Re: [Hornlist] Partials (hitting the fundamental)

[Benno Heinemann]

Ray & Sonja Crenshaw wrote:
Good morning, Benno,
Good morning to you, too!

Have you the audacity to doubt my veracity, and to insinuate that I am 
engaged insidiously
with wanton prevarication?
No, I was just being fictitious.

My tongue was
firmly out-of-cheek when I described such sounds as "facetious,"
Sorry, I mistakenly assumed you wrote it inadvertently for "factitious", 
a word often used for notes which don't really exist on an instrument 
but the exact meaning of which isn't entirely clear to me.


I don't know this word "faecetious" but have to wonder if it's a non-American English
spelling of the same word I employed. 

In a way you are right, the American spelling of this word (which does 
not appear in any dictionary) would be "fecetious"


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

Re: [Hornlist] Partials (hitting the fundamental)

[Benno Heinemann]

Ray & Sonja Crenshaw wrote:
Trumpets do not play pedal tones, they play facetious notes,

As opposed to the Bass Trombone which plays faecetious notes?
And the Mukkinese Battle Horn which plays Fictitious notes?
I wonder if you meant this seriously?
best Wishes,
Benno

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

Re: [Hornlist] Re: transposition

[Benno Heinemann]

I have only ever seen horn parts (also very old ones) for the Royal 
Fireworks Music which are written as sounding (or an octave higher to be 
exact) with 2 sharps in the key signature and marked "horn in C" (But 
always played on D Horns).

If I understand you properly you are seeing this for the first time 
which means you are jolly lucky considering the length and breadth of 
your horn playing career.

But anything is possible in the land of unlimited opportunities in which 
you live.

Or are you saying you have been given proper D-horn parts for the first 
time? I know transposed parts are more common in the US, but usually into F.

Didn't Lawrence Yates mention this strange aberration recently on one of 
the lists?

best Wishes,
Benno Heinemann

Paul Mansur wrote:
  We
apparently had a new score and parts for the Haendel Royal Fireworks 
music.  I suspect this is a new score from Luck's Music Library.  The 
parts in the score are all in concert pitch, which is the key of D.  The 
printed parts are exactly as they appear in the score.  Thus, the horn 
parts are printed in the key of D and marked for "Horn in C."   The 
original was printed in C and we play that one in D horn.   This one 
threw me seven ways from Sunday and  could not play in D horn properly.  
Drove me NUTS!I'd dearly like to have the old original part written 
in C so I could play in D horn.
I strongly suspect someone decided on parts without consulting original 
orchestration; maybe a computer nut with Finale or Sibelius but no 
musical background.  I could have gone another 50 years without seeing 
this one!

Frustrated:   Paul Mansur
___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de


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

Re: [Hornlist] Alexander wins German award

[Benno Heinemann]

The 503 is indeed a good horn. They have made a few mainly cosmetic 
improvements to it since it was introduced, but it is more or less the 
same instrument as before.
Although concieved as a student instrument, it is played by quite a few 
pros as well. The principal horn player in Wuppertal has just got one 
and sounds very good on it.
I was living near Mainz a few years ago and had the opportunity to play 
on several for quite a while. I found them very consistent, though the 
sound quality was not as smooth as I would like it when playing loud and 
high.
I believe they are mostly built by apprentices which bodes well for the 
future of German horn building. Especially if, as appears to be a trend 
currently, more Alexander-trained craftsmen set up on their own as builders.

best Wishes,
Benno

[EMAIL PROTECTED] wrote:
Hello to all,
this is my first posting to this list so please excuse me if I do something 
wrong...
Surfing the Alexander web site (www.gebr-alexander.com) I saw that they already 
won a high German award for their entry level model 503 this year - again.
Isn't it quite interesting that they have succeeded with the same model after 
ten years? Does that mean, that other manufacturers cannot compete with 
Alexander - even with a ten year old horn? Or do you think that Alexander has 
developed the model a lot further since 1995?
Since this award is organised by the German federal Ministry of Trade and 
Commerce I assume that the result is really a serious proof for Alexanders 
quality.
Anyhow - if anybody of them is listening here - I draw my hat (do you say that 
in English?) and congratulate for this huge success - and will hurry to test 
this obviously magnificent horn.
What do you think?

Verschicken Sie romantische, coole und witzige Bilder per SMS!
Jetzt neu bei WEB.DE FreeMail: http://freemail.web.de/?mc=021193
___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de

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

Re: [Hornlist] visiting bremen

[Benno Heinemann]

Roscoe,
It would certainly be informative and entertaining if you visited 
Finke's shop if you have time.
I would also be interested to hear about it if you tried some Thein 
horns. I have seen pictures of them and they have a very unorthodox 
wrap. I should like to hear how people find them to play.

best Wishes and a pleasant stay in Germany,
Benno
Johannes Finke wrote:
Dear Roscoe,
 

I live not far from Bremen, only about 1 1/2 hours drive or by train. 

There is a professional orchestra in Bremen and there should be a couple of
other hornplayers , professional + amateurs around.
The temperatures in Bremen are almost never very cold. Right now, we have
temperatures around 45 fahrenheit and some rain. It can be around freezing
point and even a little less around the time when you come. The main problem
is the humidity which let you feel much colder.
There are two shop directly in Bremen, one is Thein, the other is Laetsch,
latter one`s speciality are trombones . You are also very welcome to visit
our shop and I could give you and collegues a tour and try some instruments.
Greetings, Johannes Finke
 

 

 

Johannes Finke
Finke GmbH & Co
Industriestr. 17
32602 Vlotho
Germany
phone : +49 5228 323
fax  : +49 5228 7462
cell : +49 176 22032 724
e-mail :   [EMAIL PROTECTED]
www.finkehorns.de
 

 

___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de

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

Re: [Hornlist] Rant!

[Benno Heinemann]

Did I just write that? Shame on my Head!
"om boo shure" with a French "r"
as in "bouche" which is French and means "mouth"


Benno Heinemann wrote (to his eternal shame):
For my ear it's "om bow shure"
Or "for my taste" if you prefer(,) Cabbage.
Paul Mansur wrote:
Excuse the double post, but I want this rant to go out to all on both 
lists.  I am amazed at how many folk talk about "embrochure"!   How 
would you pronounce this word?   The word is EMBOUCHURE and is 
pronounced "ahm bow shure" or "ahm boo shure" or something like that.  
The middle syllable has no R in it, please.

CORdially, but barely so,  Mansur's Answers
___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de


___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de


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

Re: [Hornlist] Rant!

[Benno Heinemann]

For my ear it's "om bow shure"
Or "for my taste" if you prefer(,) Cabbage.
Paul Mansur wrote:
Excuse the double post, but I want this rant to go out to all on both 
lists.  I am amazed at how many folk talk about "embrochure"!   How 
would you pronounce this word?   The word is EMBOUCHURE and is 
pronounced "ahm bow shure" or "ahm boo shure" or something like that.  
The middle syllable has no R in it, please.

CORdially, but barely so,  Mansur's Answers
___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de


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

Re: [Hornlist] Horn Article - tired arms

[Benno Heinemann]

Those little things are murder. And they can be addictive. I still get 
twinges of tendonitis if I have been clicking a lot on the mouse. A 
problem which only arose, and quickly became quite severe, when I 
started using a Gyrotwister. Recovery has been slow, and may never be 
complete.

It is possible that they may, if used properly, be of some benefit. It 
is a certainty that they can lead to serious injury and pain if used to 
excess or without caution.

There are many more conventional exercises to build up strength in the 
arms which do not carry the same risk.

best Wishes for 2005,
Benno
David Goldberg wrote:
Regarding the problem of fatigue from playing off-knee, you might like to
build up your arm strength by using a Wrist Exercise Ball (a/k/a Wrist
Roller).  This is the most amazing little device, especially for
physicists to try to explain.
It is fundamentally a gyroscope that you feed energy by making small wrist
and arm movements in synch with its rotation(s).  As the gyro resists your
motion you get A LOT of exercise.  The box even mentions that it is
beneficial for musicians.
If you Google for it a lot of websites will come up, and you will see
prices at about $20 or the equivalent in British pounds.  But I stumbled
on Circuit City's website where they sell for $7.99.  I just bought some
for gifts, and now I see on the website that they are on sale for $4.99.
I am so bummed.  Check it out at:
http://www.circuitcity.com/ccd/productDetail.do?oid=100551&com.broadvision.session.new=Yes&ct=0&BV_SessionID=2147045275.1104535159&BV_EngineID=ccdkadddhhmdmmdcfngcfkmdffhdffo.0

{  David Goldberg:  [EMAIL PROTECTED]  }
{ Math Dept, Washtenaw Community College }
 { Ann Arbor Michigan }
___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de

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

Re: [Hornlist] Differences between Ganter and Pizka classic

[Benno Heinemann]

Isn't an Alphorn completely conical? Or near-enough?
Benno.
[EMAIL PROTECTED] wrote:
Even the hunting horns in E-flat  (the really big coiled hunting horns),
to be played with open bell, have a larger fraction of the instrument in
cylinder dimensions and not tapered.
This is, as you recognized, to produced an acceptable row of partials.
But even then, the higher partials from c3 (16th) tend to be sharp.
If you play a completely conical (taper) straight horn like the smaller
sino-tibetan horns in Yuennan (pictures from last summer to come on my
home page soon, incl. video clips), you would find that they are not
suited as musical instruments, but rather as noise maker tools, as the
intonations runs out of control because of the full taper.
==
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of Ray &
Sonja Crenshaw
Sent: Friday, December 31, 2004 5:02 AM
To: horn@music.memphis.edu
Subject: [Hornlist] Differences between Ganter and Pizka classic

On another note...

Good one!
***
...what is the reason for having a cylindrical
tubing section on the horn?

Paul, you're asking, "Why the straight tubing?" but let's turn your
question around and
ask, instead, "Why the tapers?"
Not that I know a lot about this but, from what I've read, the tapers of
the leadpipe and
bell-branch (follow the bell backwards 'til you get to the valve
section; that's the bell
taper) are what allow the "in-tune" overtones to be blown... as opposed
to the unsavory
overtones of a straight tube.
A garden hose is straight tubing, no tapers. When you play the hose (cut
the it about 12.5
feet long, stick your mouthpiece in and play... I do) you'll notice that
the overtones are
not true. There are short octaves and all sorts of wretched intonation
problems between
the intervals. I'm currently reading a book on how a French horn plays
the way it does.
That is, "in tune" (for the most part). The book is a physics/acoustics
tome, and it
explains this (partially) by using the laws of physics, and it says
these beginning and
ending tapers "trick" these otherwise funky overtones into thinking
they're being blown in
a tube designed especially for them.
On the "Vienna Horn" page of Andrew Pelletier's website, his article
states that, "the
cylindrical tubing (in the middle part of the horn) gives stability to
the pitch," or
something like that. Look up the page and read it and you'll find some
interesting tidbits
to whet the appetite. It says elsewhere on Andrew's site that he studied
hornbuilding at
length with Richard Seraphinoff, so perhaps this is where he got the
information.
***
...would it not be feasible to build a horn with the
taper continuing throughout the entire F/Bb side?

Logically, the valve section would have to be cylindrical. If you
extended the taper
through, for instance, the 1st valve slide, what would you do when you
got to the 2nd
valve? But if, indeed, the cylindrical tubing in the middle of the horn
adds pitch
stability, then you might not want a continually tapered horn. Never
having seen or played
a natural horn, it occurs to me to ask if any of them are continually
tapered from
beginning to end. And if so, how well does such an arrangement play?
I am intensely interested in all this stuff, but the only people who
will talk to me are
the ones with the same questions I have. I reckon it's a closed shop.
jrc in SC
___
post: horn@music.memphis.edu
unsubscribe or set options at
http://music.memphis.edu/mailman/options/horn/hans%40pizka.de
___
post: horn@music.memphis.edu
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de

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

Re: [Hornlist] Bells Up

[Benno Heinemann]

Oh!!

Can't wait!




On 30.11.2004 20:08 Uhr, "Ken Crawley" <[EMAIL PROTECTED]> wrote:

> Bells Up was/is a loose American interpretation of the German term
> "schmetternd" -- which translates as "blaring"

___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Re: Videos of lip motion while playing

[Benno Heinemann]

I think Kiekser is onomatopaeic. It is like saying "fyaa" or "sploo". So it
means a note which sounds like "kieks" which is the sound made by a new born
chick for example. Singers and other wind players say it too.


Best Wishes.

Benno


On 19/11/04 10:24 pm, "Ray and Sonja Crenshaw" <[EMAIL PROTECTED]>
wrote:

> What is a good DIRECT translation of the word? For instance, "clam"
> doesn't directly mean "cracked note," but we employ it as a metaphor. I'm
> wondering what the real meaning of "Kiekser" is.

___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] RE: Christian Lindberg

[Benno Heinemann]

I was playing a concert in Berlin in the Konzerthaus a few weeks ago, and
happened to glance in the concert preview book for the coming season of the
Berlin Symphony Orchestra, the resident orchestra there. I was somewhat
astonished to read that someone called Sergei Nakariakov was booked to play
Strauss' 2nd concerto on the Flügelhorn later in the season. I wonder what
this sounds like, and what other pieces he has in his repertoire.

Perhaps he asks the hornplayers in the orchestra to play the low D in the
last movement which cannot normally be played on the Flügelhorn.

On the subject of Lindbergh's Mozart recordings, I own the CD of the
so-called Hornbone Concertos which includes some tongue in cheek pseudo
historical justification for the recordings in the accompanying booklet.

Whilst the performances cannot be described as particularly unmusical as
regards tempo and phrasing, Lindbergh's alto trombone sounds to me too much
like an Eb tenor "dog" horn to make the CD worth listening to for the
pleasure which one normally gets from listening to Mozart horn concertos.

It is an interesting novelty to put on at parties and ask people to guess
who the horn player is, but to me it is not less perverse or unnecessary
than playing the pieces on violin or 'cello.


On the subject of 'cello, I see the Beethoven Orchestra in Bonn, Germany has
in it's chamber music program this season the Brahms Trio being played with
a 'cello and the Schumann Adagio und Allegro being played twice. Once with
English Horn and once with 'Cello. All versions authorised by the composers,
but still a shame considering how many fine horn players there are working
in that city.

best Wishes,

Benno



On 30.10.2004 8:23 Uhr, "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> wrote:

> 
> Would this be Sergei Nakariakov?
> 
> -William
> 
> In a message dated 10/29/2004 11:23:08 PM Pacific Daylight Time,
> [EMAIL PROTECTED] writes:
> 
> There is  a Russian trumpet soloist, travelling with prominent orchestras
> &  playing the Gliere Horn concerto. It sounds not as a horn as well  as
> Lindbergs trombone. If reviewers like their sound better than most  horn
> sounds it would either say that they never heard a true horn sound  or
> that the horn sound they heard was to bad to match the trombone sound  at
> least. Why not recording it with cello or violin, to make it  more
> pervers.
> 
> 
> 
> ___
> post: [EMAIL PROTECTED]
> unsubscribe or set options at
> http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de
> 

___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Theoretical Minor Keys?

[Benno Heinemann]

Hello,

Tuba players who have learned in Brass bands only to play from Eb treble
clef parts, when confronted with bass clef in C often transpose the part by
reading for Eb treble clef and adding 3 sharps to the key signature, a
practise which can theoretically result in as many as 10 sharps in the key
signature. Although they would be advised to learn bass clef properly, some
don't and can be quite successful playing this way and become well
acquainted with such extreme "theoretical" keys. A good ear and a full
knowledge of scales and arpeggios must help.

Just an example of some musicians who have a practical use for these keys.

best Wishes,

Benno


On 29.10.2004 14:28 Uhr, "Steve Freides" <[EMAIL PROTECTED]> wrote:

> These "odd" keys are not totally unheared of in music, and one doesn't have
> to think too hard to find example of why.  For instance, composers often
> move to the parallel major from minor and versa vice.  If a piece in Gb
> major moves to the parallel minor, while you probably aren't looking at a
> key _signature_ of 9 flats, you're certainly playing in that key.
> 
> There's a Schubert "musical moment", I think it's Opus 96, for piano, in
> which the piece starts in the key of Ab major, has a section in Ab minor,
> and then moves to F-flat major.  Fortunately for us all, Schubert, or at
> least his editors, changed the key signature to E-major instead at that
> point so one doesn't have to read in 8 flats but, frankly, the music _is_
> really in the key of 8 flats there.  And this is but one example.
> 
> I don't think the idea of visiting key signatures with more than seven
> sharps or flats is at all out of line but I likely wouldn't make students
> responsible for these keys signatures; instead, I'd make them responsible
> for up to 7 sharp and up to 7 flats, and then go over a few more places
> around the circle of fifths in class so that everyone understood the point
> of what was possible, just in case they ever need to think in one of those
> odd keys.  And as to your original question of key signatures for these
> keys, I confess that if I''ve ever seen them, I don't remember it.
> 
> -S- 
> 
>> -Original Message-
>> From: 
>> [EMAIL PROTECTED]
>> [mailto:[EMAIL PROTECTED]
>> du] On Behalf Of [EMAIL PROTECTED]
>> Sent: Thursday, October 28, 2004 11:19 PM
>> To: [EMAIL PROTECTED]
>> Subject: [Hornlist] Theoretical Minor Keys?
>> 
>> I'm doing a quickie music theory worksheet where we have to
>> go through and rapidly write down all the minor key
>> signatures based on the note letter given.
>>  Pretty simple really, you are given a 'd minor' for example
>> and you write down  one flat on any given clef.
>>  
>> However there are quite a few typos, which seems to me like
>> they just randomly put out note names without thinking about
>> whether or not there truly is  a minor key for some note names.
>>  
>> The three typos that are showing up are d flat, c flat, and g
>> flat minor.  
>> Well those typically aren't found on the general circle of
>> fifths anywhere as any true minor key signature. A quick way
>> to find any minor key mentally is to add three flats to any
>> given key signature (it works for me), and when you get  to
>> five flats you just go back to the beginning of the flat
>> cycle, where five  flats plus three flats is back to the
>> first flat, b flat, and so on.
>>  
>> Now using the rule where the minor key is the sixth degree of
>> the tonic,  you will only be able to find the minor keys for
>> which the sixth degree of a major scale is actually in a
>> scale. D flat, C flat, and G flat are not in  the sixth
>> degree of any major scale. If you use the rule where you go
>> up/down  three half steps for minor to major (and vice versa
>> respectively), you still do not end up with a viable key
>> signature. With d flat you end up with an E,  but an E has C#
>> as its minor key, not D flat. With c  flat you end up D, but
>> D's sixth degree is not c flat, it is b. The same  goes with
>> g flat. Three half steps up from that yeilds an A, which has
>> an F# as  it's key signature.
>>  
>> So I'm wondering, with those three trouble notes I wonder if
>> you could theoretically go through the 'add three flats' rule
>> and double flat Bb, Eb,  and Ab for these troublesome
>> 'pseudo-minor-keys'.
>>  
>> I'd have to physically write these theoretical key signatures
>> down and see if the minor scale progression actually works,
>> but I'm wondering if anyone has already done this, and could
>> tell me what their findings were.
>>  
>> It really makes you think... and thankful that double flat
>> and double sharp key signature aren't used as far as I know of.
>>  
>> -William
>> ___
>> post: [EMAIL PROTECTED]
>> unsubscribe or set options at
>> http://music.memphis.edu/mailman/options/horn/steve%40fridaysc
> omputer.com
> 
> ___
> post: [EMAIL PROTECTED]
> unsubscribe or s

Re: [Hornlist] American Horn Quartet in Dallas, Nov. 1

[Benno Heinemann]

This link is a bit more informative:

http://www.kerryturner.com/event


On 24.10.2004 22:49 Uhr, "[EMAIL PROTECTED]" <[EMAIL PROTECTED]>
wrote:

> Ms. Poling,
>Do you know if they're touring or what? Any additional concerts?
> Michael Rogers
> ___
> post: [EMAIL PROTECTED]
> unsubscribe or set options at
> http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de
> 

___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] American Horn Quartet in Dallas, Nov. 1

[Benno Heinemann]

The following link gives some not terribly specific information about the
AHQ's schedule:


http://www.hornquartet.com/upcoming.html


bW,

Benno

On 24.10.2004 22:49 Uhr, "[EMAIL PROTECTED]" <[EMAIL PROTECTED]>
wrote:

> Ms. Poling,
>Do you know if they're touring or what? Any additional concerts?
> Michael Rogers
> ___
> post: [EMAIL PROTECTED]
> unsubscribe or set options at
> http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de
> 

___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Another Oddball eBay Special

[Benno Heinemann]

That horn reminds me of this instrument which I had in my possession for a
few days several years ago.

http://people.freenet.de/bennoheinemann/horn3a.jpg

I hope the link works!


It is also made in Germany by a gentleman partly responsible for the design
of several far-eastern student horns of above average quality and ingenuity.

I believe there were only two or perhaps three ever built. One (the one
pictured- gold brass) belonging to the maker himself and another (yellow) to
Maurice Temple. A third was planned but may not have been made.

The idea was to minimise weight and air resistance and thus to emulate to a
certain degree the characteristics of the natural horn. It seemed to me
successful in this endeavour. Perhaps this new horn more so. I wonder if it
is from the same builder?
Certainly it is not he who is selling it, otherwise it would not be in
Vienna, and the english would be better!

best Wishes,

Benno



On 24.10.2004 21:01 Uhr, "Alan Cole" <[EMAIL PROTECTED]> wrote:

> Nice looking oddball horn.  Check out...
> 
> http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=16215&item=3757250739&r
> d=1 
> 
> 
> -- Alan Cole, rank amateur
>   McLean (Fairfax County), Virginia, USA.
> 
> ___
> post: [EMAIL PROTECTED]
> unsubscribe or set options at
> http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de
> 

___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Pinky Hook, Ducks Foot, or Hand Strap

[Benno Heinemann]

Hello,

When it was mentioned once before on this list, I decided to try dispensing
with pinky ring and flipper. I find a leather hand-guard (cut down to the
minimum necessary breadth and with a sheet of plastic underneath to protect
the metal from perspiration) to be an ideal and cheap solution.

Possibly the weight distribution of many instruments may detract from the
practicability of having no support devices apart from tape or leather. I'd
be interested to hear which models of instrument those play who do this.
I have done it on my Dürk D3 with success but have yet to try it on my
Paxman 20.

On the subject of uncomfortableness, my worst experience was with the
pinky-hook which Paxman puts on its horns as standard. It appears to be
stamped out of sheet metal and has an almost sharp edge which cut into my
finger leaving a deep ridge. Removing this could only be an improvement!

best Wishes,

Benno



On 23.10.2004 0:02 Uhr, "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> wrote:

> 
> Just my two cents, but why not try no strap, no pinky ring, and no ducks
> foot? It's not for everyone but I think it's worth giving a shot if you
> haven't  
> done so already.
> 
> I find that once the left hand has nothing to hold on to except for the  horn
> that my endurance is much higher, since it's much harder to use pressure to
> force anything. Plus, it makes fingering things a lot simpler because for
> anything with the third finger you can move your pinky freely. Since  the
> fourth 
> finger is directly attached to the third finger and pinky  by tendons at the
> base of the finger, this helps to help quicken  the fourth finger greatly.
> 
> I remember an old friend of mine who used to call the ducks foot an octave
> key. Once you start employing the bad habit of using it to apply much more
> pressure, its easy to see why that name can be fitting at times.
> 
> Of course, if you switch from a support arm or strap on your horn to none  at
> all it will take some getting used to. At least it did for me when I did the
> switch.
> 
> -William
> 
> In a message dated 10/22/2004 2:14:41 PM Pacific Daylight Time,
> [EMAIL PROTECTED] writes:
> 
> Over the  years, I've tried each of the above 3 mechanisms for holding the
> horn. If  you think about the anatomy of the hand, it seems the most stupid
> thing in  the world to support the weight of the instrument by the pinky -
> even  resting the bell on the leg, the force against the weakest part of
> the hand  is significant.
> 
> The ducks foot is an improvement as it moves the weight  of the horn to the
> strongest part of the hand. However, depending on your  ducks foot,
> adjustable or fixed, it's still a relatively small piece of  material
> covered by cork that has a tendency to dig into the first knuckle  of the
> index finger. In my experience, I found that to hurt as much  sometimes as
> the pinky ring did.
> 
> The hand strap is the most  comfortable device to come along in years. I
> cannot imagine why it is not  standard equipment on all new horns, or at
> least offered as an optional  feature on the top line models. I myself am
> using a one-of-a-kind strap  that a friend is prototyping that requires no
> soldering (except to remove  the pinky ring), unlike the Clebsch Stap
> (www.clebschstrap.com) and the  Moose's.
> 
> Get rid of the pinky ring, get a strap, and your poor left  hand will thank
> you for it.
> 
> Sean
> 
> 
> 
> ___
> post: [EMAIL PROTECTED]
> unsubscribe or set options at
> http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de
> 

___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Pre WWW1 Kruspe

[Benno Heinemann]

Hello,

Coincidentally, a violinist I was working with yesterday told me he owns a
Kruspe compensator from 1913 or thereabouts which he may be prepared to part
with. I haven't seen it yet and know nothing about its condition, but I was
wondering how much such a horn would cost nowadays, and also to what extent
list members think such a horn should be overhauled if it isn't in a very
good state.


Thank you,

Benno


On 11.10.2004 1:28 Uhr, "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> wrote:

> Hello friends~
> Please forgive the cross post.  Recently, I have had the great privilege of
> playing on a pre-WW1 Kruspe. It PLAYS LIKE WARM BUTTER---so DELICIOUS! The
> response is incredible! The man who owns this little jewel knows very little
> about 
> his horn other than his father bought this for him while he was in college
> (25 years ago), and I was wondering if  any of you would be able to share any
> facts about the horn.
> 
> Here is what I know:
> Looks like all original parts
> Valves clean, no leaks--free blowing
> Incredible response and quick valve motion--all registers
> nickel silver
> Info Etched on bell:
> Ed Kruspe
> Erfurt
> DR6M*888990
> Made in Germany
> Modell--Wendler
> Boston-Mass.
> 
> I have looked at the Kruspe web site, and it is helpful, but I am looking for
> even MORE information.  (specifics about when made, by whom, etc...) ANY
> KRUSPE owners out there?  I want to buy this  little gem from him, but wanted
> to 
> get feed back from anyone who may know about Kruspe horns.  THANKS in advance!
> 
> Dee Anne Proctor
> Nashville, Tennessee USA
> ___
> post: [EMAIL PROTECTED]
> unsubscribe or set options at
> http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de
> 

___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

[Hornlist] Christmas music for voice, horn and piano

[Benno Heinemann]

Hello,

I was wondering if anyone can recommend any interesting good quality pieces
of a Christmassy nature for Horn, Voice and piano.
I see there is a Christmas Carol by  a certain I. Storfer in Mr. Köbls
catalogue.
Does anyone know if this is a nice piece? And what kind of style?

Thank you all in advance and sorry for mentioning Christmas in October
already. (The chocolate Father Christmasses are already in the shops here)

Compliments of the Season,


Benno

___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Bumblebee and Rudi Mazac

[Benno Heinemann]

On 04.10.2004 19:25 Uhr, "phirsch" <[EMAIL PROTECTED]> wrote:


> Rudi Mazac has done number of, mostly self produced and manufactured, CDs.
> The only one that has even remotely the appearance of a conventionally
> produced CD (other than one consisting entirely of hunting fanfares) is
> called "Classics on the French Horn" on the Tyrolis label. It is entirely
> schlocky transcriptions of classical hits, some horn related like
> Freischuetz hunting chorus and the Tannhauser Pilgrims chorus, but mostly
> they are Flight of the bumblebee, Turkish march, Khatchaturian Saber dance,
> "Elvira Madigan" Andante, you get the drift.



>..maybe Hans knows a bit about him.
> 
> Peter Hirsch


I own a bootleg tape of the aforementioned recording. I think the ensemble
was called French Horn Formation and existed in Münich a few years ago.
A former colleague of mine said he had played a lot with them including on
television. That must have been in the early 80's.

There is also a recording of Mazac playing the Jiri Pauer concerto and
another concerto for jazz horn and orchestra. Both are technically
impressive, yet somewhat strenuous to me to listen to right through.

If I remember correctly, Mazac is a real horn player who even used to be
principal horn of the Czech National Opera. (I wonder how much high-F-Horn
he uses!? )

I once had the honour to be fired by him ( along with the rest of the
orchestra, although I was first) from a disastrous musical production in
Switzerland which he was directing.
After the first night, (the audience hated it and the critics used some very
plain words about it) the organisers absconded with the takings which meant
that both we, and the replacement orchestra (which had been bussed in from
Eastern Europe for a starvation wage) didn't get paid.

Never mind.

I should be very surprised if Prof. Pizka couldn't tell us more about this
interesting man, if he is willing, since to my knowledge they both reside in
or near the same (albeit extremely large) city.



best Wishes,


Benno




___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Horns-a-Plenty

[Benno Heinemann]

I noticed that when they sold two horns for me last year, the horns 
didn't appear on their web listing.
On the other hand, they did sell the horns quite quickly and for a good 
price.

Horns-a-plenty is run by Alan Wiltshire and Tony Halstead. They are the 
UK dealers for Dürk Horns. ("Finest horns on the Planet")

best Wishes,
Benno

On Friday, September 10, 2004, at 01:53  PM, Wilbert Kimple wrote:
I tried buying three different horns from them
about six months ago.  It turned out that all three
had been sold, but were still being listed on both
their web site, and on hornplayer.net.
Here it is six months later, and all three horns
are still listed as for sale.  Guess they need to
do some work in that department.
Wilbert in SC
___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de

___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Schoeck Concerto

[Benno Heinemann]

Hello
My copy is an authorised photocopy from Boosey & Hawkes' archive. I 
think it's still possible to get it this way from B&H.

There is a good recording of the Schoeck Concerto with Bruno Schneider, 
the Swiss horn player. (Successor to Ifor James as Professor of horn in 
Freiburg, Germany.)
I'm afraid I can't remember which orchestra, but to aid searching, the 
other piece on the CD is the Schoeck violin concerto with the BBC 
Scottish Symphony Orchestra and a soloist whose name I have forgotten.
The violin concerto sounds like it has interesting horn parts.

There is also, I believe a recording with Hermann Baumann where he uses 
a lot less rubato than I had to in order to get through just the first 
movement of this very strenuous piece once. There are not many 
opportunities to get the mouthpiece away from your chops. On this 
recording the second movement also follows the first with a barely 
perceptible break, a thing which an ordinary mortal horn player in a 
live performance probably wouldn't want to do.
The last movement demands great technical facility.

I think it's a nice piece and should be performed more often. Has 
anyone ever heard it performed live in a public concert?

best Wishes,
Benno
(Playing 3rd in The Brahms Academic Overture tonight, what a lovely 
part! And many thanks to the Horn Excerpts website for helping with the 
music. The Schumann Konzertstück is also on the program so there should 
be a few horn players in the audience, probably)


On Friday, September 10, 2004, at 04:08  AM, Don & Judy Birchett wrote:
My daughter, a senior at Northern Arizona University, is planning to 
work up Othmar Schoeck's Concerto for Horn, Op. 65. Does anyone have a 
spare copy to sell?

I see versions by Alfred and by Boosey and Hawkes. Any preferences?
Any performance suggestions would be greatly appreciated.
Thanks, Don Birchett
___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de

___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

[Hornlist] steel drums

[Benno Heinemann]

[EMAIL PROTECTED] wrote:
Hi all, I'm not ready to hop back into the list just yet but I would 
love to
know if anyone out there knows about steel drums? Write to me off list.
Thanks, Robby the ol' redneck.

Dear Robby
Steel drums are made out of old oil drums with the oil removed and one 
end cut off. I think they originated in the West Indies and are 
constructed by beating in the remaining end of the drum until different 
areas of the surface produce different notes when beaten with metal 
rods with the ends wrapped in traditional plastic insulation tape. The 
areas of the notes are traditionally marked on the surface of the drum 
using an indelible "magic" marker.

The sound is haunting and melancholic, never forgotten once heard.
best Wishes
Benno Heinemann

___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Freiburg Baroque Orchestra

[Benno Heinemann]

The horn players listed on the FBO's website are:
Teunis van der Zwart and Erwin Wieringa. Both Dutch I think.
But I don't know if they're playing in that particular recording.
best Wishes,
Benno
On Wednesday, July 14, 2004, at 03:19  AM, Cathryn Cummings wrote:
Does anyone know who the awesome horn players in the Freiburg Baroque 
Orchestra are?  I just bought a DVD of them playing Brandenburg 1 & 
it's really incredible.  Unfortunately, the horn players are not 
listed anywhere :(

Thanks,
Cathryn Cummings
___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de

___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Popping and Scraping

[Benno Heinemann]

Is it true, that on one occasion whilst doing this, he stepped 
backwards and disappeared down a hole in the stage?

Benno

On Sunday, July 4, 2004, at 06:11 PM, Paul Kampen wrote:
Elsewhere, on the repeated Es - each
successively quieter, he would deliberately fall off the quietist one 
and
then repeat the passage - playing the E all the same dynamic and 
stepping
backwards for each one!
___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] wraps

[Benno Heinemann]

Hello Kyle,
We were discussing the wraps recently, and if we came to any conclusion 
at all it was this:

>> The wrap is not a major factor in prejudging the properties of a 
horn. <<

More important is the individual properties of the horn models you try, 
and if you can get on well with them.

If you have particularly small hands, it is not too expensive to have 
the pinky hook moved and possibly the angle of the valve levers changed 
too.  A flipper or other handrest may help too in this case. This is 
not something someone can advise you on without knowing you.

One influence of the wrap which may affect you is the distribution of 
the weight, but again that is a matter which you alone can judge for 
yourself and may not be a good reason to go for a particular horn, 
especially if you intend to choose between only two different 
instruments..

You can't generalise and say Kruspe wrap will give a bigger sound. That 
too is a factor of individual models.
You have to try them out and see for yourself without preformed 
opinions. (But be sure you let someone hear you play the different 
instruments and ask for their opinion which sounds better with you.)

(If it's of any interest to you I owned a Yamaha 668 about 12 years ago 
which was a piece of utter garbage. I believe Yamaha has improved the 
model somewhat since then though.)

Wouldn't it be possible to try some other makes? I don't know what 
other horns are available at a good price in the USA ( I assume from 
your grammar that is where you are), but surely many members of the 
list could advise you gladly and endlessly on the relative virtues of 
Merker-Matics, Conn 11D's and other such exotica.

best Wishes
Benno Heinemann
On Saturday, July 3, 2004, at 04:17 AM, Ky Hayes wrote:
Hello! I'm new so I thought I'd ask a question. Well, very soon I'll 
be buying a yamaha and I'm caught between the 667 and the 668. The 
question is what are the advantages/disadvantages/differences in the 
geyer and kruspe wrap. I'm a rather short individual w/ small hands so 
I don't want anything that I wouldn't be able to control easy. I do 
know that the geyer is a smaller wrap, but the kruspe will give a big 
sound, so I'll let you guys help me out from there.

-Kyle
		
-
Do you Yahoo!?
New and Improved Yahoo! Mail - 100MB free storage!
___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de

___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Mouthpiece popping

[Benno Heinemann]

Why didn't Orlando Gibbons write Brahms' 4th Symphony? Why didn't 
Montiverdi write Beethoven's 9th? (Come to think of it, why DID 
Beethoven write it?)

But seriously, each Composer lived in his own Time, and wrote for that 
Time, or slightly ahead of it.
Progress (or regress depending on your opinion) is unstoppable.
Thankfully, the current Historical Period is unlikely to become known 
to future musicologists as "the Mouthpiece Popping Period" (MPP for 
short).

Mouthpiece popping is one of the lesser Abuses which modern day 
composers expect Hornplayers to do to your instruments. I remember a 
man called Flammer who wrote in his Notes. "hit the instrument with a 
metal object".

What are these people thinking of?? They must be completely stupid!
(When we complained, he said " well just hit the music stand with your 
mouthpiece".

Doh!!)
I often wish I could travel forwards 100 years in time and see how much 
of today's stuff is still being played.

best Wishes,
Benno
On Monday, June 28, 2004, at 01:40 PM, Hans Pizka wrote:
Question:
Why didn´t Mozart or Wagner or Strauss or Mahler ask for mouthpiece
popping ?
==
___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Alexander 301 Triple Horn

[Benno Heinemann]

Sorry that link was wrong!
http://www.gebr-alexander.de/english/aktuelles/neue_produkte/horn_301/ 
index.html

Benno
___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Alexander 301 Triple Horn

[Benno Heinemann]

Hello,
It is the Model 310 which has the 3-way change valve.
Alexander's newest triple horn is the 301. It is a direct adaptation of  
the 103 double Horn with a big Paxman-style change valve in the  
Bell/1st Branch Section.

It can be seen here:
http://www.musik-alexander.de/english/aktuelles/neue_produkte/horn_301/ 
index.html

best Wishes,
Benno
On Tuesday, June 22, 2004, at 12:47 AM, Graeme Evans wrote:
I tried one of these which was for sale here recently. It was OK  
except for
what I consider to be a major design fault.

When changing between the Bb and low F sides the change valve (3 way)  
put
the horn into f alto briefly, and I found it impossible to smoothly  
change
between sides on this horn. One had to be very careful about the use  
of the
change valve, and the horn is clearly meant to be used mainly on the  
Bb and
f alto side as set up.

One has to specify how the horn should be "standing" at the time of
ordering. This determines the neutral, 1st and 2nd thumb-valve  
settings and
whether the horn stands in Bb or low F when all valves are open.

If I remember correctly, the one I tried was set to stand in Bb with  
the 1st
thumb lever giving f alto, and the 2nd low F.

The lever design is needlessly complicated on Alexander triples  
generally,
and has always been a problem compared with other makes I have tried.

Cheers,
Graeme Evans
(Principal Horn, Melbourne Symphony Orchestra)
+61 3 9318 0690(H), +61 419 880371(B), +61 3 93180893(Fax)
E-mail: [EMAIL PROTECTED]
___
post: [EMAIL PROTECTED]
unsubscribe or set options at  
http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de

___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

[Hornlist] Alexander 301 Triple Horn

[Benno Heinemann]

Hello,
I see Alexander has made yet another Triple horn. (Their 4th I 
believe!) The Mod 301.

Has anyone tried one yet?
best Wishes,
Benno
___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Geyer vs Kruspe wraps.

[Benno Heinemann]

On Friday, June 18, 2004, at 05:55 AM, Harriet & Nielsen Dalley wrote:
The significant difference between the two wraps was that the Geyer 
wrap had wider and  more gradual bends in the main tubing.
Many Geyer Wrap Horns are more pleasing to me to look at, it is true, 
because of the wider curving tubes.

 The result was that the F horn side has less resistance than in a 
Kruspe wrap. That meant the F and B flat horns sounded more "alike" in 
quality. Yes, the result of the Geyer wrap was that the wind passage 
went through the valve sets in opposite directions on the F and B flat 
sides. Merriweather, at Paxman, solved that problem in the 40L.
He and I had a long discussion on this attribute many years ago. His 
theory was that the valve rotor should turn with the air flow when the 
valve lever is depressed, and that horns where the wind passage is in 
the opposite direction to the direction of the valve rotor causes an 
interruption in the smoothness of the air flow.

The "problem" with the air flowing in opposite directions on the two 
sides also occurs on the Alexander 103 which is one of the original 
Kruspe "copies".

The Merewether System was first used in the Model 20 I believe, a while 
before the 40. Reading between the lines on Paxman's website,  Paxman 
is claiming that the Model 20 was ("completely original...  ...broke 
away from earlier designs" ) not a Geyer Horn at all.

What I am wondering, is that if it is better for the air-flow when the 
valve moves in the same direction, what happens when the valve is 
released again during a slurred passage? Then the valve will be moving 
in the other direction again! Doesn't this have the same negative 
effect which Merewether was striving to avoid?

I have noticed that on Paxman horns, all Valves rotate the same way.  
On Alexander and Dürk they have different Combinations of clockwise and 
anti-clockwise. I have not had time to examine any other Makes yet.
I wonder if most Makers give much consideration to this Factor?

On Friday, June 18, 2004, at 12:42 AM, Francois Lefebvre wrote:
The big difference is the valves are not at the same place between the 
mouthpiece and the bell, on kruspe than on geyer for the Bb side.

So the placing of the various valves within the cylindrical section can 
affect the characteristics? Can anyone say in what way what affects 
what and how?  And does the Amount of Conical Tubing vary much from one 
Wrap to another, or the relative lengths of the Leadpipe and First 
Branch/bell? Also, are these variations important compared to those in 
the bore and geometry of the conical parts?

just curious,
Benno Heinemann
___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Cor Anglais & French Horn

[Benno Heinemann]

That's only in american English the case. I don't know what "common 
english" should mean.
To a speaker of british English ( or one like me who tries) or even an 
Australian I think, there could be not much chance of thinking Horn 
means Trumpet or Saxophone.
Greater of the danger in England of thinking it is an E-flat tenor horn 
as Mr Kampen recently pointed out.

Benno
On Thursday, June 17, 2004, at 06:36 PM, Herbert Foster wrote:
From: Herbert Foster <[EMAIL PROTECTED]>
Date: Thu Jun 17, 2004  6:36:37 PM Europe/Berlin
To: The Horn List <[EMAIL PROTECTED]>
Subject: RE: [Hornlist] Cor Anglais & French Horn
Reply-To: The Horn List <[EMAIL PROTECTED]>
Because at least in common English "horn" is any wind instrument, in 
spite of
our conceit about our horn being the only horn.

___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Silly question: Why Horn name as " French Horn"?

[Benno Heinemann]

Before someone else says it first, on a visit to Japan one would be 
better served with a Corps Angle.
All those dropped articles!

Benno
On Wednesday, June 16, 2004, at 10:56 PM, Benno Heinemann wrote:
So I suppose the proper name ought to  be Cor Anglé.
Not to be confused with Corps Anglé, which is what occurs when you 
bend over to pick up a dropped mouthpiece, or other fallen article.

Benno

On Wednesday, June 16, 2004, at 04:48 AM, [EMAIL PROTECTED] wrote:
Great :) If I ever go to Japan I can tell them in customs what it is 
that I
carry along :)

-William
On Wednesday, June 16, 2004, at 04:36 AM, [EMAIL PROTECTED] wrote:
What is the Horn in Japanese? I'd like to know that...
-William
___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de

___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Cor Anglais & French Horn

[Benno Heinemann]

So I suppose the proper name ought to  be Cor Anglé.
Not to be confused with Corps Anglé, which is what occurs when you bend 
over to pick up a dropped mouthpiece, or other fallen article.

Benno
The name "English Horn" is a verballhorning of "Cor Anglais", the horn,
built in an "angle", of which just the angle in the short metal tube at
between mouth piece & instrument remained. The "Cor Anglais" was
developed in Passau (border town between Bavaria & Austria, on the
Danube) during Mozarts time.
___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de

___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Pros and Cons of the Geyer and Kruspe wraps

[Benno Heinemann]

Hallo,
I find this is a most interesting question which deserves an answer 
from someone.
I have also had thoughts occasionally on the subject, and have often 
also wondered if other parameters do not have more influence on a horn.
For example if I am mistaken, an Alex 103 and a Conn 8D are both 
examples of Kruspe Wrap, although because of the Bellsize and other 
Measurements, they are utterly different. The Conn to me has more 
similarity with a large bore Paxman in spite of the Paxman's Geyer Wrap.
Which nicely brings me to another question: Talking of the Direction of 
Airflow, what does Paxman's Merewether System have which makes it 
different or better? I believe that has something to do with the 
direction of Airflow.

Certainly the Alexander 103 design does nothing for favoring (sic) the 
F-side!

I hope there is someone with enough Knowledge and time on the list to 
tell us if there are any Absolute Truths on this subject!

best Wishes,
Benno

On Tuesday, June 15, 2004, at 03:51 AM, [EMAIL PROTECTED] 
wrote:

   Hello everyone,
   I was wondering, besides "tonal differences" what the Geyer and 
Kruspe
wrap pros and cons are.
   I believe I heard something about on a Geyer wrap the air flows 
away
from the player on the Bb side, making it better on the Bb side or 
"favoring"
the Bb side, and the opposite for the Kruspe ("favoring" F side?).
   I also believe I heard something about some a bit out of tune 
notes on
the different wraps...can anyone correct me if I'm remembering wrong 
on these
things, and also tell me of the other pros and cons?

   Thanks,
   Michael Kolaghassi
___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de

___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Two Prague things - and help, please

[Benno Heinemann]

I suspect this kind of violin may have been developed for use in the 
early recording studios where many instruments had to play into one not 
very sensitive microphone. I believe I have seen in a museum a double 
bass before with a similar contraption on it.
By the same principle one still sometimes sees Trumpets or Tubas with 
angled "recording bell"

best Wishes,
Benno

On Monday, June 14, 2004, at 07:37 PM, David Goldberg wrote:
I am recently back from a visit to Europe.  In Prague I passed a street
band - excellent musicianship - and took a photo of a very strange 
horn.
You can see it on 
http://www-instruct.wccnet.edu/~goldberg/strangehorn.htm
When I get to it, I'll put up some more photos of European horns I 
bumped
into.

Also - help please - I bought a Czech CD, 'Quartets for various
instruments', put out by the Kocian Quartet.  On this disk there are 4
quartets for different instrument combinations, all by Czech composers:
Georg Fuchs (cl & str), Jan Vent (str), Josef Fiala (bsn & str), and 
the
one that interest me - us - the most: Quartet in Eb major by Vaclav 
Pichl,
for ob/cl/HORN/bsn.  Vaclav is apparently also known as Wenzel.  I 
would
like to find the sheet music for this quartet, but the internet, 
including
Hans Pizka's collection seems to not have a line on it.  Does anyone 
here
know about it?  Nice horn part.

	{  David Goldberg:  [EMAIL PROTECTED]  }
	{ Math Dept, Washtenaw Community College }
		 { Ann Arbor Michigan }
___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de

___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Peckish horns

[Benno Heinemann]

Is this the same one they play in the british Brass Bands?
I have one of those; a fine silver instrument made by Cor-Ton.
In england they are sometimes called "doghorn" a derogatory name I 
believe.
They are certainly nice and easy to play on compared to the french Horn!

best Wishes,
Benno Heinemann
Germany

On Sunday, June 13, 2004, at 10:34 PM, Paul Mansur wrote:
On Sunday, June 13, 2004, at 03:07 PM, Leonard & Peggy Brown wrote:
subject: Re: [Hornlist] Coasties and Eb Altos
On Friday, June 11, 2004, at 03:48 PM, Robert Dickow wrote:
Aren't those the 'alto horns' I used to play in high school during
football
season...out on the ol' field at half time? I loved those
things...impossible to miss a note. And if I'm not mistaken these are
also
known as peck horns.
I think the original peck horns are those old circular mellophones 
from
the late 19th century and early 20th century.  Then, there are those
who call real horns peck horns.  I suppose they are when you play
marches.

P Mansur
Paul,
  I have always heard the circular mellophones just called 
mellophones and
some impolite names.  Peck horn, as I know it, is the upright alto 
that
looks like a minbaritione.  Could be just a locality thing.

Leonard
Yes, I'd agree that it changes according to age and locality.  I was a 
kid when I heard mellophones spoken of as peck horns.   And I have 
heard oldtimers (that means much older than I, now mostly dead) who 
called horns peck horns.

Paul
___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de

___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Notation question

[Benno Heinemann]

I hate to be speculative on a subject on which I know nothing,  but 
isn't it a possibility that the notes you played were notated in bass 
clef because the notes in the 4th Horn were very low, and both parts 
were written by the composer originally on one stave.  As the 4th part 
is too low for treble clef, the 3rd had to be written that way too. The 
copyist would probably have just copied it the way it was written in 
the score ,probably.

best Wishes,
Benno Heinemann

On Saturday, June 12, 2004, at 09:48 PM, Gary Greene wrote:
Recently one of the orchestra I play in did the Mahler 2nd, and at one 
point (in the first movement at rehearsal 15 in third horn), I was 
called upon to play a pedal b-flat, the one immediately below middle 
C.  My fourth horn partner in crime joined me in this at the octave 
below.

It occurred to me for the umpteenth time in seeing this kind of 
notation that it seemed strange that my note would be written in bass 
clef since elsewhere in my part were pitches even lower but still in 
treble clef.  This led to me pondering anew similar such apparent 
inconsistencies and has led to the formation of a notation question to 
pose to all of you:  is (was) there a convention in horn notation that 
sustained lower pitch notes should be put into bass clef?  Or, is 
(was) there a convention in horn notation that sustained lower pitch 
notes that are doubled at the octave below are put into bass clef?

Does anyone know anything about this?  I’m not looking for other 
examples of such writing as I’m satisfied that there is a pattern 
here.  I’m looking for references to composition texts or treatises or 
oral histories that indicate a conscious choice to notate such 
passages in this fashion.

Many thanks in advance.
Gary Greene
_
Stop worrying about overloading your inbox - get MSN Hotmail Extra 
Storage! http://join.msn.click-url.com/go/onm00200362ave/direct/01/

___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de

___
post: [EMAIL PROTECTED]
unsubscribe or set options at 
http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] HELP! Linz horn made in Italy

[Benno Heinemann]

Since "made in Italy" seems to have been written on the horn in  
englisch, it probably means the horn was made for export to the USA or  
England, wherever it was made.

"Linz" could be a model name put on by the seller, particularly if it  
is inside inverted commas.

I wonder if both engravements look as though they were done together,  
or do they look different?

In Germany, there is also an old city of Linz. On the Rhein north of  
Koblenz. It's a lovely place to visit with a fine brewery nearby.
As to any history of Instrument making or historical events involving  
small moustached dictators, I'm afraid I'm not knowledgeable enough to  
say. Perhaps Siegfried stopped by there on his Rhein Journey.

best Wishes,
Benno Heinemann

On Monday, May 31, 2004, at 07:23 AM, Hans Pizka wrote:
A bit of knowledge in geography might reveal, that something is wrong
with that obscure "Linz" horn "made in Italy", as Linz has nothing to  
do
with Italy.

The producer of this instrument might have nothing to do with the
engravings either, but the dealer (s), who got it engraved (perhaps).
Such kind of (cheap) horns are now made in countries as Brazil &
Pakistan or elsewhere. To camouflage the origin they are engraved that
way, but as the engravers mix up geographic terms the wrong way, they
are not aware, that some people might be able to detect that.
Linz is a very old city in Austria (Mozart composed his "Linzer
Symphony" there. The house still exists.), once the capital of the
greatest imperium ever existed on earth during the time of emperors
Friedrich III. & Maximilian, including Spain, Portugal, Germany,
Austria, Bohemia, Hungaria,, the Netherlands, parts of Poland, Rumania,
Serbia, Montenegro, northern Italy, Sicily, whole Brazil, Mexico, Peru,
Colombia, Chile, Argentina, etc. & parts of India ) - but no horn  
makers
except Heidegger & Lorenz, who ceased since long.

"made in Italy" is also a fake.
Yes, I know, why "Linz" rings a bell.  1938 March 12th, the annexion of
Austria by the dictator with the little moustache - not Charlie, but
similar - , who also grew up there.
=== 
=



___
post: [EMAIL PROTECTED]
set your options at  
http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de

___
post: [EMAIL PROTECTED]
set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Career on Horn performance, HS grades, degrees, etc....

[Benno Heinemann]

I'm not sure that translation is quite literal. I seem to remember 
"kakaschka" means something else, not nothing. But something that has 
to do with paper certainly!

Benno

but how russians says: "bez bumazki ty kakaska" or if
in english "without paper you are nothing"...
___
post: [EMAIL PROTECTED]
set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Re: 1943 Conn

[Benno Heinemann]

But not as many as Mr. Harris did.
Gotha go
(Sorry!!)
Benno
On Monday, May 24, 2004, at 11:42 PM, [EMAIL PROTECTED] wrote:
Buescher also made compasses and bombsites during WW2.
___
post: [EMAIL PROTECTED]
set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] tuning the horn

[Benno Heinemann]

Hallo Hans,
Reading again what I wrote, I can see that it was easily misunderstood.
I meant only the first Main Tuning slide (the one straight after the 
Mouthpipe) pushed in all the way, the F and B Slides pulled out more to 
compensate, and all the othzer Valveslides in usual, sensible positions 
which anyone would approve of. I can see that this possibly wouldn't 
work on my Horn in the USA or England because the Bb Slide is quite 
short and allready rather far out.

I think leaving in the main Slide all the way improves the response of 
my Instrument, but perhaps this is really just the Superstition of 
which you write.

So in fact, I believe we agree, mainly.
Liebe Grüße,
Benno Heinemann

On Tuesday, May 4, 2004, at 12:45 AM, Hans Pizka wrote:
Hello Benno, verzapf doch nicht diesen Unsinn, bitte. The main tuning
slides need to be pulled out, as the horn is designed to fit different
environment. Temperature has a certain influence to tuning. Orchestra
tradition is different in the world. USA orchestras have a lower "a"
than European orchestras. And these orchestras have even a lower "a"
than in Vienna.
A pulled out slide CANNOT cut out some unevenness. In contrary it
produces some unevenness in the tube, - like a little step. Just 
imagine
a larger tube & a smaller tube inside. Think about the mechanical
function of two tubes, when one tube sticks inside the other & is 
pulled
out a bit.


___
post: [EMAIL PROTECTED]
set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] tuning the horn

[Benno Heinemann]

Leaving all the Slides in is certainly not good Advice. I can think of 
one or two Exceptions of Professionals who play well who do this, but 
not for a student who may not have developed strength or good Ears to 
play all the Notes in tune in spite of it.

I like to push the main Slide all the way in, and then tune the F and B 
Slides down a little accordingly. I think it cuts out some unevenness 
just after the Leadpipe. Frank Lloyd told me this. (I believe this is 
not possible on some Horns where the F and B Horns are difficult to 
tune together)

Greetings,
Benno Heinemann

On Monday, May 3, 2004, at 08:16 PM, william bamberg wrote:
That advice is so bad that you should seek another teacher.  Having the
slides tuned by an experienced player, if you're not ready to do it, is
the proper first step to learning how to do it for yourself.  I play
several horns regularly and find that I need to tune each horn as close
as possible to a standard so that my tendency to lip notes is 
consistent
from horn to horn.  Although an electronic tuner doesn't really tune 
the
horn, certain patterns are easily remembered and set.  Often, the 
player
prefers my settings to theirs because they've never given it much 
thought.

Julius Pranevicius wrote on 5/3/2004, 10:03 AM:
My new teacher said that it is not neccesary to pull
out valve slides for new horn at all(only the main
tuning slide should be adjusted). He said that i
should adapt myself to horn, not the horn for myself..
I tuned my horn following the article in february's
Horn Call and for Bb horn there was about 1cm, and for
F - 1,5-2cm. Is it normal? And what do you think about
tuning the horn, adjusting valve slides? What methods
of tuning you know and preffer??
Thanks

__
Do you Yahoo!?
Win a $20,000 Career Makeover at Yahoo! HotJobs
http://hotjobs.sweepstakes.yahoo.com/careermakeover
___
post: [EMAIL PROTECTED]
set your options at
http://music.memphis.edu/mailman/options/horn/billbamberg%40aol.com

___
post: [EMAIL PROTECTED]
set your options at 
http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de

___
post: [EMAIL PROTECTED]
set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Mouthpiece specialist

[Benno Heinemann]

I think this is right, but perhaps if this dutch Man thought he had a 
"magic fix" for Hornplaying he may demand more than 30 Euros for it. I 
know I would!!

My first Thought was also that this Service is unecesary, but haven't 
we all bought a great mouthpiece sometime and then given up with it?
I think Philip Farkas wrote that many hornplayers have a Cigarbox 
filled with discarded Mouthpieces. Perhaps a real specialist could help 
many save their Money when selecting or changing Mouthpieces after 
inteligent thinking about whether it is needed. (Personally, though I 
would prefer to trust my own Judgement than a Stranger.)

For a beginning Student, any good Teacher should probably advise this 
for free though.

The hard Work and Energy is unavoidable and necessary, and should also 
be Fun and rewarding, too, usually.

I don't mean to say the Opposite, and nor does the Dutch, I believe.
Just to keep the Cathedral  in Cologne!!
Greetings,
Benno

On Sunday, May 2, 2004, at 10:25 PM, Paul Mansur wrote:
On Sunday, May 2, 2004, at 02:25 AM, Hans Pizka wrote:
It is a fatal ERROR, to BUY everything adapted to the single 
individual
AND that it will WORK without investing much ENERGY on the players 
side.

Playing a brass instrument  - depending on the standard of playing
desired  --  is not the same as walking on the street with a
made-to-measure suit. Playing the horn is not a "buy & run" affair.
If one doesn´t make his daily home work for many years, horn, teeth,
mouth piece, altered lips - all will not produce a reasonable player.
There is more to do. Listen & practise. And this remains a life long
"affair", as long as you play the horn.
	This is true!  You really must work at learning to play what you 
have.  There are no magic fixes.

Paul Mansur
___
post: [EMAIL PROTECTED]
set your options at 
http://music.memphis.edu/mailman/options/horn/wunderhorn%40freenet.de

___
post: [EMAIL PROTECTED]
set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org

[Hornlist] Mouthpiece specialist

[Benno Heinemann]

Hello,
there is a chap not far from here, in Holland I think, who will in 
exchange for about 30 Euros measure your mouth Teeth
and Lips and tell you what Mouthpiece you should use.
My first Thought is that this is Nonsense but perhaps this is in error 
of me. Hence the following Questions:
Are there many such Specialists perhaps in the USA?
Does anyone believe we should allow another to select a Mouthpiece for 
us baseing only on physiologic Measureing?
Does this service have even a limited Value to the learning Hornplayer?

best Wishes,
Benno Heinemann
http://people.freenet.de/bennoheinemann/
___
post: [EMAIL PROTECTED]
set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org

[Hornlist] Re: Book on stage fright and mental aspects of playingHorn List

[Benno Heinemann]

Hallo,

I was very interested to read Prof Pizka's thoughts on nervosity in the 
Orchestra.

I think, of course he is right when he writes:

If one is suffering of stage fright, he or she should look for the
sources.


but isn't the purpose of this Book exactly that to find the Sources or 
a possible source?

So I don't think it's quite right to say Books won't help probably or 
not much.
True one can get too nervous if made to do a Task which is too 
difficult. Not always though, as many Horn players
also do bad even without being nervous.
Conversely, one can also get too excited even when the task is not at 
all difficult, the only Obstacle being then the Nervosity itsself. Even 
in the Amateur Orchestra if that is where it happens.

True one should not attempt Things which one clearly can't do, not in 
Public anyway. And a good Teacher will advise against this. But not to 
assume that because Someone is nervous the Job is too hard for them.

Those good players who struggle with nervosity have a heavier job than 
the others and sometimes still bring better results when they overcome 
it.

But you have to get all into a certain routine. If you know, things 
will
go easy (depends on your experience & fundamental preparation), why
thinking of stage fright ?
Also sometimes the Stagefright also comes when one is not thinking or 
expecting of it. Even when well enough prepared.


Quit alcohol totally two weeks before the audition, the examination, 
the
concert, - means no beer, no wine, no liquor, no cocktail, absolutely
NONE. Watch how your nerves improve. Ooops, the nervousity & resulting
stage fright are not gone ??? But your brain is able now to control it.
That's the point.
This unfortunately (perhaps fortunately!!) makes I think no difference 
for me. I think F. Cousins in his funny book "On Playing the Horn" 
suggests a small Drink before Playing. I'm not sure that in the long 
Time, that is very clever, though!

Thinking of Sauerkraut is a good idea which I will try next Time.

 One has to like to be the center of the
spectacle, one has to like to be the engine of something (Schumann). 
But
stage fright just sitting in the amateur orchestra ? Why ? If the task
is too high for you, delegate this task to the person who has no
problem. It is more fun to part of the whole thing, than to fail as a
leader of a section just because of stage fright. Supporting the better
ones is big fun also.
True one needs a certain Personality Aspect to be a soloist, but think 
of how many Solo players you know and how different Personalities they 
all have. Don't give up because of excitement. That's a Problem you can 
help by trying to change yourself, and this book may help. It is not 
yet time to condem yourself unless you turn into uncontrollered jelly 
ever time someone listens to you play middle C.

Lots of experiences playing in public will be a certain help for the 
Nerves, but may not be adressing a more ground Problem which, if 
adressed, may help better.

It's always good to play second next to a good first, even for normal 
high Players, and one can learn much. I was lucky to play second in 
Beethoven's Nr. 4 Yesterday. A Reminder that there can be moments of 
nervosity for the lower Players too!

Sorry not to agree absolutely with Hans Pizka!

greetings

Benno Heinemann

Germany

(PS: I bought the book by Amazon and I'll write after what I think when 
I read it)

___
post: [EMAIL PROTECTED]
set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org

[Hornlist] Re: New Invention

[Benno Heinemann]

Hallo,

I have seen something like this before on an Oboe. Used by a Player who 
had a Weakness in her Thumb.
Did you know that Alexander in Mainz is now selling what they call a 
"Hornstuetze" (Horn Support)
which is almost identical in its Principle to a Pipstick.
I wonder if Pip Eastop approves?
Have you all seen his Web Site? It's very interesting and informative.

Greetings,

Benno

Haven't I seen this before?

The Pip Stick?

Chris
(yes I know they are different)
___
post: [EMAIL PROTECTED]
set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] F or Bb single??

[Benno Heinemann]

Joe Duke wrote:

I do not concur with the views of the seller that a single Bb 
instrument wo=
uld be more difficult for a beginner to use, and learn on, than would 
be an=
 F single.
Certainly it would be easier to learn on a B-horn than on an F-Horn, 
but I am certain that the F-Horn is
far better for the Beginner not just for Tone quality, but also for the 
Facility of technique, Attacks, getting about the Break and other 
problems.
I myself learned on the F-Horn until I could play a C-Major scale, then 
I changed to the B-Horn and never used the f-Horn after that except for 
certain Notes. My Teacher had heard that starting a Student on the 
F-Horn gave them a better Sound. There is more to this though, in my 
opinion as I should have been made to stay on the F-Horn more.

Only recently I started working intensively on the F-Horn and find it 
aids greatly attacks in the middle range, production, sound and fast 
technique. Helping with problems I think I wouldn't have if I had 
played more F-Horn earlier.

Is it true that one of the greatest  alive hornplayers Radovan 
Vlatkovic used a simple F-Horn for a long time even in college.

I believe if we all played more F-Horn we had better sounds, better 
Technique and Accurateness and Intonation.
Just listen to many of our american Players, how they whizz around like 
nothing on the F-side!

It would be shame to disadvantage a young Beginner as to not let him 
play on the F-Horn.  Perhaps he would be all Right on the Bb, perhaps 
not. A foolish Risk I suspect.
My young son, when he is old enough, will be learning the F-Horn. That 
is certain.


Any student who wants to learn the horn will find his way, from 
whichever b=
eginning point he is shown, in my opinion.
True perhaps, but not good necesarily.

And if he listens to any music recordings of artists he will also soon 
be t=
rying to sound like the recordings he hears.


Let us hope then, he has a good Teacher who encourages him to listen 
the best Soloists, and that our Student has some way of access to a 
Variety of Recordings.
I spent my Student Years listening to Baumann's Recordings which I 
found in a Secondhand Shop. Then attempted to emulate his sound and 
Vibrato. What Fun!




I would not presume to tell some teacher or parent who wants a horn 
for a y=
oung student which would be 'best'!!

Yes, much better for them to get advise from someone who knows.

That is like telling Arturo Toscannini (or any other known conductor 
of tod=
ay's reknown) how to hold his baton!!


Not really, since Toscanini is not a beginning horn Student, he is a 
dead great Conductor. This is a big difference, and quite obvious.


Got 3 cents for me??

No, unless you have got 3 from Finnland for me. They are hard to get 
here.

many Greetings,



Benno Heinemann.

(Sworn enemy of the double Punctuation Marks)
Germany
___
post: [EMAIL PROTECTED]
set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] More money!

[Benno Heinemann]

I think this Report isn't quite accurate. I heard they are sueing 
because they have less Days free than the Wind Colleagues.
Looks like they don't have Prof. Pizka's Schedule down there in Bonn.
Also the Comparison with british Salaries doesn't account for the much 
higher Tax here. Almost Fifty procent. Often more.

many Greetings,

Benno Heinemann

Hamburg, Germany


I dont´t remember if this has been on the list yet. Well, it
isn´t horn related but still...
http://news.bbc.co.uk/2/hi/entertainment/3564071.stm

Jaakko Välimäki
[EMAIL PROTECTED]
___
post: [EMAIL PROTECTED]
set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org

[Hornlist] Factory defects, and something you can do

[Benno Heinemann]

--- [EMAIL PROTECTED] wrote:
...
Has anyone out there gotten a new horn they were happy with?


I can only repeat, my Duerk Horn is excellent from the first day.

Benno Heinemann

Hamburg, Germany

___
post: [EMAIL PROTECTED]
set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org

Re: [Hornlist] Factory defects, and something you can do about it

[Benno Heinemann]

Building slightly substandard Instruments is a Symptom of the Struggle 
to remain competitive to which both Alexander and Paxman (among others) 
are Subject.
I have in my Time bought new Horns from both those Firms. The Alexander 
Horn I foolishly bought was simply not one of their best efforts. But 
of course they had to sell it anyway, and I was the One who made the 
bad Choice.
My Paxman 23 suffered from a list of Imperfections and Manufacturing 
Defects as long as your Arm, the Details of which I won't embarrass 
them by going into. They fixed it for me of course. But my trust in 
them has become less.
Still, it seems that quality Control has become a Victim of the 
Necessity to save.

The way to avoid the Risk is, of course, to buy a real hand-made Horn 
such as those offered by Schmid, Duerk or the Pizka horn if that is 
your Taste. These are Makers who don't just survive by the reputation 
of some Horns they built 20 Years ago. They have made their Reputation 
recently and are proud to uphold them.

The Handwork of my Duerk is first-Class as it is on all their Horns. It 
is also an excellent Instrument with a fine Sound and a pleasant 
Responsiveness. Well worth to spend a Little more to get something you 
can trust.

many Greetings,

Benno Heinemann

 Hamburg, Germany

___
post: [EMAIL PROTECTED]
set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org

[Hornlist] Re: Horns for Middle School

[Benno Heinemann]

The time has come, I believe, when we can't just say don't buy a 
chinese Horn.
The chinese are starting to build some really quite decent Instruments 
now, but you wouldn't want to buy one without tried it, since there are 
still a lot of them that are junk. ( I tried one, it was in F minor!)
The price of some of these Horns are unbelievable. Less than you would 
pay for Raw Material in this country. Soon I beleive this will 
constitute a threat to many established manufacturers of Student and 
Band Instruments.

Incidentally, imagine, there is a fellow here in Germany selling 
chinese Double Horns on Ebay with his own Name on them, saying he built 
them himself!

with good Wishes,

Benno Heinemann

Hamburg, Germany

___
post: [EMAIL PROTECTED]
set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org

[Hornlist] Studie Reynolds/Kreutzer

[Benno Heinemann]

This is a multi-part message in MIME format.
--
[ Picked text/plain from multipart/alternative ]
I recently heard of some Violin studies by I think Kreutzer which were transcribed for 
horn by Verne Reynolds. I wonder if anyone knows whether these are still availabble 
anywhere, and if so, how I might be able to obtain a copy?

Please reply privately to [EMAIL PROTECTED]

thank you

Benno Heinemann
--


___
Horn mailing list
[EMAIL PROTECTED]
http://music.memphis.edu/mailman/listinfo/horn