[Hornlist] NHR, but horn-player related
Dear Hornlisters, If you are in the SW VIrginia/NW Tennessee area on Sunday May 10, you might be interested in the concert that Symphony of the Mountains is giving at 3 p.m. in Abingdon VA. The main event will be the Virginia premier of Knoxville composer William Mark Harrell’s Suite from The Stainless Banner. To quote from the orchestra's press release, "This work is representative of what may someday be a fully staged three act opera. It features seven extracted sections of music with readings from the old south and hymns from the old south. The music is a sonic commentary on text from speeches and letters as seen through the eyes of men and women who lived through the difficult time in our history known as the American Civil War." Mr. Harrell plays horn in both the Knoxville Symphony Orchestra and Symphony of the Mountains. The opening piece on the program will be my Serenade for Orchestra, written a few years ago to commemorate the 25th Anniversary of the Petersburg (VA) Symphony Orchestra. Its third movement, "Poplar Lawn Waltz" (named for a park in Petersburg) is an orchestral rewrite of what was originally a duet for horn and clarinet. To follow up on another recent thread, in both the score and parts the horn parts appear as "Horn in F" and have key signatures :-) Interesting that there should be two pieces on the program written by horn players.. Emory Waters **Big savings on Dell’s most popular laptops. Now starting at $449! (http://pr.atwola.com/promoclk/100126575x1222382499x1201454962/aol?redir=http:%2F%2Fad.doubleclick.net%2Fclk%3B214663472%3B36502367%3Bg) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Konzertstück in Washington DC
Klaus, I've been assured today that the Marine Band website is not blocked. We have data showing that it is often accessed from Germany. Maybe you should try from another computer? Peter, I agree, the horn players for the NSO should be listed on their site. I expect the concert program at the hall will list them. Gabe ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] How Horn Parts Are Written Today
Okay, Okay. Boy you guys are quick. I forgot to go from concert pitch to transposed pitch so yes, 1 flat. G minor concert is D minor horn part which is indeed a single flat. I hope that people understood the gist of my note. Paxmaha From: Steve Haflich To: The Horn List Sent: Thursday, May 7, 2009 7:42:34 PM Subject: Re: [Hornlist] How Horn Parts Are Written Today David A. Jewell wrote: I think we have hit on the necessary distinction here. If it is an original classical, romantic, or baroque composition, then use the appropriate keyed horn part and leave the accidentals to the player. If it is a 20th or 21st century horn part, use Horn in F and the appropriate key signature. For example, if the composition is in G minor, then write 2 flats in the key signature and leave the accidentals for specific changed notes. Duh, I agree with the sentiment, but I think you meant to write: If the composition is in G minor, then write an F horn part (sounding a 5th lower than written) with a key signature of one flat. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] How Horn Parts Are Written Today
David A. Jewell wrote: I think we have hit on the necessary distinction here. If it is an original classical, romantic, or baroque composition, then use the appropriate keyed horn part and leave the accidentals to the player. If it is a 20th or 21st century horn part, use Horn in F and the appropriate key signature. For example, if the composition is in G minor, then write 2 flats in the key signature and leave the accidentals for specific changed notes. Duh, I agree with the sentiment, but I think you meant to write: If the composition is in G minor, then write an F horn part (sounding a 5th lower than written) with a key signature of one flat. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] How Horn Parts Are Written Today
At 4:36 PM -0700 5/7/09, David A. Jewell wrote: If it is a 20th or 21st century horn part, use Horn in F and the appropriate key signature. For example, if the composition is in G minor, then write 2 flats in the key signature and leave the accidentals for specific changed notes. Excuse me, but wouldn't only one flat be required? -- Carlberg Jones Skype - carlbergbmug Cornista - Orquesta Sinfónica de Aguascalientes Aguascalientes, Ags. MEXICO All original material copyright 2009 © Carlberg Jones ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] How Horn Parts Are Written Today
I think we have hit on the necessary distinction here. If it is an original classical, romantic, or baroque composition, then use the appropriate keyed horn part and leave the accidentals to the player. If it is a 20th or 21st century horn part, use Horn in F and the appropriate key signature. For example, if the composition is in G minor, then write 2 flats in the key signature and leave the accidentals for specific changed notes. Paxmaha From: Conja Summerlin To: The Horn List Sent: Thursday, May 7, 2009 6:44:28 PM Subject: Re: [Hornlist] How Horn Parts Are Written Today I agree with Richard although i am partial to only accidentals, like how Tchaikovsky wrote for horn. Never write a standard French horn part for horn in "D, E-flat, C or B-flat, etc. (although some marching band parts are written for horn in b-flat although on looking back I wish my band director had given me only horn in f-parts and reminded me it was just playing with the "thumb down"). This directive does not apply to British Brass Band Tenor Horns, modern pieces for Natural Horn or if you're scrawling out a horn part in C that needs to be handed to the horn player *RIGHT NOW*. Conja On Thu, May 7, 2009 at 4:55 PM, wrote: > This from a long time HS band director who now teaches HS orchestra and > plays horn in lots of different types ensembles playing a large variety of > musical types including classical orchestras. > > Unless you have a clear musical reason to do otherwise, write for horn in > F and use an appropiate key signature. Most players will prefer that. If > you write for horn in any other key, treat it like a natural horn part and > do not use a key sig. > > > Richard Smith > > > > > I know that traditionally horn parts are written with no key signature > > and the horn player transposes, e.g., for a piece in Concert D, the > > part would be written for Horn in D and the player would down a minor > > third (or however else one chooses to do this). > > > > Do modern composers sometimes score for horns as they do for other > > instruments, e.g., they'd write a piece for Horn in D with the key > > signature of 3 sharps so that the player could read the "normal" Horn > > in F way and get the right notes to come out? > > > > I'm curious as to which way a currently working classical composer > > might choose to do this - I suspect the answer is "both" or "it > > depends on the composer" but I'd like to have some idea of, today, how > > prevalent one way or the other is. The reason I ask is that the > > person who last night asked about Wagner Tubas is a composition major, > > and I figure I might also explain how to write for French Horn. > > > > Thank very much in advance. > > > > -S- > > ___ > > post: horn@music.memphis.edu > > unsubscribe or set options at > > http://music2.memphis.edu/mailman/options/horn/music%40rgsmithmusic.com > > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/conja.summerlin%40gmail.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] How Horn Parts Are Written Today
I agree with Richard although i am partial to only accidentals, like how Tchaikovsky wrote for horn. Never write a standard French horn part for horn in "D, E-flat, C or B-flat, etc. (although some marching band parts are written for horn in b-flat although on looking back I wish my band director had given me only horn in f-parts and reminded me it was just playing with the "thumb down"). This directive does not apply to British Brass Band Tenor Horns, modern pieces for Natural Horn or if you're scrawling out a horn part in C that needs to be handed to the horn player *RIGHT NOW*. Conja On Thu, May 7, 2009 at 4:55 PM, wrote: > This from a long time HS band director who now teaches HS orchestra and > plays horn in lots of different types ensembles playing a large variety of > musical types including classical orchestras. > > Unless you have a clear musical reason to do otherwise, write for horn in > F and use an appropiate key signature. Most players will prefer that. If > you write for horn in any other key, treat it like a natural horn part and > do not use a key sig. > > > Richard Smith > > > > > I know that traditionally horn parts are written with no key signature > > and the horn player transposes, e.g., for a piece in Concert D, the > > part would be written for Horn in D and the player would down a minor > > third (or however else one chooses to do this). > > > > Do modern composers sometimes score for horns as they do for other > > instruments, e.g., they'd write a piece for Horn in D with the key > > signature of 3 sharps so that the player could read the "normal" Horn > > in F way and get the right notes to come out? > > > > I'm curious as to which way a currently working classical composer > > might choose to do this - I suspect the answer is "both" or "it > > depends on the composer" but I'd like to have some idea of, today, how > > prevalent one way or the other is. The reason I ask is that the > > person who last night asked about Wagner Tubas is a composition major, > > and I figure I might also explain how to write for French Horn. > > > > Thank very much in advance. > > > > -S- > > ___ > > post: horn@music.memphis.edu > > unsubscribe or set options at > > http://music2.memphis.edu/mailman/options/horn/music%40rgsmithmusic.com > > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/conja.summerlin%40gmail.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Konzertst?ck in Washington DC
Very exciting. I am planning on being in the Washington, D.C. area a week or so too late to hear either of these performances. I find it interesting, though I'm not sure what it means, that the NSO doesn't think that the horn players deserve mention by name anywhere on their website. Reminds me of the Thieleman/Philharmonia and Gardiner/OAE recordings on DG a few year back. Would Yo-Yo Ma (to pick a name totally at random) put up with this sort of treatment? Even the violist in Harold in Italy always gets credit in the program just below the maestro. As Mr. Dangerfield put it - I(we) get no respect. Peter Hirsch >message: 15 >date: Thu, 7 May 2009 05:23:02 -0700 (PDT) >from: Gabriel Gitman >subject: [Hornlist] Konzertst?ck in Washington DC > >In an unlikely coincidence, the Schumann Konzertst=FCck is being played twi= >ce this month in DC. Area horn players may already know about the NSO's up= >coming program: >http://www.kennedy-center.org/nso/calendar/index.cfm?fuseaction=3DshowEvent= >&event=3DNJCST > >My organization, "The President's Own" United States Marine Band, is giving= >its own rendition this Sunday at NOVA Alexandria campus. It will be this = >Sunday at 2, and will feature our own members, MGySgt Max Cripe, SSgt Dougl= >as Quinzi, GySgt Greta Richard, and MSgt Amy Horn. As with all our perform= >ances, tickets are free. Here's the program for the concert: >http://www.marineband.usmc.mil/SEE_A_PERFORMANCE/weekly_program.htm#pgm1 > >SSgt Gabriel Gitman=0A=0A=0A > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] How Horn Parts Are Written Today
This from a long time HS band director who now teaches HS orchestra and plays horn in lots of different types ensembles playing a large variety of musical types including classical orchestras. Unless you have a clear musical reason to do otherwise, write for horn in F and use an appropiate key signature. Most players will prefer that. If you write for horn in any other key, treat it like a natural horn part and do not use a key sig. Richard Smith > I know that traditionally horn parts are written with no key signature > and the horn player transposes, e.g., for a piece in Concert D, the > part would be written for Horn in D and the player would down a minor > third (or however else one chooses to do this). > > Do modern composers sometimes score for horns as they do for other > instruments, e.g., they'd write a piece for Horn in D with the key > signature of 3 sharps so that the player could read the "normal" Horn > in F way and get the right notes to come out? > > I'm curious as to which way a currently working classical composer > might choose to do this - I suspect the answer is "both" or "it > depends on the composer" but I'd like to have some idea of, today, how > prevalent one way or the other is. The reason I ask is that the > person who last night asked about Wagner Tubas is a composition major, > and I figure I might also explain how to write for French Horn. > > Thank very much in advance. > > -S- > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/music%40rgsmithmusic.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] How Horn Parts Are Written Today
CI wrote: There are occasional, but nowadays rare, occurrences of horn parts composed in a key other than F; I cannot imagine what you mean by "composing" a part in a key other than F. It is true that most modern horm _parts_ are _written_ in F transposition, regardless whether the composer's working score notated them in concert pitch or in F transposition. The original question focussed on key signatures. Some modern horn parts hold to the old tradition of writing without key signatures (which can mean a lot of accidentals) but I believe it is more common to write tonal works in F transposition with the proper key signature. I certainly would rather read a tonal piece with a part notated with a key signature than read a part slobbered with zillions on accidentals that should have been in the key signature. Regardless of other current practices, everyone shold know that the excellent copyists and part writers working for Broadway and similar genres generally use key signatures in horn parts. It makes good sense, and anyone who wants to earn some beer money working in those areas better be able to read fluently in 5 or 6 sharps. Sharp happens... ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re:[Hornlist] Acoustical studies
The idea that adding weight to the valve cap of the change valve on an 8D makes the horn project better is confirmed by Jim Patterson (http://www.hornworks.com/), who makes a "Magic Disc" insert for the 8D change valve, fitting just under the valve cap. Various top players, including Tony Halstead and Steve Durnin, confirm that the disc does improve focus, at least for them. Jim also told me that using the disc on other valves on an 8D has little or no effect, which also agrees with Dave Weiner's experience. It seems to me the disc might be even more effective than extra weight in the valve cap, because it not only adds weight but rigidity, by essentially making the top plate over the valve, the valve cap, and the disc act like one unit (the disc fits tightly under the cap). I have no idea why this seems to work. Dave's theory that energy is lost from the standing wave into the casing of the valve seems quite plausible. There may also be another effect -- if the valve casing actually vibrates, it may cause the node point for various notes to move back and forth slightly, causing a kind of fuzziness in the shape of the wave throughout the horn. This in turn could cause the wave front to leave the horn (project from the bell) not all at once for each cycle, but in a series of slightly offset stages. Adding mass to the valve casing could clean up the shape of the wave throughout. The reason that adding mass seems to work for the change valve on the 8D but not other valves may have to do with the small size of the change valve, or simply with its placement within the horn. Of course, this is pure speculation on my part, and I would love to see some acoustic studies done on the subject, or to hear from Cabbage or Bob Pyle on the matter. Chris Earnest ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: How Horn Parts Are Written Today
At 11:22 AM -0400 5/7/09, r...@horn.pro wrote: My two cents on How Horn Parts Are Written Today. If the composer is writing score in C then the horn part is best written in alto clef. I think the composers score should reflect the theory of the piece accurately, but the performance parts should be written in the most easy to read way. While alto clef is certainly easy to read, in fact, a piece of cake, I, personally prefer either baritone clef (which is great because one can use either an F clef sign or a C clef sign) or mezzo-soprano clef. French violin clef may be confused with treble clef, so I recommend composers avoid it except for violinists in France. -- Carlberg Jones Skype - carlbergbmug Cornista - Orquesta Sinfónica de Aguascalientes Aguascalientes, Ags. MEXICO All original material copyright 2009 © Carlberg Jones ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: How Horn Parts Are Written Today
My two cents on How Horn Parts Are Written Today. If the composer is writing score in C then the horn part is best written in alto clef. I think the composers score should reflect the theory of the piece accurately, but the performance parts should be written in the most easy to read way. Richard Burdick ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Acoustical studies
- Message from i...@brassarts.com - ... Someone else suggested a scientific study. A great idea, but who is willing to pay for it? Well, I believe that our rich beloved premier Berlusconi would be delighted to pay ;-) Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Yamaha and e-brass silent mutes
>> Have any of you tried any/both of these two mutes? Do you have any additional information about these mutes? How do they compare? Any = comments much appreciated.= << Gareth, the original Silent Brass and the e-Brass were both designed by Shinji Hamanaga, who has owned his own company, Best Brass, since 1999. He also makes the Warm-Up, which is purely acoustic, as you know. My experience has been that most players who buy the electronic versions end up abandoning use of the electronics and use both the Silent Brass and the e-Brass as acoustic silencing mutes. You may wish to save your money and buy the less expensive Warm-Up. -- Regards, Dave Weiner Brass Arts Unlimited ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Acoustical studies
>> Do you have any theories as to why adding weight on the valve caps appears to make a difference? << Oh, yes. Theories, I have in abundance. Proof, I have none. The question is, what makes an efficient instrument? Each instrument design has its own myriad ways (variables) to be either efficient or inefficient. Weight can do a few different things at different points. So, why should added weight on the valve casings via the caps "lock in" the overtone series? Why would it amplify the standing wave? My guess (purely a guess) is that there is so much reflection of the standing wave going on in the valves that energy is lost through the rotor (which floats in the lubricant and can move) into the casing. The heavy caps cause resistance and less energy is lost. Especially on the 8D, that small 4th valve casing could lose a lot of energy from the rotor. Hence, a heavier cap on the change valve of an 8D has a more noticeable salutary effect than on the other rotors. On Geyer/Knopf style horns, the change valve is usually the same size, or almost as large as, the other rotors. Adding a heavy cap there may make no more difference than anywhere else. Someone else suggested a scientific study. A great idea, but who is willing to pay for it? -- Regards, Dave Weiner Brass Arts Unlimited ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] How Horn Parts Are Written Today
There are occasional, but nowadays rare, occurrences of horn parts composed in a key other than F; in my experience this happens in hand-written parts for a special event, such as a local musical, that are performed once and never published. Only horn parts written or printed in the key of F or Eb (band music) will have sharps and flats. Parts in other keys (D, A, G B, Bb, C etc.) are always natural keys with no sharps and flats in the key signature, but they can and often do contain accidentals within the phrasing. I suppose someone will be delighted to post an exception to what I've said above, but that has been my experience. 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 Steve Freides Sent: Thursday, May 07, 2009 5:47 AM To: The Horn List Subject: [Hornlist] How Horn Parts Are Written Today I know that traditionally horn parts are written with no key signature and the horn player transposes, e.g., for a piece in Concert D, the part would be written for Horn in D and the player would down a minor third (or however else one chooses to do this). Do modern composers sometimes score for horns as they do for other instruments, e.g., they'd write a piece for Horn in D with the key signature of 3 sharps so that the player could read the "normal" Horn in F way and get the right notes to come out? I'm curious as to which way a currently working classical composer might choose to do this - I suspect the answer is "both" or "it depends on the composer" but I'd like to have some idea of, today, how prevalent one way or the other is. The reason I ask is that the person who last night asked about Wagner Tubas is a composition major, and I figure I might also explain how to write for French Horn. Thank very much in advance. -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/loren%40mayhews.us ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] How Horn Parts Are Written Today
Most self respecting classically trained composers forego key signatures for horn players period - the wisdom of this has been proven for time immemorial. c >>> Steve Freides 5/7/2009 8:47 AM >>> I know that traditionally horn parts are written with no key signature and the horn player transposes, e.g., for a piece in Concert D, the part would be written for Horn in D and the player would down a minor third (or however else one chooses to do this). Do modern composers sometimes score for horns as they do for other instruments, e.g., they'd write a piece for Horn in D with the key signature of 3 sharps so that the player could read the "normal" Horn in F way and get the right notes to come out? I'm curious as to which way a currently working classical composer might choose to do this - I suspect the answer is "both" or "it depends on the composer" but I'd like to have some idea of, today, how prevalent one way or the other is. The reason I ask is that the person who last night asked about Wagner Tubas is a composition major, and I figure I might also explain how to write for French Horn. Thank very much in advance. -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/cwilhjelm%40pascack.k12.nj.us ( http://music2.memphis.edu/mailman/options/horn/cwilhjelm%40pascack.k12.nj.us ) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] How Horn Parts Are Written Today
I know that traditionally horn parts are written with no key signature and the horn player transposes, e.g., for a piece in Concert D, the part would be written for Horn in D and the player would down a minor third (or however else one chooses to do this). Do modern composers sometimes score for horns as they do for other instruments, e.g., they'd write a piece for Horn in D with the key signature of 3 sharps so that the player could read the "normal" Horn in F way and get the right notes to come out? I'm curious as to which way a currently working classical composer might choose to do this - I suspect the answer is "both" or "it depends on the composer" but I'd like to have some idea of, today, how prevalent one way or the other is. The reason I ask is that the person who last night asked about Wagner Tubas is a composition major, and I figure I might also explain how to write for French Horn. Thank very much in advance. -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Konzertstück in Washington DC
Is the marine band site blocked for foreign access? I cannot enter that site, whereas I have seen no problems with the navy, army, or air force band sites. Klaus inDK --- On Thu, 5/7/09, Gabriel Gitman wrote: > From: Gabriel Gitman > Subject: [Hornlist] Konzertstück in Washington DC > To: horn@music.memphis.edu > Date: Thursday, May 7, 2009, 2:23 PM > > In an unlikely coincidence, the Schumann Konzertstück is > being played twice this month in DC. Area horn players > may already know about the NSO's upcoming program: > http://www.kennedy-center.org/nso/calendar/index.cfm?fuseaction=showEvent&event=NJCST > > My organization, "The President's Own" United States Marine > Band, is giving its own rendition this Sunday at NOVA > Alexandria campus. It will be this Sunday at 2, and > will feature our own members, MGySgt Max Cripe, SSgt Douglas > Quinzi, GySgt Greta Richard, and MSgt Amy Horn. As > with all our performances, tickets are free. Here's > the program for the concert: > http://www.marineband.usmc.mil/SEE_A_PERFORMANCE/weekly_program.htm#pgm1 > > > SSgt Gabriel Gitman > > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/yorkmasterbbb%40yahoo.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Wagner Tuba - range
Thank you, Jonathan and Francois, for this information - just what I was looking for. -S- On Thu, May 7, 2009 at 6:52 AM, Jonathan West wrote: > 2009/5/7 Steve Freides : >> One of my students, who had seen both a Wagner opera and Bruckner >> symphony within the past week, mistakenly assumed I knew something >> about Wagner Tubas. I don't, so we looked online together and learned >> a few things. The one thing I wasn't sure of was the register - we >> found mention of a Bb and an "F basso" - are both of these an octave >> _lower_ than a normal French Horn? I had assumed that the register >> was the same and not lower. A short list of what's the same and >> what's different would be great, assuming a Bb/F double Wagner tuba. >> > > The Tenor (Bb) Wagner tuba has the same length of tubing as a Bb side > of a double horn. The Bass (F) Wagner Tuba has the same length of > tubing as the F side of a double horn. Modern instruments are often > built as F/Bb double tubas. Because of the wider bore, they tend to be > less secure on higher notes. > > The way in which the transpositions are written out in the parts is by > modern standards rather idiosyncratic, and does vary depending on the > composer and the work. For instance, In the Bruckner symphonies, the > parts are written as 2 tenor tubas in Bb, (written in Bb basso), and 2 > bass tubas in F (written In F basso, i.e. sounding an octave and a > fifth below written pitch). Wagner himself used three different and > incompatible notations in the course of the Ring. So you have to check > carefully what the intended transposition is when you come across a > tuba part. > > Regards > Jonathan West > ___ > 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] Konzertstück in Washington DC
In an unlikely coincidence, the Schumann Konzertstück is being played twice this month in DC. Area horn players may already know about the NSO's upcoming program: http://www.kennedy-center.org/nso/calendar/index.cfm?fuseaction=showEvent&event=NJCST My organization, "The President's Own" United States Marine Band, is giving its own rendition this Sunday at NOVA Alexandria campus. It will be this Sunday at 2, and will feature our own members, MGySgt Max Cripe, SSgt Douglas Quinzi, GySgt Greta Richard, and MSgt Amy Horn. As with all our performances, tickets are free. Here's the program for the concert: http://www.marineband.usmc.mil/SEE_A_PERFORMANCE/weekly_program.htm#pgm1 SSgt Gabriel Gitman ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Wagner Tuba - range
2009/5/7 Steve Freides : > One of my students, who had seen both a Wagner opera and Bruckner > symphony within the past week, mistakenly assumed I knew something > about Wagner Tubas. I don't, so we looked online together and learned > a few things. The one thing I wasn't sure of was the register - we > found mention of a Bb and an "F basso" - are both of these an octave > _lower_ than a normal French Horn? I had assumed that the register > was the same and not lower. A short list of what's the same and > what's different would be great, assuming a Bb/F double Wagner tuba. > The Tenor (Bb) Wagner tuba has the same length of tubing as a Bb side of a double horn. The Bass (F) Wagner Tuba has the same length of tubing as the F side of a double horn. Modern instruments are often built as F/Bb double tubas. Because of the wider bore, they tend to be less secure on higher notes. The way in which the transpositions are written out in the parts is by modern standards rather idiosyncratic, and does vary depending on the composer and the work. For instance, In the Bruckner symphonies, the parts are written as 2 tenor tubas in Bb, (written in Bb basso), and 2 bass tubas in F (written In F basso, i.e. sounding an octave and a fifth below written pitch). Wagner himself used three different and incompatible notations in the course of the Ring. So you have to check carefully what the intended transposition is when you come across a tuba part. Regards Jonathan West ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
