Re: [Hornlist] Re: How to practice (was: Re: (no subject))
I've always been one of those "do-it-yourselfers," and as such, preferred to find my own way. There are scores of books out there that will help you become a better horn player. If you're lucky, you'll even develop a few techniques yourself that will help you along in your practice. And certainly there is no better way to improve than to get out there a play a few gigs. But for me, real change only came when I found a good teacher who was able to look at what I was doing, understand where I wanted to go, and prescribe excercises based on my goals. So far it has worked really well, and I do see improvement. There have been "eureka" moments that made immediate improvement; there have also been those "take a step back before stepping forward" moments that require constant reenforcement before they sink into my thick skull. I have a long way to go, and I'm not always moving in the direction I want to be, but I'm far better off than I was before I started. Sometimes I have to be dragged along to stay motivated, but it's those little rewards (like being able to know that your C will match your stand partners C every single time you play together) that keep me going. Perhaps the best result of all these lessons, though, has not been about technique or practice skills at all. My attitude about making music has changed as well. For me, it was important to change my way of thinking. As a realist (I'll never be the next Lowell Greer) and pessimist (there's no WAY I can play that), I was shooting myself in the foot. Now I think, "I really want to be able to play that difficult lick" or "what did I learn that will enable me to make that octave slur to high Bb more reliable?" It sure beats "that's impossible to play" or "I hope I don't murder that high note in front of the whole world." I would have NEVER been able to think this way without a good teacher. Believe me, it wasn't easy changing my outlook (it's still a work in progress), but the benefits of doing so go far beyond just becomeing a better horn player. Just be willing to listen and learn. Eventually, you'll figure out how to practice on your own. Books can help, of course, and I can vouch for the Farkas book as being a good source for learning. But if you haven't tried it yet, do yourself a huge favor and seek out a good teacher. -Carl On Oct 29, 2008, at 4:39 PM, Howard Sanner wrote: Quoting joey horn guy: Can anyone suggest a reading list of books that deal specifically with 'how= ' to approach practicing the horn, not 'what' to practice? I'm not looking for method books and routines, but something that deals wit= h learning how to practice.=A0 I know that Mr. Farkas deals with this topic= briefly in his book, The Art of French Horn Playing, but I was hoping for = some other published literature. This is a topic of *extreme* interest to me. I've had just one (!) teacher who said anything beyond the obvious "spend time on what you can't play, not on what you can." I think of her every time I pick up the horn, far more often than I do many people with whom I studied much longer. I cataloged a book that had a lot of material on how to practice. You can see the Library of Congress catalog record by pointing your browser to: http://lccn.loc.gov/2007001575 The overwhelming majority of the suggestions are not specific to viola but applicable to most instruments. You SFO folks will probably have known the author. HTH. Howard Sanner [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hornist%40suddenlink.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Horn Grease
On Aug 23, 2005, at 5:02 PM, Paul Mansur wrote: It lends a certain odorifousness to the section giving the back of the orchestra a unique smell. I sort of like it that way! Paul Mansur I know the feeling. My favorite smell in the entire world is Dad's shrimp boat at the dock. Something about the diesel, shrimp nets, and sea air mingling together to really make me feel at home. Most folks would be disgusted, but not me. Oh yes, and kerosene in the rotors, too! -Carl ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Selling your student-model horn (was Horn Disposal)
On Jun 16, 2005, at 7:14 AM, [EMAIL PROTECTED] wrote: > 6. Consigning to a dealer. > Advantages: You take home more of the sale price, usually 90 > percent, or the > sale price less a fixed dollar amount. You don't have to do any > work - no > shipping, etc., and the dealer is the one who worries about scam > buyers. Most > dealers will get what the market will bear for the instrument. > Disadvantages: You give up some of the sale price in exchange for > doing none > of the work and having none of the worry. The sale might not be > quick, > depending on the market. > This is a good option to take in many circumstances, but beware of the dealer who sells your horn on consignment, then doesn't reimburse you. It can and does happen. This can lead to much lost time and untold grief for the seller. Please choose your dealers carefully. -Carl ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] How does the Pizka mouthpiece compare to the Farkas VDC?
On 1/7/05 1:46 PM, "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> wrote: > How does the Pizka mouthpiece compare to the Farkas VDC? It looks to be > about the same style of mouthpiece...Jason They are, indeed very similar looking, but the Pizka is by far the more comfortable mouthpiece for me. RIM: the VDC's rim is just a hair thicker than the Pizka model, with a more rounded inner edge (feels "thicker.") The Pizka is more roomy, though at 17.5mm width as compared to the much smaller VDC. The VDC feels very "tight" to me. THROAT AND BORE: Believe it or not, the VDC appears to have a bigger bore. However, the mouthpiece itself is physically shorter than the Pizka; matter of fact, it's the shortest mouthpiece I own. Perhaps, then, the backbore on the VDC is shorter. Neither mouthpiece appears to have much of a backbore, though. CUP: Both mouthpieces appear to have the same basic cup shape, but the Pizka appears to have much more cup volume. SOUND: For ME (your mileage may vary) the Pizka sounds very much better than the VDC. I have rather large lips, and the VDC makes me sound pinched and "nasaly." I feel very cramped playing the VDC, and I gave it up due to my inability to get comfortable with it. The Pizka offers superb control, with very clean attacks and the ability to start a note with the very softest piano you've ever heard. At regular volumes, it produces what I describe as a compact sound with a dense core. For me, it sounds very different at the horn than in the room, as some recordings I've made will attest. From the listeners perspective, the Pizka sounds great. It has a veiled quality and an exciting "fizz" to the sound. I like it very much. This is easily the finest mouthpiece I've ever used with respect to articulation. It makes even MY attacks sound good. Intonation is excellent. As a matter of fact, I'm very torn between two (completely different) mouthpieces right now, a Moosewood B10 (with a thin reverse-peak 17.8mm rim I had Tom Greer build for me) and the Pizka. The Moosewood produces a rich shimmering sound that projects better than the Pizka. At least it sounds that way from behind the horn, but the recordings do no bear this out. I seem to be able to hear myself in a large ensemble better with the Moosewood, but everybody else hears me fine with either one. The Moosewood just feels more efficient, though. It appears to produce more volume for a given input of air than the Pizka. The Moosewood slurs better for me, while the Pizka is a bit stiff. On the other hand, the Pizka really helps my accuracy. Thus, my tuning sounds better on the Pizka because the notes feel "more centered" and require less lipping of certain notes. Because the notes lock in so well, though, I do have to work harder with my slurs. Perhaps that will change as I increase my strength. I have MUCH more endurance on the Moosewood, and I guess that makes perfect sense since Tom and I worked over a year to find a rim that works well for me. There are too many good qualities I find in the Pizka, though, so I'm giving it a chance the rest of the season. I'm convinced that it is perhaps the better mouthpiece for me in the long run (Convinced that perhaps Hmmm, I've always had trouble making a commitment!) I've tossed the others out of the horn case so I'm not tempted to return to them (that Moosewood is very comfortable for me, but the Pizka is comfortable and secure as well, as long as I don't make that amateur mistake of using too much pressure.) Perhaps when I gain some more strength the stamina won't be such a concern. Wo, I think I got off topic. Sorry about that... With regards the the Pizka and the VDC, they appear to be similar, but for me they could not be more different, both in feel and sound. -Carl ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] why trumpet players don't have TubaChristmas
On 12/13/04 10:15 AM, "Dan Phillips" <[EMAIL PROTECTED]> wrote: > I'm sure many of you have already heard this, but in case you haven't, > I thought you might enjoy hearing a typical trumpet choir Christmas > medley: > > http://music.memphis.edu/tasteechristmas.mp3 Oh, that one just kills me!!! Can't wait to share it with our trumpet section! -Carl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Christmas Performance
Howdy everybody. I'm curious if there are any folks out there who have been playing with a community ensemble and just recently began playing with a brass or wind quintet. Tonight, for the first time since "Solo and Ensemble" contest in high school (we're talking 20+ years here) I played with a brass quintet for a serious audience. I knew the pieces were within my reach technically, but I did not account for, nor did I expect, a serious case of the "nerves." I am quite used to playing in a 90+ piece band and a small horn ensemble. It was a "real" performance (unlike our relaxed horn group sessions) and the place was quite packed with people. It was also a very "live" stage (a church setting.) I suddenly became quite aware of my surroundings and did not want to let fellow ensemble members (and especially the audience) down, but I felt like a bull in a china shop. All went well (with a few tiny slip-ups here and there, but nothing I haven't heard at some college-level performances) until we began playing a Renaissance piece in 5 movements. The fourth movement has a medium-high horn melody with the trombone for about 32 measures. Mostly right at the top of the staff with a bunch of E to F# lip slurs on the Bb side of the horn. By this time, my chops were pretty shot and I was beginning to worry if I was going to make it through the last phrase; I was petrified of taking a quick breath and coming back in on the G above the staff. I made it through (mostly okay, but with a small "flicked" note or two) with lots of air and probably more pressure than was called for, but once that movement ended, I was in a daze. And I was shaking and perspiring like you would not believe. Luckily, the horn licks in the final movement were at an allegro tempo and in the middle of horn range; nobody noticed the shaking or shortness of breath. Despite the nerves, I had a BLAST. The other musicians in the group are far and away more advanced than I am, but they were very supportive. Our trombone player made instant adjustments to match my tuning and made me sound much better than I really am. I'd love to do it again (and may very well have a chance to), but I'm not sure my poor heart can take that kind of pressure, even if it was fun. Though I made it through the concert with only minor bruises (believe me, I'm quite thrilled with that - it could have been a disaster) I know I can play much better than I did. Any suggestions from you folks on at least playing to my full potential during a stressful performance? I know I'm no Lowell Greer, but I'd like to be able to play as well as I can when it really counts. -Carl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] newbie intro: a) Intro-long; b) Which Horn to buy?
On 12/9/04 10:24 PM, "Joe Zephier" <[EMAIL PROTECTED]> wrote: > You make refference to "Rose Brass" or bronze I > suppose you mean the H176... That would be correct. Actually, my Merker is the HM2000MSB "Millennium" model, which is basically the very first H176 with some fancy badging and bracing on it. In every other way the horn is identical. All Merkers have the same wrap as far as I know, but the very early ones did not have the "Sheherd's Crook" first valve Bb slide. Also, the very early ones had a different mouthpipe design. They all have the .306 now, with the exception of the XTRA large bell variant (and the Geyer model [H192]) But forget all that fancy stuff. Play it and if you like it, just buy it. > Thanks very much for all your help here at IHS-Horn. Even to Dave Wiener who > reminds me not to take myself too seriously. Would that be Dave Wiener of Podcasting fame? -Carl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] newbie intro: a) Intro-long; b) Which Horn to buy?
On 12/8/04 5:29 AM, "Joe Zephier" <[EMAIL PROTECTED]> wrote: > Never-less... I am still seeking capable advise, albiet subjective, with > regard to Holton's Merkers and Farkas modeles... WARNING: VERY SUBJECTIVE OPINION FOLLOWS My experience: Forget the Farkas models and head right for the Merker, rose brass model if you can. Quite thrilled with mine, and though there are better horns out there, you won't find a better new one for the price. The ONE thing that distinguishes a horn from ANY other instrument is this: that beautiful horn SOUND. Are there horns that are easier to play? Sure, I tried a Lawson and a Lewis that were easier to play. Obviously easier. They both push ten grand, though. Are there horns with better intonation? I dunno, the Merker is pretty darn good, though I tend to run a little flat above the staff. Still working on that. Again, the Lawson and Lewis were better in this regard, but then again, look at the price. Are other horns more responsive? Yes, I've played a few. But are there any other horns that sound BETTER than my Merker? I'll have to throw in an enthusiastic "no." And that includes the Lawson and Lewis. My horn just "vibrates" right; it sounds rich and full but not "fat." It's compact and focused, but not "splatty." The bottom line is that I'll put up with a LOT of compromises if I can get the sound I want. Turns out that with the Merker there are very few compromises. Every horn is a compromise. There is always something "better" around the corner. But FOR ME, the ONE defining characteristic of a horn is the TONE. There isn't an instrument out there that doesn't do something better than a horn. Other instruments are more agile, better in tune, play lower, play higher, have better staccatos, have better legatos, decrescendo to nothingness better, come in from nowhere better, slur better, have better clarity, better projection, better intonation, more this, less that, etc. But NOTHING sounds like a horn. And therein is the very reason I play the horn. It presses all the right buttons with me. And IN MY OPINION, no horn sounds like my Merker. And in my HUMBLE opinion, that includes the Lawson and Lewis players; they sound better TO ME on my horn than they do on their own. I call the Merker a big little horn. Not as big and fat as an 8D, but not thin and brassy like others. The overtones just "ring right" for my ears. Kinda like an Alex, but at a third the cost. Having said all that, would I swap my Merker for a Lawson (but in Ambronze for me, thank you, and not nickel bronze) You betcha, but don't think I wouldn't cry a little bit and make the next owner of my Merker sign a promissory note to take good care of her. In the meantime, though, I'm working to make the Merker and even better horn. Stay tuned. Your mileage may vary And probably will... -Carl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Violin parts rewritten for Horn?
On 10/28/04 2:25 PM, "Steve Humfeld" <[EMAIL PROTECTED]> wrote: > I need some help with where to find the gentlemen that had transcribed > violin solos for horn. I would be interested in purchasing a copy of them. > Can any one help me with the gentlemens name and how to contact him. You > can email off this hornlist if you wish. Thanks Are you, perhaps, referring to the Wendell Hoss arrangements of the Bach Cello Suites for horn? If so, you can get the book from many sources; one of them is Southern Music: http://www.smcpublications.com/catalog/music/instrumental/brass/french_horn. htm SIX SUITES BY J.S. BACH, Bach/Hoss, Gr. 6 (B407) 15.00 -Carl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] silver plating & rationale
On 10/7/04 9:57 AM, "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> wrote: > By the way, use your search machine & search for pizfried.mov > > Get the surprise. > > Best wishes > Hans Oh my! On a single F horn. I cannot possibly imagine what it takes to be able to do this. Do you give lessons? It is extremely rewarding to be able to play music at such a proficient level. After all these years, I'm still waiting on my reward. I'll be content in the fact that the journey is, in its own way, a just reward. Now, off to practice... -Carl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Valve Cleaning Class
On 9/10/04 1:18 PM, "Ray and Sonja Crenshaw" <[EMAIL PROTECTED]> wrote: > Oh, I would tell you about the axle grease on the tuning slides, but perhaps > another day. That's funny that you should mention that; it's exactly what I use. One tub of it from AutoZone is enough to last a lifetime! -Carl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Cerminaro
On 7/15/04 12:23 PM, "Hans Pizka" <[EMAIL PROTECTED]> wrote: > I received an exciting CD with LIVE recordings from John Cerminaro, > playing Gliere, Strauss 2, Mozart 2 & Amram. His playing is incredible > good, beautiful, warm, brilliant, convincing, admirable, superb. > > John asked me to produce this CD within my series of historic > recordings. As authors rights are included, the CD will be in the middle > price range. I hope to produce it until the Christmas shopping. > > Let me know, please, if you are interested. Prof. Pizka, I would like very much to receive a copy of this CD once you begin producing it. Please add my name to your list of interested individuals. I look forward to hearing from you. -Carl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] The Bagpipe NHR
On 6/17/04 6:26 PM, "David Goldberg" <[EMAIL PROTECTED]> wrote: > All joking aside - well not all, but some - there could be some musical > possibilities in a piece for horn ensemble and bagpipe. I assume that > there is no such thing presently? One bagpipe would be enough. One piece > would be enough. How about a piece for bagpipe ensemble and solo horn? There is a wonderful group based out of Houston called "The Rogues" who happen to know a chap by the name of Brian Thomas, the second horn of the Houston Symphony. Seems Brian has done some solo work for them on a piece called "Bonny Portmore" off their "V" album. It's quite nice, actually. I catch all the Rogues shows at the state festivals we have here. Anyway, you can find out more here: http://www.therogues.com Click on the "listen" link, then choose the "Bonny Portmore" link. Let me know what you think. Now for a bit of horn trivia. Which hornist (a list member, I believe) played a duet for horn and Digeridoo? -Carl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] VerMeulen K.495 Performance
On 6/16/04 9:33 AM, "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> wrote: > Hey hornlisters. Anyone in the central Texas area. I will play Mozart K. 495 > on Saturday the 19th of June at the Festival-Institute at Round Top with the > orchestra, Grant Llewellyn, conducting. it's at 8 PM for anyone interested. Thanks for the heads up. I'll be there with my parents in tow (first trip ever to Round Top for them.) I enjoyed the Brahms Trio last week as well. Can't wait to hear the Mozart. -Carl ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Pizka Classic Double Horn
On 5/22/04 10:54 AM, "Paul Rincon" <[EMAIL PROTECTED]> wrote: > It was decided that I would receive a Pizka Classic double with the Gold brass > leadpipe. Congratulations on your new horn, Paul. I would like a Pizka horn for myself one day, especially for small ensemble playing. I love the sound of these horns. In the meantime, I'm really enjoying my Merker Millennium. If I may ask, are you pursuing a solo career, or are you going to be playing in a large ensemble? Please let us know how the Pizka blends in with other horns. -Carl ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Prelude, Theme and Variations - Rossini Recording
On 5/20/04 6:51 PM, "BVD Press" <[EMAIL PROTECTED]> wrote: > Dear All, > > I am looking for recommendations on a recording of Rossini's > "Prelude, Theme and Variations" for Horn and Piano. Might I suggest Peter Damm's excellent rendition on "Französiche Music - Horn" (Music for Horn and Piano.) I have yet to hear this piece treated any better. So light and agile and beautifully interpreted. What I would do to be able to play like this. The CD can be found here (you may have to copy and paste for it to work right): http://www.amazon.com/exec/obidos/tg/detail/-/B0IMF7/qid=1085092474/sr=8 -10/ref=sr_8_xs_ap_i10_xgl15/102-8188335-2176911?v=glance&s=classical&n=5078 46 As an added bonus, the rest of the CD is phenomenal. -Carl ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Horns for Middle School
On 3/16/04 8:21 PM, "Pandolfi, Orlando" <[EMAIL PROTECTED]> wrote: > I have no problem with you defending your beloved Holton ... Hi Orlando, I don't think it's a matter of defending any one particular brand of instrument here, although I think the reason you may be hearing such a great range of opinions on the Holton is that there are just so many of them out there. I will say that in my OWN experience I have found the Holton's (particularly the H179's) to be more consistant overall than the Kings and Conns prevalent in our school system many years ago. That is NOT to say BETTER, though. At the time I played a wonderful King Eroica, and when the chance came for me to choose my own instrument, I stayed with the Eroica throughout my school years. It just played better FOR ME than the others. In college I played an H180 that was a fine horn, but not as fine as I would have liked. I now play a Merker Millennium (in red brass) that I find just fantastic to play. I can blend well with other horns and the Merker has just enough "kickback" for me, while still being free blowing. I just like it, and it was chosen over several H179's, Conn 8D's, and Yamaha 668 and 667 horns. It has a very full sound just rich in overtones, and it just "vibrates right" for this player. So which horn would be best for your Middle School? I would answer that it would be a combination of things you'd need to look for. Durability, parts availability, solid build quality, and good intonation. There's a reason why you see so many Holton's out there. And don't forget your kids need to be able to HOLD the thing. Little hands and big 8D horns make for a LONG reach for short fingers. I don't think you can go wrong with ANY mainstream horn, though. Good luck. -Carl ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mozart Horn Concerto at Dell Computer
Funny thing happened to me this morning. While on perpertual hold with Dell Computer (30 minutes later and I'm STILL on hold), I sat listening to the dreaded yearly Christmas music, when Lo and Behold, I heard a horn! I listened to the entire Andante from the Second Horn Concerto (K417?). I wanted to say the hornist was Peter Damm, but I could not be sure. Whoever it was, he or she had the same characteristic vibrato, phrasing, and light touch that Peter Damm has. Anway, it sure beats Christmas elevator music. -Carl ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Booze
On 12/2/03 4:10 PM, "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> wrote: > Hornfolk,I have been advised to pour Scotch (booze) down into a sluggish > valve. Anyone ever try this,and would it harm the horn? Did it work? > Comments,please! As long as it's a good single-malt like Balvenie PortWood or better! Nothing but the best for our horns! When I get home, I'm gonna let "Ethel" try a few ounces and see what happens. -Carl (don¹t REALLY try this on your Merker) Vidos ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Holton
On 7/21/03 8:50 PM, "Loren Mayhew" <[EMAIL PROTECTED]> wrote: > The caveat is that I haven't been able to play a > Merker for an extended period. It would be good to hear from newer owners of > Merker on this point. My Merker Millennium is 3 years old now and still going strong. Quiet valves and the horn is "breaking in" nicely. Sounds better every time I play, and I've finally come to appreciate it's characteristics. It's not the MOST free-blowing horn in the world, but the resistance is sweet (with red brass you do have to pay close attention to attacks.) I like the sound of my Merker better than any horns I've played in recent memory. Heck, I like the way it sounds when OTHER people play it, too, and I can definitely pick my horn out from the crowd when others play it. Played a Tuckwell, it was okay. Played a nice Hoyer, not bad, but not my taste. Lots of 179's (Yuck, lots of resistance and a "stuffy" feel, though I DID like the 180 I had years ago.) I will say that the 179's were at least consistent. A few 8D's (all VERY different in playing characteristics, a 6D (No low range to speak of.) Many moons ago I played a HUGE Eroica that I absolutely LOVED. It responded quickly, but it was hard to change color with it. I still miss that horn. Don't care for the YHR668, but I LOVE the sound of the piston 863 (I REALLY want one...) Have compared the way my Merker sounds compared to a Hill (I like the Merker better as far as SOUND is concerned, but I'm sure the Hill is a far superior horn. But I didn't get to actually play the Hill, just heard the same person play it and my horn.) I really like the Paxman 25 with large bell (has a great "fizzy" sound that is quite different from anything else I've heard. I just love it, but can't afford it.) Don¹t care for the Paxman 23 (only heard one briefly and was very "compact" sounding, but not as rich as the Merker.) The Merker has a "big horn" sound yet still maintains it's focus. I would like cleaner attacks (SO much easier for me on other horns) but I wouldn't trade the sound for anything. Nice and full down low and very fluid up high. It's easy to modify the sound, too. I wish it played clearer (not airy) under extreme pianissimo, but (funny enough) a deeper cup (ala Pizka) really clears up sound and articulation on very soft passages (I'm still experimenting with mouthpiece cups, but I found my rim! ;) ) Quality control, unfortunately, is so-so. No mechanical problems, though, but I think the horn would play better if more attention to detail was paid to joints, fit and finish. Who knows. I like engineering perfection and beautiful built quality, and this horn is not built like a good Paxman or Hill. Luckily for me, it plays well, though. No valve problems at all (knock on wood.) Would I buy another? If I were in the market for a new horn in the 2-3K range, you bet. I can say the Merker is probably the finest overall Holton I've ever played, and better than many may think. I would LOVE to have a professional player give my an honest assessment of my horn (just out of curiosity as the horn plays very well for me.) -Carl ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Strauss - "Seaside Impressions" Op. 12
Thank you all for your input on this piece; I see now that I have my work cut out for me. I only hope my friends enjoy listening to it as much as I enjoy playing it. -Carl ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Strauss - "Seaside Impressions" Op. 12
Hello fellow hornists: I perform with a large community band (90+ members) as well as a local horn ensemble, but once in a great while I like to work on piece of music as if I were going to perform it as a soloist. Chances are that I never will, but friends and family make a great "test audience." Once such work that captured my interest recently is Strauss' "Seaside Impressions." The musical lines are somewhat similar to Strauss' horn concertos, with beautiful legatos and fluid phrases, but I would like to request input and performance tips from any of you who have played this work in the past. Hans Pizka advocates asking questions less related to horn "tricks" and more about beauty of tone and musicality, so I'll be the first to ask. I am particularly interested in phrasing, the use of the tongue in the slurred staccato runs, and dynamics. Measures 73-77 are particularly perplexing, and I am having some difficulty interpreting this small section musically. In short, I would like to make this rather simple piece sound beautiful. I am currently playing the music at aroun 64 beats per minute (in 3), and the difficulty level is not so high that I cannot manage it. I have been experimenting with this music for just over a week now, and coupled with a LOT of headphone listening to Strauss horn concertos, -Carl ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] horn solo with band
On 1/24/03 5:21 PM, "joseph fuller" <[EMAIL PROTECTED]> wrote: > I have been approached about soloing with the > concert band at Henderson state university and i would > appreciate any suggestions you have on pieces to > perform. How about The Glass Bead Game by James Beckel. You can find more info (as well as download the band performance of this piece) at http://www.depauw.edu/music/band/glassbead.htm I think most university bands could handle the music, but I hope you're a really good horn player. I ordered the sheet music a few weeks ago and looked over it. WOW. Not something you throw together in a weekend, but it is a really cool piece. -Carl ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
