronome mark - just that I have been  
told it
needs to be really quite slow in the theatre, although one can get  
away with

playing faster on the platform.  That's what I'm hoping anyway!

Any thoughts on using a bumper in the second section to play for a  
bar?  I

seem to remember doing this for somebody a few years ago...



Hi,
The tempo for this piece can vary quite a bit. Our local ballet  
company does a version where the solo is quite slow, but has sped up  
a bit over the years. When I first played it many years ago, the  
conductor did it in six!. To top that, part of the solo was repeated  
and then part was played later in the ballet. THAT was a grind, and  
we had to do two performances on some days. We did this recently and  
the tempo was better and no double days. I did have another player  
take a few notes for me. There were 4 horns there and 2 had nothing  
to do in that piece.
I would say that 62 would be slow, but it could happen. It is  
important to keep moving just for your own survival. Float your sound  
and phrase ahead so you don't get bogged down on the individual  
notes. Breathe in places appropriate to the speed. Don't get locked  
into a breathing pattern that won't work.
As far as using a bumper goes, I once saw a performance on TV with  
the Chicago Symphony where Clevenger took a lot of notes out or had  
his assistant finish notes so he could breath or get a slight rest.  
That was the most extreme use of an assistant that I have ever  
actually seen. I'm NOT saying that was a bad thing because he pulled  
it off beautifully and I have heard other things along that line with  
other players that would amaze the uninitiated.
If you do an audition and someone tells you to try it again at a  
different tempo, don't take it personally or assume that they are  
even right- if there is such a thing. Just do it. There is no one  
right tempo for this piece. You should be ready for anything. Just  
chalk it up to the wonderful world of musical expression, or in some  
cases, choreographers.

I hope this helps.
Sincerely,
Wendell Rider
For information about my book, "Real World Horn Playing", the DVDs  
and Regular and Internet Horn Lessons go to my website: http:// 
www.wendellworld.com



___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Mendelssohn Nocturne

[Lawrence Yates]

I've never had to play this for the ballet, but I'm told that in context you
have to play it all twice - once as a prelude and then immediately
afterwards, again for the dance.

I rarely work with dancers - I think the well known quote about children and
animals applies here too.

Cheers,

Lawrence

-- 
Lawrenceyates.co.uk
___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org

[Hornlist] Re: Horn Solo in Beatles "For No One"

[Brian Brown]

I hope we're not beating this subject to death, but I remember hearing this on 
vinyl about 20 years ago, and noticing that the key was between B-flat and B 
major. I don't remember the specific book I read on the subject, but apparently 
this happened on a few Beatles songs, as Paul's voice seemed to sound the best 
somewhere between those two keys.

Brian Brown



--

http://music2.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Mendelssohn Nocturne

[Martin Bender]

Hello Martin,

I've only performed this once, but I offer a couple of suggestions  
that may be of help.


The tempo is between you and the conductor, but mm. 69-72 should be  
about right; it's also "con moto" which, in my mind means "don't  
drag"-- think forward motion.


As for the second section, if I remember correctly, you have about  
21(?) bars rest before; empty your slide, breathe, and try to relax.  
Utilize the crescendos when ascending, as well as good breath support.


When practising, play the part the whole way through, counting the  
rests, and without stopping. Try and re-create a performance  
situation; I think that if you pace yourself appropriately, you will  
be pleasantly surprised, and probably be able to make it without the  
bumper's help.


Best wishes for a successful performance,
martin bender


On 5-May-09, at 11:17 AM, Martin Grainger wrote:


Just a figure of speech - "in anger" meaning "for real", in concert :)

Not looking for an absolute metronome mark - just that I have been  
told it
needs to be really quite slow in the theatre, although one can get  
away with

playing faster on the platform.  That's what I'm hoping anyway!

Any thoughts on using a bumper in the second section to play for a  
bar?  I

seem to remember doing this for somebody a few years ago...

2009/5/5 Jeremy Cucco 

Why are you doing it in anger?  I'd think for that piece, you'd  
want to be

at peace with yourself and in your happy place.

That being said, I think 63 is a tad slow.  For most orchestral  
settings, I

hear and usually play this at a comfortable Andante.  Of course, most
conductors let you set the tempo and this is accomplished within 1  
beat of
the beginning thanks to the clear rhythm at the beginning.  So be  
careful
that you practice your tempos well in advance and make sure that  
what you

give the maestro is what you really mean to give him/her.

Best of luck.
J.

Martin Grainger wrote:


Hi folks,

Looks like I have to play this soon, and it'll be the first time  
I've done
it in anger.  What's a typical tempo - I have 63-66 bpm in an  
excerpt

book,
does that seem about right?  I remember in a ballet audition a few  
years
back I got a tonguelashing for playing it too fast (typically they  
do it

slower on stage)!

Secondly, is there anywhere where you can get away with a bumper  
taking

the
weight off for a bar or so - I'm thinking of the second section,  
could do

with a couple of beats off before the high G#s... ;)

Cheers all,
Martin.
___
post: horn@music.memphis.edu
unsubscribe or set options at
http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com




___
post: horn@music.memphis.edu
unsubscribe or set options at
http://music2.memphis.edu/mailman/options/horn/martin%40distantthunder.co.uk





--
Martin Grainger
mar...@distantthunder.co.uk
___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/embee%40magma.ca



___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Mendelssohn Nocturne

[Martin Grainger]

Just a figure of speech - "in anger" meaning "for real", in concert :)

Not looking for an absolute metronome mark - just that I have been told it
needs to be really quite slow in the theatre, although one can get away with
playing faster on the platform.  That's what I'm hoping anyway!

Any thoughts on using a bumper in the second section to play for a bar?  I
seem to remember doing this for somebody a few years ago...

2009/5/5 Jeremy Cucco 

> Why are you doing it in anger?  I'd think for that piece, you'd want to be
> at peace with yourself and in your happy place.
>
> That being said, I think 63 is a tad slow.  For most orchestral settings, I
> hear and usually play this at a comfortable Andante.  Of course, most
> conductors let you set the tempo and this is accomplished within 1 beat of
> the beginning thanks to the clear rhythm at the beginning.  So be careful
> that you practice your tempos well in advance and make sure that what you
> give the maestro is what you really mean to give him/her.
>
> Best of luck.
> J.
>
> Martin Grainger wrote:
>
>> Hi folks,
>>
>> Looks like I have to play this soon, and it'll be the first time I've done
>> it in anger.  What's a typical tempo - I have 63-66 bpm in an excerpt
>> book,
>> does that seem about right?  I remember in a ballet audition a few years
>> back I got a tonguelashing for playing it too fast (typically they do it
>> slower on stage)!
>>
>> Secondly, is there anywhere where you can get away with a bumper taking
>> the
>> weight off for a bar or so - I'm thinking of the second section, could do
>> with a couple of beats off before the high G#s... ;)
>>
>> Cheers all,
>> Martin.
>> ___
>> post: horn@music.memphis.edu
>> unsubscribe or set options at
>> http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com
>>
>>
>>
> ___
> post: horn@music.memphis.edu
> unsubscribe or set options at
> http://music2.memphis.edu/mailman/options/horn/martin%40distantthunder.co.uk
>



-- 
Martin Grainger
mar...@distantthunder.co.uk
___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Mendelssohn Nocturne

[Jeremy Cucco]

Why are you doing it in anger?  I'd think for that piece, you'd want to 
be at peace with yourself and in your happy place.


That being said, I think 63 is a tad slow.  For most orchestral 
settings, I hear and usually play this at a comfortable Andante.  Of 
course, most conductors let you set the tempo and this is accomplished 
within 1 beat of the beginning thanks to the clear rhythm at the 
beginning.  So be careful that you practice your tempos well in advance 
and make sure that what you give the maestro is what you really mean to 
give him/her.


Best of luck.
J.

Martin Grainger wrote:

Hi folks,

Looks like I have to play this soon, and it'll be the first time I've done
it in anger.  What's a typical tempo - I have 63-66 bpm in an excerpt book,
does that seem about right?  I remember in a ballet audition a few years
back I got a tonguelashing for playing it too fast (typically they do it
slower on stage)!

Secondly, is there anywhere where you can get away with a bumper taking the
weight off for a bar or so - I'm thinking of the second section, could do
with a couple of beats off before the high G#s... ;)

Cheers all,
Martin.
___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com

  

___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org