Re: [Hornlist] NY horn shops
Sadly no not in the city go to the TkTS both and get tickets fir a matinee Debbie Schmidt Sent from my iPhone On Aug 14, 2009, at 7:50 PM, William.S.Gross william.s.gr...@gmail.com wrote: I'm in New York for Saturday only with nothing but time on my hands. Any horn shops worth visiting! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jasoncat%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Audition help!
Orchestras always provide music that is rental only and thus not available unless you illegally copied it. The rest of the parts you should have access to so sometimes they provide them sometimes not. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] solo beginnings - the list so far
Bernstein: On the Waterfront (great solo) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Hoyer 5802 CK
If this a Systemic design issue maybe the Hoyer folks should be talking replacement as opposed to longer slides Debbie Schmidt Sent from my iPhone On Jun 29, 2009, at 3:47 PM, Tina Barkan tina.bar...@gmail.com wrote: Yes, as far as I know all of the Hoyer folks at the show, including their engineer, played all of the PMAL's that were there and found them to be sharp. I know that the Hoyer engineer was on the phone with their factory in Germany immediately after he tested the horns so something is definitely amiss in Hoyerland. Tina On Jun 29, 2009, at 3:19 PM, John Kowalchuk wrote: Were all these horns sharp when others played them? John Kowalchuk Maker of mutes/horns/canoes/paddles/bikes Oshawa, Ontario http://kowalchukmutes.com Canadians don't surf the net, we paddle it. -Original Message- From: horn-bounces+hornontario=yahoo...@music.memphis.edu [mailto:horn- bounces+hornontario=yahoo...@music.memphis.edu] On Behalf Of Tina Barkan Sent: Monday, June 29, 2009 3:02 PM To: The Horn List Subject: Re: [Hornlist] Hoyer 5802 CK They're pulled all the way out and the horn's still sharp. :( With all the slides pushed in the horn's at 452. For a European horn I would have expected around 445. The Hoyer engineer who was there from Germany agreed that the horn was too sharp. I think what surprised them was that all the 5801 PMAL's there were equally sharp. Tina On Jun 29, 2009, at 2:46 PM, Jeremy Cucco wrote: I'm curious... I tried a couple 5802s in Macomb - both were pretty well in tune and both were quite fine instruments. Granted, I did have the main slides pulled about an inch each, but I wouldn't want it any other way. (What if the orchestra tunes sharp or drifts sharp?) Are your main slides pulled more than an inch to get the horn in pitch? Cheers- Jeremy Tina Barkan wrote: Hi Laura, I have a 5801 PMAL that I bought in December 08. The horn has a lovely sound and great valves but it is significantly sharp. At IHS, all of the Hoyer horns of this model (I don't know if they checked their other models) were sharp. Hoyer is making new tuning slides for me but I would have rather had a horn that wasn't sharp to begin with. I would check the horn you get very carefully. Sincerely, Tina 4th Chair Shoreham Wading River Community Band 4th Chair Riverhead Monday Night Band www.newhornist.com On Jun 29, 2009, at 11:58 AM, Laura Briney wrote: I am looking at buying this model and I'm looking for any information from anyone who has had any experience with this horn. Any and all information would be helpful. Thank you. ~Laura B. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/tina.barkan%40gmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/tina.barkan%40gmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hornontario %40yahoo.ca ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/tina.barkan%40gmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jasoncat%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Ifor James playing Neruda
I own one of Barry Tuckwell's cheater horns Debbie Schmidt Sent from my iPhone On Apr 26, 2009, at 9:43 AM, Loren Mayhew lo...@mayhews.us wrote: In the same vein and with the same warning, I can add to the intrigue. Louis Stout related to me how Mr. Tuckwell used to preach that you don't need a descant horn. After listening to a recording of Barry's, possibly the Zelenka to which Lawrence refers, but I don't remember for sure now, Louis had is suspicions. The next time he saw Barry in person, he asked him privately, with a knowing chuckle, if he had played a cheater horn in that recording. Barry admitted that he had. Loren Mayhew, Owner Computer Intelligence LLC, dba CI Music c...@mayhews.us www.mayhews.us/CI/Finke 001 (520) 289-0700 I heard a story about the recording of the Zelenka - WARNING: I have absolutely no evidence to support or substantiate thIs story and I offer it as an amusing anecdote which may or may not be as true as any other amusing anecdote doing the rounds. I cannot even remember who told me this. Anyway, the story was that Mr. Tuckwell took the high horn on approval from Paxmans with a view to buying it, recorded the Zelenka, possibly the only piece in the world for which he might need such an instrument, then took it back. Maybe someone from Paxmans or anyone closer to the events could substantiate or repudiate this? Cheers, Lawrence -- Lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/loren%40mayhews.us ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jasoncat%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Tuning Meter Recommendations
I have both the needle type and electronic needle type tuner ... The standard needle type does respond faster then the korg 20 or 30 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Yamaha Alexander 103
Bob looks intersting why did it not work? Actually that is an assumption but I assume there were issues if they stopped using them? Debbie Schmidt Sent from my iPhone On Mar 15, 2009, at 4:07 PM, Robert Osmun ros...@osmun.com wrote: I think Alexander used this setup for about three weeks some time in the eighties. The springs are designed to compensate for any mis- alignment of the lever hinge rods so as to keep the levers in proper alignment and at the proper distance from the stop arms. (I've got some spares, if you ever need any.) Thanks for the pics. Bob Osmun Lawrence Yates wrote: Sorry for the delayed reply. I have posted a photograph of the valve levers here: http://tinyurl.com/c5xszb Cheers, Lawrence* * 2009/3/10 Robert Osmun ros...@osmun.com Cool! In what way are they strange? Bob Osmun Lawrence Yates wrote: My Alex 103 has strange springs on the valve levers, something I have not seen on any other instrument. Cheers, Lawrence Lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/rosmun%40osmun.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/yateslawrence%40googlemail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jasoncat%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Yamaha Alexander 103
Lawrence, that is an interesting question as horn costs have skyrocketed I guess the ration of costs stays the same. But I wonder if there were other reasons Debbie Schmidt Sent from my iPhone On Mar 15, 2009, at 4:17 PM, Lawrence Yates yateslawre...@googlemail.com wrote: 2009/3/15 Debbie Schmidt jason...@aol.com Bob looks intersting why did it not work? Actually that is an assumption but I assume there were issues if they stopped using them? Debbie Schmidt Sent from my iPhone Hi Debbie, As I said above, it does work (or at least it works on mine) - I've had this horn for a long long time (I bought it new) and have had absolutely no problems with it (other than those stemming from my own deficiencies). I presume it was a cost issue. Cheers, Lawrence Lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jasoncat%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Flugelhorn vs Trumpet
I am almost always the person that falls down on the side of go with the best sound. All of my trumpet playing colleagues (that also double on flugel) talk about the difficulties of playing the flugel in tune and that mpc choice is a determining factor in that quest. In this instance, the mpc is truly a compromise between the sound you are in search of and just intonation. I do believe you can go to far in your quest to sound french horn like The flugel sound is a bridge between a horn and a trumpet it is neither a horn nor a trumpet. The blow is different partially because of the mpc but also because this instrument leans more towards conical and the trumpet leans more towards cylindrical. Debbie Schmidt Tisch Center for he Arts ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RIP Arthur Goldstein
Arthur Goldstein passed away last week on Jan. 2. http://www.legacy.com/Newsday/DeathNotices.asp?Page=LifeStoryPersonId=12214 0718 Is a link to the obituary. He was a wonderful, humorous guy who was always great to see and be around. I will miss him, Debbie Schmidt ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Ensemble call time practices
The call time is when the service starts and you start getting paid. Debbie Schmidt Sent from my iPhone On Dec 22, 2008, at 5:42 PM, Larry Jellison lajelli...@yahoo.com wrote: A minor issue that I have never seen discussed here is what call times you all are experiencing. I have been in ensembles where there is no call time (the advance time to arrive before the concert start time) to up to two hours. Call times of one hour are common. The reasons for such advance arrival times are: a) to get everyone there; b) to set up; c) for the audio person to get the microphones set up and adjusted; d) to run through the music (another rehearsal); e) and to have a quiet time for the last 10 to 20 minutes as the audience files in. Anyway, I think some of the call time demands are getting out of hand, and this is an irritant to some of us musicians. What are call times for professionals? An ensemble's call time is becoming a factor for me in deciding whether I want to join the ensemble. Regards, Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jasoncat%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Ensemble call time practices
I guess it is a plus it can be a minus too, many pro orchestras have overtime clauses after 90 minutes without an intermission so If you are playing a one piece concert with no intermission you might be told 8:07 to give the audience a chance to be seated and stragglers in place to avoid management paying OT. Basically, during a busy time I would lose money if the call time was different then the pay time because I could be playing another gig. Now, I have played for the Pope and President when the call time to get through security was early but the pay was higher then scale to account for the extra non playing time Debbie Schmidt Sent from my iPhone On Dec 22, 2008, at 6:23 PM, Larry Jellison lajelli...@yahoo.com wrote: [Debbie Schmidt wrote:] The call time is when the service starts and you start getting paid. Debbie, then call time could be seen as a plus for a professional because it adds to your pay. For an amateur, it is a burden that makes for a longer day; a church service or a concert becomes a bigger demand on one's time. The term call time is used by amateur groups to mean the time to show up. Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jasoncat%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Ensemble call time practices
Service pay is based on hours as outlined in your union agreement ... There is a definition of what constitutes a service for different types of work rehearsal, concert, opera and ballet. If it is longer then the defined service you get paid overtime either scheduled or unscheduled. Yes, the union rep will be told if you are not in your seat but you are being paid when you are told to be in your seat. In the case of a recording session where you were not in your seat and ready at the appointed time if that caused overtime for the group you would have your pay docked. Debbie ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] OT: Tuba in Bb or C
Most guys start on baritones them move down or up to tuba Debbie Schmidt Sent from my iPhone On Nov 9, 2008, at 4:24 PM, Steve Freides [EMAIL PROTECTED] wrote: -Original Message- From: Brass Arts Unlimited [mailto:[EMAIL PROTECTED] Sent: Sunday, November 09, 2008 2:42 PM To: horn@music.memphis.edu Subject: [Hornlist] OT: Tuba in Bb or C Of course, Klaus is right about the tuba usage in most respects. In the US, almost all elementary and secondary playing is done on the BBb contrabass tuba. Serious students acquire a CC contrabass either in high school (almost exclusive if one has a private teacher preparing one for college auditions), but almost certainly in college. The serious tuba student learns the CC for use in the orchestra, and rarely switches back to the BBb. -snip- Is there any reason not to start on a CC tuba instead of a BBb? One of the reasons I'm trying to educate myself is that the youngest of my two boys, who has been playing the oboe for a few years but not really loving it, has expressed interest in a brass instrument and specifically mentioned tuba. Size is something of an issue in that he's 5 feet tall now (that's about a 1.53 meters) and just 12 years old. A CC instrument, all other things being equal, would be a little smaller, no? -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jasoncat%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Atterberg Sonata Op.27
Paxman Debbie Schmidt Sent from my iPhone On Nov 7, 2008, at 8:56 PM, Benjamin Lieser [EMAIL PROTECTED] wrote: Hello, I am looking for the publisher for a sonata by Kurt Atterberg. Any help would be appreciated. Ben Lieser ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jasoncat%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] NY Phil opening night 9/17/08
Sorry Jen, That is a third horn solo at the opening of Roman Carnival and that was Thomas Jostlein on third. Erik Ralske acting associate principal played first on the overture and the Ibert Concerto. Debbie Schmidt ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] piece for brass quintet and organ to bring down the house?
Gabrieli Canzon Duodecimi toni Strauss Festive Prelude ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Horn Shops in Berlin
What I also find interesting is that in the case of E. Schmid to be a dealer you need to stockthe horns. Maybe with the proximity of the craftsman it is expected that you will travel to the factory to try out a horn in Germany? Debbie Schmidt Sent from my iPhone On Aug 7, 2008, at 9:48 AM, Jeremy Cucco [EMAIL PROTECTED] wrote: That makes me curious - How then can those same makers keep horns in stock in stores here in the US? Just a quick survey of popular US websites and known vendors puts the number of Hoyers in the hundreds, Alexanders in the 10-20 range, Otto and Durk have a handful of horns in various shops around (or maybe just Scott's...) There is a shop here in Washington DC which stocks no less than 30 horns at a time ranging from Hoyer, Conn, Yamaha, Holton, Alexander (not sure if they're a dealer or if they just have a couple used ones...) and they'll provide you quiet places to sit and try the horns if you'd like. This is actually a common practice here in the states. (The store I'm referring to is Chuck Levin's Washington Music. Though I recall Bean Music in Little Rock, Arkansas had a similar situation as does Wichita Band Instrument, Osmun, and many others.) In fact, I'd hate to purchase a horn from a place where I didn't have the luxury and ability to play a few side-by-side for direct comparison. Just some thoughts- Jeremy -Original Message- From: hans [mailto:[EMAIL PROTECTED] Sent: Wednesday, August 06, 2008 10:00 AM To: 'The Horn List' Subject: [Hornlist] Horn Shops in Berlin I doubt, if you will find shops carrying horns of different brands in Berlin. Most players here order from the makers Alexander, Otto, Mönnig, Hoyer, Dürk others directly. As the market is that volatile, no shop can afford to keep different brans of horns with all possible different models in stock. Horn would cost 40-50% more, if being kept in stock. Manufacturer would not leave their horns in the shops on commission. They would starve. The craftsmen have to be paid every month. These times are over forever. They are just an illusion. And studios to play around on the horns ? Who would pay the rent ? It would be a dream-situation, but is impossible. Well, you might find Yamahas Chinese horns or horns from Bazil or Pakistan or Indonesia, which are made as a side business of big business conglomerates as some kind of a hobby of the CEO. But do not give up hope ! Never ! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jasoncat%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] wasted year
So I have a private student who attends a NYC middle school . We were talking about scales and I said when the band director tells band to play a Bb scale what does she tell you to play? Student whatever scale we want oh I said she replied so I play a C scale but it sounds weird. She appears several weeks later and I ask where is you manuscript book so I can write you lessons and reminders down? Student oh my band director took it to copy it she said I sounded better Debbie Schmidt Sent from my iPhone On Jul 16, 2008, at 12:51 PM, Leonard Peggy Brown [EMAIL PROTECTED] wrote: Lets hear it for music education! I found this sentence about horn playing on Yahoo answers. This girl just wasted a year of band. I guess maybe the band director had too many kids in the class to notice one of them was playing oddly. I played it for a year! but at the end of the year i found out that it was strung backwards, and i was like OH THATS WHY IT SOUNDED WIERDI LLB (back to polishing) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jasoncat%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Tight as can be...
Could this be a situation where she is Having trouble holding up the horn and clenches so it dies not slip? Debbie Schmidt Sent from my iPhone On Jul 7, 2008, at 5:45 PM, Alon reuven [EMAIL PROTECTED] wrote: Hi all , I have a young student who is extremly tensed when she plays the horn . I am being patient , but it seems that what ever method I pick, her muskle tonus is huge . It gets to the point that she cannot finger properly because hwe hand is so clenched arround the hand guardas she play . It does not seem that it should be that way - my relationship with that young girl are respectfull and caring ..any advice ? Alon ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jasoncat%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Is there a universal flight case?
I use the 2 piece MB case when I travel (not sure of the number). In a case like the window seat I unzip the bell and can but the body under the seat and sometimes slide the bell close by or in the overhead. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Help for embouchure problems
I have not been following this whole thread ... Regardless of how your embouchure looks there is a balace to be struck between air out into the horn and amount of contact with the MPC to the lips. Think of this as a seesaw with the correct balance you will be centered with a gorgeous sound at any dynamic. Debbie Schmidt Sent from my iPhone On Jun 24, 2008, at 1:47 PM, Steven Mumford [EMAIL PROTECTED] wrote: Hmmm, well you could easily turn the statement around and say that you could have a perfect embouchure, but if your air isn't working, you'll still sound bad. Except that, as Jonathan mentioned, if your air is bad, it's going to mess up your perfect embouchure. How to put good air in words? That's for braver people than me. A great player and excellent teacher could SHOW you in about 5 minutes and that would teach more than all the bandwidth on earth. Here's my simplistified take on embouchure and air. -Embouchure: If it looks really weird, it's probably not ideal. That includes the way your embouchure looks when you play really low notes. -Air: If it feels difficult or unnatural, you're probably doing things you don't need to do. Here's a cool lesson I got from a long time Jacobs student recently. You know the tube thingy with the ping pong ball in it? He said, don't suck the ball upward, just breathe in easily and naturally. Just get the ball to flutter a little. After awhile, the ball rises to the top with no effort. The air starts to move in and out with volume but with no effort. A. - Steve Mumford Larry wrote: Milton's comment, But you could have really good breath control and you could play out your nose, is amusing hyperbole. If there are others out there who believe proper embouchure muscle functioning (and to some extent, embouchure position) is an insignificant aspect of playing well, please post and explain why you think so. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jasoncat%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: for no one
Gershwin asked Ravel and I am pretty certain the number was $100,000 A huge sum ... Swanee (sp?) was a huge hit. Debbie Schmidt Sent from my iPhone On Jun 3, 2008, at 1:00 PM, Jonell Lindholm [EMAIL PROTECTED] wrote: This is usually atrributed to Ravel. See http://en.wikipedia.org/wiki/George_Gershwin On 6/3/08, Computer Intelligence LLC [EMAIL PROTECTED] wrote: Well there was a story about Gershwin I heard many years ago that went something like this. Somebody may be able to fill in the details. The way I heard it was that at some point after he was established as a composer he decided that it was time for him to learn proper orchestration techniques. So he applied to a well-known composition instructor (in the Paris Conservatory, I believe). The instructor asked Gershwin how much money he made the previous year to which he replied $20,000 (a huge amount back then). The instructor then replied that Gershwin should teach him how to orchestrate. [snip] -- Jonell Lindholm Reisterstown MD USA [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jasoncat%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Gershwin (was Re: for no one)
Gershwin, Had a long quest to find a teacher (partly to validate himself) and was turned down by many Ravel, Boulanger (Ravel wrote the recommendation to her for Gershwin), Varese, Ibert and Stravinsky. He was doing very well when he approached everyone on the above mentioned list for lessons. In fact, the premier of Rhapsody in Blue and already occurred as he was making the 'rounds looking for a teacher. In double checking Stravinsky was the one that made the money comment and the quote back from Gershwin was 100K maybe as much as 200K last year. According to the Pollack biography Stravinsky did not have the same aesthetic as Gershwin and was looking for a reason to say no. Just as a side note Wikipedia states that American in Paris was a NY Philharmonic commission and in fact they did the premier but no one did the commission. Wikipedia is not always a good source Debbie Schmidt Tisch Center for the Arts ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Wooden Mpc
The last time I saw David Baldwin (trumpet soloist, arranger, Professor U of Minn.) he was playing a wooden mpc. He said that quality control in the manufacturing process was not good so he bought several at a time to find a good one. The wood was hard so he said no issues with deterioration if he played on it all day (which he does). Debbie ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Stan Kenton/Johnny Richards
Type in Cuban fire Suite into the itunes search box (upper right had corner) and it pops up as a Stan Kenton tune on album where he leads the Danish radio Big Band, available for download. Debbie Schmidt Tisch center for the Arts ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] DSO Konzertstück
Score order instrumentation winds in pairs 2 trumpets, 2 horns Debbie Schmidt Sent from my iPhone On May 19, 2008, at 11:51 AM, Steve Freides [EMAIL PROTECTED] wrote: -Original Message- From: Tim Costen [mailto:[EMAIL PROTECTED] It is scored /2200/timp/str I'm sure that means something to you, Tim, but I haven't a clue - please explain -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jasoncat%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Amram question
http://www.davidamram.com/index.php Might answer that quetion ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: Brass Quintet
On a graduation a melody sheet of Pomp for each person and a chord or harmony sheet for each person works well. But, in actuality the standard rep for quintet has few rests Arnold, Bozza, Ewald, Ewazen, Dahl to name a few don't have many rests and can't be arranged to suit individual needs. Changing your practice routine will help build endurance. Steve, I seem to recall that you play in a wind ensemble? Doesn't that rep have the same problems ? One way to deal with the graduation issue is to hire a drummer. Play the tune down get a cadence from the drummer and then switch tunes or go to the next tune, works well on long processionals and recessionals. It does not help if you are playing background music while they are reading names and handing out diplomas. Debbie Schmidt Tisch center for the Arts ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Phrasing
I will add a couple of general things . Classical music is always either going to someplace or coming from someplace, plan your phrases accordingly. Conductors act as architects putting those phrases together to move as units to some place and away from it, so that each movement has a direction as a whole and direction for each phrase. Have a plan, all F's are not created equal, your movement or piece needs to have an apex. Be your own best conductor, once you have a plan for the phrases, make the movement or piece work as a whole. In terms of dynamics where you leave off a phrase is where you start the next phrase, unless there is a dynamic marking to tell you otherwise. Debbie Schmidt Tisch Center for the Arts ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] My killer lick page.
Valerie, Pulling the licks out is a good idea. Putting together things as a whole is also an issue, so with etudes come up with a plan which says day one I learn the first 2 lines, day 2 the next 2 lines, etc... With etudes or long pieces start at the end sometimes and work backwards ... I see a lot of students that are great on the first half of something and stumble as we go forward because they always start at the top on each run through. Warm up is the time to get ready to play at 100% for the entire day. Try shortening the time it takes you to get ready to play. Many people (not sure if this is you) play for 30-45 minutes just to get ready to practice. Spend 10 minutes getting ready then don't practice what you know but what you need to learn. Debbie Schmidt Tisch Center for the Arts ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mouthpiece Insertion Depth - Different on my 2 horns
Think about using your hand for small pitch changes it will help your endurance. Debbie Schmidt Sent from my iPhone On Jan 20, 2008, at 9:21 PM, Steve Freides [EMAIL PROTECTED] wrote: Horn #1 = Alexander Bb single, vintage ~1975. Horn #2 = Yamaha 666, vintage ~1982. Mouthpiece = Pizka. I measured how far the mpc goes into the lead pipe on each because I noticed it goes in less far on the Yamaha. Alex = 24 mm insertion depth Yamaha = 19 mm insertion depth What am I to do about this? Which is right, which is wrong, and what, if anything, should I do, assuming I wish to continue to use this same mouthpiece on both horns. As I've mentioned in the past, I'm an amateur horn player with a long background as a professional musician and with perfect pitch. I will lip anything out of tune back into tune and I rarely notice when I do this. So far as I can tell, the difference in insertion depth isn't a problem, but I thought I should ask because I'm hoping, as time goes on, I might actually learn to play without lipping things and then I might have a problem. I suspect that my poor endurance as a horn player is related to the fact that I am forever lipping out of tune notes. Thanks in advance for your advice. -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jasoncat%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Ewazen Concerto
www.ericewazen.com It appears that he self publishes this one Send him a note he is a great guy. Debbie Schmidt Tisch Center for the Arts ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Berlin Phil Hornists CD Opera is here!
Ken can you hold a CD and the DVD for me and I will pick them up when I am in Boston next week. Happy for you to change my credit card if you want. Debbie ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Berlin Phil Hornists CD Opera is here!
OOPS Sorry that should have gone directly to Ken, SORRY. Debbie ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] NYC Open House
The Tisch Center for the Arts, which is part of the 92nd Street Y is holding an open house on Sunday September 30 from 1-4. I, as well as, many of my colleagues will be on hand to give mini lessons and chamber coachings as well as answer questions about teaching style. We have both need based and performance based scholarship money available for students of all ages. Stop by say hi and bring your horn. Debbie Schmidt Tisch Center for the Arts Lexington Ave. at 92nd Street ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Schberts choir and four horns
Nachtgesang im Walde D.913 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist]CSO name Horn Quartet Album
As an aside ... There were numerous groups within the orchestra that used the CSO name for their group. In some cases not all the members of the group were part of the orchestra. In the late 70's or there about the management and orchestra agreed, as part of collective bargaining, that the name usage would stop in return for management booking additional concerts for small ensembles and for the orchestra in a program called members of . Groups in existence were grandfathered in. Which might explain the personel on the album . Debbie Schmidt Sent from my iPhone On Aug 16, 2007, at 12:37 AM, sheldon kirshner [EMAIL PROTECTED] wrote: Never, I think. Leuba was principal with the CSO for a couple of seasons, under Reiner I believe; Brouk, who had an absolutely gorgeous sound, took over principal for a season or two, from the section, but didn't seek it, Wayne Barrington played 3rd, I believe, for some time--he played, to my recollection, a Conn 28D--the second horn through all of this was Wedgewood, who is not listed. Shel -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Dennis Herrick Sent: Wednesday, August 15, 2007 9:39 AM To: 'The Horn List' Subject: [Hornlist] Horn Quartet Album I just bought a horn quartet album on ebay. Members of the Chicago Symphony. It's got Christopher Lauba, Paul Binstock, Wayne Barrington, Robert Wirth and Frank Brouk (presently solo horn) No date. Anyone know when this was the horn section? A closer reading of the back seems to indicate that the are not all members of CSO. Lauba was Professor of Music in Puerto Rico, Wirth has played in Minneapolis six seasons; Binstock teaches music in Roseville Minnesota. Maybe only Barrington and Brouk are CSO? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/skirshner%40ameritech.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jasoncat%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Horn Quartet Album
The CSO had a wonderful site that includes former members. Debbie Schmidt Sent from my iPhone On Aug 15, 2007, at 10:38 AM, Dennis Herrick [EMAIL PROTECTED] wrote: I just bought a horn quartet album on ebay. Members of the Chicago Symphony. It's got Christopher Lauba, Paul Binstock, Wayne Barrington, Robert Wirth and Frank Brouk (presently solo horn) No date. Anyone know when this was the horn section? A closer reading of the back seems to indicate that the are not all members of CSO. Lauba was Professor of Music in Puerto Rico, Wirth has played in Minneapolis six seasons; Binstock teaches music in Roseville Minnesota. Maybe only Barrington and Brouk are CSO? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jasoncat%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Horn Quartet Album
All of his research is part of the CSO site. Debbie Schmidt Sent from my iPhone On Aug 15, 2007, at 11:19 AM, John Dutton [EMAIL PROTECTED] wrote: On Aug 15, 2007, at 10:38 AM, Dennis Herrick herrickd at huntingdon.edu wrote: I just bought a horn quartet album on ebay. Members of the Chicago Symphony. It's got Christopher Lauba, Paul Binstock, Wayne Barrington, Robert Wirth and Frank Brouk (presently solo horn) No date. Anyone know when this was the horn section? A closer reading of the back seems to indicate that the are not all members of CSO. Lauba was Professor of Music in Puerto Rico, Wirth has played in Minneapolis six seasons; Binstock teaches music in Roseville Minnesota. Maybe only Barrington and Brouk are CSO? -- Chris Leuba (correct spelling) was principal after Farkas retired but before Clevenger (1966-) so say first couple of years of 1960's. It was quite common for musicians to hop orchestras after only a few seasons so Binstock and Wirth might very well have been section mates for a time. Probably the only definitive knowledge is possessed by Stormin' Norman Schweikert though there are list members who were in Chicago at the time. The Jack Attack! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jasoncat%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Ligetti horn trio
Actually you want the score and I always play the piece from the score. I would think that it would be virtually impossible to put the Trio together without all 3 performers playing from the score. Debbie Schmidt Tisch Center for the Arts ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Walter Lawson
http://www.baltimoresun.com/news/obituaries/bal-md.ob.lawson16jun16,0,100288 1.story?coll=bal-news-obituaries An obituary from today's Baltimore Sun ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RIP Walter Lawson
I will remember the kind, gentle, courtesy man that always took time for me and everyone else that walked through the doors of his shop. He had humility, treated us all with respect, appreciated our business and was thrilled we made the trek to Boonsboro. Of course, he took you out to lunch, chatted, told stories, answered questions while he fell further behind. He was just a wonderful spirit enjoying horn players and life chatting away instead of doing whatever else he would have been doing had we not made the trek. The devotion that he showed to his dear wife Annie was remarkable. I can still hear him saying Geezz Debbie how the heck are ya. I feel truly blessed to have known Walter Lawson. Debbie Schmidt ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Juilliard
Steve, just checking in to see how your son played? Debbie ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Juilliard
Milton, No thread to keep up with. I inadvertently and stupidly sent a private email to Steve to the list. There is no thread other then the one e-mail I sent and his response. Debbie Schmidt Tisch center for the Arts ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Young Artist Competition
Auditions are different then competitions. I agree play what you do best. But at some point to win a competition at a high school or college level when it is a competition for all instruments you need to have everything in place, musicality and virtuosity. Debbie On 5/20/07 10:24 AM, Steve Freides [EMAIL PROTECTED] wrote: Debbie, please say more about this - my son is only in 8th grade, and the impression we've gotten from lots of folks so far is that they want to hear him do what he does best and not particularly display technical virtuosity on the instrument. It sounds, though, that as they get older, more technically difficult pieces are expected. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Young Artist Competition
I don't think you will win a competition playing the second and third movement of Mozart 2 if this is a high school / college age group especially if it is open to all instrumentalists'. Kalmus has a lrge selection of parts at affordable prices take a look at what they have to get an idea of what is available. I would be looking at Mozart 2, Strauss or Gordon Jacob. Debbie On 5/19/07 3:46 PM, Steve Freides [EMAIL PROTECTED] wrote: From: michael reeedy [mailto:[EMAIL PROTECTED] I would like to participate and hopefully win the 3 2007-2008 season young artist competitions in my area, but I am not sure as to what solo I should do. Please keep in mind that the piece needs to be easy to find for the orchestra parts because one is a community symphony. I was thinking a Mozart concerto( most likely no. 2 becasue the limit for the performance is 15 minutes and the second concerto is only 13.) Any advice Many auditions ask only for two contrasting movements at the first stage. For this, the second and third movements of Mozart #2 (K. 417, yes?) are very nice - my son has been auditioning with them this year, and each is about three or perhaps three and a half minutes long. -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: Best Schools, competition Means Nothing, and actually two school lists.
On 4/30/07 8:13 AM, Steve Freides [EMAIL PROTECTED] wrote: I recall a horn player who had been accepted at both Juilliard and Mannes - she went to Mannes because she got a full scholarship, and because she got to study with the same teacher as she would have at Juilliard. Steve, The teacher is a very important part of this process but the quality of the other musicians in a teachers studio, the quality of the orchestra and the quality of skills training are all factors. The string players at Juilliard are truly special so the quality of the orchestras is high and thus the rep choices vast. Just like business school those friendships and networking chances you have in undergrad school are priceless as you progress in a performing career. I am not saying this person made the wrong choice for them, I am saying that there are a lot of additional factors to look at when you talk about schools and specifically the NYC schools. Debbie Schmidt Tisch Center for the Performing Arts ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Yamaha mouthpieces
Steve do a search for mouthpiece comparison charts specific to horn. There are tons of charts with a variety of information. I am sure you can find one with a bore size. Debbie ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] YouTube again
Basically You tube and Viacom will come up with a deal that covers the use of Viacom owned material. Yes it will probably cost You Tube some money along the way. Maybe I am a skeptic but I don't see that as helping all the other illegal uses that occur on a daily basis that infringe on the rights of the little guy or even the medium size guy. Debbie ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Stuck in RANGE LIMBO? (Val's response to Herbert Foster)
On 3/6/07 9:43 PM, Valerie WELLS [EMAIL PROTECTED] wrote: Farkas wrote down and taught what he felt like he was doing, and that has become the Farkas method, but who knows what he really did? That's what all teachers do, they teach what they feel like they do to others. I disagree with teaches what they feel like they do. I know exactly what I do mostly through trial and error and frankly am very good at imitating what a student does. Although sometimes it is difficult, I try to imitate what I hear as a way of checking what is happening where I can not see. I teach to get a result from a student not to emulate myself. All of our bodies are different and what works for me might or might not work for you. that are the most accurate in communicating reality in a way that the students can understand incorporate are the most successful. The most successful teachers are the ones that can say the same thing an infinite number of ways so that each person can get a great result. I am thrilled that what the site says resonates with you and you have had success but I find troubling that along the way some great teachers have gotten trashed. Farkas has lots of students that sound terrific and make a living playing and teaching the horn. I never studies with him but have to believe that what he preaches in his book is what he taught at lessons and it worked for many. The site talks about symphony musicians that teach in negative terms but many symphony musicians Ver Muellen, Clevenger, Williams, Landsman and Ashby have students playing and teaching in top jobs. One of the things that this discussion really brings to the forefront is how critical the right teacher choice, especially at the college level is for each individual. Debbie Schmidt Tisch Center for the Arts ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] low horn solo
Daniel Schnyder also has a horn sonata that emphasizes the low range. I believe this sonata was adapted from his bass trombone sonata. Debbie Schmidt Tisch Center for the Arts ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: Anvil Cases
Anvil makes speciality cases (to order) specifically for touring shows (rock bands). They also make the trunks that many orchestras travel with. These trunks in the case of NY and Chicago hold 6 horns. They are on wells so can be easily moved and are used so that horn players can bring a back up horn or if you are travelling with 2 or more horns. Most other sections of the orchestra have trunks also. In my years in Chicago I do not remember seeing horn damage but we did have some trumpet damage at one point although minor. Anvil is not into lightest they are into protection and normally do a very good job with road cases. As Ken said this is not a worry free solution. Debbie Schmidt[ --jasoncat ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Triple horn
I also own a Paxman and a Schmid triple. My Schmid is a F alto horn (as is the Paxman) . without a doubt the F alto side on the Schmid is usable further down into the range then is the same sie on the Paxman. I think this is a design difference not an Eb alto vs. Falto difference. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
