Re: [Hornlist] Marching Band Anyone?
Hello Mr. Burg - what exactly is Cavalcade Competition and how does it differ from a normal high school marching band competition? Paxmaha Steve Burg [EMAIL PROTECTED] wrote: Speaking of High School Music Programs, don't know how it works in your area but in my area, Cavalcade Marching Band Competitions are all the rage. Not only do my students get to bust their chops at the Friday Night football games, but the go to Cavalcade Competitions on Sundays, as well. Then they come for their lesson on Monday or Thursday and I try to get rid of their mellophone or flugelhorn lip from the weekend. To add insult to injury, Just after Cavalcade season ends in Late November, they get to audition for our District Band and Orchestra Festivals the first Saturday in December. I may be thinking inside the box, but to me, Cavalcade Competition is a big part of what's wrong with High School Music programs. __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] wherefrom Paxmaha?
Sorry if it came out that way, but sadly no, it's just the opposite. I would love to have a Paxman, but at the moment its a Yamaha. Paxmaha Richard V. West [EMAIL PROTECTED] wrote: Golly! You own a Paxman but would really like a Yamaha? Wanna trade? Richard in Seattle __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Instrument of the Devil?
Mr. Burian - I in no way took the comment seriously, nor did I infer that you believed it wholeheartedly. I have a great appreciation of satire, and even sarcasm [which this wasn't], but was simply curios where the idea had come from. I have differed from you in the fact that I have enjoyed encouraging people to believe that the horn is the most difficult instrument, when in fact I have found it challenging, but not as hard as most would think. As an aside I don't have a specific opinion on what instrument the Devil plays himself but if anyone out there recalls the cartoon The Far Side there is one panel where the devil is opening a door for a gentleman in tails. Inside the room are about 20 banjo and accordion players and the caption reads the conductor's room in hell with good humour, Paxmaha Steve Burian [EMAIL PROTECTED] wrote: Hello list, On the topic of Mozart's sacred music and the use of trombones and trumpets, but not horn, in his Requiem, I made the comment: Besides, the horn is the instrument of the devil and we don't want that in a sacred work, do we? To which David Jewell asks where this idea came from. I have to admit, I don't remember specifically how this seed was planted. It was really meant in jest. __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Horn Digest, Vol 58, Issue 25 Following the quote
I never said I disliked the quote Mr. Rider, I simply have never heard that opinion expressed before - although I have heard it said that horn players are related to the Devil [think usage of the word spawn]. I heard the information about the German translation on some radio/musicological discussion, perhaps either Adventures in Good Music or The Record Shelf, but it was several years ago. Paxmaha Wendell Rider [EMAIL PROTECTED] wrote:On Oct 25, 2007, at 10:00 AM, [EMAIL PROTECTED] wrote: from: David Jewell subject: Re: [Hornlist] Re: Horn Digest, Vol 58, Issue 23 First a Question, then an opinion. The question is: Where did the idea in the following recent quote come from? Besides, the horn is the instrument of the devil and we don't want that in a sacred work, do we? Steve Burian Now the opinion: There is also the fact that there are extra-musical conventions at work here. In Martin Luther's German translation of the Bible, the last trump is actually translated as last trombone so that when one would normally think of using the trumpet for that symbolism, most German language speakers would automatically associate the trombone instead. So that we have the trombones being used for the symbological value to illustrate the text as much as simply for the sonority desired. Paxmaha Wendell Rider wrote: Hi,I think many good answers and thoughts have been expressed and the above is one of them. ...Other sacred works, written earlier, have horn parts along with the trombones, but the trombones almost always have much more substantial roles. Wendell Rider For information about my book, Real World Horn Playing, the DVDs and Regular and Internet Horn Lessons go to my website: http:// www.wendellworld.com Hi, Answer: I thought it up all by myself. I don't know why others use it. Actually I used to use an email program in the ancient times that only did it that way and I grew to like, even love it. Sorry if you don't like it. I have the same problem with looking at answers and then seeing what they were talking about down the page. I can see pros and cons for both sides. Maybe I will compromise and do it only half the time. ; ) As far as your opinion goes, I find it very interesting. I almost flunked German in high school. Sincerely, Wendell Rider For information about my book, Real World Horn Playing, the DVDs and Regular and Internet Horn Lessons go to my website: http:// www.wendellworld.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Horn Digest, Vol 58, Issue 23
First a Question, then an opinion. The question is: Where did the idea in the following recent quote come from? Besides, the horn is the instrument of the devil and we don't want that in a sacred work, do we? Steve Burian Now the opinion: There is also the fact that there are extra-musical conventions at work here. In Martin Luther's German translation of the Bible, the last trump is actually translated as last trombone so that when one would normally think of using the trumpet for that symbolism, most German language speakers would automatically associate the trombone instead. So that we have the trombones being used for the symbological value to illustrate the text as much as simply for the sonority desired. Paxmaha Wendell Rider [EMAIL PROTECTED] wrote: Hi,I think many good answers and thoughts have been expressed and the above is one of them. ...Other sacred works, written earlier, have horn parts along with the trombones, but the trombones almost always have much more substantial roles. Wendell Rider For information about my book, Real World Horn Playing, the DVDs and Regular and Internet Horn Lessons go to my website: http:// www.wendellworld.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart full orchestra parts concert 1 d maj
Hi folks - just for information's sake, all of the free score websites that I have utilized, such as the imslp.org; cpdl.org; and mutopiaproject.org; are scores only site. If I recall correctly, so is the Neue Mozart Ausgabe site, [which I can't seem to access right now]. This means that if you wanted to print individual parts you would have to input them into one of the music notation programs available, either keyboardally [?] or through scanning. Far easier and cheaper on the ink and time budget to simply rent or purchase them through ThompsonEdition, Schirmer, Kalmus, Breithkopf Hartel, etc. Paxmaha Greg Campbell [EMAIL PROTECTED] wrote: [EMAIL PROTECTED] wrote: The digitized facsimiles of the Neue Mozart-Ausgabe are freely available online at http://dme.mozarteum.at/ Isn't that just the score?Hmmm. I didn't even think about that. The site won't load for me right now anyway, but I bet you're right.Anyhow, the parts are easily available for purchase, as I said at the end of my last email, and as others have said too. Greg __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mute problem
Now Dave, how are you going to make any money if you give away your repair secrets like this? In truth it is great to see someone providing simple, clear directions for us regular folk to keep our equipment maintained. Keep up the good work. Paxmaha [EMAIL PROTECTED] wrote: Ok, here's how to replace those Humes and Berg corks. Go to an auto parts store and buy two sheets of gasket material, one 1/8 thickness and the other 1/16 thickness. The material is made of a mix of natural cork and natural rubber. You will also need contact cement such as Weldwood and a sharp utility knife. Cut about a 4 inch square of each gasket sheet, apply cement to one side of each square and let the cement dry, about 20 minutes. Align the pieces and press together. Now you have a piece of cork that is 3/16 thick, which is the thickness of the HB corks. With your utility knife, cut rectangles 1/2 wide by 3-1/4 long. Cement them to the mute with your contact cement, and voila! new corks. Dave Weiner Brass Arts Unlimited -Original Message- From: Graham Jarvis To: horn@music.memphis.edu Sent: Thu, 18 Oct 2007 1:03 pm Subject: [Hornlist] Mute problem Hi bought a Dennis Wick aluminium straight mute a while back. t works fine in the higher register but around and below middle-C ( F horn otation ) it stops sounding like a mute and just gives an unsatisfactory uffled sound with poor intonation. y old Humes and Berg was fine but the corks fell apart and I was hoping to pgrade. Is there something I can do with the Dennis Wick or should I be looking or something else. y horn has a narrow bell flare - I guess there are mutes that would work we´ll n something like an 8D that wouldn't be suitable for my purposes. ny ideas? regards, raham -- ag använder gratisversionen av SPAMfighter för privata användare. 1697 spam har blivit blockerade hittills. Betalande användare har inte detta meddelande i sin e-post. ämta gratis SPAMfighter här: http://www.spamfighter.com/lsv __ ost: horn@music.memphis.edu nsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/brassartsunlim%40aol.com Email and AIM finally together. You've gotta check out free AOL Mail! - http://mail.aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Any one selling or know someone selling a Geyer-wrap Yamaha?
If you are at all interested in high quality used horns as well as new, try poperepair.com - Ken has quite a few Geyer wrap models for sale, including some Yamahas. He also currently has a relatively rare McCracken, which although a Kruspe variant has many, many admirers - including David Thompson of Thompson Edition. Paxmaha [EMAIL PROTECTED] [EMAIL PROTECTED] wrote: List, Hello, my name is Jason Ward. I am freshman horn major at NCSA, studying with David Jolley and am just curious as to whether anyone here knows of a decent Geyer-Wrap Yamaha (667, D, V) preferably a detach. bell, but not a must, for sale. I am starting to try out some new horns and Mr. Jolley has reccomended starting with the Yamaha to help me try to achieve the sound and goals for a horn I have. (i.e. not something with a large throat like my Holton 279 and also something that won't fight back so damn hard with me). Any help would more than greatly appreciated. Please contact me off the list at [EMAIL PROTECTED] - Tonight's top picks. What will you watch tonight? Preview the hottest shows on Yahoo! TV. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Anti String - was NHR now HR
The one that I have is Ancient Echoes from Musical Heritage Society, and it
is pretty much straight liturgical music performed by a genuine monastery choir
- all male. Talk about a solid low register!!
Paxmaha
David Goldberg [EMAIL PROTECTED] wrote:
David Jewell wrote:
... when I need music to completely relax and destress me I often turn to
renaissance sacred choral music, and even to Russian Liturgical music.
I have among others, Sacred Treasures, the easy-listening version of
Russian Liturgical music. It has 17 tracks - I'm usually unconscious by
track 4. It's a terrific soporific.
{ David Goldberg: [EMAIL PROTECTED] }
-
Boardwalk for $500? In 2007? Ha!
Play Monopoly Here and Now (it's updated for today's economy) at Yahoo! Games.
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Re: [Hornlist] RE: Anti String (tongue in cheek) and NHR
May I add Elgars' Serenade for Strings, Sospiri, and Elegy. Personally when I need music to completely relax and destress me I often turn to renaissance sacred choral music, and even to Russian Liturgical music. And people that have gotten to know me know that I am as ardent and obsessed about anything and everything horn as anyone I have ever met. Paxmaha [EMAIL PROTECTED] [EMAIL PROTECTED] wrote: Ah, for those who don't like strings, besides the prvious mentions of Vivaldi, take a listen to the Adagietto from Mahler 5 or Barber's Serenade for Strings. Hopefully the groups will have the technical and musical maturity to play these but if they don't move you-then they have no soul. I'll give you, there's nothing like the sound of a tight brass group, but the same holds true for strings and woodwinds (including those infernal things by he who shall not be named). All of this HLF (higher-louder-faster) stuff is for the birds. Bring back musicianship! Dana Twiss Litchfield, Maine mail2web LIVE Free email based on Microsoft® Exchange technology - http://link.mail2web.com/LIVE ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Take the Internet to Go: Yahoo!Go puts the Internet in your pocket: mail, news, photos more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] OT: Cimbasso - a new instrument I learned of today
Just a note of trivia - on the album Sacred Brass by the Canadian Brass Chuck Dallaenbach plays a cimbasso instead of the tuba. Interesting how it subtly changes the spectrum of sound, especially when combined with the voices. Paxmaha - Be a better Heartthrob. Get better relationship answers from someone who knows. Yahoo! Answers - Check it out. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Update: Modern works for Natural horn
[EMAIL PROTECTED] wrote: Has Lowell Greer written for natural horn? Thanks, Richard Burdick Lowell Greer has either a Requiem or Mass for natural horn ensemble. It was played at the 2005 NE workshop at Purchase. As I remember it was quite an intense work, and involved a tenor soloist and organ as well as about a dozen natural horns. Paxmaha - Ahhh...imagining that irresistible new car smell? Check outnew cars at Yahoo! Autos. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Horn Call back issues up for grabs
Hello John - I would love to get these. Contact me and I will arrange the shipping and payment promptly. Dave Jewell 760 Chenango Street binghamton, NY 13901 607-722-5223 914-562-9770 [EMAIL PROTECTED] -John Baumgart [EMAIL PROTECTED] wrote: I have a 12x9x6 box full of Horn Call back issues (6ish years worth). It weighs about 24 pounds. Pay FedEx ground or USPS Parcel Post shipping from ZIP code 60010 and it's yours. First dibs takes it, although I will give a preferential treatment time handicap to college students that are interested. PayPal possible if you pay fees. John Baumgart ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - TV dinner still cooling? Check out Tonight's Picks on Yahoo! TV. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Home Depot Horn
[EMAIL PROTECTED] wrote: Please note I'm not saying you can build a horn with parts from Home Depot. There was a thread on that subject a year or so back, and it got a bit acrimonious. This is just a variant of Dennis Brain's garden hose horn. Cordially, Kerry Thompson Kerry and all - as one of the two posters who argued the Home Depot question, [our esteemed der professor being the other,] allow me to say that it was definitely opinionated, but we kept it very non-flammable. In point of fact, at the Purchase Regional Workshop in '05 we were able to meet in person and found that discussion to be a humorus point of introduction. Mr. Greer is a very gifted player/composer/teacher, and I was honored to be able to hear him in person. Dave Jewell aka Paxmaha - Cheap Talk? Check out Yahoo! Messenger's low PC-to-Phone call rates. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] NE Regional Workshop
Hello All - if there is any of you fellow hornists who is planning on attending the Mansfield workshop that is upcoming, I would be very interested in carpooling/sharing expenses. I am in Binghamton, NY (southern border, near PA line), withing 2 hours of the university. Please contact me offline, or phone me. thank you. Dave Jewell aka Paxmaha 760 Chenango Street Binghamton, NY 13901 607-722-5223 c:/ 914-562-9770 [EMAIL PROTECTED] __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Britten Serenade with Piano
hans [EMAIL PROTECTED] wrote:
... Some players lament very much, if Schubert´s Auf dem Strom is sung in
the transposed version, but would play Brittens Serenade with piano
accompaniment. Our repertory is so vast, that a replacement (or proper) piece
can be found
easily.
The whole issue of authentic versions and performance practice is one that
is complicated by not only what is thought to be the objective viewpoint, but
by the individuals personal perspective as well. If one is to be absolutely
strict about only performing the original versions, then that can approach the
ludicrous. For example should we play Petroushka in the two-piano vesion
only?
Most students in colleges and universities do not have the resources or the
ability to have even a string orchestra for their recitals, and the
opportunities to perform concerti with orchestra is even remoter, unless one
wins the annual competition.
For practical reasons, then, in the course of one's development as a player
and musician I personally believe that if a student or perfomer has the chance
to play an important repetoire piece, but only in an alternative version,
then one should do it. Of course we must always strive to play it the way it
was meant to be played stylistically, but this is possible even with piano
instead of orchestra. {e.g. Mozart/Haydn/Rosetti concertos, etc.}
In short, as much as our ideal should always be to honor the composer by
playing what he wrote, but if the best that we can do is to come close or not
have the opportunity to play them, then we should do that. We cannot restrict
our performing experiences through thoughtless adherence to a perfectionist
ideal, but we should on the same hand respect that ideal when we digress from
it.
Transcriptions of works from one medium to another are the same - no problem
if done with respect to the original intentions of the composer. I mean Bach
and Handel rewrote a lot of their tunes when they needed to for non-musical
reasons. [Cantata No. 51 and Brandenburg No. 1 for instance.] The Canadian
Brass have said that when they once played their version of Toccata and Fugue
in d for an organists convention, they were told that the audience [organists,
of course] thought that the individual lines in the fugue especially were more
clearly distinguishable and that the piece was enhanced as a result.
On a side note if one wants to hear natural horn playing that puts the
Heinichen concertos to shame, then get the Zelenka Capriccios performed by Das
Neu Effronete Orchestre. Effortless playing up to G and A above high C. Plus
very stylish and creative playing in general. If anyone wants more info, email
me offline.
Paxmaha
-
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[Hornlist] recital programming...was:it's not over yet!
Howard Sanner [EMAIL PROTECTED] wrote: Hans Pizka rightly wonders: Howard, than I ask why these folks select this piece for the recital ??? Probably because their teacher assigns it. I don't know how it is anywhere these days, but in the U.S. when I was in school, your teacher assigned EVERYTHING you played, and there was little room for student preference. Recital programs, like lesson assignments, were essentially handed down by the teacher, and followed whatever requirements the school had for recitals (e.g., length, style periods that had to be included, number of major works to be played). If I could relate a personal experience... by the time I attended my community college they had discontinued the requirement that graduating students do a small recital. Having learned of this bit of history I went ahead and programmed and performed one about an hour or so in length. It got me out of my semester jury requirement, provided me with one fantastic performance experience, and to this day gives me a good feeling when I relive it in my head. This relates because I chose everything on it myself, my teacher provided coaching, encouragement, and a little sanity and perspective on the whole thing, but I was able to include two friends, one a tenor [yep - Auf dem strom] and a mandolin player [Deh veinni all finestra from Don Giovanni]. Should anyone desire more specific information on the program and such, please email me offline. thanks for listening. paxmaha - Do you Yahoo!? Everyone is raving about the all-new Yahoo! Mail. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Horn Choir Music
Just a complimentary note - I was in the audience for these performances and the works were beautifully performed. Also a personal compliment to Bryan - he is a thorough editor/aranger and a very sharing in his conversations, even with this would-be publisher. Paxmaha - All-new Yahoo! Mail - Fire up a more powerful email and get things done faster. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mozart and His Music
Essentially the question boils down to the nature of each instrument - the piano, then as now was the preeminent concerto instrument beside the violin. Given the mechanical ability of the piano to play chromatically with no alteration in timbre, and the horn's inability to do the same without stopping, one can see that the horn soloist has a much more difficult time in ornamenting the music greatly, whereas the pianist can go whizbang all over the keyboard. Having said that, the true test of one's musicality was still how tastefully one decorated and changed the basic melody, not how bombastic one could get. In regard to Herr Pizka's remarks, it is historically correct performance practice to mess around with the piano concertos, the master himself said so many times in his personal correspondence. I agree that the horn concertos, except for cadenzas and the occassional little interpretive mordent or grace note, should be played the way the man wrote them. paxmaha Bill Gross [EMAIL PROTECTED] wrote: To help me understand performance during Mozart period, the first question is about this part of the review of the Mozart piano concerto. 07:09 AM CST on Friday, March 17, 2006 By OLIN CHISM / Special Contributor to The Dallas Morning News [. . .] The most radical move toward Mozart's day is Mr. Levin's. He gives the DSO more notes for its money, often playing along during orchestral tuttis whereas most pianists sit them out, throwing in some little flourishes and improvising the cadenzas. All this is documented from the old days. [. . .] If I understand Mr. Chism correctly, this improvisation by the pianist was not unusual during Mozart age. From Hans answer to my original question, this improvisation (if that is the proper term) was not the accepted practice for horn players. Do these two statements accurately reflect the way music was performed in this period? If those statements are correct, why would one instrument play exactly as the composer desired and the other improvised during a performance? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Yahoo! Mail Use Photomail to share photos without annoying attachments. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] start off on an F horn?
Allow me to add the personal experience of being a sophomore in college and having to play one of the melodies [there was really more than one, but I played them one at a time] out of the Kauffman collection for about 6 lessons in a row. For those who don't know them, the Kauffman is a collection of 12 famous classical melodies arranged in a near beginner level. These were the most musically challenging pieces I had in my lessons, but I learned more from them than in many a more difficult etude. I strongly believe that a student who conquers real and true challenges develops a far stronger positive self esteem than the student who is puffed up by flattery, which translates into much more progress and real musical accomplishment than not. Paxmaha Hans.Pizka [EMAIL PROTECTED] wrote: Very well said, Francis. Allow me to add something about the wrongdoings of the teachers. They give them Mozart D-major at the end of the first year start with the Strauss one in the late 2nd or early third year to get the kids stuck for weeks, months or years with these pieces, instead of giving the e.g. Sawart-Wottawa etudes for beginners, accompanied with piano (very simple). These are two to four liner etudes really for beginners. So they can experience some easymusic. And these short songs of all kind, again accompanied by (easy) piano. These things together with other goddies for solo horn (Eichborn e.g.) and together with progressive etudes will develop the skill of these youngsters even fast on the F-Horn keep them interested. - Yahoo! Mail Use Photomail to share photos without annoying attachments. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] northeast regional workshop
Hello listers - is anyone planning on attending the Northeast Regional Horn Workshop in Vermont in March? If so please contact me offline regarding sharing accomodations, driving, etc. It looks to be a good one, but it would still be nice to split the costs with a friend. Dave Jewell aka Paxmaha [EMAIL PROTECTED] 914-562-9770 - Brings words and photos together (easily) with PhotoMail - it's free and works with Yahoo! Mail. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] curious pricing
I was recently at Patelson's music in NYC and happened to notice something curious. The G. Schirmer Mozart Horn Concertos in the Tuckwell edition are priced at $59 or so for the complete all in one version, while each concerto is sold separately for $9.95. a savings of nearly twenty dollars. I thing that they are marvelously done, and the separate editions do include the natural horn part as well as the transposed part. Just thought it might be interesting to note for those that are considering this purchase. Paxmaha - Yahoo! Mail Use Photomail to share photos without annoying attachments. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] curious pricing
Hans.Pizka [EMAIL PROTECTED] wrote: Or do you meanthere were e.g. two parts for every concert, the original part to be transposed the other part transposed allready? By natural horn part I simply meant the original part for horn in D and horn in Eb. I was using the term natural horn part to differntiate from the transposed part for horn in F, which most of us grew up playing on a valved horn. Paxmaha - Yahoo! Mail Use Photomail to share photos without annoying attachments. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Dauprat
Hi Folks - recently Mr. Burdick was kind enough to send me this CD for a review, which I will graciously post now. I tried to be as objective and professional as I knew how, but I do agree with Mr. Lamb that it is worth a listen for everyone on the list. Paxmaha Richard Burdick Dauprat Quartets and Trios for Natural Horns in different keys. Review by David A. Jewell Recently Mr. Richard Burdick sent along a CD wherein he has recorded the Dauprat opus.8 Quartets and Trios for Natural Horns in different keys. After having listened to this recording several times, I give you my thoughts. Mr. Burdicks tone is timbre is open, and nicely straddles the line between bright and dark. The stopped notes are played in the style that emphasizes their different timbre from the open notes. Interestingly as the cd progressed I felt that the timbre broadened and darkened somewhat while the first quartet seemed well on the bright side, by the time we reached the 4th quartet or so it felt much more comfortable and indelibly appropriate. After listening to the complete cd I couldnt help but believe that the natural horn is the more intuitive and appropriate choice for this music. In the first quartet the tempos felt a bit rushed, and while Mr. Burdicks technique is more than facile and agile enough to still make a musical interpretation, just a little more relaxation would have given more room for expressiveness. Now dont get me wrong, I have no quibble with Mr. Bs musicality or his interpretations, they were invariably enjoyable and there wasnt a track on this cd that I felt was incorrectly played I just differ in conception at some points. Just to sound inordinately fussy, there were moments when the slow movements also felt a little rushed and less expressive than they might have been, but again that seemed to even out as they cd progressed. In connection with the rushed tempos, the phrasing also contained instances of rushing into the next phrase, rather than allowing enough of a pause to allow for one to absorb the full effect. An especial delight however is the fact that Mr. B avoids the temptation to use a ritardando or rallen tando at every major cadential section or endings of movements, which would have noticeably ruined the effect of much of the writing. I would have liked to hear more dynamic extremes, which would have relieved the occasional always mf-mp feeling. The bottom horns were always in a nice balance spectrally and dynamics-wise with the top parts and provided a very nice and articulate foundation for the longer melodies in the upper parts. The recording itself makes effective use of the transparency and closeness of modern digital recording, providing a very pleasing and natural [pun not intended] horn sound that is a wonderful example of what this music should sound like. An especial thank you to Mr. B for providing the details of the recording process and equipment used - the honest admission that some reverb was used in no way diminishes the end product it is an especially excellent example of just how to do it. To summarize, this is an excellent recording that is very musical, well thought through, and one that every hornist and friends of the horn should seek out. Mr. B has provided a complete demonstration of his perspective of natural horn style and proper playing style. He has chosen music that he obviously is very sympathetic with stylistically, and that he knows inside and out. My personal congratulations to Mr. B for this recording. David Lamb [EMAIL PROTECTED] wrote: I have had a chance to spend some time with Richard Burdick's new recording of Louis-François Dauprat's trios and quartets for natural horns. It is an amazing tour de force! The sheer virtuosity is stunning, the intonation impeccable, the tone rich andfull, and the lip trills are to die for. I have never heard the natural horn played with such skill. As for the composer, it is hard to believe that anybody in the early 19th century could have conceived such impossible music for the instrument. I doubt that Dauprat will ever replace Mozart in the hearts of horn players, but this is extreme horn music that must be heard to be believed. It is beautifully played and beautifully recorded. David Lamb - Do you Yahoo!? With a free 1 GB, there's more in store with Yahoo! Mail. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Recording and Mic Placement
For any and all interested in recording techniques, you should search out Recording magazine. Many reviews of specific products, excellent articles that explain and inform about various aspects and techniques of recording, all done in an intelligent and thoughtful style, with a healthy sense of humour about it all. Sweetwater.com is also an excellent website which, in addition to being a supremely good gear seller, has many indepth articles and forums about all aspects of recording. Paxmaha - Do you Yahoo!? With a free 1 GB, there's more in store with Yahoo! Mail. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Marching
This is indeed the current style of corps marching. There are band shoes available that have specially designed heels and soles to faciliate this type of step. When done right it can be smoother than the old style toe-first step. Paxmaha Wendell Rider [EMAIL PROTECTED] wrote: OK, in the interests of getting back to the basics, I'm going to pose a question that everyone can chime in on. This seemed silly to me at first, but one of my students, a middle schooler, came in one day and told me her teacher was having them march by bringing the heel down first and rolling to the toe. The teacher actually shows them video tapes of other bands and has pointed out that the other bands are doing it wrong by using the old tried and true method of marching with the toes coming down first, thus lessening the shock. Now am i just hopelessly out of date, is this some new philosophy of marching, or is this teacher just completely nuts? It has had a detrimental effect on my student's playing and has really upset her. Frankly I don't see how they can march this way at all. I would say that It might be that my student just got it wrong, but she has demonstrated exactly how her teacher told her to do it. Sincerely, Wendell Rider For information about my book, Real World Horn Playing and the summer seminar, go to my website: www.wendellworld.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Yahoo! Photos Ring in the New Year with Photo Calendars. Add photos, events, holidays, whatever. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Bach b1102
I have to admit that I have never seen them list Wagner tubas, but as they do sell certain instruments only in certain countries, i.e. the Vienna horn model, which is sold only in Europe, if at all. So I don't want to say definitively no they don't, but I am really certain that, no they don't. Paxmaha Bob Gibson [EMAIL PROTECTED] wrote: I also think they make Tuben. - Yahoo! Shopping Find Great Deals on Holiday Gifts at Yahoo! Shopping ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Bach b1102
If it is one that was made in the last year or so, it is no longer a Yamaha, but a King. I just checked the website, and the 1102 is the model number for what was the yellow brass King Fidelio model. The 1112 is the silver Eroica model. These horns are based on a design by George McCracken, and are terribly underrated instruments in my humble opinion. Very vibrant and freeblowing, they give one a true horn sound, and will be very usable as professional instruments, as I have known several pros who have used them. If the horn looks like a Yamaha 667V or 567 then it is one of the stencil horns that Yamaha made for Bach. If it looks like a Kruspe or a Conn 8D then it is the other Yamaha, the 668N. Hope that this helps and that you have a blessed Christmas, Paxmaha Donnie Gamble [EMAIL PROTECTED] wrote: I have a student that is considering purchasing a Bach B1102 double horn. It's about a thousand dollars cheaper than the Holton, Yamaha or Conn pro. horns and I was wondering if anyone out there was familiar with it. I have never played one but all the other bach brass instruments I have used have been of good quality. Please email me back if you know anything about the Bach B1102. - Yahoo! Shopping Find Great Deals on Holiday Gifts at Yahoo! Shopping ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Sleigh ride
Hi Groups - last night on PBS they aired a documentary all about Leroy Anderson, and it was very interesting. In light of the recent thread about Sleigh Ride and our non-favorite musics, I thought that you might want to check your PBS listings and see if it is going to air sometime in your area. Paxmaha __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: worst piece of music!
I have to agree, Steve. Such things as the von Suppe overtures, the Strauss waltzes and polkas, etc. are wonderful music when played correctly. If anyone wants to see/hear how its done, watch the New Years Concert with the Vienna Philharmonic that is on PBS - they know how to give these things real life and interest. Paxmaha [EMAIL PROTECTED] wrote: Too bad, all these pieces have suffered from overexposure enough that people no longer care to play them with any style. I would include all marches, Strauss waltzes (as played by Americans) and Leroy Anderson. Many of these pieces are absolute jewels when played with feeling and style, absolute dreck when played as usual. 'Tis the Season folks, make some music happen! - Steve Mumford - Yahoo! Shopping Find Great Deals on Holiday Gifts at Yahoo! Shopping ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Worst? Bah humbug! - what's the best music you've played?
Although there are many best music scenarios for me personally, one of my alltime standouts is when as part of the chamber singers at my junior college in Syracuse, NY, we performed at the cathedral downtown. While rehearsing the Vaughn Williams arrangement of O Little Town of Bethlehem [acappella] our director told us to imagine that we were all monks singing at a Vespers service. [the second verse was being done with only men.] In that twilight dark, rapturously reverberant space, we sang as one voice, with a hushed reverence in our sound, that to this day stands as an unrepeated experience of true musical attainment. Paxmaha [EMAIL PROTECTED] wrote: OK - now that we've thoroughly aired our gripes, let's be done with that. In a less Scroogely spirit of Christmas, what is the best music you have played? For me, it was a small Episcopal Church orchestra playing the Fauré Requiem at a Good Friday worship service. No, the horn parts weren't especially outstanding, no chance whatsoever to show off, but the music was astoundingly beautiful. That same evening, the Minnesota Orchestra was playing the same piece, so as I drove home, I heard it again on the radio. I mean no disrespect to that incredible orchestra - I routinely thank God I have the opportunity to hear them live regularly. Their performance was far more skilled than ours (though our Soprano, singing the Pie Jesu, easily would have taken any trophies offered), but I would take the reverent silence in the church over the thunderous applause in Orchestra Hall any day. As it turns out, my 93 year old Grandfather, lying in a hospital bed, breathed his last earthly breath that evening. He died, as he lived, with the absolute certainty that he was entering In Paradisum. I can think of no more fitting farewell. Timothy A. Johnson Information Technologies Northwestern College St. Paul, Minnesota http://tajohnson.org ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Yahoo! Shopping Find Great Deals on Holiday Gifts at Yahoo! Shopping ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Hey, This Looks Pretty Much Like Alexander 103
I was able to have an interesting conversation at the recent NE Horn workshop with Chris Huning from Paxman's. Alexander was literally bumping elbows with them on the same display table, and they had their new triple with the change valve in the bell tail. I asked Mr. Huning how they felt about Alexander using their design concept and the response was basically that it is incredibly difficult to patent such things and they were not really concerned. I have no knowledge of the European/British patent systems so cannot address this, but it seems to me that it is much more restrictive than the US, meaning redundancy of concept and iteration of that concept are more scrutinized than here in the states. I would think that if Alexander still had viable patent rights on their 103 then Duerk would not be able to have started their own shop. The D3 is advertised as an improved and nearly perfected 103. Paxmaha - Yahoo! FareChase - Search multiple travel sites in one click. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Buzzing without the Mouthpiece
As with most things in life, we as people are different one from another, hence the multiplicity of methods and techniques that have been developed to advance our horn playing abilities. In order for any individual to decide what works best, that person must try the suggested technique for an adequate length of time. Having a private teacher is important in this process, but I believe that those teachers who have made excellent reputations are those that have helped the student to be able to implicitly make their own decisions by having developed the confidence and knowledge of their own horn playing to know what is helping and what isn't. If a teacher is the only one of the two who says yes or no to anything, then the student isn't making any progress of their own. I am firmly of the opinion that good teaching is like good parenting - as the process proceeds along, the eventual goal is that the student will eventually be able to leave the nest and be successfull on th eir own. Thus, I am myself open to any suggestions as to techniques, but until I have attempted them for myself, I find it difficult to tell another individual, especially over the internet that it will or won't work. Let me say however, that everyone's past experiences are indeed helpful, and that it helps me apply the technique more effectively than I might have done without their valuable input. Paxmaha - Yahoo! FareChase - Search multiple travel sites in one click. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Cues
How is a conductor to do cues if he can't point to the section or player he is cueing? I have never heard of this rule of etiquette and it seems entirely illogical to not be able to point to who I am cueing. paxmaha - Yahoo! FareChase - Search multiple travel sites in one click. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Fingerings
I have to agree with Hans and Paul about the human voice being perhaps our grail as horn players. Lately I have been relistening to a recording of some sonatas by Pavel Vejvanofsky, a bohemian baroque composer, who seemingly wrote quite a bit for clarino trumpet and trombone. Although the recording is from the 70's and the instruments are modern, they, IMHO, do capture the spirit and expression that the composer meant. The trombone [alto] playing is very beautiful and is very consistent from the lowest registers to the upper reaches. I firmly advocate that all horn players should be singers in some capacity, especially choral, and that they should listen to - gasp - opera some too. paxmaha Paul Mansur [EMAIL PROTECTED] wrote: Hans has it right, folks. The double horn is a fine instrument but all too often i find students who lock in on a switch point and then miss great opportunities to utilize all the resources found in the double horn. The secret of it all is to develop that F horn sound; and then learn to duplicate it on the Bb horn so that you can switch back and forth with impunity knowing that you have a unified sound! The best compliment I ever received, from an accomplished musician I admired, was: Your playing reminds me of Joan Sutherland. I asked what he meant and he said: Your tone is smooth and flows unchanged from the high register to the low as does Ms. Sutherland's voice. CORdially, Paul Mansur On Friday, October 14, 2005, at 09:10 AM, Hans wrote: There is no switch point at all. It depends what you are playing. It depends on chosing the best in tune notes. It depends with whom you are playing along, e.g. with other B-flat instruments (trumpet, clarinet), so you have to match their characteristic. It depends on how to ease the fingerings avoiding awkward combinations. It depends if you can play naturalhorn like arpeggios. It depends on how you have to inforce the sound perhaps by using the turbo trigger for a superforte, by pushing the thumb valve pushing the horn into Bb-tonality in a fraction of a second to get a real (but controlled) blast. Many conditions rule where when to switch from F to Bb or backwards. Simply switching at a certain point (always) is by far the most comfortable but very anti-musical solution. We have a brain two ears to find out the best ways keep everything under control. Please do not address me with any Dr. or so, as I have not a Dr. degree. My Prof. title is a honorary title. Here on this list, I am used being addressed as Hans only we should continue this. If one of you writes me a personal letter, I leave it up to the individual how to address me. Thanks. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Bill Gross Sent: Friday, October 14, 2005 12:19 PM To: 'The Horn List' Subject: RE: [Hornlist] Fingerings This has been a most interesting discussion. I've picked up a lot of good information. One question does come to mind about the switch point for double horns. If the F horn has the more desired horn sound, why is the commonly accepted switch point g1 sharp (second line treble clef)? As Dr. Pizka points out the F horn can Notes above g1 (2nd line from bottom) are still best on F-horn up to written c2 or d2 or e2. Note that the d1 as open F-horn-note is a perfect lucid note, full of light. If one does switch to the Bb-side above c2, why not. Is this one of those things that just happened? Was the a valid reason initially, but over time that rationale was lost and the switch point got stuck in horn lore? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/p_mansur1%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Yahoo! Music Unlimited - Access over 1 million songs. Try it free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] repairwork
Dear listers - some idle thoughts on the recent repair thread: throughout my years as a horn player I have sought to learn more about how my horn works [call me an equipment/techie nerd if you want] and always do as much as I can as regards maintaining and repairing my instruments. I fortunately never took the next step, e.g. valve acid cleaning, until I had researched and/or been taught how to do so. This probably resulted from lack of financing and simply an innate curiosity on my part. When I have the need I will take it to a repair shop, but only one I trust. Despite my own adventuresomeness I would hesitate to tell most high school kids to go and take apart their valves through the list, unless I could determine that someone would them while they do it. I feel we should encourage every horn player to learn all that they can about maintaining and basic repair, but that we should also encourage them to have a trained, respected tech do most things that honestly they have just the right equipment to do. der Perfesser and I once had a most lively online discussion about building a horn from Home Depot resources, and once we were able to clarify our perspectives on what the end result would be quality-wise, we parted on very congenial terms. [He even signed my copy of his Mozart concertos when I was able to meet him in person this year.]Personally I would love to be know and do everything that Mr. DeHaro and Ken Pope do about horns. But until I do, I will take any serious repairs issues to them, and know that I will get the best treatment.I know from personal experience that a binding valve can often be misplaced string tension, and it follows that a mechanically awkward linkage would probably cause even more of a p roblem. I think that Mr. DeHaros method, while not the easiest for him to perform, does solve the problem, not just postpone its recurrence. Which would you rather have - a permanent solution or a temporary cessation of the problem? On a personal note, I have had the pleasure of having discussions with Ken Pope, Dave Weiner, and Chris Huning from Paxman - all of whom are indeed honorable, congenial, upstanding people, and of course excellent horn technicians. One can sense from them a true love of the horn and the desire to make life as easy as possible for those who play it. Paxmaha - Yahoo! for Good Click here to donate to the Hurricane Katrina relief effort. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Pros vs Amateurs
I have to agree. Since I was in high school I have ushered for the local symphony/pops and the soloists that they have brought in have ranged from Itzahk Perlman to Barry Tuckwell [sadly I was in college 4 hours away singing Messiah so I missed my best chance to meet thim.] I was fortunate enough to spend 45 minutes just hanging with David Bilger during the second half of the concert - just keeping a lonely soloist company and getting a great perspective on the life. Uniformly all of these world class musicicans were warm, friendly, and generous with their insight. Including all five of the Canadian Brass. [Dave Ohanion being the hornplayer then, who went on to prove himself a genuine hero when he graciously conducted the first two Osmun Music Horn Choir afternoons] I have also spent way too much time with everyone from local well-knowns to those best described as up-and-coming B-Listers who ranged from snotty, egotistical, to polite at best. Some were genuinely warm and friendly, but not nearly as much as those whose name everybody knew. Just my $.02 worth. Paxmaha Bo Gusman [EMAIL PROTECTED] wrote: It has been my experience that the guys at the very top of the profession are the kindest,most humble, and eager to share and to help folks in the world. I could names scores of themwho have helped me through the years. It's the folks at the B or C level are the ones who,more often than not, have an attitude a mile wide and have forgotten where they have comefrom. These are not universal truths however. Bottom line for me is that the golden rule trumps ability and position. Bo - Start your day with Yahoo! - make it your home page ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] NHR GS
We don't do Mikado for at least two years, but Nanki-Poo was my running name last week. I have been called much worse in the past! Paxmaha Susan Thompson [EMAIL PROTECTED] wrote: Will your next performance be Nanki-Poo in the Mikado? David Jewell said, in part: I just finished a fun and exhilarating set of performances of The Pirates of Penzance with my long time GS troupe. I hope that no one feels betrayed, for I played 2nd trombone. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Start your day with Yahoo! - make it your home page ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] bi-instrumentalism
Hello lists - I just finished a fun and exhilarating set of performances of The Pirates of Penzance with my long time GS troupe. I hope that no one feels betrayed, for I played 2nd trombone. I relate this because of the recent thread concerning the effects of playing more than one brass instrument. I am personally reconstructing my embouchure after have replacement front teeth installed [not implanted] Because of my longstanding with the group and my friendship with the director, I was able to insert myself into the pit with little fuss. I am at the point where I could not have played the whole gig on horn, but because the 'bones play so relatively little, I felt I could handle it. I was also able to concentrate on such basics as tight corners, flat chin, etc. and the room in the larger mouthpiece allowed me to not use excessive pressure. Along the way I was able to have my first blasts on a Merker-matic and thought that it is quite a good horn seemingly right out of the box. My opinion is that if done with forethought and common sense, playing multi-instruments can be done with little negative effect on one's horn playing. I would have to say that care should be used when transitioning from one to the other, take more time when beginning and after one has played each instrument enough to get completely comfortable with it, the switch can be made quicker. I was able to contribute to a group that I am deeply involved with in a way that I haven't for many years. Plus I obtained a large measure of personal satisfaction with being a public performer again, and had a blast. I wouldn't have been able to do any of this if I had remained a pure horn player. It's not for everyone, but it can be done and done well. thanks for listening once again. my best to everyone for a fun and restorative summer. paxmaha - Start your day with Yahoo! - make it your home page ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Al's Tenor Horn Page - The History of the Mellophone
I apologize for the late response, and for the following possibly annoying post, but I have just got to nit-pick for my own peace of mind. Here goes... A mellophone is a circular wrap piston valve instrument usually in Eb that looks like a shrunken, backwards horn, and is played with the right hand. Somewhere along the way the name mellophone got used for marching instruments, but it has always felt wrong to me. An Alto horn looks like a miniature euphonium, to which it is related, and can be played with either hand, depending on the way the leadpipe is arranged. A marching horn, whether it is in Bb or F, looks like a steroid enhanced cornet and is used primarily to compete with the projection of the other brasses when outdoors on a football field. I reccommend its use, with a mouthpiece adapter if necessary, because you save yourself a lot of exhaustion trying to balance the low brass and the trumpets. I know many are concerned with the sound quality, but if you take into consideration all of the factors of outdoor playing, differing musical expectations, and such, it really makes life easier. I have marched with both, a regular horn and a marchinghorn, and felt way more comfortable with the marching version. In conclusion, my points are these: 1. call a marching horn a marching horn and let the mellophone have its place. a mellophone is not a marching horn, and I think that we would do well to not obliterate the mellophones place in band history. As a playing owner, I can say it actually can be quite fun to play, and challenges ones technique in order to tame its unruliness. 2. A lot of what has been said about marching horns and how bad they are feels - and this is only my opinion based on what I read in the many posts concerning this - analagous to snobbery. I can be just as elitist, but as a working middle school music teacher who has to have his kids march, I can't see where it is too much of a compromise to be acceptable. Thanks for tolerating my opinion, I can take the heat. Paxmaha Ryan Foley [EMAIL PROTECTED] wrote: Steve- I believe the most often used version of the French horn in marching bands is the mellophone, but I too must confess that the article didn't help in affirming that assumption. The mellophone is standard in all high school bands I'm familiar with, and also many colleges and Drum Corps, although I'm sure it will be easy to find exceptions. The mellophone is not nearly the beast the horn is, and with minimal adjusting to the fingerings, can be easily tamed. Good luck in those parades. Ryan Foley Blake High School for the Arts Tampa, FL - Sell on Yahoo! Auctions - No fees. Bid on great items. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Instructional methods
Having grown up betwixt both eras [Music Minus One was just getting to be a big thing when I was young,] I can only offer my opinion. To wit - recordings are fine, but there is nothing more fundamental than reading music. Most of us will play in ensembles, rather than have a solo career. This means having to read new parts a lot. When the director wants to read that new piece, he does not expect to have to give you time to go home and listen to it. He will want to begin playing it there and then. You have to be able to read and make musical sense of what is in front of you. In an educational setting, I feel recordings are best used to give a good overall sense of the piece. I listened to Myron Bloom play Strauss 1 many times before I ever got a copy of the concerto - but when I did, and followed the score while listening, my understanding of the piece deepened immensely. I personally feel that the ability to hear a score just by looking at it is critical, and it is a skill I still work on after 30 years. Once a student has heard the piece enough to know how it all hangs together, they should work on it on their instrument, with guidance, and form their own interpretations as they play. That is one thing that makes each and every player just slightly different - what is easy for you to express may be much more difficult for me, so I play it somewhat differently. As in most things these days, going too far in any one direction is not sound [pun noticed and left in]. Paxmaha Wendell Rider [EMAIL PROTECTED] wrote: I've lived my whole life in the age of recordings so I don't know what was going on before that. I imagine serious students made every effort to hear great players. It is important to have something to aspire to. I almost wore out my Brain recordings of the Mozarts and Strauss when i was a kid (I still have them!). On the other hand, I have been in substitute teaching situations where i ran across kids who seemed lost without a CD to listen to. In one school, the teacher had never taught the kids to really read music. They learned everything by rote. Many were amazed, after they got over their anger, that we were able to work out a piece (this is a band) without the CD. They also felt proud to have accomplished it. I like my students to have recordings of pieces. I also like to know which recordings they have if not the ones I recommend. It can be fun to discuss the different musical style choices and the differences in tone. Wendell Rider For info about my book, Real World Horn Playing, and the summer seminar, please visit my website at www.wendellworld.com Not everything that can be counted counts, and not everything that counts can be counted. -Albert Einstein - Yahoo! Sports Rekindle the Rivalries. Sign up for Fantasy Football ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Teaching on Natural Horn
Kev24612 said: Its all very well saying that, being accomplished players with a great ability and knowledge, but how many new players, with little knowledge, will want to go through all that when they start playing. They will be put off tremendously by the thought of going through it. Nice idea but quite unfeasable. My apologies for an unexpectedly long response As a public school music teacher, I find that this type of attitude is very prevalent. Students want results, but don't want to know what specific efforts they will have to do to achieve it. While I understand Kev's point [don't overwhelm beginners with more advanced material than they need to know,] I can't help but feel that this extends beyond music. For example - I have talked to MS students who can't understand that they would know the material they are being tested on if they had paid attention and done their homework as the year progressed. I have also had clarinet players in 8th grade tell me that they didn't know that note [3rd space C, treble clef.] and then eventually drop out when I was making them learn how to play it. I know many people who learned how to play during a time when things were still old fashioned and their love and enthusiasm are still overwhelming. It is human nature to value things more highly when they are hard to get, I know most things that I don't pay much attention to came easy; those things that I strove like the dickens to achieve are what I am most proud of. We are depriving our children of an important lesson - how to understand the true significance of what we earn and achieve - a lesson learned best by experiencing it, not just being told about it. I think there needs to be more foundational studies, those exercises that build our embouchures and musicality, not just teach us the notes and fingerings. thanks for your patience folks. Paxmaha - Yahoo! Sports Rekindle the Rivalries. Sign up for Fantasy Football ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] the natural horn
In my opinion, it would be because there is a significant literature for the natural horn, whereas the conch shell, hunting horn, alp horn and the like do not. they may have a large amount of music for them but it is more practical than written for its musical value and because of that doesn't have the broader appeal of the natural horn. Also due to the rise in period instrument groups, there are many more opportunities to really perform. paxmaha Nicholas Hartman Hartman [EMAIL PROTECTED] wrote: Dear List, I've heard that recently, the natural horn has been making a comeback. My question is, why the natural horn? Why not the hunting horn, alp horn, or even the conch shell? it seem like an oddly specific instrument to make a comeback. There are dozens of horns that have had an impact on the development of the modern horn, yet no one would put the words Seraphinoff and Conch Shell in the same sentence (except for just then). Thanks, Nick - Discover Yahoo! Find restaurants, movies, travel more fun for the weekend. Check it out! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Discover Yahoo! Have fun online with music videos, cool games, IM more. Check it out! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Marching
Believe it or not its all in the shoulders. If you strive to keep your shoulders level and straight your body alignment seems to stay much more stable. Keep the soles of your feet as flat to the ground as you step helps as well. paxmaha [EMAIL PROTECTED] wrote: Hi Anyone here march. Does anyone else have problems keeping balance in slow march time. Its been a killer for me in ceremonial situations. Kev ([EMAIL PROTECTED]) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Yahoo! Mail Mobile Take Yahoo! Mail with you! Check email on your mobile phone. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] die bankelsangerliedr
yep - Daniel Speer. Alan Cole [EMAIL PROTECTED] wrote: Die Bankelsangerlieder is listed as anonymous in some catalogs -- but didn't the musicalologists figure out who the composer is? -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: Gold and silver plating
Cabbage -So what would your reply be if the dear Prof. I.M.G. recommended that you be pickled? Paxmaha [EMAIL PROTECTED] wrote: Yes. I recommend that Prof. I. M. Gestopfmitscheist be silver plated. Gotta go, Cabbage __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Yahoo Horn List?
Hello James - I am on both lists and sometimes the yahoo list keeps to the point more than the memphis list. It certainly is not a wasteland - at least most of the time. Here is my address for the yahoo people: [EMAIL PROTECTED] James Ray Crenshaw [EMAIL PROTECTED] wrote: I keep reading here of the other list. Seems I caught some mention of it being on Yahoo so I warped over there and searched through the French horn groups. I found several and visited each one. What a vast wasteland! ...or at least the ones I found. Surely no one past 8th grade would spend time on any of the Yahoo horn groups ***I*** was able to find, leading me to believe there MUST be one I've missed. Might I ask this group for driving instructions to the Yahoo group I've read about here? I may dismiss it, but I'd like to give it a look-see before doing so. jrc in SC ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] quintets
Hi Tom, the canadian brass have a hymns collection for sale, and try churchinstrumentalist.com. Also Hope Publishing, and Lillenas Publishing as well. paxmaha Hunt,Thomas [EMAIL PROTECTED] wrote: I coach a fledgling college brass quintet. We are looking for a couple of collections of stuff appropriate for church. What publications have most appealed to you folks? tom in iowa * NOTE: An attachment named winmail.dat was deleted from this message because it contained a windows executableor other potentially dangerous file type.Contact the system administrator for more information.--_=_NextPart_001_01C55ED2.4B221C18-- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Yahoo! Mail Mobile Take Yahoo! Mail with you! Check email on your mobile phone. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Brass Trio
Hi - if it's not still available I am willing to loan/rent my complete copy. Just contact me. Paxmaha [EMAIL PROTECTED] wrote: Another nice trio (I assume it's still in the Robert King catalog) is one by Robert Sanders. Emory Waters ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Shostakovich - Symphony No. 5, op. 47
You know that we all make mistakes. Please know that I wasn't trying to be persnickety or pick on you, but as a musicology major I was hoping to be helpful. The basic conclusion that one should reach after studying the compositional practices of orchestral horn writing is simple - once the common practice was 4 valve horns that the composer had in mind for his music, and especially after the turn of the 20th century, all the old rules had less effect than before, and many composers began to write more top down than before, although the old 1/3 - 2/4 concept is certainly still taught and still being used. You just can't count on it being THE standard. Paxmaha Julia H [EMAIL PROTECTED] wrote: Yes. thank you. I made a mix up. I apologize. Everyone can stop e-mailing me about my mistake in typing. My thoughts move at a different rate than my fingers do and they don't always line up properly J From: David Jewell Reply-To: The Horn List To: The Horn List Subject: Re: [Hornlist] Shostakovich - Symphony No. 5, op. 47 Date: Thu, 19 May 2005 06:58:53 -0700 (PDT) Not to be picky, but Shostakovich is later in history than Sibelius. paxmaha Julia H wrote: Yes, he's later in history than Shostakovich, but it's just an example of how the pairing of horn voices isn't set in concrete J - Do you Yahoo!? Take Yahoo! Mail with you! Get it on your mobile phone. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/horn_player_4%40hotmail.com _ Express yourself instantly with MSN Messenger! Download today - it's FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Yahoo! Mail Stay connected, organized, and protected. Take the tour ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Horn Digest, Vol 29, Issue 23
I am not sure that I understand the reed thing. Could you please explain in more detail where he put the reed, etc? I have not heard of a brass player using a reed on his brass instrument. I have used a reed, but only when I play clarinet or saxophone. Paxmaha Sheldon Kirshner [EMAIL PROTECTED] wrote: Hi, Arnold taught that high tessitura playing is done more efficiently with a smaller reed. When he played in our high C range on the tuba, which he did easily, and musically, he used a small reed at the bottom of his mouthpiece--but didn't change his mouthpiece. He taught that in the extreme bass tessitura a large reed will produce relatively more resonant sonorities. And, for example, driving the bass register in the tuba using a small reed produces a more strident sound. He was originally a cornet player, then a trombone player and finally a tuba player. Arnold said that the mouthpiece pressure should be equal on both lips. And I suspect that there are many brass players who have injured their lips in not following that admonition while playing, particularly, in the extreme high tessitura and at great volumes. And, as you say, one should use lots of free flowing air. Shel -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Wendell Rider Sent: Thursday, May 19, 2005 2:07 PM To: Horn-List Subject: [Hornlist] Re: Horn Digest, Vol 29, Issue 23 message: 4 date: Wed, 18 May 2005 12:53:00 -0500 from: Sheldon Kirshner subject: Re: [Hornlist] Embouchure Problem Arnold Jacobs told me that many fine brass players have unorthodox embouchures. Shel Hi, Arnold Jacobs told me the same thing and I remember him sitting there with a horn mouthpiece and putting it on his lips in different places and buzzing away. Of course he got notes out because his lips were lined up nicely and he could buzz very well without a mouthpiece, even though he discouraged that. He even had me play while I was sucking in on the horn. This was to show that blowing hard really isn't that important- you can play just as loud sucking in as blowing out. Anyway, if there was one issue I would have with Jake if he were still around, it would be that it doesn't matter where you set the mouthpiece as long as you have your air right. This is probably 100% right on Tuba because basically you stick the mouthpiece under your nose and blow. Its not going anywhere. Trombone is close to that. Trumpet you can always favor the upper register, although I would say that many modern players are playing with what is closer to horn embouchure placement than ever before. The horn is basically a Bass Trombone with a different bore and a small mouthpiece that plays in the trumpet range much of the time. An eighth inch of setting difference can mean the difference between success and failure. We have so much range to cover. The of success of any unorthodox embouchure can only be measured by the ability to control the beast in all registers and dynamics. Hey, if it works, it works. Define works. Phil Farkas once told me that when he wrote in his book that there WAS a fundamental playing position for the horn, back in the 50s this was big news, that he had stated that 95% of great players had certain things in common. He said that ever since then, he had been deluged by people, looking for help, who were convinced they were the other 5%. In fact he told me that whenever one writes something like 99% of the time this is true, people reading that are going to be thinking, I'm that 1%. I was one of those people. I was wrong. This and other topics will be great grist for the mill at Tuscaloosa, where you are welcome to my exhibit and ongoing therapy session. Wendell Rider For info about my book, Real World Horn Playing, and the summer seminar, please visit my website at www.wendellworld.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/skirshner%40ameritech.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Do you Yahoo!? Yahoo! Small Business - Try our new resources site! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Shostakovich - Symphony No. 5, op. 47
Not to be picky, but Shostakovich is later in history than Sibelius. paxmaha Julia H [EMAIL PROTECTED] wrote: Yes, he's later in history than Shostakovich, but it's just an example of how the pairing of horn voices isn't set in concrete J - Do you Yahoo!? Take Yahoo! Mail with you! Get it on your mobile phone. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Canadian Brass
both groups have certainly mined the transcription bit for all its worth, I agree. And no, they don't do many original commissions, although the Canadians have commisioned an opera [Hornsmoke], the Michael Kamen Quintet, and have recorded the Malcolm Arnold Quintet. They were perhaps more core repetoire minded in their earliest days, when they had a recording that had several original compositions on it, but some of their arrangements certainly have involved nearly the same amount of work as composing something anew. In regards to the Empires, I know that they have commissioned some works, but I honestly don't have that information in my head or near to hand. To reverse the perspective, would we say a group was limited in their reptoire if the played nothing but original brass quintet works and left out anything that was arranged or transcribed? I think we need to accept the fact that the Canadians are who they are and the Empires are who they are, and the Boston Brass is who they are, and so on. And when I said the whole realm, I will concede that may have sounded exaggerated and a bit broad, but I thought we all gave each other a certain latitude about the use of common expressions and figures of speech. Paxmaha [EMAIL PROTECTED] wrote: The whole realm? How much original quintet literature does either group perform? How many compositions (not arrangements) have they commissioned? Eric James On Mon, 16 May 2005 14:38:08 -0700 (PDT), David Jewell wrote: Actually the Empire Brass postdated the Canadians by almost ten years. However, both groups have become the predominantly known quintets and certainly do well at exploring the whole realm of the repetoire between them. I have a collection of ST. Paul Sunday Morning episodes featuring both ensembles, and the discussions between the playing highlight the differences in attitudes that each groups has. You learn a lot about what it all means when you get a chance to hear the members of a group talk about life and music. Paxmaha [EMAIL PROTECTED] wrote: In a message dated 5/16/2005 9:14:27 AM Pacific Daylight Time, [EMAIL PROTECTED] writes: Before The Canadian Brass, brass quintet music pretty much meant canzonas Gabrieli the Robert King Catalog -- lots of tunes, but not much stylistic variety Don't forget The Empire Brass - Do you Yahoo!? Make Yahoo! your home page ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/eric_d_james%40canada.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Do you Yahoo!? Yahoo! Small Business - Try our new resources site! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] recording query
does anyone have the recording music for horn and organ [or something close] performed by Hermann Baumann and Herbert Tachezi? If so please contact me off list as I would like to get the contents listing. I have my copy of the tape, but lost the cassette case with the info on it. thank you. Paxmaha - Yahoo! Mail Mobile Take Yahoo! Mail with you! Check email on your mobile phone. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Canadian Brass
I have a cassette copy of the LP - this performance was not reissued on cd, unless it occurs on their recent CBC reissue. See their web store for more info. paxmaha BVD Press [EMAIL PROTECTED] wrote: And no, they don't do many original commissions, although the Canadians have commisioned an opera [Hornsmoke], the Michael Kamen Quintet, and have recorded the Malcolm Arnold Quintet. Anyone know where to get a copy of the Arnold recording? I have always been under the impression that they did not record very many or any of the standard Brass Quintet charts. Speaking of standards, I know Empire recorded the 3 Ewald's back in the 80's. Thanks, -- Bryan Doughty BVD Press and Cimarron Music Press 79 Meetinghouse Lane Ledyard, CT 06339 [EMAIL PROTECTED] 860 536-2185 http://www.bvdpress.com/ http://www.cimarronmusic.com/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Do you Yahoo!? Make Yahoo! your home page ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Canadian Brass
Actually the Empire Brass postdated the Canadians by almost ten years. However, both groups have become the predominantly known quintets and certainly do well at exploring the whole realm of the repetoire between them. I have a collection of ST. Paul Sunday Morning episodes featuring both ensembles, and the discussions between the playing highlight the differences in attitudes that each groups has. You learn a lot about what it all means when you get a chance to hear the members of a group talk about life and music. Paxmaha [EMAIL PROTECTED] wrote: In a message dated 5/16/2005 9:14:27 AM Pacific Daylight Time, [EMAIL PROTECTED] writes: Before The Canadian Brass, brass quintet music pretty much meant canzonas Gabrieli the Robert King Catalog -- lots of tunes, but not much stylistic variety Don't forget The Empire Brass - Do you Yahoo!? Make Yahoo! your home page ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Canadian Brass
If you go to canadianbrass.com they have a page devoted to the time line of the members in the group. There is a lag sometimes in different parts of the site as to who is in the group - pictures tend to be displayed in the gallery after changes have taken place. I am confident that Mr. Scully will be the hornist at your performance. In actuality there have been more changes in trumpeters than in hornists. Briefly, in order, the hornists have been: Graeme Page - Martin Hackleman - David Ohanion - Chris Cooper - Jeff Nelson - Bernhard Scully. Paxmaha Mara Cushion [EMAIL PROTECTED] wrote: The Canadian Brass will, apparently, be playing in a church in Michigan, near me next week. The picture on the ad I saw has Jeff Nelson as the horn player. Since Bernhard Scully won the position, will he or Jeff be playing on that concert? ~Mara ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Yamaha models (NHR)
from: neuro Why Yamaha America has only models 667, 667V, 668 -- with their nickels and detachbles -- Actually if one checks a retailer such as Woodwind and Brasswind, they offer the 567, 313, 314, 667, 667V, 668II, the 891 and the 892. Regarding the 867, remember that originally in the late 80's that model was sold in America under the Custom Series banner, and that it did not use the dual-plane valve that was developed for the 667V. I would imagine that they develop their horns, and as Bill says, test run them before cross marketing them to the Americas. paxmaha Bill Gross [EMAIL PROTECTED] wrote: I think it's test run. Some of the Europeans on the list will correct that if it's wrong. - Do you Yahoo!? Yahoo! Mail - You care about security. So do we. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] My first Acid cleaning of valves
Just a question - did you dilute the acid with water? many people leave out the fact that you never use the acid straight - it's always no more than a 10% solution. Glad the cleaning went well. Paxmaha [EMAIL PROTECTED] wrote: Actually, I decided to do some research and give it a go. I went out to the hardware store and bought some heavy duty Rubbermaid containers (one for the acid bath, the other for the neutralizer), and baking soda and Muriatic acid, and rubber gloves. I can say that the stuff works well, but you have to be extremely careful to do it in a well ventilated area, and just to make sure I didn't put the acid everywhere I just dipped my gloves in the neutralizer (baking soda and water) every now and then. Those vapors, even if you get the slightest whiff of them, can really be bad, and could probably kill you if you got enough of it. Also, the fizz from neutralization of the acid is quite cool to watch and listen to. I also re-fitted the valves afterwards and I can say that they work a lot better than how it used to be. Although, it's still a little sluggish compared to my Schmid, but is that normal on a Yamaha 668? I know some horns have valves that are almost too quick and light and some that are built a little slower and heavier. I also noticed a tiny bit (less than a quarter millimeter or so) of vertical play in the valves too before and after refitting, so I wonder if that is supposed to be there or not? Anyways, after I give her the horn back I'm going to definitely tell her to not have a chem-clean on the valves for at least a year. All in all though, I'd say it was a good job for a first try. I'm just glad I did my research before I attempted it - there's a lot of room to make plenty of mistakes with such a job. -William ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Do you Yahoo!? Yahoo! Small Business - Try our new resources site! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] church playing
Once again, for anyone who does any church music, try churchinstrumentalist.com, they have a great selection. paxmaha Gary Greene [EMAIL PROTECTED] wrote: Dear list, I am forwarding the following message from one of our list members who is having some technical problems getting his message to go through. While I work on that, here is his request--remember to respond to HIM and NOT to me if you are not going to reply via the list! Gary Greene I am soliciting information on suitable music to play in church. I have been asked to play for two Catholic masses each week at a very large church. One mass is with large choir and organ and the other is with piano and a smaller choir. I need both short pieces for various places in the service and longer pieces for preludes and communion. We have had good success with Hovhaness' Artik with organ and I have done a fair bit of transcribing vocal solos for the shorter pieces. I also do a solo before the prelude (while the choir and organist are warming up). So far, I have done a fair bit of Bach. Other suggestions welcome. So much music needs an accompaniment. We had good response to Twyla Paris' Lamb of God both accompanied and not. You can also contact me directly at [EMAIL PROTECTED] should you need to send any attachment of suggested material. I know someone out there has collected a listing of horn music for church services. John Fenner [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Chambers/Jones mouthpieces
Didn't Chambers study at Curtis? paxmaha Richard V. West [EMAIL PROTECTED] wrote: Hornisti: Dell'Osa was a Philadelphia mouthpiece maker. He made mouthpieces for Mason Jones, other members of the Philadelphia Orchestra, and countless Curtis graduates. I rather doubt he made a mouthpiece for Chambers (a Noo Yowkah!), when Giardinelli was already in the picture. Dell'Osa mouthpieces generally have a deeper, more V-shaped bowl than the C1-C8 mouthpieces of Giardinelli, with a variety of bores and rims. I was told when I visited the shop in Philadelphia many years ago that Dell'Osa essentially did it all by eye. Stranger things have happened, though, so this assumption could be wrong. If so, I'd love to see the evidence. Richard in Seattle Possessor of both Dell'Osa and Giardinelli mouthpieces. - Original Message - From: Herbert Foster To: The Horn List Sent: Thursday, January 06, 2005 2:36 PM Subject: RE: [Hornlist] Chambers --- Aleks Ozolins wrote: If I'm correct, the design was a Dell'Osa (a million different spellings I've seen) That's the way it's spelled on my mouthpiece. He should have known! Herb Foster __ Do you Yahoo!? Read only the mail you want - Yahoo! Mail SpamGuard. http://promotions.yahoo.com/new_mail ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hornfella%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Do you Yahoo!? Yahoo! Mail - 250MB free storage. Do more. Manage less. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Baumann repertoire question
Mr. Hui is correct - the piece is the serenade by borodin. I have this tape, and on it Herr baumann announces the selection, as does the announcer. He also played the rossini les rendezvouss des chasses as an encore. Paxmaha Peter Hui [EMAIL PROTECTED] wrote: Wow, and I thought I was the only one who remembered this broadcast... Are you speaking of the encore that he played at the end? If I recall correctly, the piece was a movement from the Five Pieces from Little Suite, by Borodin. Oddly enough, I have the sheet music, along with the receipt from when I originally purchased the music, in front of me right now. Published by: Israel Brass Woodwind Publications P.O. Box 2811 Holon 58128 Israel If I recall correctly, he played the third piece (Serenade) as an encore. It looks like I got it from Robert King, but this was back in 1992, so I can't guarantee that it is still in print. Feel free to contact me if you need more info. Peter I have a tape, made from an off the air broadcast, of Hermann Baumann playing a recital at the Frick Collection in NYC sometime in the early to mid- 1980's. After renditions of the Strauss no. 1, the Beethoven Sonata and the Krol Ladatio, there follows a work that I cannot identify. I initially thought that it was a Russian song transcription, but many of the features of the piece make me think that it is a horn piece that I am not familiar with. Does anyone have information on the works played on this concert? Failing this, I would be willing to send a file made from this tape to anyone acquainted with Herr Baumann's recital repertoire in hopes of making an ID. Hopefully, Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Do you Yahoo!? Yahoo! Mail - Find what you need with new enhanced search. Learn more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] 6Ds and Bueschers (Alan)
Hi Mark - since I moved to Westchester county this fall, I have been able to acquire a bridge also, maybe I could trade you my Whitestone for your Brooklyn, since you wouldn't trade your Ricco Kuehn for my single Holton Saturday? Paxmaha [Dave J.] Mark Louttit [EMAIL PROTECTED] wrote: If anyone believes that out there, let me mention that I currently hold the deed to the Brooklyn Bridge; and it has been in my family for decades. I will be happy to sell it for only $150.00...contact me off list if interested. Mark L. (a Steinway Corp. Stockholder) - Do you Yahoo!? Yahoo! Mail Address AutoComplete - You start. We finish. ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] How to find model number
Hi Steve - if you can email a couple of pictures of them I can probably identify them, especially the Yamaha. Its a quirky ability/fascination with horn design that I have that has taken the form of my identifying brands/models of horns seen on televised symphony performances. My parents got a kick from it, but my ex-wife never seemed to see the wonder of it. catch you later, Paxmaha Steve Freides [EMAIL PROTECTED] wrote: We have two horns in the house, an old, beaten-up Conn from a local public school district that's on loan to us and a fairly nice Yamaha. On the bell, I see the manufacturer but no indication of model number - this goes for both horns. How can I tell what I've got? Is there a standard location other than the Bell where the model and/or serial number is placed? Thanks in advance. -S- ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Do you Yahoo!? Yahoo! Mail Address AutoComplete - You start. We finish. ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Gilbert Sullivan MIKADO Question...
From my experiences with my hometown GS troupe, there are usually always 2 horn parts in the score. I don't think he ever used more than that, but he might have. You can get by with one, but two is always better. Paxmaha Ray and Sonja Crenshaw [EMAIL PROTECTED] wrote: If you're old enough to read this, then you probably weren't born when I last played the Mikado. Anywhoo, the question is this: Q: How many horn parts are there? I only remember one, but there may have been a second book that I didn't see since there was no 2nd horn player. jrc in SC - Do you Yahoo!? vote.yahoo.com - Register online to vote today! ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] apologies
My apologies to the group - carelessly did not check what address was put in when I replied to Mark L. won't happen again. cornistically, Paxmaha - Do you Yahoo!? Yahoo! Mail - 50x more storage than other providers! ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] History of music
Hi Karon - try Aaron Copland's What to Listen for in Music, Bernstein's The Joy of Music, check out Machlis The Enjoyment of Music they are all excellent for anyone, not just music students or musicians. Karon Ismari [EMAIL PROTECTED] wrote: Can anyone recommend a book (books) that would help her understand the whys and wherefores of music? I guess something like the history of music written for a non musician is what I'm after. Also, something included about how listening to music affects emotions. The book (books) should be on an intellectual level but not too clinical. Small order, I know! Thank you in advance for any on list and/or private answers. Karon Ismari - Do you Yahoo!? New and Improved Yahoo! Mail - Send 10MB messages! ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] recording accessories
Guys, can I suggest that you check out fullcompass.com and find the mic stands pages. Much more reliable than any juryrigged type of equipment, and you can get the proper mic holders as well. Just a thought for you folks that do this regularly. Paxmaha John Kowalchuk [EMAIL PROTECTED] wrote: At 01:35 PM 8/27/04 -0400, [EMAIL PROTECTED] wrote: For authorized recordings, I have a sixteen foot golf ball retriever that doesn't bother anyone's view, but gets the mic clear of any audience noise. With this setup I get recordings of professional quality. Okay, you win. I've been using a camera tripod with a three foot telescoping curtain rod. It extends to about six feet and when placed atop the fout foot tall tripod gets a pair of lavalier condenser mics into a nice position to record large groups. I've been recording my community orchestra with this setup for years. I'm heading out to Wal-Mart now to pick up a golf ball retriever. John Kowalchuk maker of mutes/horns/canoes/paddles/bikes Oshawa, Ontario http://home.ca.inter.net/~horn1 Canadians don't surf the net, we paddle it. ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Days of wine and
Susan T wrote: and you will probably have very solid petal tones on the trombone as soon as you start playing it... and Cabbage wrote: I had a rose brass bell installed on my trombone, so now my petal tones are really impressive. then Richard B opined: It also does wonders for your endurance and stamena. Cabbage: What a pollen joke that was. I don't know - is there any way to get you guys to leaf this thread alone or to stem the tide? Paxmaha - Do you Yahoo!? Win 1 of 4,000 free domain names from Yahoo! Enter now. ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] trombone/1812 myth
Hi guys - I hate to cast aspersions on this, since it seems to come from a reliable source, but the Discovery Channel show Mythbusters tried to replicate this and they failed. It ended up taking nearly 3/4 of a stick of dynamite to replicate the incident. The men who run the experiments duplicate every environmental aspect as closely as they can given as much information as they can gather. They were able to make it do so, but as I said, it took way more than a firecracker to do it. Paxmaha Richard Smith [EMAIL PROTECTED] wrote: Read about Paulo Esperanza here HYPERLINK http://www.johnharle.com/philosophy/articles-humour/paulo.htmlhttp://www.j ohnharle.com/philosophy/articles-humour/paulo.html - 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/archive%40jab.org
Re: [Hornlist] Eroica by White?
Leonard - it's definitely and Eroica, the design of George McKracken. I have no idea where the H.N White came from, because White was absorbed by the King company earlier in the last century. The Eroica is an early 80's [I believe] design so it couldn't have been a White King brand. I could be wrong, so I am not going to guarantee my info, but I am confident about it. Paxmaha Leonard Peggy Brown [EMAIL PROTECTED] wrote: There is a King Eroica by H. N. White on ebay. I thought H.N. White was out of business by the time King came out with the Eroica name. Is this really an Eroica or just a Nickel Silver King/White from an earlier year? - Do you Yahoo!? New and Improved Yahoo! Mail - Send 10MB messages! ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] H.N. White in general
Hi again Leonard - somewhere either on the net or in some literature there is the
history of the White/King company. {I will try to locate it} What I seem to recall
is the H.N. White founded the company around the turn of the century or soon
thereafter. One of his trombone designs earned the designation King model.
Eventually as new ownership of the company came on board, they changed the name of the
whole company to King.
Paxmaha
Leonard Peggy Brown [EMAIL PROTECTED] wrote:
How did H.N. White fit into the world of horn building? Was it a second
line for King? About what years did White make instruments?
Leonard
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[Hornlist] information request; NNHR
Hello listers - please pardon this double posting, but I am hoping that someone out there can help. I would like to know if anyone has the Canadian Brass CD Gabrieli for Brass [w/NY Phil.] If so could that person contact me off list - I would like a copy of the Cover/Back panel [under the cd tray] and liner notes - I cd itself, but not the original case - please don't ask how. thank you for any help that you may be. Paxmaha [EMAIL PROTECTED] - Do you Yahoo!? Yahoo! Mail - Helps protect you from nasty viruses. ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Speaking of LPs For the Audiophiles (NHR)
Hello listers -
Ray Sonja Crenshaw wrote: Ahh, greetings fellow MC225 owner! I've heard that these
things arecollectible, or at least once were.
McIntosh equipment was perhaps the best ever made and still is. Most of their gear
from the beginning up to the present will continue to operate above and beyond if well
cared for. If anyone needs service try audioclassics.com, the local dealer for them.
I should mention when I say local that they are located about 5 miles from the
manufacturing plant. I live in Binghamton, NY, home of McIntosh, and am quite proud
of our best known export.
I still have the same stereo (including the Mac, bought used) that I bought
in 1976. Post Cold War Time-Warp Survivor or stubborn curmudgeon?
Nope. Just a man who knows the best when you hear it. {and see it - don't you just
love those incredible front panels?}
As to anyone looking for a turntable, try JR Music World in NYC. I know several
companies that manufacture DJ equipment, but JR have audiophile turntables from
JVC, Pioneer, and Technics. Since Aleks lives in NYC, they should be the first place
he checks out.
Paxmaha
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RE: [Hornlist] Microphone Placement
Aleks Ozolins [EMAIL PROTECTED] wrote: I was thinking more along the lines of using a stereo mic for the whole project, but perhaps mixing in a slight amount of signal from another mono mic placed closely (not nec behind) the horn if only to get slightly better prescence and focus out of the solo instrument. Aleks Ozolins When it comes to mic placement, in my experience the best spot is chair level by the right knee. Earlier this month I assisted the local sound company in positioning their horn mics when the reinforced the local symphony pops outdoor concert. They took my advice and the horns sounded like horns. Direct miking behind the bell even when recording will not give you that real horn sound, and when you try to mix it with the soundfield mic it will be like combining raspberries with blueberries to make an apple pie. We have to remember that as hornists we hear the most direct sound, but everyone else in the orchestra and audience hears the direct sound + reflected sound which is what we know as the real horn sound. a stereo mic placed where I have suggested and pointed at where a screw ring would be should do an excellent job. Paxmaha - Do you Yahoo!? Vote for the stars of Yahoo!'s next ad campaign! ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] re: back strain, misc.
Hello listers - please bear with this double posting. In regards to the issue of back strain, when I returned to college after 4 years out, I had quite the time with my back. One solution was a cylindrical foam cushion placed in the lumbar region that helped me maintain adequate posture, and provided support for my back. I am an off the leg player, and I second the suggestion that that be tried if the person[s] who initiated this discussion is an on the leg type. I also very firmly say that if you know you are going to be using those horrid metal chairs, bring your own. Several players in the local symphony do, and everyone understands why. We must safeguard our health and do what we have to in our physical environments to maintain our playing ability. Now, onto the issue of classical or concert music and its popularity. Opera is one segment of the concert music spectrum that has seen audience growth in recent years, and you know who is the largest growing demographic? Punk rock afficionados. Recent studies have shown that young people and those in their late 20's early 30's are beginning to see that opera has a lot going for it, and making connections between the attitudes expressed in their preferred music and those of opera, e.g. rebellion against authority, murder, mayhem, going against society for love, etc. I don't know how to make the crossover from opera enjoyment to straight symphonic music, but if they attend opera, something should be possible to bring them to the concert hall. thanks for listening, Paxmaha - Do you Yahoo!? New and Improved Yahoo! Mail - Send 10MB messages! ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Denis Wick vs Cartouche vs Megamoose.
Hi Bill - thank you for the explanation. I simply couldn't relate the phrase pop tone with a specific action discussed in your note. I personally am not sure that pop tone will tell us much about how a given mouthpiece will react with the horn it is in, but it certainly might. I have always recommended against that particular test for anyone other than a committed adult amateur/professional because it usually causes needlessly stuck and jammed mouthpieces, given that junior high kids especially can't seem to judge the amount of force needed to do it - they always use way too much. There is a lot of correlation between speakers and horn acoustics, but it takes a much more dedicated person than I to spend the time to wade through all that math and stuff. I try to, but I find that it helps to keep it as simple as possible. On a side note, a friend of mine [who has discussed this on the list] had until recently a DW booster on his Thompson edition mpc which he uses for his Hoyer Descant. He's since had it removed, and feels that his playing is a bit lighter, freer, without any loss of tone or volume. He also plays a Conn 8D, [and bassoon!!!] so he gets to compare such things more so than I do at this moment in time. It's been a pleasure coversing with you, I hope that you are able to come to some conclusions, and please share them with all of us. Paxmaha william bamberg [EMAIL PROTECTED] wrote: Cabbage gave a very good explanation of 'pop tone', as I understand it. It is a tone with a frequency related to the volume of the mouthpiece cup. This allows comparing variations in both depth and diameter in a single parameter. Since it is a function primarily of cavity size, that would argue that the properties of the materials making up the cavity, such as mass or hardness, are secondary. Acoustics gets complicated in these situations because it gets into the realm of horn amplifiers. The complication, at least to me, is that the enclosed cavity shape and size defines the amplification qualities of the 'horn', but the parameters of the enclosure defining the horn shape have acoustical properties of their own that interact strongly with the signal being amplified. The answers I got from Cabbage gave me enough information to support many hours of independent investigation on my part, just to better understand what he said. His simplest suggestion, that I study more about the difference between hardening and tempering, has already led me to some fascinating places on the web. The acoustics problems, his real expertise, should keep me busy for a long time, just formulating more questions to ask. So, to answer your direct question, I mean by 'pop tone' the same thing Cabbage defines as 'pop tone'. If you now go to other sources to better understand what we are agreeing on, not only will you get your question answered, you will undoubtedly find out new things that you could share with me, and might even be of interest to Cabbage. This is how science is done. The area of loudspeaker design has been a good start for me. - 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/archive%40jab.org
Re: [Hornlist] Denis Wick vs Cartouche vs Megamoose.
Hi Bill - just what exactly do you mean by 'pop tone? I don't understand what you are describing. Paxmaha william bamberg [EMAIL PROTECTED] wrote: My questions come in here. I've become reasonably convinced that 'pop tone' is an important consideration in the performance of any given mouthpiece design. What is 'proper' pop tone? What influence does mass of the mouthpiece have on the effect of pop tone? What factor does annealing play in the role of pop tone effect? - Do you Yahoo!? Yahoo! Mail is new and improved - Check it out! ___ 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?
I once had an interesting experience with bagpipes, that thankfully didn't involve them being played. During a rehearsal for my HS production of Brigadoon the bagpiper [there for the wedding scene] came down to the pit to put his pipes away and then spent nearly an hour showing us everything about their construction and playing techniques. All the while rehearsal was continuing around us, but us brass players, thanks to the patience and understanding of our wonderful director, got a once in a lifetime lesson. I still don't know why anyone would want to put 5 or 6 oboes together and think that it would work, but it does. paxmaha - Do you Yahoo!? Read only the mail you want - Yahoo! Mail SpamGuard. ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Cor Anglais French Horn
In american jazz and popular music, and thence spread to the western world at large, any instrument is a horn. I have even heard violinists refer to their instrument as horn when they were playing jazz. Another increasingly heard term is axe, originaly used only by guitar players and now even used by the esteemed moderator of the other list to describe his horn. Paxmaha Benno Heinemann [EMAIL PROTECTED] wrote: 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 Date: Thu Jun 17, 2004 6:36:37 PM Europe/Berlin To: The Horn List Subject: RE: [Hornlist] Cor Anglais French Horn Reply-To: The Horn List 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/paxmaha%40yahoo.com - Do you Yahoo!? Yahoo! Mail - You care about security. So do we. ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] hand guards and other accessories
I have to agree as to the quality of the people. When I first encountered them several years ago after seeing an ad in I believe the ITG Journal, they were the most considerate, conversational and informative folks. We had a several minute general conversation, and all I had expected was for them to get my info to mail me a catalog. When I got the catalog I was immediately impressed by the care they obviously take to make a quality, musician informed product. From someone who has always made my own handguards, [you should see the fake sheepskin one, its really comfortable!!] I would not hesitate to get one of theirs in a NY minute. paxmaha [EMAIL PROTECTED] wrote: Thank you for the plug. Don't forget my friend Ken Pope at Pope Instrument Repair. I believe Larry Black is now retired from Atlanta. They have moved the operation to North Carolina, and after some unfortunate problems caused by the move, are now back up in production. They are making some changes that the customer will not notice in the product per se, but will make it far easier for dealers to sell and order, making the hand guards, mouthpiece pouches, etc. made by Leather Specialties far more accessible to the consumer, in my opinion. Fine product, fine people. Dave Weiner Brass Arts Unlimited, Inc. - Do you Yahoo!? New and Improved Yahoo! Mail - Send 10MB messages! ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] London Horn Sound - Roman Carnival
Hi Jim - all of the London Horn Sound arrangements are available from Paxman's website. paxman.co.uk jlmthompson [EMAIL PROTECTED] wrote:Does anyone know where one can get the sheet music for Roman Carnival as heard on the 'London Horn Sound'? How many horns and what other instruments does it involve? Thanks, Jim ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Do you Yahoo!? Friends. Fun. Try the all-new Yahoo! Messenger ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] 2 questions re: old instrument
Hi Steve - in addition the the excellent advice that Mr. Bamberger gave you and the list - I need to add that any time you use an acid type of cleaner you need to immediately rinse with a watery solution of baking soda - you need to stop any acid/metal reaction and plain water won't do it. Even after a heavy clear water rinse there may be acid residue that will then continue to react with horn from the inside out - not good. After the baking soda rinse a thorough, heavy clear water rinse is all that is neccessary. Happy restoring!! Paxmaha Steven Tarter [EMAIL PROTECTED] wrote: I just bought an oval Eb alto horn (looks like a small Wagner tuba) for awall hanger. The seller claims it is about 100 years old. Thanks, -Steve Tarter-- Tokyo, Japan - Do you Yahoo!? Friends. Fun. Try the all-new Yahoo! Messenger ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] influence of principal hornists
Hi listers - after a discussion with a hornist in my local orchestra [Binghamton, NY] I became curious as to the extent of principal hornists influencing or demanding that their sections play a particular horn. His statement was that the principal horn of another regional symphony was the student of a prominent NYC principal player [not Phil Myers] and because of that teacher's influence or dictation, this student has made or caused her section to change to a certain well known horn. Does this really still occur, and is it more of an ulterior sort of pressure or is it overt? After all the discussions that have occurred on this list, I personally would find it hard to maintain my colleagiallity if my model of horn were the most important consideration in my [at present hypothetical] continued employment. I am aware that there are political and diplomatic issues in this type of situation, but my basic question is just is this type of situation really still as prevalent as so me seem to think? Paxmaha - Do you Yahoo!? Yahoo! Domains - Claim yours for only $14.70/year ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] A Sansone question
Hello Beej - I played a Sansone double such as yours for my college audition. I did not own a horn, and through a friend was able to find that the repairman at the local music store was a horn player who lent me that horn. I played it for about two months, and although I did enjoy it, I would not have wanted to buy it. For me it played with more resistance than I could handle at the time, [I was out of shape, basically] and the bottom F slides were trickier to get off the horn when I was trying to empty persistent water gurgles. BTW, one of Holton's original horns, model 77, was based on this design, and I actually played on of those as well. About the same characterstics, perhaps a little freer blowing. As far as Sansone himself goes, he was apparently quite an eccentric character. He was based in NYC, but I don't recall if he played with the Symphony Society [as it was known in the first part of the century] or not. He made quite a reputation as a horn maker/seller, and published quite a bit of music, most of which is still available through Southern Music. what sets him apart in this regard, as well as the Bb slides on top thing, is that he made several weird choices in his arrangements - Mozart No. 1 for instance is for horn in Eb. As has been stated elsewhere, he was a noted exponent of the Bb 5 valve horn, and was very steadfast in his opinions on what horns were good and bad. suffice it to say that as with any horn, my experience is mine, and I certainly hope that you have a wonderful time with a horn that certainly has more character than most. Beej Goodwin [EMAIL PROTECTED] wrote: I recently purchased a Sansone double (I should be receiving it in the next few days) and I have some questions I was hoping someone could help me with. When I first saw a picture of the horn, I noticed that the Bb slides were on top. I thought maybe someone who didn't know much about horns had assembledit incorrectly. However, based on the little information I have found on this horn, it seems that the Bb slides belong on top. I have seen this configuration on some compensating doubles but never on a full double. Can anyone tell me why the horn is designed this way? Are there any specific advantages/disadvantages to this configuration? Will I need to make any changes in fingering or in the order in which I tune the slides? Does anyone know a site where I can find more information on this horn? Is anyone out there playing one and, if so, can you let me know what you think about the horn (It's a nickel silver double with an unknown manufacture date). Any assistance or information will be greatly appreciated. I bought this horn to use during outdoor summer concerts and would like to bond with it as quickly as possible. Thank you. Beej Goodwin [EMAIL PROTECTED] - Do you Yahoo!? SBC Yahoo! - Internet access at a great low price. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Cabbaged
larry - I think I have you beat. Back in summer 2001 I posted a dental question to the list. Not only did I get some wonderfully encouraging and informative replies, I was also cabbaged thrice in one day. [all from cabbage, no imitations!]. I still have them as way cool momentos of that day. paxmaha Larry Jellison [EMAIL PROTECTED] wrote: Dr. C wrote: Plus you have been blessed by your own posting from the Cabbage, yet another C note. Way cool. Gotta go, Cabbage ___ Being twice Cabbaged, I wear the awards with the pride of the owner of a John Kerry ribbon; however, I will never throw my leaves over the fence. So undeserving of twice-Cabbage status... happy embouchure happenings to all, Larry J. ___ Internet Access, Shared Dedicated Web Hosting. Colocation and Domain Name Registration at http://www.SharedPoint.com ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Do you Yahoo!? Win a $20,000 Career Makeover at Yahoo! HotJobs ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: [horn] Jacob Concerto
Hello listers - as a general response to the where can I find a recording of ..by ., here are several excellent sources. arkivmusic.com., tapmusic.com, handbdirect.com, osmun.com., poperepair.com, towerrecords.com, and of course amazon.com and bn.com. One caveat, I may not have all the addresses completely correct, but a quick googling will find them. Best wishes in the search for good music. Paxmaha - Do you Yahoo!? Win a $20,000 Career Makeover at Yahoo! HotJobs ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Durufle Requiem
Hi Walt - the Durufle is originally scored for full orchestra, chorus, and organ. Eventually there was a condensed version for strings and trumpets, which is what you have. It would certainly make discussions of these type of questions easier if more people were aware of the fact that many famous grand compositions have been rescored for smaller forces. Most composers of the recent past, urged on by their publishers made the rearrangements to generate more performances and thus more sales of the music. Best wishes for the performance, it is truly a 20th century masterpiece. paxmaha Walt Lewis [EMAIL PROTECTED] wrote: The version he was given is scored for strings, organ and three trumpets. Since I can transpose, I will do the third trumpet part. We have decided not use our Tuba player who is pretty close to the end of his semester at the University of Michigan, where he's a doctoral student in Tuba performance, and he's glad he doesn't have to do this gig... - Do you Yahoo!? Yahoo! Photos: High-quality 4x6 digital prints for 25¢ ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Buzzing
I beg to differ - the throat contains many muscles that provide a fine degree of control over such functions as swallowing, voice production, [controlling the larynx,] and such. If we did not have musculature in our necks/throats, we would have to depend on our spines and our brain stems to hold our heads up, and my poor brain stem couldn't handle that much more pressure!!! Ask any classically trained singer to demonstrate all that they can do with their throats, and then see if we can't apply those techniques to hornplaying it's not easy. Although Mr. Burdick did not explain his conclusions as to once you can buzz...don't do it I am sure that he knows why he feels that way. He is after all a principal horn player, and I am not. Julius Pranevicius [EMAIL PROTECTED] wrote: hello - i don't know exactly, but i think that throat is not muscular structure and we dont need work on it as much as we work on our embouchoure - Do you Yahoo!? Yahoo! Tax Center - File online by April 15th ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] dictionaries
Believe it or not, in my GS group, we have had several soloists who had a hard time going just slow enough not to make mincemeat of the words, despite the music directors insistence on sowing down. It seems that people unconsciously have the need to use such pieces to show off what they can do. [or can't] Dave J. David Goldberg [EMAIL PROTECTED] wrote: This phenomenon shows up often in Gilbert Sullivan patter songs - they tend to be played so fast that the singer can barely keep up, and the effect is unstable. It takes a brave musical director to ease up a bit so that the singer stays with with the orchestra and the words are understandable. - Do you Yahoo!? Yahoo! Tax Center - File online by April 15th ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] warbling up
Robert - I should mention that I didn't have a choice. The rehearsal hall was directly across from our front shop and believe it or not, they could be heard over the radial arm saw and the drill press. Thank goodness the table saw was more forceful. After all that I have never again wondered how one voice could fill a 1500 seat concert hall. paxmaha Robert Marlatt [EMAIL PROTECTED] wrote: from: David Jewell BTW - if one ever thinks that some of our warmups have very little to do with our actual music making, try listening to a coloratura soprano or tenor warmup at 8:30 in the morning Umm, no thanks. Bob Marlatt Boston MA - Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway - Enter today ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] vibrato and Myron Bloom
Hans and fellow listers - I agree with what you say here. I never meant to sound like I was saying that vibrato is all that important, just that Myron Bloom already played with it before going to France, and that it was indeed an enhancement of his musicality, not a critical component of it. I can enjoy any quality horn player without vibrato [almost every student I was in a college studio with, for instance] but if he/she does not communicate expressively the intentions inherent in the music, then it is lacking something vital for me. Also, any mention of technical shortcomings has to be unerstood to be predicated on Dennis Brains incredibly high standards. I have always dreamed to have his technique and musicality and anything I say about him has to be magnified by about 100 times to have an idea of my own personal abilities. I have sung both as a soloist, chamber choir, and mass choir singer for nearly 30 years. I have worked as an opera carpenter/gopher/assistant stage manager for a regional professional American opera company and I can vouch for the fact that vibrato is an inescapable part of the human voice, and is one aspect of such that every singer spends time learning how to control to be an effective musical communicator. I base my opinions of horn vibrato on it effective use as an expressive tool, not as a necessary component of any players technique. My comparison is always to two things - how would a vocalist perform that phrase, and do I understand what the player is trying to communicate. Not if I agree with their interpretation [and musical message] but is it effective and a cogent perspective on the composer's intentions. One can easily see how technical issues seem to be inextricably linked and lead inexorably to discussions of much more philosophical and emotional musical issues. This is good, for tecnique without heart and spirit means so very little as to be nearly worthless. BTW - if one ever thinks that some of our warmups have very little to do with our actual music making, try listening to a coloratura soprano or tenor warmup at 8:30 in the morning - one wonders if they are the same humans that later melt your heart with their singing. Hans Pizka [EMAIL PROTECTED] wrote: And technical shortcomings ? I can hear none, absolutely none. Dear friend, vibrato is not the essence of the music nor is it the essence of singing. Colours, colours, expression with the tone colours, the real espressivo does not need a vibrato but can have one. Myron Blooms mastery was not because of his vibrato, nor Ferenc Tarjani´s mastery had something to do with the vibrato. Both just used the vibrato. But their musicality did not base on vibrato. They just felt the music , the phrases, the ideas behind the music and expressed it, sang it. Their voice was important, their espressivo was important, and the vibrato was just a bit salt on the egg, not more. - Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway - Enter today ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] vibrato and Myron Bloom
On the thread concerning vibrato and Myron Bloom, I was listening to a Music Minus One recording of Mr. Bloom playing intermediate solos yesterday, and I noticed again that he had a wonderful, singing tone, enhanced by the use of a subtle vibrato. This was recorded during his later career days in Cleveland, so it was pre-France. My thoughts were simply that when he went to France, he would have been a closer match than other players might have been, and that without the vibrato the solos I was listening to would have been less interesting musically. When we speak of singing on the horn, as a vocalist [in addition to my hornplaying,] I compare it to vocal production. As I and everyone I know who sings has a natural vibrato it seems to me that it should be a recognized technique for horn playing. We need to learn to control it so as to apply it in various ways as the music dictates - above all else our goal should be to obtain the ultimate in musical expression. On the same tape are the Haydn concertos performed by Ferenc Tarjani, and the same opinion holds true for them as well - without the vibrato the performance would still have been outstanding, but with it the musical line sang with a much more melodic impression left on the listener. To me, when we discuss techniques such as vibrato, we have entered the level of discussion where one can presume that purely technical playing matters have already been considered and we are focusing on the expression and musical communication and how effectively it is being done. We can dismiss personal backgrounds and who we learned from, and focus on the more elevated considerations at hand. Dennis Brain may have had technical shortcomings but you know, he was as widely admired in the general classical world for his musicianship as he was for his horn playing, and I think that is ultimately how we should strive to be regarded - not merely as great hornplayers, but as great and communicative musicians who just happen to play horn. Just some thoughts on a rainy spring day in upstate New York, Paxmaha p.s. - the 4th Horn Choir asembly at Osmun MUsic in Arlington is the April 24, 2 p.m. I highly reccommend it to everyone within a day's drive - several hornlisters attend and the playing and camraderie are really wonderful. - Do you Yahoo!? Yahoo! Small Business $15K Web Design Giveaway - Enter today ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] eBay's Oddest Oddball Horn Yet
Alan - although this horn may seem unusual the theory behind it seems plausible enough. Osmun was for a very short while carrying Thein horns but not for long. If you google search for their website they are very good about sending you their complete catalog as they make trumpets and trombones as well. Interesting and courageous design, IMHO. paxmaha Alan Cole [EMAIL PROTECTED] wrote: OK, this 1 takes the cake. Check out... http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItemitem=3714322534category=16215 -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. - Do you Yahoo!? Yahoo! Finance Tax Center - File online. File on time. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Horns for Middle School
[EMAIL PROTECTED] wrote: Believe it or not, their 'custom' cars won't pass basic safety requirements required by our illustrious government agencies, so they are not street legal. And yet they can hit a wall at 180 mph, roll over more times than I do in a single night's sleep, fly 40 yards, [all this in a minute or two,] and the drivers walk away with only some bruises. Makes you wonder how safe is safe. paxmaha Do you Yahoo!? Yahoo! Mail - More reliable, more storage, less spam ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Haydn horn concerto
Hans - I thank you for your attention to detail. I did mean Joseph Reicha, not Anton, and as a former semiprofessional copyist and music history major, I am aware that in the 1700's everything was done by hand. Thus many transliterations and misspellings, etc. [such as mine,] I also know that fatique and eyestrain are all too common in that profession. I have not done a side by side analysis of the melodic and thematic content so as to have a sure foundation for my opinion. I base it on my listening analysis of both of them. I have been listening to the Reicha for over 21 years [at least three times a year] and the Haydn/Rosetti for over 15. When I can afford to purchase the music I will do the previously mentioned solid analysis. I carefully avoided any reference to quality or my enjoyment of the concertos because I believe that if you like something, it may not matter who wrote it. I like them both, but the authorship question is irrelevant to my pleasure when I listen to them. Figuring out who wrote what fulfills another need and gives me the satisfaction of the hunt. For those who don't know the Oettingen-Wallerstein court was home to a pretty unique group of compsitions for two horns that as far as I know remains the only court to have built up such a library. This whole Haydn topic naturally leads to my proposing the following question: did Haydn write both of the solo horn concertos currently attributed to him? Hans [EMAIL PROTECTED] wrote: He, he, it was not Reiche but Reicha at the Oettingen Wallerstein court, a very big difference. And Heiden was a very common spelling then. You find it at other libraries as well. The copies were not written by the composer but by copyists who were in a hurry always. The melody source was the common melody reservoir of Southern Germany, Austria Bohemia anyway. Yes it is a bit to earthen for papa Haydn, off course. But does it matter ? It is played all over the world. Do you Yahoo!? Yahoo! Mail - More reliable, more storage, less spam ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Famous People
John - go to your local public and university libraries and start digging through the stacks. You will find more complete information there than any one on the list can give; you will get some excellent info from the net, but mostly incomplete. Besides, I am not sure of your age, but one needs to know how to gather information themselves, still, even in this current technological age. To be able to do so will bode well for any future academic success. Best of luck Paxmaha John Putnam [EMAIL PROTECTED] wrote: I guess, I was not clear enough, i am looking for Famous; conductors, trumpet, horn, trombone, tuba, any any thing else. basically I would like to know all of the need to know names that a professional horn player/teacher should and would be expected to know if brought up in a conversation. John John Putnam wrote: Hi all, Is there a good place to find out about famous Brass players. I know some stuff about some players i.e.. Brain or Clevenger, but all info is welcome. John ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hornplyr3%40cox.net ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Do you Yahoo!? New Yahoo! Photos - easier uploading and sharing ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] to the Shosta.No.5 enthusiasts
Not to get picky, [but I realize I am] but there is no such thing as a minor 4th. 4ths are a perfect interval; as such they can only be diminished or augmented [the infamous tritone or diabolus in musicus.] Paxmaha David Goldberg [EMAIL PROTECTED] wrote: In Europe, that would be the steady rhythm of minor 4th intervals. - Do you Yahoo!? New Yahoo! Photos - easier uploading and sharing ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Attacking Low Notes
Folks, this effect is basic acoustics. Bass frequencies can have wavelengths up to 40 feet or more. Treble frequencies can be as short as millimeters. Air loss and absorption occurs more readily in the upper frequencies, while bass will cause more things to resonate than will the mids/uppers. Just imagine that when that car is going by, all the upper/mid frequencies have already been absorbed by the cars interior. [partially due to the fact that they will also have less energy to start with than bass.] by the time you are any considerable distance away, the bass frequencies are just reacing their full wavelength, and have undergone much less absorption. When listening indoors to a speaker system, the designer has carefully computed all the factors so that all the frequencies arrive at the listener's ears simultaneously [or as nearly so as possible.] As the distance increases, the frequency spectrum changes due to the above mentioned air loss. That is why concert touring s peaker arrays are so carefully designed and calculated, and why you see many more mid/upper cabinets than you do bass. Mark Taylor [EMAIL PROTECTED] wrote: In addition, a home system (stereo or theatre) will use the floor, wall and any other solid surface as a resonator. In truth, most serious home theater designers try to avoid doing this, and go to ridiculous lengths to include any and all techniques that make the room as acoustically neutral as possible - including floor and wall treatments, double wall design, and even seperating the floor from the rest of the home's structure, a floating floor system. Most highly regarded speakers use some technique of increasing directionality, meaning that they direct their sound energy more directly to the listener and try to keep it off the walls, floors and ceilings. Take a good look around any automobile and you¹ll notice an abundance of hollow spaces (covered by plastic interior panels) that are perfect resonators. This is true for the majority of autos. True auto sound audiophiles and competition sound people go the extreme lengths to deaden any possible resonances, hence the proliferation of many different materials sold to do just that on any interior metal panels. I even read an article some years ago where a guy was filling the walls and doors of his van with concrete to do the same. Paxmaha - Do you Yahoo!? New Yahoo! Photos - easier uploading and sharing ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Copies of Old Pinafore parts.
Hi Joe - I am getting the score and parts this week. I will contact you as soon as I see have them in hand. they are in storage and we are leery of letting out keys to anyone but neccessary people as we rent the space and we are concerned about security with the building. Expect to hear from me this weekend. Dave J. Paxmaha - Do you Yahoo!? New Yahoo! Photos - easier uploading and sharing ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
