[Hornlist] Alex 103 copy
All, I tried the Durk D3 at Southeast, which is the Alex 103 copy. It really surprised me, in its evenness of tone and intonation, as well as overall response. It sells for a lower price-point, making it easier for anyone to pick up an Alex in troubled economic times. I would definitely recommend that people try the Durk before committing to an Alex. Brent Brent A. Shires, DMA Horn Instructor, University of Central Arkansas Studio Phone: 501-450-5768 Cell Phone: 501-472-3350 email: bshi...@uca.edu web: http://www.uca.edu http://www.arkansashorn.org Third Horn, Arkansas Symphony Orchestra Principal Horn, Conway and Pine Bluff Symphonies Horn Instructor, Dixie Band Camp and Blue Lake Fine Arts Camp ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: oiling valves
Luke Zyla lz...@suddenlink.net wrote: subject: Re: [Hornlist] Slide Grease and valve oil About oiling the valves. There are only two bearings on rotor valves. The rotor surfaces do not touch the sides of the valve casing, so it in not necessary to oil inside the valve. Adding oil inside the valve only creates a mess that must be cleaned out or diluted by adding more and more oil. Start by removing the valves and clean them well. Oil only the bearings upon reassembly. Your valves will work quickly and need only very occasional oiling on the top and bottom bearings. Heed Hans' advice and stop over oiling your valves. But wait: Don't the great Horn Techs all advocate oiling the rotors to avoid creating a spit sandwich? The real problem is the need to protect the rotor surface from all the unavoidable enzymatic forces passing through the windways, right? On another track, it is my conjecture that rotor oil also helps to create a better seal in the valve, certainly better than water or saliva. What poetic and lofty topics we horn players turn to! -Brent Brent A. Shires Horn Instructor, University of Central Arkansas Studio Phone: 501-450-5768 Cell Phone: 501-472-3350 email: bshi...@uca.edu web: http://www.uca.edu http://www.arkansashorn.org Third Horn, Arkansas Symphony Orchestra Principal Horn, Conway and Pine Bluff Symphonies Horn Instructor, Dixie Band Camp and Blue Lake Fine Arts Camp ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] upcoming program
Everyone, especially Midwestern hornists, This is your invitation to a rather interesting presentation, mitigated in its appeal somewhat by its highly academic nature. Anyone who is free this Thursday night is welcome to attend my doctoral lecture-recital, taking place at the University of Illinois at 7:30 pm, in the Music Building Auditorium. I will be discussing the short history of the solo concerto for horn with wind band, and dissecting three works: the concerti by Ralph Hermann, David Amram, and Kazimierz Machala. I will be assisted by the lovely Terrie Shires on piano, as we perform all three works. I hope to be finally degreed in December. If you have any questions, feel free to email me. Brent Brent A. Shires Horn Instructor, University of Central Arkansas Studio Phone: 501-450-5768 Cell Phone: 501-472-3350 email: [EMAIL PROTECTED] web: http://www.uca.edu http://www.arkansashorn.org Third Horn, Arkansas Symphony Orchestra Principal Horn, Conway and Pine Bluff Symphonies Horn Instructor, Dixie Band Camp and Blue Lake Fine Arts Camp ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Press release: Gail Williams appears at UCA
The UCA Horn Studio is proud to be able to present the famous international French horn artist G A I L W I L L I A M S in masterclass and concert Friday, March 2, 2007 in the Snow Fine Arts Center Recital Hall at UCA. Ms. Williams will be on campus and presenting a public masterclass from 2:00-4:00 pm, working with UCA students who are preparing for solo recitals and competitions. Later that day, at 7:30pm, Ms. Williams will give a recital acompanied by pianist Kay Kim. The program is undetermined at this time. All events are free and open to the public. Gail Williams held the post of Associate Principal Horn of the Chicago Symphony Orchestra from 1984-1998. She continues as the Charles Deering McCormick Professor of Horn at Northwestern University. Other positions include: Principal horn, Grand Teton Music Festival Orchestra. Founding member, Chicago Chamber Musicians and Summit Brass. Former principal horn, Lyric Opera of Chicago. Faculty member, Swiss Brass Week. Honorary doctor of fine arts, Ithaca College. Don't miss this fantastic opportunity to witness an American legend of the horn. Funding is provided by the UCA Student Government Association. Feel free to contact me with questions at any of the contact info listed below. A discography of Ms. Williams can be found at www.cduniverse.com/search/xx/music/performer/Williams A photo can be found at http://www.music.northwestern.edu/images/facultyprofiles_images/fac_williams.jpg Brent Brent A. Shires Horn Instructor, University of Central Arkansas Studio Phone: 501-450-5768 Cell Phone: 501-472-3350 email: [EMAIL PROTECTED] web: http://www.arkansashorn.org ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Rhinitis
Bernabe Flores [EMAIL PROTECTED] wrote: Anyone, i'm having crises right now about my hornplaying. I discovered 2 years ago that I have perennial rhingitis. I've also inferred that this may be the source of my inconsistency in my playing. As a student horn player, I kept battling with this allergy from then on. I've never been contented with any of my solo playing and almost blew some blaming my allergy for it (except for a time when I played 1st in a concert). Is this a psychological fact that I should consider to finish off my relationship with the horn? Or do I still have a chance in this world of Horns? Dear Bernabe, In all reality, the answer is up to you. I assume you are speaking of rhinitis. I suffer from similar issues. Doctors seem unable to precisely diagnose what, exactly, I am allergic to. Some call it 'vaso-motor-rhinitis'; others claim I am allergic to a great cosmic compound of modern chemicals in everyday life; others just blame it on the mis-diagnosis of others. I guess I should stay away from writing in such terms as to warrant an R-rating for graphic details. But in simple terms, I have fairly constant drainage, both nose and throat, and I generate a lot of sinus pressure. I hate the fact that it bothers me AND others, and I am continuously working toward a reasonable solution. As a professional hornist and teacher, I owe it to myself to find answers. However, I refuse to let it inhibit my horn-playing. I personally have found Loratadine (generic term for Claritin) to be only mildly effective. Allegra seems to do me no good. I end up using a combination of generic Benadryl and Mucinex, and keep myself awake with lots of coffee. My mother has recommended a form of nasal wash with a saline solution, which she says others swear by (I'm just starting one I picked up at Walgreen's drug store, called Sinucleanse.) Results unknown at this time. But in the meantime, I just have to think ahead, be as discreet in public as possible, carry tissues, and have a positive attitude. I hope you'll pursue your aspirations regardless. I would be interested to hear others' comments on this thread. MOST sincerely, Brent Brent A. Shires Horn Instructor, University of Central Arkansas Studio Phone: 501-450-5768 Cell Phone: 501-472-3350 email: [EMAIL PROTECTED] web: http://www.arkansashorn.org ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Horn Balance
In reply to Angela Gonzales, I agree with Dave Weiner about a hand strap. We all know (hopefully by now) that we should bring the horn into playing position, rather than bring our bodies to the horn. This is the greatest reason why I advocate playing with the bell off the leg - it allows the best ergonomic approach to the embouchure. Holding the horn so that it has no other contact point with the body than the hands and the lips allows us to position it without contorting the face, body or mouthpiece placement. However, this is not so easy for everyone on a physical level. This is where the hand strap or duckfoot comes in. Using one of these devices will not reduce the weight of the horn, but it does help to rebalance the horn, since the pressure of a tightly gripping pinkie-finger is relieved. With the weight of the horn shifted to the index finger side of the hand, less overall effort is needed to keep the horn in position. It's important to have the strap or foot placed correctly. For maximum benefit, a duckfoot (I always call mine a flipper) should free up the moving part of the index finger, so my understanding is that the foot should rest somewhere on the knuckle or between the knuckle and web of the thumb. Mine actually sits just down-finger of the knuckle. This may take a few tries at a tech's shop, mounting it and testing it to be sure it's right, rather than just accepting your or the tech's idea of where it should be placed. The last thing you want to do is place it so it interferes with finger action, or adds substantial stress to the finger. Also be aware that in mounting these gizmos, your fingers should not end up having lateral motion. What I mean is, you shouldn't see your fingers torquing sideways when you're depressing the valve levers. If the strap/foot is placed too far up or down the leadpipe, the fingers won't be centered over the levers correctly, causing all kinds of different problems. And so, I would encourage anyone whose digital-repositioning-device is not mounted well, and you know it, to get it taken care of! (Sorry for the dangling preposition. No, actually, I'm not.) Cheers, Brent A. Shires Horn Instructor, University of Central Arkansas Studio Phone: 501-450-5768 Cell Phone: 501-472-3350 email: [EMAIL PROTECTED] web: http://www.arkansashorn.org ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Offer for hurricane victims
Dear lists, It occurred to me after I posted this note on the MTNA bulletin board that I can reach many more people by sending it here! If you or someone you know fits this decription, or can use this offer, please don't hesitate to take advantage of it! I would be happy to help any horn player needing assistance. I have a number of standard solos and studies I can donate to a student or teacher who has lost their library to the hurricane/floods. I can also donate mouthpieces. I would also be willing to give lessons to any horn students displaced in Arkansas, and if necessary I may be able to drive to your location. Hoping to help, Brent Brent A. Shires Horn Instructor, University of Central Arkansas Studio Phone: 501-450-5768 Cell Phone: 501-472-3350 email: [EMAIL PROTECTED] web: http://www.arkansashorn.org ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Mahler 4 Chamber Version
Simon Twigge [EMAIL PROTECTED] wrote: Hi Lists, Apologies for the cross posting. I'm sure I've read about a reduction of Mahler 4 for a chamber ensemble, possibly by Schoenberg? Does anyone know of such an arrangement and if so who publishes it? I though I might have read about it in the IHS's magazine (bought several old copies a year or so ago) but could be wrong - I seem to recall there was a review of a recor= ding made by a Boston based group - but my memory is not what it once was so tha= t may be fanciful. Hello Simon, Here at University of Central Arkansas we concoct a complete series of concerts which creatively use faculty collaboration. (Such assonance!) Of the pieces you'd be interested in knowing about, we have played a number of great post-Romantic transcriptions; we call them Smahler Mahler and Baby Bruckner concerts. Apparently there are a number of these works floating around. We have so far performed: Mahler: Das Lied von der Erde (Schoenberg) - about 12 parts, including one horn as the only brass Mahler: Symphony Nr. 4 (Schoenberg's student) - two pianos, four hands Bruckner: Symphony Nr. 7 (Schoenberg's student) - again, uses about a dozen people, one horn. Bruckner: Symphony Nr. 8 (Norman Boehm) uses above ensemble with added trumpet I don't believe that Mahler's fourth has an instrumental reduction other than the piano version. the only recording I remember listening to was done by a Scandinavian group, I thought - Ostrobothnian, maybe? If you have any interest in these works, feel free to email me privately, and I can get more information about them. Brent Brent A. Shires Horn Instructor, University of Central Arkansas Studio Phone: 501-450-5768 Cell Phone: 501-472-3350 email: [EMAIL PROTECTED] web: http://www.arkansashorn.org ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Horn and High Voice pieces
While we're on this thread of arias for high voice and horn, a few years back I needed a good working version of Handel's Va Tacito e Nascosto and so created my own version for a few strings and realized continuo. If anyone is interested in having a copy, feel free to email me **privately** and I'll be happy to send you a copy. Who's headed to the Mid-South Horn Workshop in a month?? Brent Brent A. Shires Horn Instructor, University of Central Arkansas Studio Phone: 501-450-5768 Cell Phone: 501-472-3350 email: [EMAIL PROTECTED] web: http://www.arkansashorn.org ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Work(s) in progress
My list is a bit short at the moment, which is a really nice thing for a break! * For Tonight: performing the Rhapsody for Horn, Percussion and Winds with the UCA Wind Ensemble * For next week's Arkansas Symphony masterworks concert: Coronation March, Violin concerto, and second symphony by Tchaikovsky * For next week's ASO Childrens' concerts: excerpts from Mussorgsky (Bald Mtn.), Dvorak (Serenade), 4th symphony (Tchaik) * For next month's Pinnacle Brass programs and/or recording: Ricochet (K. Turner), Suite Francaise (Bozza), Excursions (Troy Helm), Symphonia Sacra (Paul Dickinson), For Five (J-M Damase), Four Frescos for Five Brass (W. Francis McBeth) * For the Mid-South Horn Workshop, the second part on Haydn's Duo Concerto Happy Ides of February (a day of terror for those who forgot their Valentine!) Brent Brent A. Shires Horn Instructor, University of Central Arkansas Studio Phone: 501-450-5768 Cell Phone: 501-472-3350 email: [EMAIL PROTECTED] web: http://www.arkansashorn.org ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Eli Epstein mini-residency at UCA
Hello, listers! For those of you residing anywhere near Arkansas, you may want to take note of the programs coming up at University of Central Arkansas! THE UCA HORN EVENT 2005 WITH ELI EPSTEIN February 13-15 The Horn Studio and the Department of Music at University of Central Arkansas are proud to host a visit by one of the nation's foremost professional horn players and teachers, Mr. Eli Epstein, as the featured guest artist for the UCA Horn Event 2005. Mr. Epstein will present a solo recital on Sunday, 13 Feb., at 7:30 pm, with UCA piano faculty member Terrie Shires accompanying. On Monday, 14 Feb., Mr. Epstein will give lessons to UCA horn students from 9am to noon, and give a public masterclass from 2:00 to 2:50 pm. The masterclass will focus on orchestral horn playing. The above events will take place in the Snow Fine Arts Recital Hall. Other events during THE UCA HORN EVENT 2005 will include an Arkansas High School Honors Horn Choir on Sunday, made up of high school horn players who are nominated by their band directors and/or private lesson teachers. From 2:00 - 5:30 pm, Brent Shires, Horn Professor at UCA will rehearse and direct the ensemble, while Mr. Epstein will give a clinic for those participating. The Horn Choir's performance will take place during the intermission of Mr. Epstein's recital. Also, Prof. Shires will perform a special solo work with the UCA Wind Ensemble on Tuesday, 15 Feb. On its first spring program, the Wind Ensemble's concert program will include Rhapsody for Horn, Winds and Percussion by Jan Van der Roost. The work is an exciting musical tale which requires the hornist to utilize his full range, and many techniques as well. The concert will take place at 7:30 pm in Reynolds Performance Hall. ABOUT ELI EPSTEIN: Eli Epstein has had an interesting musical journey. As a child, he attended the Settlement Music School in Philadelphia, and performed as soloist with the Philadelphia Orchestra on several student concerts. Mr. Epstein earned his Bachelor of Music degree from the Eastman School of Music in 1979, joined the Rochester Philharmonic, and became Artist-in-Residence for the Rochester City School District, where he presented programs entitled Sending Messages through Music. In 1987, he joined The Cleveland Orchestra, and became horn instructor at the Cleveland Institute of Music, where he has conducted several chamber orchestra performances. He has appeared as soloist several times with The Cleveland Orchestra in Severance Hall and Blossom Music Center. An active chamber musician, Mr. Epstein has appeared at Severance Hall, Tanglewood, Philadelphia's Academy of Music, Aspen Music Festival and the Kennedy Center. He has been on faculty at the Aspen Music School and has served as Principal Horn of the Aspen Chamber Symphony since 2000. Mr. Epstein has presented master classes at major conservatories throughout the United States, Canada and Europe. Many of his former students hold positions in major orchestras and universities in the U. S. and abroad. Advocating the idea that music can be a healing force in society, Mr. Epstein has created and presented several Music From the Inside Out programs, designed to help people actualize their own potential to enjoy music more by accessing their memories and activating their imaginations. All of the above events are free of charge and open to the public. For more information about THE UCA HORN EVENT 2005, please contact Brent Shires. Brent A. Shires Horn Instructor, University of Central Arkansas Studio Phone: 501-450-5768 Cell Phone: 501-472-3350 email: [EMAIL PROTECTED] web: http://www.arkansashorn.org ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Horns on airlines
Season's Bleatings to you all. I thought you might find this information useful since the ugly topic of traveling by air with horns has lifted off once again. I have had wonderful, and other times merciless, treatment from the airlines with my instrument. There seems to be no rhyme or reason why the individual airlines choose to allow a horn onboard one day and not the next. There are, of course, some obvious reasons, including how full the flight is, the size of the cabin and its storage space, and how rude the customer has been to the gate attendants. But there is still no consistency within an airline, let alone the same daily flight. In the past, when I used a hard case, I could often simply request to pre-board with my horn and find a space, and that worked really well (the closets up front are great). Other times I've been told to board with everyone else, and still other times they've insisted that the hard-case horn be packed down below with the snarling dogs. Since I bought my Thompson Edition case, I've rarely had trouble getting it cabinside. Travelling to Spain with my horn studio this summer demonstrated these difficulties. Our travel agent had made arrangements early on with Delta to take good care of the 14 horns going with us, by handling them as fragile if they could not go above board. Some hard cases got on, some were required to go below. While sitting on the tarmac waiting, we watched in abject horror as cargo workers hurled the horns onto the belt. this AFTER I had spoken with the check-in people about the necessity of handling them as fragile. I will probably not fly Delta again, at least not on my own tab. This information is taken from the website of the American Federation of Musicians (www.afm.org): ***Musical Instruments As Carry-On Luggage Since 9-11 and the resulting heightened airport security, musicians have had difficulties carrying their instruments to out of town gigs. To remedy this, AFM worked with Congress to insure that the 2001 Airport Security Act contained language encouraging security personnel to accommodate musicians and their instruments. When it was found that, in spite of this language, musicians were still having problems at the airports, the AFM persuaded the U.S. Transportation Security Administration (TSA) to issue a directive to its personnel requiring them to accommodate musicians. The resulting TSA letter has practically eliminated problems with government screeners, but musicians are still having difficulties with the airlines, who are not covered by the TSA directive. To remedy this, the AFM is negotiating with the airlines through their trade association, the Air Transport association (ATA), to make it easier for musicians to travel with their instruments. Both letters can be downloaded by members only below. 1st TSA letter 2nd TSA letter Our members still have problems, however, with some of the airlines. The AFM continues to work with individual airlines to clarify their respective policies and ensure they are communicated clearly and enforced consistently. Until we achieve this, the best line of defense is to know the policy of the airline on which you'll be traveling. To facilitate this process, we have included links to individual airline policies on our website. Also, please take a minute to read Travel Tips for Airlines http://www.afm.org/member/traveltips.htm . This document contains helpful suggestions and is updated periodically. Links to individual airline policies: http://www.afm.org/public/departments/airline_links.php For more information, please contact: Hal Ponder - Legislative Director [EMAIL PROTECTED] (202) 463-0772 Fax: (202) 466-9009 Eric Beers - Symphonic Services [EMAIL PROTECTED] (212) 869-1330 xt. 211 Fax: (212) 764-6134 Brent A. Shires Horn Instructor, University of Central Arkansas Studio Phone: 501-450-5768 Cell Phone: 501-472-3350 email: [EMAIL PROTECTED] web: http://www.arkansashorn.org ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Dear hornlisters,
Dear hornlisters, Those of you interested in more information on our great late bandmaster Frederick Fennell might wish to visit this link for good information, at Phi Mu Alpha Sinfonia's website: http://www.sinfonia.org/News/SN-2004-12-07.asp His legend will live on. Brent Brent A. Shires Horn Instructor, University of Central Arkansas Studio Phone: 501-450-5768 Cell Phone: 501-472-3350 email: [EMAIL PROTECTED] web: http://www.arkansashorn.org ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] sacred music
Listers, For very pretty and well-written pieces appropriate in church, you certainly want to consider the Three Hymn Tunes by Paul Basler. Abide With Me, Amazing Grace, and Shall We Gather at the River are all excellent works. Brent Brent A. Shires Horn Instructor, University of Central Arkansas Studio Phone: 501-450-5768 Cell Phone: 501-472-3350 email: [EMAIL PROTECTED] web: http://www.arkansashorn.org ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: sourdines
subject: Re: [Hornlist] Re: French translation Take the mutes out. Paul Mansur On Monday, November 22, 2004, at 10:09 PM, Michael E. Thurman wrote: Sourdine = mute sans sourdines = without mute otez les sourdnes = ??? For those who need to know more, oter, or more correctly ôter, is the French infinitive for to take away, remove. ôtez is the command form. A synonym which you could find might be enlevez, meaning lift up or out. It might also be worth noting that in at least one piece I've encountered the misprint, sans naturel which in rather poor grammar might construe some command to play unnaturally. By gum, we do enough of that already as horn players without meaning to. So please take it instead as sons naturel, meaning no stopped, cuivré, or sourdines or sardines in the bell. And positively take out any of Cabbage's remaining Oreos. Bonne fête de grâce to all the Americans, Brent Brent A. Shires Horn Instructor, University of Central Arkansas Studio Phone: 501-450-5768 Cell Phone: 501-472-3350 email: [EMAIL PROTECTED] web: http://www.arkansashorn.org ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Newbie question
Steve, Since I'm in digest mode, someone may have already answered this question before I get to it. But to make a long story short, This concert D you speak of is not available as an in-tune harmonic on the F horn. To play it open would require much adjustment, either with lip or the hand, and would render it very difficult to play with steady pitch and/or good tone. So th 1-2 valve combination, or 3rd valve alone, will work much better. You are correct that this concert D can be played open, but only on the B-Flat horn. But typically, even though less is more with tubing length, the sound quality will not match very well with notes played just below this range on the F horn. Many American players, in concept, play the F side from concert C on down, and the B-flat side from concert C# on up. The difference in length between the F-side C and the B-flat side D played open is substantial. Hence, it will make a much cleaner tone transition on a double horn if a continuum of shortening tubing length is used: Concert pitch: Bb3 F side 1 B3 F side 2 C4 F side 0 C#4Bb side 23 D4 Bb side 12 (or 3) In this manner the tubing length is more graduated and allows the tone colors of the two horns to match better in passages which require working in and around this range. Hope it helps more than hurts, Brent A question: why is the fingering for concert D above middle C (written as A above middle C for horn in F if I've got this right) not given as open (no valves) in the fingering chart in my beginners horn book for B-flat horn? I'm learning pretty much on my own - my son takes lessons, we bought him a new horn, and I'm playing the old one, which is a loaner from a school at which his teacher works. When I asked my son's teacher about how to choose among multipler fingerings, he said the general rule was to blow through as little tubing as possible, so an open fingering is preferable to one with valves held down. Why, then, is concert D not listed as open in the book? The horn I have is a double and I get the B-flat horn with the thumb key. Put another way, I can play the first five notes of a major scale in concert F, starting a fifth below middle C, by alternating open and the first valve - why, if I hold the thumb key down, wouldn't I use the same way to play the first five notes of a concert B-flat scale? The book shows 1 and 2, which also works, of course. -S- Steve Freides Ridgewood, NJ Brent A. Shires Horn Instructor, University of Central Arkansas Studio Phone: 501-450-5768 Cell Phone: 501-472-3350 email: [EMAIL PROTECTED] web: http://www.arkansashorn.org ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Good Mouthpiece for a Beginning French Horn Player
David, The mouthpieces I usually recommend for a beginner are: Conn 2 Holton Farkas MDC King H-2 (no longer in production) I stay away from Giardinelli, Bach, and custom mouthpieces. After a couple years of successful playing, I will usually switch students to something with a thinner, less rounded rim and a deeper cup, like Conn 5N Holton Farkas VDC Stork C8 I hope that helps - Brent Shires (Phi Mu Alpha Province Governor 4) I purchased a used Yamaha Single French horn for my son (fifth grade) and have been working with him on it. I would like to get him a new mouthpiece (the Yamaha 30C4) has a few nicks and the shank is dented but I am not sure what is a good one for a 10 year beginning French horn player. I have also wrote a note for him to give to his band director on his first day of lessons next week, but thought I would also get opinions from this group. David C. Ellis [EMAIL PROTECTED] Brent A. Shires Horn Instructor, University of Central Arkansas Studio Phone: 501-450-5768 Cell Phone: 501-472-3350 email: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] music from Valencia
Hi, everyone- Hope your summer has been great. I've just re-entered the land of discussion groups, after laying low during many recent projects. I don't know if this has come up at all, since the Valencia symposium ended three weeks ago or so, but is anyone on the list who played in the mass horn ensemble on Friday, July 30? I'm looking for the 1st and 2nd parts to a piece that was played, called La Entra de la Murta. If you happen to have a copy of one of these parts, I'd appreciate it if you email me privately at [EMAIL PROTECTED] Also, I wanted to pass along that the 2nd annual Mid-South Horn Workshop will be taking place April 1-3, 2005 at the University of Texas-Austin. Host is Patrick Hughes, professor. Brent A. Shires Horn Instructor, University of Central Arkansas Studio Phone: 501-450-5768 Cell Phone: 501-472-3350 email: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] good horn tone
Robert Ward [EMAIL PROTECTED] wrote: Fred asks a good question. As many of you know, I teach my students to try and accept a brighter sound close up, because I think that at a distance, if your sound is too covered or dark, it will sound unclear. I somewhat agree with you, Bob, in that we should always be aware of the hall and its effect on our projection. But that's what we're talking about, primarily: projection. Tone concept is still about tone. I have experienced that succeeding with projection issues in different halls has more to do with compensating by changing articulation and volume, than about changing my basic tone. John Dutton [EMAIL PROTECTED]writes: I don't advocate necessarily doing extensive mouthpiece work, but I think it has a definite place in the tools available to the development of phrasing and pitch. If one takes away the distraction of actually moving valves or hitting the slots of the scale then we are left with the pure line or phrase. Without the horn to assist in buzzing in tune then we are forced to listen to the pitch closer in order to control it. By the same process we can improve the purity of tone of the buzz and transfer that into the tone of the horn. This is not to say that extreme buzzing games will be good. I am also not stating that one should buzz anywhere near in equal amounts as one practices. That would be ridiculous. I state merely that it is a tool to be used and as with many other developmental areas should also be supervised by a qualified instructor or mentor. I agree heartily with this perspective. The point of buzzing isn't to replace horn practicing, to be sure - it's to clear up the sound, point to embouchure problems, and focus the precision of aperture work. Too much of any one technique can be detrimental. Hans Pizka [EMAIL PROTECTED] wrote: Brent, excellent response, excellent. But may I suggest to move up the angle from 30-45 degrees, move it up until you play directly into the mouthpiece hole. Well, it is not so comfortable for the neck one's back. It is somewhat tiring in the beginning. But the result is superb, special for solo playing. Dennis Brain held the horn this way. Hans, thanks for the compliment - but of course, I'm not looking for them. I've got to state the important, which is that I also believe any musician should pick one methodology and stick with it; that is, one person may play on the upper shelf, another on the lower. One may play Einsetzen, another Ansetzen, yet another EinSchmützig. But the important thing is that one sticks to it religiously so that real progress of some form can be made. I will certainly look into your idea here, Hans. My opinion and response to Hans' comment: In looking at the average person's teeth, we can observe a slight overbite. Unless the jaw is perpetually thrust forward, this overbite does not couple well physiologically with the perfectly straight-placed mouthpiece/leadpipe. Heretic that I am, I believe that the diagram in Farkas' book Art of Brass Playing, pp. 8-9, is fundamentally flawed for hornists. While none of them are perfect, I believe that the makeup of most mouths leads to a natural setting somewhere not too unlike the third diagram. As pitch changes over several octaves, the jaw may move in and out, causing the airflow to be more straight forward for low and more downward for high, but the basic setup of an overbite can't naturally sustain the example given in the fourth diagram without causing long-term stress and discomfort to the jaw. It is for these reasons, and for the concept of flexibility and tone which hearkens back to something not unlike the cor basso players of c. 1800, that I match the 30-45 degree angle with a very V-shaped cup and thin rim, etc. This does not really apply to other brass, so the Farkas diagrams work better for other instruments (Yes, I teach brass pedagogy). If I've bored you to tears, my weakest apologies. Brent Brent A. Shires, Instructor of Horn University of Central Arkansas: Conway, AR 72035 Phone: 501-450-5768 Fax: 501-450-5773 Web: http://www.uca.edu/divisions/academic/arts/music/faculty/bshires.htm 3rd Horn Arkansas Symphony Orchestra; Blue Lake Fine Arts Camp Horn Instructor; IHS Regional Workshop Coordinator Arkansas Area Rep.; Phi Mu Alpha Sinfonia Province 4 Governor ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] good horn tone
Hi everyone- This discussion Hans has brought up is an excellent topic. I recently attended the Southeast Horn Workshop held March 7-9 at Columbus State University. I heard many university-level hornists in masterclasses and competitions. This weekend's aural experience only served to confirm my suspicions that tone quality is apparently not of any concern to the majority of aspiring horn professionals. This is probably one of my greater soapbox issues, so if you are easily offended, you may wish to just stop reading here. The fact of the matter is, good music means good sound. At the risk of sounding sonbbish, let me state anyway that I can listen to recitals full of different professional players and teachers, days of it, and afterward only recall two or three performances that really stand out in my mind. The reason? Only that number of players had what I consider to be beautiful tone. Technique is great, and everyone needs to eat their main dish of Kopprasch and Maxime-Alphonse. But in the end, if you don't SOUND good, who wants to listen to you? For those who are interested, I have come to the conclusion that good tone is only possible if the lips are being used correctly. Not exactly an astounding concept. While there may be an odd exception, I argue that nobody with round, pure, clean sound is playing with pinched lips, tight corners, 2/3 lower lip, etc. throughout their range. Instead, the whole concept of embouchure can involve pulling the jaw down, the chin flat, the lips semi-firm and flat against the teeth, pulling back together to form as round an aperture as concept will allow, with the muscles just below the lower lip firm like tu in French. I teach keeping the mouhtpiece angle at about 30-45 degrees down, keeping the bottom rim in the red of the lower lip, using veritably no pressure on the top lip and some on the bottom, having a thinner rim, and practicing lots of buzzing without and then with the mouthpiece if there is no focus to the tone. Controlling the pitch with the lips and producing good tone all starts with these concepts. If any of these ideas get people thinking, then good. It's about time more people started thinking about whether or not they are playing as well as possible, and really being in control of their embouchures and resultant musical product! Waiting to be flamed, Brent Brent A. Shires, Instructor of Horn University of Central Arkansas: Conway, AR 72035 Phone: 501-450-5768 Fax: 501-450-5773 Web: http://www.uca.edu/divisions/academic/arts/music/faculty/bshires.htm 3rd Horn Arkansas Symphony Orchestra; Blue Lake Fine Arts Camp Horn Instructor; IHS Regional Workshop Coordinator Arkansas Area Rep.; Phi Mu Alpha Sinfonia Province 4 Governor ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Schwanda
Beej Goodwin [EMAIL PROTECTED] wrote, subject: [Hornlist] Looking for parts Hi, I need to obtain the horn parts for the band version of Polka and Fuguefrom Schwanda. Can anyone offer suggestions of where I might be able to buy these parts? Somehow our band ended up with only 1 first horn part in Eb (none in F) and we don't have the money in our budget to buy another copy of the piece. I am not asking for illegal copies.. Beej, I would be most surprised if a retail store would have loose copies of the horn parts lying around available. The band score and parts are usually sold in complete packets, or scores can be purchased separately. Sometimes, however, you can order individual parts. I would try contacting Shattinger Music, one of the world's best sources for band music. Call 800-444-2408, or look on the web at www.shattingermusic.com. Jim Cochran knows the answer to absolutely EVERYTHING! If this fails, contact the current publisher, which might sell you individual parts. Hope it helps more than hurts, Brent Brent A. Shires, Instructor of Horn University of Central Arkansas: Conway, AR 72035 Phone: 501-450-5768 Fax: 501-450-5773 Web: http://www.uca.edu/divisions/academic/arts/music/faculty/bshires.htm 3rd Horn Arkansas Symphony Orchestra; Blue Lake Fine Arts Camp Horn Instructor; IHS Regional Workshop Coordinator Arkansas Area Rep.; Phi Mu Alpha Sinfonia Province 4 Governor ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] on tour!
Dear Horn List- My wife and I will be on the road this week. I'm hoping some of you may be free to hear us in recital or attend a masterclass as we traverse part of the American Southeast. Here is our schedule: Wed. 5 Feb - Henderson State University, Arkadelphia, AR 7:30pm recital Thurs. 6 Feb - University of Louisiana - Monroe. Masterclass at 11am, recital at 7:30pm Sun. 9 Feb - University of South Alabama, Mobile 3:00pm recital Mon. 10 Feb - Pensacola Junior College, FL 1:00pm?? masterclass, 7:30pm recital Tues. 11 Feb - Gulf Breeze Public Schools, FL daytime lessons/coaching with horn players Our recitals include music by Schumann, Lefebvre, Tomasi (concerto), Mozart, and Busser. I hope to meet some of you on the road! Brent Brent A. Shires, Instructor of Horn University of Central Arkansas: Conway, AR 72035 Phone: 501-450-5768 Fax: 501-450-5773 Web: http://www.uca.edu/divisions/academic/arts/music/faculty/bshires.htm 3rd Horn Arkansas Symphony Orchestra; Blue Lake Fine Arts Camp Horn Instructor; IHS Regional Workshop Coordinator Arkansas Area Rep.; Phi Mu Alpha Sinfonia Province 4 Governor ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] solo horn and band
Joseph Fuller asked about solos with band. This is actually my doctoral project area, so I'll throw in a bit of information (nobody steal my stuff, now!) Most of us are becoming familiar with Thompson Editions, and it is often the first source of such literature. But many works are out there which have been written or arranged in the last 20 years or so, and can be hard to know about unless told by someone. Here are some other pieces. THE FOLLOWING WORKS ARE MODERATE DIFFICULTY: Out of print is the Ralph Hermann Concerto for Horn and Band. Many of us know it as the original, the standard, and so on. It is a bit dated, but worth learning at some point. Not hard for band. You'll need to find someone with a copy in order to play it. (In Arkansas, Robin Dauer at AState and I both have copies.) Also available with piano reduction. Some more current works include: Claude T. Smith: Three Contrasts for Solo Horn and Wind Ensemble. published by Claude T. Smith Publications. Nice little piece, not too hard for soloist or band. Anyone interested in playing this should contact me for a more legible solo part - the provided one is in terrible format. Also available with piano reduction. Camille St.-Saens: Morceau de Concert, Op. 94. Arranged by Douglas Nelson, published by Shawnee Press. The edition I have found is listed and sold as a euphonium solo, but it's fine as is, still in the same key. John Zdechlik - Concerto for French Horn and Band. Published by Neil A. Kjos Music Company. In my opinion, has its good and less aesthetic moments. Grade 5, but not too hard. Does make the hornist sweat just a bit. THE FOLLOWING WORKS ARE QUITE DIFFICULT: Randall Faust: Concerto for Horn and Wind Esnemble, published by Faust Publications. Each movement utilizes different instrumentation from the band, and each is also dedicated to a different hornist. Jan Van der Roost: Rhapsody for Horn, Winds and Percussion. Published by DeHaske. Very dark, challenging piece for band. Trygve Madsen: Invitation to a Voyage. I don't know much about this one personally, but it was performed at the 1997 IHS Symposium at Eastman, written for Froydis Ree Wekre. Bruce Thompson: Venatic Chronicle, published by Thompson Edition. Very interesting work, takes some time to learn the horn part. Not for the faint-hearted, but all based on hunting themes. Also available with piano reduction. SHORT WORKS GOOD FOR ENCORES OR OTHER USES: Marin Marais: Le Basque, trans. Dan Phillips, pub. Thompson Edition. The perfect chaser after a serious piece. 2' James Ployhar: Horns on the Run. published by Belwin/Warner Brothers. This piece claims Featuring the Horn Section, since there is only one part labelled Horns. But it works well as an encore if the section sits out, or the section can be invited to stand up front with soloist and all play together. Fun. 3' Alec Wilder: Air for Horn and Band. Officially out of print by Margun. Very odd duck, but interesting too. Nice for a complete change of pace. 3 minutes. Jiri Pauer: Pastorale for French Horn and Woodwind Choir. Arranged by Joel Blahnik, published by Alliance Publications Inc. This is acutally a transcription of Pauer's Horn Concerto, second movement, which itself is out of print. Very beautiful music. 6' Camille Saint-Saens: Romance, Op. 36, for Horn and Clarinet Choir. Arranged by Lucien Caillet, pub. by Southern Music Co. 3-4' Of course, there's lots more out there. Just some ideas to spur you all on to aesthetic bliss- Brent Brent A. Shires, Instructor of Horn University of Central Arkansas: Conway, AR 72035 Phone: 501-450-5768 Fax: 501-450-5773 Web: http://www.uca.edu/divisions/academic/arts/music/faculty/bshires.htm 3rd Horn Arkansas Symphony Orchestra; Blue Lake Fine Arts Camp Horn Instructor; IHS Regional Workshop Coordinator Arkansas Area Rep.; Phi Mu Alpha Sinfonia Province 4 Governor ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] stopped passages
Hi, all- I've got a couple things related to stopped horn and French literature that I'm trying to sort out. Anyone's comments are welcome, but I'm especially interested in professionals' experience/knowledge here. Berlioz, Symphonie fantastique: I'm sure I could look up a dissertation if I wanted to, but how many of you play the 4th movement muted, as opposed to stopped? In reading the text there, it says Faites les sons bouchés avec la main sans employer les cylindres. Did Berlioz simply intend for a valved-horn part to start acting like a natural horn here? Or is there some other explanation? (Les réponses des gens français seront particulièrement intéressant ici.) The Glazunov Rêverie: I've been trying to sort out whether or not the stopped pitch at the end of the piece is supposed to return to open. All my recordings are played stopped through the end, but I seem to recall performing it with the change to open when in college. My editions by MCA and Masters Music Publications show the change, while Mason Jones' version does not. Any thoughts? BTW, it's cold as an eskimo's nose in Arkansas today. Brent Brent A. Shires, Instructor of Horn University of Central Arkansas: Conway, AR 72035 Phone: 501-450-5768 Fax: 501-450-5773 Web: http://www.uca.edu/divisions/academic/arts/music/faculty/bshires.htm 3rd Horn Arkansas Symphony Orchestra; Blue Lake Fine Arts Camp Horn Instructor; IHS Regional Workshop Coordinator Arkansas Area Rep.; Phi Mu Alpha Sinfonia Province 4 Governor ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] Re: Horn Workshops
From: Daniel Canarutto [EMAIL PROTECTED] Message: 16 Dear list, Il Club del Corno is planning to organize a horn workshop, which would be (I think) the first ever held in Italy. I would gladly recive tips, suggestions and advise from anybody experienced in this task. And, by the way: how should the invited artists be rewarded? Would covering the expenses be a sufficient offer? Thanks, Daniel Daniel, you and anyone else interested in hosting an event, whether or not you are offically affiliated with the IHS, are welcome to contact me and ask away. My job as Regional Workshop Coordinator is to assist anyone globally with such details. You are welcome in advance - Brent Brent A. Shires, Instructor of Horn University of Central Arkansas: Conway, AR 72035 Phone: 501-450-5768 Fax: 501-450-5773 Web: http://www.uca.edu/divisions/academic/arts/music/faculty/bshires.htm 3rd Horn Arkansas Symphony Orchestra; Blue Lake Fine Arts Camp Horn Instructor; IHS Regional Workshop Coordinator Arkansas Area Rep.; Phi Mu Alpha Sinfonia Province 4 Governor ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] Mutes
On Tue, 14 Jan 2003 George Napuda [EMAIL PROTECTED] wrote: Have used an AULOS (aka Lawson) practice mute for decades. Correct me if I'm wrong (on second thought, maybe don't) but I had heard that the defunct Aulos company was bought by Greg Hustis and Dick Giangiulio, who used the models in their TrumCor business. Brent Brent A. Shires, Instructor of Horn University of Central Arkansas: Conway, AR 72035 Phone: 501-450-5768 Fax: 501-450-5773 Web: http://www.uca.edu/divisions/academic/arts/music/faculty/bshires.htm 3rd Horn Arkansas Symphony Orchestra; Blue Lake Fine Arts Camp Horn Instructor; IHS Regional Workshop Coordinator Arkansas Area Rep.; Phi Mu Alpha Sinfonia Province 4 Governor ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] Ion Balu mutes
Well, guess what: the brother of Ion Balu came into rehearsal last night (Arkansas Symphony) with both a cone mute and a practice mute. Talk about timing! Apparently the straight cone-shaped mute is running $100, and the practice mute about $75. I brought them home last night to test out. Both weigh considerably more than other makes, such as TrumCor, Lewis, MB, etc. They are very attractive, made of what looks like a generous quantity of walnut veneer. The straight mute is slightly longer than my Marcus Bonna, meaning it doesn't quite fit into the RB mute bag I own. It is by far the mute with the most projection capability I've ever tried. Has six corks, rather than 3 or 4. Responds well in all ranges. If I have any complaint, it's that the sound seems to crack when playing high and loud, and requires holding back. It's tunable and weighs a ton. I'd be a bit worried about it falling out of the bell! The practice mute weighs a little less. For the sake of curiosity, I conducted a very makeshift, inconclusive test. I played pitches and observed results on my tuner. First I played pitches of the C triad (horn C, that is) being certain to play where pitches were centered. then I tested the same with my TrumCor practice mute, and finally the Ion Balu mute. Results are measured in cents above or below the open horn pitch. C4 = middle C, or one leger line below the staff in T.C. Horn pitch no mute TrumCor Balu C6 +5 -10 +50 G5 +5 -10 +45 C5 +5 -5 +55 G4 0 +15 +50 E4 0 +15 +40 C4 0 +10 +35 G3 -3 +10 +20 E3 +5 +10 +30 C3 0 0 0 G2 0 * 0 * could not register pitch on tuner due to low volume I didn't have my Yamaha Silent Brass mute with me today in the office to test it with the others. As for the TrumCor and Balu, you can see how these results might influence your accuracy differently when using them more extensively. Whether due to the effect on the lips, or the ear, I can't presume to know; but I can vouch that it does! For what it's worth, Brent Brent A. Shires, Instructor of Horn University of Central Arkansas: Conway, AR 72035 Phone: 501-450-5768 Fax: 501-450-5773 Web: http://www.uca.edu/divisions/academic/arts/music/faculty/bshires.htm 3rd Horn Arkansas Symphony Orchestra; Blue Lake Fine Arts Camp Horn Instructor; IHS Regional Workshop Coordinator Arkansas Area Rep.; Phi Mu Alpha Sinfonia Province 4 Governor ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] Re: Ion Balu practice mutes
On 13 Jan 2003, at 12:00, [EMAIL PROTECTED] wrote: Ion Balu practice mutes Ion (that's a capital i at the beginning) is currently fourth horn in the Memphis Symphony. He studied and played in Romania before moving to the US, and completed his master's degree at Arkansas State, studying with Robin Dauer. His brother, Nic plays fourth in the Arkansas Symphony while he is pursuing the MM at ASU also. Ion played extra with the Arkansas Symphony in the fall, when we programmed Heldenleben. He had with him a case he had made, a great travel hard-shell suitcase for horn. I know he was interested in the idea of marketing it, but I had not heard of mutes under his name. I don't have any contact info onhand for Ion, but I'm sure that Robin would know something about it. He can be reached at [EMAIL PROTECTED] I personally own two practice mutes, and I try to switch off between them. With two little girls and my wife sleeping during much of my premium practice time, it's about the only way I can fit it into my schedule. I tested practice mutes extensively while at the Brassfest '95 in Bloomington, Indiana and it came down to these two as having the best fidelity and ease of playing. It seems that all these mutes have their unique distortions of pitch. The Yamaha Silent Brass I use more without the headphones than with simply because of the hassle. It tends to expand intonation problems (very high goes sharp, very low goes flat). The other I use is a TrumCor, which has the opposite pitch tendency, more contracted. By switching frequently between them, I never get TOO used to any one particular problem. By all means, try not to use them any more than you have to! For what it's worth, Brent Brent A. Shires, Instructor of Horn University of Central Arkansas: Conway, AR 72035 Phone: 501-450-5768 Fax: 501-450-5773 Web: http://www.uca.edu/divisions/academic/arts/music/faculty/bshires.htm 3rd Horn Arkansas Symphony Orchestra; Blue Lake Fine Arts Camp Horn Instructor; IHS Regional Workshop Coordinator Arkansas Area Rep.; Phi Mu Alpha Sinfonia Province 4 Governor ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] NHR - CNN
Hans and others, I noticed in November when I was in France that the CNN stations broadcasting in Europe were based in Britain. My wife tells me that this European station was just launched recently. Most of the anchoring is being done by Brits, not Americans. Hans' comments and pretend pronunciations sound to me like British English. I never notice anything like the extreme accent Hans speaks of here in our own country on CNN, unless it's a foreign correspondent. Leaving for a couple of weeks - have happy holidays, everyone! For what it's worth, Brent Brent A. Shires, Instructor of Horn University of Central Arkansas: Conway, AR 72035 Phone: 501-450-5768 Fax: 501-450-5773 Web: http://www.uca.edu/divisions/academic/arts/music/faculty/bshires.htm 3rd Horn Arkansas Symphony Orchestra; Blue Lake Fine Arts Camp Horn Instructor; IHS Regional Workshop Coordinator Arkansas Area Rep.; Phi Mu Alpha Sinfonia Province 4 Governor ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] Re: Horn on leg
Jay Kosta wrote: I would like to hear more about Hans' comment - is this a well known problem with playing on-the-knee(leg)? What posture and/or righthand technique is used for good high register intonation by on-the-leg players? Do OFF-the-leg players adjust their upper- body posture for the range they are playing? Jay, the biggest issue has to do with face-to-mouthpiece angle, and subsequent pressure on the top lip. Many players I deal with at the high school and college level have never been exposed to the idea that proper basic embouchure requires no top lip pressure, at least not beyond what it takes to seal the airflow inside the mouthpiece. These students often started out on horn being told to put the bell on the leg for practical reasons of weight and effort. Many have their heads lowered, digging into the top mouthpiece rim and pressing as hard as possible, often in spite of the pain. They can achieve high range this way, but no stamina or quality tone. As they grow older, and their torsos expand, their posture doesn't accommodate the change which occurs in the leadpipe angle. As a result, these students are seen playing leaning forward, bells planted on the leg, still with the top lip deeply anchored on the top rim. Albeit with no endurance, these players still manage to play high and impress people, allowing them to survive in municipal bands and community orchestras where sometimes tenure is only about seniority and politics. I always point my students to this great book I've found, offred through the Carles Colin Conference for Brass Scholarships, called Chops. You can clearly see all these professional gigging brass players and their embouchures. About 90% of the hornists have the proper angle for great range, flexibility and endurance - somewhere around a 45° downward angle or so. I ask them, If this is the standard in New York, and it's working for all of them, can you really argue against it? I'll leave it to someone else to answer about the right hand-- Hope it helps more than hurts- Brent Brent A. Shires, Instructor of Horn University of Central Arkansas: Conway, AR 72035 Phone: 501-450-5768 Fax: 501-450-5773 Web: http://www.uca.edu/divisions/academic/arts/music/faculty/bshires.htm 3rd Horn Arkansas Symphony Orchestra; Blue Lake Fine Arts Camp Horn Instructor; IHS Regional Workshop Coordinator Arkansas Area Rep.; Phi Mu Alpha Sinfonia Province 4 Governor ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] upcoming recitals
For anyone on the list that may be close by these locations, you may find this program interesting. Here is the information I sent to the press: A program of music celebrating the heritage of the horn will be on tour beginning November 4, 2002. Brent Shires, Lecturer of Horn at University of Central Arkansas, and Terrie Shires, Piano Instructor, will present The Horn and The Hunt. A recital featuring works for the horn, Mr. Shires will be performing Concertos by Tomasi and Mozart, as well as pieces by Schumann and Lefèbvre. La Chasse de Saint Hubert by Henri Busser is a programmatic piece which sets to music the legend of St.Hubert, the patron saint of the hunt and caretaker of dogs. Mr. Shires will give some of the history of this legendary saint famous in Europe. Mr. Shires is in his fourth year teaching horn, trumpet, and directing chamber ensembles at UCA. He is also a regular member of the Arkansas Symphony Orchestra, the Conway Symphony Orchestra, and the Pinnacle Brass (the resident quintet at UCA). Mr. Shires serves the International Horn Society as Arkansas Representative, and also as Regional Workshop Coordinator. He is also a clinician/educational specialist for United Musical Instruments USA. Terrie Shires teaches class piano for UCA, and teaches private lessons and classes through the Community School of Music. Together the Shires will be presenting all or part of this program through the spring at Harding University, Searcy, AR (Nov. 4) University of Central Arkansas, Conway, AR (Nov. 5) the American Cathedral in Paris, France (Nov. 21) the International School of Luxembourg (Nov. 22) University of Louisiana - Monroe (Feb. 6) Univ. of South Alabama, Mobile (Feb. 9) Pensacola Junior College, FL (Feb. 10) Emporia State University, KS (Mar. 27) Kansas State University Horn Day (Mar. 29) The upcoming performances will be given at 7pm November 4 at Harding University, Reynolds Fine Arts Building; and at 7:30pm November 5 in the Snow Fine Arts Recital Hall at University of Central Arkansas. In addition, the UCA program will conclude with a reading of Karl Stiegler's Great Mass of Saint Hubert written for Horn Ensemble, performed by members of the Arkansas Horn Club and UCA Horn Ensemble, and directed by Brent Shires. For more information contact Mr. Shires at 501-450-5768. Brent A. Shires, Instructor of Horn University of Central Arkansas: Conway, AR 72035 Phone: 501-450-5768 Fax: 501-450-5773 Web: http://www.uca.edu/divisions/academic/arts/music/faculty/bshires.htm 3rd Horn Arkansas Symphony Orchestra; Blue Lake Fine Arts Camp Horn Instructor; IHS Regional Workshop Coordinator Arkansas Area Rep.; Phi Mu Alpha Sinfonia Province 4 Governor ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
