Re: [Hornlist] The truth about instrument repair and maintenance
Back in my day, we didn't have shoes. Gary --- Steve Haflich [EMAIL PROTECTED] wrote: From: Wendell Rider [EMAIL PROTECTED] Back in my day, we made our corks from shoe leather. Back in my day, we made our own shoe leather. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] emergency repair stuff
I've had an Altoids tin with cut and knotted string, bumpers, a hex key for my duckfoot, and a screwdriver in my case for the better part of 20 years. I've never had to use it in an emergency. But if the kit wasn't in my case, rest assured I would need it in an emergency. Pretty cheap insurance. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] C.F. Schmidt History
Wow! Sounds like you found a real treasure. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Some Crazy Notation for Horn
Hi, I thought some might be interested in this. There is a 1937 arrangement of Tchaikovsky's Romeo and Juliet by one Fred W. Westphal. The parts are for Horn in F. At bar 184, the key changes to six sharps. At bar 213, where the famous solo comes in, it is notated enharmonically with a whole zoo of flats, rather than leaving well enough alone. I asked the director about this...his explanation was that it was written enharmonically to make it easier for the brass players, who as well all know grow up oriented to flat keys. I would accept that as a possible answer. I can send a 745kb pdf file to whoever wants to see this oddity of notation, or post it in the files section, wherever that is. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Atkinson Horn?
Yes. It is a desirable horn. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] orchestral Sousa
Couldn't have put it better, John. I don't think that any Sousa march should be played by an orchestra. You can't march to it. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] orchestral Sousa
Yep. You're right. Still sounds better without strings. Gary --- Steve Tarter [EMAIL PROTECTED] wrote: I don't think that any Sousa march should be played by an orchestra. You can't march to it. Gary That is on interesting thought, considering that Sousa's band almost never marched... they played his toe-tapping make you want to march marches in concert settings where no one (band or audience) would be marching. ---Steve Tarter--- Tokyo, Japan ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re:OT: Is there a trumpet list similar to this horn list?
Yes. Most, if not all. You would be hard pressed to find a serious trumpet player that doesn't own a C. Gary --- Simon Varnam [EMAIL PROTECTED] wrote: : Steve Freides [EMAIL PROTECTED] wrote 1. Do some/many/most professional orchestral trumpet players own trumpets pitched in C for playing things at concert pitch? Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] My Warmups
Hi, An interesting topic that hasn't been discussed much...warmups. I would be interested in seeing yours, Mr Jones. I would also be interested in learning what others do for a warmup. I'll be brave... I actually use two different warmups from the same sources. For days that I do not have a rehearsal, I do the Singer Heavy Routine, except instead of the Singer long tone excercise, I use the Farkas one, then continue with the rest of the routine after a 20-30 minute break. Then a short break, and then I play scales, two octaves, around the circle of fifths. Then it's whatever there is to practice. For days that I have a rehearsal, I do the first Singer Heavy Routine excercise, the Farkas long tones, and then scales without the rest of the heavy routine. I also use a metronome for all of the above, and a tuner for the long tones. Part of warming up includes warming up one's internal chronometer and center of pitch. For better or for worse, in May of this year I'll be playing fourth on the Konzertstuck, and then after intermission I'll be playing first on Beethoven 3. With the warmups that I'm using now, I feel much more confident about being able to play both on the same concert. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Intonation variables on different horns
--- Valerie WELLS [EMAIL PROTECTED] wrote: Question for you more experienced horn players. When you play a horn that is new to you, do you have intonation problems? Yes. Same applies to new mouthpieces, leadpipes, mutes, etc. snip snip snip... Am I more accurate on my H179 simply because I've been playing it longer? Yes. You know how to play it. Or is it because it's inherently a horn w/ better intonation? Is intonation easier on the H179 because it's a large bell throat silver or does that matter? Maybe. All horns are not created equal. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Steve's string bass story
Why does the horn have to be so HARD?!?!?!?!?! I didn't know that it was. At least I, unlike most it seems, was never told that it was any more difficult than any other instrument. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Omm-Pahs Practice
How new is newer? I ask because some of the works for band from the 40s, 50s, and 60s aren't that easy. Some of us may remember the days of Dello Joio and Persichetti. And what of the Hindemith Symphony for Band? Not particularly new, but not easy either. I have found that in a lot of ways, band music is more challenging than orchestra music, if for no other reason that the lines tend to be longer. For instance, we played a band arrangement of the Miniature Overture from the Nutcracker the other night. Now, there was nothing technically challenging, but the first horn part sits in the staff and up to high G, and it does so for the better part of two pages. We also played some medleys of Christmas tunes that were likely no more than grade 5, maybe even 4, but the horn parts went on forever with no rests. What's not challenging about that? As far as oom-pahs are concerned, there is an art to playing off-beats. Once you realize that in a typical march by Sousa or Alford the horns are the only ones that have chord changes, it gives a whole new meaning to why the horns and offbeats cannot be ignored. All four parts must be strong, played with a short percussive accent, and they must be placed perfectly between the beats. No different than a Strauss waltz, except you have to add another pah. So I have to wonder...is the bias against band music in general? Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] [NHR] Englilsh inconsistencies
Feather - stone - shaw? Never heard it, spelt it, and I didn't cheat by way of Wikipedia ;p Gary --- [EMAIL PROTECTED] wrote: All I want to say is, Featherstoneshaugh.? Try spelling it if you've only ever heard it, or pronouncing it correctly if you've only ever seen it written and not heard it spoken. Dave Weiner Brass Arts Unlimited -Original Message- From: Bill Gross [EMAIL PROTECTED] To: 'The Horn List' horn@music.memphis.edu Sent: Wed, 12 Dec 2007 7:56 pm Subject: RE: [Hornlist] [NHR] Englilsh inconsistencies Just so, listening to a radio program on the history of English Language and one of the folks pointed out that pronunciation has changed over the years but spelling does not. Knight was originally pronounced as Monty Python has it in the Holy Grail. Over time the k sound got dropped but the spelling stayed the same. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Chris Earnest Sent: Wednesday, December 12, 2007 4:19 PM To: horn@music.memphis.edu Subject: [Hornlist] [NHR] Englilsh inconsistencies The biggest inconsistencies in English are in its pronouciation vs its spelling. Supposedly, multi-national personnel at NATO headquarters found English to be an easy language until they tried to pronounce it. To help them discard an array of accents, the verses below were devised. Not easy even for a native speaker to read rapidly! Dearest creature in creation Studying English pronunciation, I will teach you in my verse Sounds like corpse, corps, horse and worse I will keep you, Susy, busy, Make your head with heat grow dizzy. Tear in eye your dress you'll tear, So shall I! Oh, hear my prayer, Pray, console your loving poet, Make my coat look new, dear, sew it! Just compare heart, beard and heard, Dies and diet, lord and word, Sword and sward, retain and Britain. (Mind the latter, how it's written). Made has not the sound of bade, Say said, pay-paid, laid, but plaid. Now I surely will not plague you With such words as vague and ague, But be careful how you speak, Say break, steak, but bleak and streak. Previous, precious, fuchsia, via, Pipe, snipe, recipe and choir, Cloven, oven, how and low, Script, receipt, shoe, poem, toe. Hear me say, devoid of trickery: Daughter, laughter and Terpsichore, Typhoid, measles, topsails, aisles. Exiles, similes, reviles. Wholly, holly, signal, signing. Thames, examining, combining Scholar, vicar, and cigar, Solar, mica, war, and far. From desire: desirable--admirable from admire. Lumber, plumber, bier, but brier. Chatham, brougham, renown, but known. Knowledge, done, but gone and tone, One, anemone. Balmoral. Kitchen, lichen, laundry, laurel, Gertrude, German, wind, and mind. Scene, Melpomene, mankind, Tortoise, turquoise, chamois-leather, Reading, reading, heathen, heather. This phonetic labyrinth Gives moss, gross, brook, brooch, ninth, plinth. Billet does not end like ballet; Bouquet, wallet, mallet, chalet; Blood and flood are not like food, Nor is mould like should and would. Banquet is not nearly parquet, Which is said to rime with darky. Viscous, Viscount, load, and broad. Toward, to forward, to reward. And your pronunciation's O.K., When you say correctly: croquet. Rounded, wounded, grieve, and sieve, Friend and fiend, alive, and live, Liberty, library, heave, and heaven, Rachel, ache, moustache, eleven, We say hallowed, but allowed, People, leopard, towed, but vowed. Mark the difference, moreover, Between mover, plover, Dover, Leeches, breeches, wise, precise, Chalice, but police, and lice. Camel, constable, unstable, Principle, disciple, label, Petal, penal, and canal, Wait, surmise, plait, promise, pal. Suit, suite, ruin, circuit, conduit, Rime with shirk it and beyond it. But it is not hard to tell, Why it's pall, mall, but Pall Mall. Muscle, muscular, gaol, iron, Timber, climber, bullion, lion, Worm and storm, chaise, chaos, and chair, Senator, spectator, mayor, Ivy, privy, famous, clamour And enamour rime with hammer. Pussy, hussy, and possess, Desert, but dessert, address. Golf, wolf, countenance, lieutenants. Hoist, in lieu of flags, left pennants. River, rival, tomb, bomb, comb, Doll and roll and some and home. Stranger does not rime with anger. Neither does devour with clangour. Soul, but foul and gaunt but aunt. Font, front, won't, want, grand, and grant. Shoes, goes, does. Now first say: finger. And then: singer, ginger, linger, Real, zeal, mauve, gauze, and gauge, Marriage, foliage, mirage, age. Query does not rime with very, Nor does fury sound like bury. Dost, lost, post; and doth, cloth, loth; Job, Job; blossom, bosom, oath. Though the difference seems little, We say actual, but
Re: [Hornlist] Leadpipes for horns
Stuart de Haro's 9019x pipe made a world of difference on my 10D. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Music (was Elliot Carter Horn Concerto)
Well, if you really want to go there, one of my top five favorite composers is Krysztof Penderecki. I skipped many (too many) classes as an undergrad, sitting in the music library listening to his music and following the scores. The payoff, I suppose, was teaching the last two sessions of music history. My professor admitted that he knew less about 20th century music than I did, being the staunch Romantic that he was. Never have played any Penderecki, and let's face it...it's not very likely even in the major leagues. There is also a wonderful Requiem by Frigyes Hidas; he scored it for soloists, choir, and band. I met him at the Midwestern Band and Orchestra Convention in Chicago. Wonderful man...he seemed genuinely humbled, if not a little surprised, that an American was familiar with his music. He gave me a couple of CDs. And whilst we are on the subject of Carter, let us not forget the Eight Etudes and a Fantasy for Woodwind Quartet. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] 42nd Street
Hi, Just finished a six-show run of 42nd Street with the River City Theatre Company. Great fun. For those of you that haven't played the show, the next to last number goes up to a high Db, and the last note of the show is a F to high C, with a fermata just for kicks. Went 12-0 on both, so I'm undefeated ;p I absolutely love pit work. Where else can you play in 6 sharps? Would have been easier with a transposed part; could have avoided a few double-sharps. One continuity error...the set for We're In The Money had a half dozen or so circular platforms for dancing on, painted to look like dimes. Eisenhower dimes. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mpc for Geyer wrap horns
Geyer or Kruspe wrap makes no difference. Something with a medium cup and depth, a modestly curved rim with a slight inner edge, with a bore of 8, 10, or 12 will do just fine. In other words, something middle of the road. I think that you will find that the majority of players are much closer to the middle of the road than they are to the sides, with the big bores and cups, or tiny bores and shallow cups. But since you asked...I play on an Osmun CHW10 and a Conn 10D with a de Haro leadpipe. And the leadpipe is middle of the road, too. If you choose a custom mouthpiece, be prepared to spend upwards of $150, but the nice thing about those is they are two-piece. You can swap out rims or cups. Gary --- Tim Van Gijsegem [EMAIL PROTECTED] wrote: My advise to anyone would be, have a custom piece made just for you, there are loads of good mouthpiece makers all over the world who can help you with that. It's better to pay something extra just one time, and then be consistent in your equipment.. --- [EMAIL PROTECTED] wrote: From: Valerie WELLS [EMAIL PROTECTED] To: horn1 list horn@music.memphis.edu Subject: [Hornlist] Mpc for Geyer wrap horns Date: Fri, 16 Nov 2007 08:27:34 -0800 If you play a Geyer wrap horn, what mouthpiece do you like? Why? Valerie___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/tim_vg%40techemail.com _ Are you a Techie? Get Your Free Tech Email Address Now! Visit http://www.TechEmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] C series mouthpieces
Way back in '82, I started on a C10 on the recommendation of my teacher, and eventually went to a C1. I was playing an 8D at the time. When I went back to school to finish my BM degree, Nancy Cochran-Block asked me what I was playing on at my first lesson with her. I told her it was a C1. Her one and only reply was you might want to rethink that. By way of emphasis, my semester assignment for Brass Pedagogy was to survey horn methods. I learned a great deal about mouthpieces in the process, and switched to a Farkas MDC. When I was at Northwestern, Gail Williams did a masterclass on mouthpieces. She asked what mouthpiece I was playing on, because my attacks had this twah thing going on. I told her it was a Farkas MDC, and her reply was (I'm not kidding) you might want to rethink that. After fiddling about with half a dozen mouthpieces that she had brought, it was evident that a bigger mouthpiece was in order, so I switched to a Farkas DC. Fast forward to last fall, when I started playing again after 8 years. By then, I had switched to a Conn 10D, but I wasn't happy with the sound. I bought a Stork 05 and played that for awhile, which was good because it immediately re-taught me to use a lot of air. This past summer, I did a lot of research and asked a lot of questions, and bought an Osmun CHW10, a wider inside diameter version of the Farkas MDC, but smaller than the Stork 05. As far as the rim profile of a Chambers mouthpiece...the inward slope and sharp edge might be fine for someone with thin lips and small teeth, but it wasn't very comfortable for someone like me who has thicker lips and large front teeth. I think my facial structure is more suited to trombone, but who wants to play one of those? Also, like Farkas stated in his book, the edge helps with attacks but makes slurs difficult, while a rounded profile with no edge makes for good slurs but poor attacks. The profile of the CHW rim has a slight edge going into the cup, so it is a compromise. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] former Principal of KC Symphony
I knew Franano was in there somewhere thru the 90s, but I couldn't remember when. He was still there when we were at UMKC, wasn't he, John? And lets not forget that Farkas was in Kansas City, too. That was his first pro job, was it not? Gary --- John Dutton [EMAIL PROTECTED] wrote: Clevenger was principal horn in 1964 or so. Frank Franano won the position somewhere around 1968 at the age of 19. snip Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] lead pipe mpc connection
Scotty had nothing on Chief O'Brien: Well, I could get into the biofilter buss and patch in a molecular matrix reader. That's no problem. But the waveform modulator will be overloaded without a regerneration limiter in the first-stage circuit. Gary (who has a tendency to watch Star Trek and memorize cool stuff like that when he should really probably be practicing) Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] B-flat or F fingerings in the low register
I use whichever fingering sounds best, in keeping with the demands of the music. I'm playing fourth on 1812, and it's all B side, baby. The opposite is true as well...there are times when I use the F side in the treble staff. If it sounds better, then that is what I do. Like Mr Baucom said, Brahms calls for a more velvety quality that might be better obtained on the F side (I'm going to have to give that another go). And for what its worth, I tend to practice Kopprasch on the F side exclusively. Good for target practice. All things being equal, how it sounds is what matters, not how you do it. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] BERP...excuse me
YES! I had one of the older metal BERPs, but lost it somewhere. I bought one of the clamp-on ones (I call it a Borg Implant), and I don't like it. Thanks for the tip! Gary --- Eldon Matlick [EMAIL PROTECTED] wrote: True, BERP's used to be made of metal. The new ones are now made of plastic that can be clamped to one's leadpipe. I have one of the old ones, which I prefer much better. In fact, I don't like the new model at all. Instead of the BERP, I recommend getting a 'buzzing aid' made for horn at: http://www.windsongpress.com These are made of lucite (virtually indestructable) and fit into the leadpipe as did the older BERP's. The vent hole is substantially larger and therefore works better for my purposes. My 2 cents Sincerely, Dr. Eldon Matlick, Horn Professor, University of Oklahoma Principal Hornist, OK City Philharmonic 500 W Boyd Norman, OK 73019 (405) 325-4093 off. (405) 325-7574 fax Conn-Selmer Educational Artist http://ouhorns.com Luggage? GPS? Comic books? Check out fitting gifts for grads at Yahoo! Search http://search.yahoo.com/search?fr=oni_on_mailp=graduation+giftscs=bz ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Geyer wrap, anyone?
--- Valerie WELLS [EMAIL PROTECTED] wrote: Three Q's if anyone cares to answer, please. (1) If you play a Geyer wrap horn, what do you like about it? I have a Conn 10D with a Stuart de Haro leadpipe. I like The Way It Sounds From A Distance (I can't put italics in email, hence the Pooh-esque capital letters). I would also add that the way the horn sounds to the listener in the middle or back of the hall is more important than how it sounds to the player. Anyone who has heard Clevenger up close knows what I mean. (2) If you previously owned a Geyer wrap horn, but don't now, could you please tell me why what you replaced it with? I went the other direction, from an L-series 8D to the 10D. My old 8D was a particularly dead-sounding horn with little carrying power. I was able to play a number of different horns while I was a student at Northwestern. A few years later I was able to pick up a 10D at a stellar price, so I sold the 8D to an unsuspecting student at Indiana University ;p And if I recall, that person loved the horn. (3) If you can objectively compare a Geyer wrap to a Kruspe wrap based upon your own personal experiences, could you please tell me about it? The key word here is objective. Unless you are blindfolded while play-testing a bunch of horns, I believe that your evaluation will be more subjective than objective. We all expect certain things from certain horns, and if we know what horn we are playing, we will have a tendency to judge that horn on what we think it will do. And all things being equal, I would be willing to bet that most people will choose the prettiest horn. We hear with our eyes. As has been pointed out, I don't think the wrap has anything to do with how the horn sounds. Quality of construction and materials used, combined with the characteristics of the player, are the determining factors of sound. This is like asking if an unlacquered horn sounds and/or feels better than a lacquered horn, which leads one to comparing apples and oranges. Both are tasty, but some people don't like apples. Thanks in advance. ~Valerie ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Geyer wrap, anyone?
/Really?/ I suppose that we *learn* something _every day!_ Had to try... Gary --- Jerry Houston [EMAIL PROTECTED] wrote: G wrote: I have a Conn 10D with a Stuart de Haro leadpipe. I like The Way It Sounds From A Distance (I can't put italics in email, hence the Pooh-esque capital letters). This is way off the horn topic, but quite on-topic for mailing lists. Many email clients will recognize /Italics/ done this way, *bold* done this way, and _underscore_ done this way, even when they're processing plain text messages. For those that don't, at least their users will know what you had in mind. Anyone who's using OutlookExpress should google a free product called OEQuoteFix to deal with such formatting in a rational way (as well as add a number of other neat tricks to OE). And now back to warming up for tonight's rehearsal ... ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Opinions on methods
Hi, I would like to hear (read) some opinions regarding a few method books: Singer Dufrasne Schantl I already know what I think of them. I'm curious what others think. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: New York Phil Opening Night, R rated review
It's a good thing you weren't at my orchestra rehearsal last night. There would have been death all around, and not because of boredom. Gary --- Valerie WELLS [EMAIL PROTECTED] wrote: There's nothing more boring than a string orchestra. Give me BRASS or give me death! Valerie ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] New York Phil Opening Night, R rated review, D minor Dvorak
Or Chicago under Solti... Gary --- Paul Rincon [EMAIL PROTECTED] wrote: Is there too loud playing by the brass section in this symphony? NO. They absolutely destroyed and dominated this piece. Yep. Sounds like the NY Philharmonic from your description... Paul Rincon ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Single King B-Flat
I have had a similar experience with my 10D. I replaced the stock pipe with Stuart de Haro's 9019x pipe, and it made a world of difference. Even more than I thought it would. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Film music featuring horns
Anything by Williams, Elfman, Goldsmith, Hermann...and don't forget Aaron Copland's score for The Red Pony. I have about 150 recordings of film scores, all on LP (remember those?). One of my prize possessions is Jerry Goldsmith's scores for The Reincarnation of Peter Proud, and on the flip side is his score for Islands in the Stream. The original 1931 score for King Kong is great. The list is endless. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] 9 o'clock hole
I've always been particularly nervous about leaving my horn sitting on a chair; that probably comes from laying asphalt all summer to earn enough money to buy my first horn out of high school. I have a very simple rule for myself...if it's not in your face, it goes in the case. Or at least in your hands. I don't think there is anything in the world that makes me more nervous than seeing several thousand dollars worth of instrument sitting on a chair. Seems that string players are notorious for doing that. After all...it's the person that knocks it off the chair that will get stuck with the repair bill, not the idiot that left it there in the first place ;p Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] stopped horn
Ok, this is getting ridiculous. Gary --- Reba McLaurin [EMAIL PROTECTED] wrote: Whenever I play stopped horn in orchestra everyone turns around and glares at me. Especially if it's a low exposed passage. How can I stop this? Reba ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] How embarrassing! My apologies --AGAIN!
Ahem...despite my rather smart-ass reply, a few did find it useful. I obviously missed the point. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] What should I be doing in the practice room?
I have a BERP. I like it better than just holding the mouthpiece; the BERP allows you to hold the mouthpiece and horn in the proper position. I have found it to be rather useful in recentering and refocusing my buzz. Five minutes a day is all it takes. As has been pointed out before, a good buzz leads to a good tone. The horn itself is nothing more than an amplifier, as well as something that refines the tone. Gary --- Reba McLaurin [EMAIL PROTECTED] wrote: What about using mouthpiece buzzing in the practice room? I had a teacher once that wanted me to buzz pop goes the weasel all the time. I did not get the point of it, and right now I do almost no buzzing in the practice room. Can you mouthpiece buzz without a piano? When and where and how in a practice session is this productive? On 8/5/07, Jonathan West [EMAIL PROTECTED] wrote: On 05/08/07, Reba McLaurin [EMAIL PROTECTED] wrote: Thanks for all of the good information, How can I get a copy of orchestral musicians CD Rom. What is that? Google is your friend. Type that phrase into Google, the first hit is the home page for the product http://www.orchmusiclibrary.com/ Also, sightreading is something that I generally ignore. What is the best way to practice that? This come up every so often on the list. You can find my description of how to practice sightreading here: http://www.mail-archive.com/horn@music.memphis.edu/msg04213.html Shouldn't I be doing long tones, too? Of course. They should be part of your warmup. I like to do long tones on all of the notes on the instrument for one minute every day. Is this a waste of time? One of my teacher's teachers did that and he was a great player. There are two possible purposes to long-note practice. One is to use a modest amount of it as part of your warmup. A one-octave scale ascending and descending with crescendo to the middle of the note end diminuendo to the end is sufficient for that part of a warmup in my opinion. If you have problems maintaining stability of pitch and tone over longer notes, then more long note practice over a wider range is probably a good idea. Consciously think of maintaining breath support from the diaphragm when you do so, and concentrate on *not* allowing the throat to constrict, if that happens to be one of your problems. Another problem that I always run in to is time management in the practice room. I really only have two or three hours a day to practice, because I work two other jobs plus students, etc. Sometimes I don't even have that much time. My list of things to do in the practice room seems to always come out to what seems to be about four or five hours of work. Any ideas on this? If you are practicing intelligently and intensively, you should be pretty much exhaused by 3 hours practice in a day. You certainly shouldn't need to do any more than that. Therefore, I suspect you are in fact wasting much of your time in the practice room. The essence of effective practice is that you *practice getting things right*. If you get something wrong, it is almost certainly because you have played it too fast to get it right. Most people, when they even notice they have got it wrong, repeat the whole piece or long passage again, and almost certainly make the same mistake again. What they are doing is practicing getting it wrong. And the more they practice getting it wrong, the better they become at getting it wrong. I don't know whether you fall into this category, but based on your descriptions, I suspect that you may. If I am doing you an injustice I apologise. But for the benefit of anybody else who recogises themselves in the description above, I go on to say how you *should* practice a difficult passage or etude. First of all, you have to decide that perfection is your aim, and you are not going to be satisfied with less. Saying to yourself it was nearly right, and I'm sure it will be OK next time is the greatest enemy of progress. Second, when you notice a mistake, STOP, immediately, before you have a chance to forget what the mistake was or where. It might be a piece of awkward fingering, it might be a short passage with a high note that you mispitched, it might even be a slur that wasn't sufficiently clean. Go back a bar or so, and practice just the fragment that contained the error. If the error is repeated, go about 30% slower and do it again. Keep slowing down until you find a speed at which the error goes away. Then, having found a speed that is OK, repeat several times at that speed. If you find yourself still making regular errors, slow down even further, until you find a speed at which you can play the fragment at least 3 times in a row (and preferably 6 times) with no error at all. Resist the temptation to
Re: [Hornlist] Olive Leaf Extract for eczema more
What does this have to do with playing the horn? Gary --- Valerie WELLS [EMAIL PROTECTED] wrote: Because we, the gluten intolerant, have much in common with our allergies, deficient immune systems, etc., I'm assuming that what helps me may be of worth to some of you. When I get an unexpected benefit from an intervention, I'm doubly pleased because I know it wasn't a placebo effect. So I thought I should share: Every summer I get one or two crusty, burning, itching patches of eczema on one or both palms of my hands. I've tried cortisol cream, which works pretty well, but I ran out decided I'd just live with it this summer. Well, to make a long story short, my eczema patches had gotten worse than ever earlier this week. I had one about the size of a 25 cent piece that was rough scratchy, itchy and burning, not to mention bright red ugly. I hadn't used oregano oil / olive leaf extract (OO/OLE) for several weeks began having symptoms of candida, so Wednedsay evening at bedtime a took a dose. To my surprize, the next morning, my eczema patch was pink instead of red. I continued taking OO/OLE all day Thursday yesterday. Today, there's hardly a trace left; my palms are pink, smooth soft. So there you have it, folks, another of Valerie's serendipidous healing events to ponder ad nauseum! I found a website (commercial, but well referenced) that has a casual but indepth discussion of olive leaf extract (but not oregano oil), what people are using it for what to expect when you start taking it (die off reaction, etc.) plus lots of anecdotal experiences like mine of unexpected healing outcomes for stuff like psoriasis, arthritis, chronic fatigue, fibromyalgia, etc. [The approach in the website appears to be pretty honest straightforward. They are not promising perfect health world peace if you just take their stuff every day for the rest of your life. They admit, that there isn't a well established protocol for each every thing that ails human kind.] http://www.oliveleafextract.com/clinical.html This commercially prepared product (olive leaf extract) is still pretty new, so dosing treatment protocols aren't well established. If you decide to try it, you're on your own to figure out what brand, how much, etc. Good luck. FYI: I take LifeTime Oregano Oil Olive Leaf Extract drops which contains a grain alcohol (distilled GF). I take it according to the directions on the bottle. Please don't ask me to advise you on which product how much you should take, etc. I'm not qualified to do so. A knowledgeable naturopath or herbalist would be the best source for help with this. I'm just one of those crazy gals who rushes in where angels fear to tread! ha ha ha! I should add here that because I'm taking a combination product with oregano oil olive leaf extract, I can't be sure which ingredient is responsible for the improvements. I have not seen these two ingredients combined into one product except for this particular brand. Much of what I've read about the benefits of oregano oil are also touted for olive leaf extract, so I'm assuming that both ingredients are making a contribution. So again, folks, I'm not advising, just discussing. You're on your own to work this out for your benefit. My husband has chronic eczema tried one dose of LifeTime brand OO/OLE. He was extremely repulsed by the bitter, burning taste refuses to take any more. He'd rather itch! But he does want to try it in capsule form. So that's what I plan to purchase next, olive leaf extract gel caps. I haven't located a source yet, but I'm sure Super Supplements others will have something for a fair price. Valerie in Tacoma ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: Student Question
Steve said... Kids are allowed to skate on everything nowdays. Make the little slackers get to work and chew out the parents for letting their kid be so lazy! - Steve Mumford Can I get an Amen to that? I make my living in children's mental health. Would you like to come work for me? Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Student Question
Haha, that's even more fun with incoming freshmen at college on their first day in orchestra. Right John? Gary --- Steve Haflich [EMAIL PROTECTED] wrote: From: Eldon Matlick [EMAIL PROTECTED] Or if you really, really, really, want to mess with a student's head, take the 2nd slide from the Bb side and the 3rd slide from the F side. Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Student Question
Agreed. --- matthew scheffelman [EMAIL PROTECTED] wrote: The adult replies that you have received would have made it so I would not have wanted to play horn at that age. Very poor. There are many ways to teach, confrontation does not work so well. Why not give the student just few exercises on F horn each month? Show her the reason why some work must be done on the F horn. Kids are much smarter than many give credit for. John Cerminaro played on Bb in youth, he did not have too many worries in his career. Matthew Scheffelman Building a website is a piece of cake. Yahoo! Small Business gives you all the tools to get online. http://smallbusiness.yahoo.com/webhosting ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Pinky ring...was RE: [Hornlist] Mystery jazz horn
--- Jeremy Cucco [EMAIL PROTECTED] wrote: I'm glad to see the following warning: DO NOT EVER PLACE THE LITTLE FINGER IN THE PINKY-RING!!! I would agree. I recently had the pinky hook (sometimes called an octave key) removed in favor of an Alex duckfoot. Surprisingly, I use less pressure. It does take some getting used to, but it works. You just have to train your pinky to stay down and not float all over the place. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] 2008 IHS International Symposium question
Denver! I'm going! I haven't been to an International since Potsdam 1987. Gary --- [EMAIL PROTECTED] wrote: July 16, 2007 Does anyone know yet where next summers's IHS International Symposium will be held? Thank you, John Dr. John David Smith Assistant Professor of Music University of Delaware Horn Studio Link: http://music.udel.edu/faculty/smithjd/ AOL now offers free email to everyone. Find out more about what's free from AOL at AOL.com. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Berg and others
I would be interested to know if anyone has experience with a few of the other custom horns that never seem to get talked about. We've all heard about Berg, E. Schmidt, and Lewis. What about de Haro, Hatch, Sorley, and maybe some others that don't seem to get any press? Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Sights and sounds of Germany
No, we only played the Bruckner in Vienna. Our orchestra was there as part of the First World Symposium on Choral Music in August-September 1987. We did stop at St Florian. Another highlight was Mozart's Coronation Mass in Salzburg. We also played a concert of American music at Esterhazy Palace, and the symposium concert at the Vienna Center included Bernstein's Chichester Psalms with a soloist from the Vienna Boys Choir, and Gehard Schedl's Te Deum. The concert was conducted by Gunther Theuring. Good times, good times. Gary --- hans_illich [EMAIL PROTECTED] wrote: G wrote: That was also the same trip where I was privileged to play the Bruckner D Minor Mass with the Vienna Boys Choir in St Stephen's. Gary did you play at that time this Bruckner in another city also? In Linz and Leonding perhaps? Liebe Gruesse/Best regards, Hans Illich Ing. Johann Illich, Ortmayrstr.37, A-4060 Leonding, Austria +43-732-995275 priv. +43-6888333895mobil ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Sights and sounds of Germany
Rothenburg ob der Tauber is an absolute must. And I must agree with Hans...the Hofbrauhaus in Munich is the perfect place for a bit of refreshment. By the liter. The Maibock should still be flowing quite freely. Vienna is self-explanatory. It's Vienna. I still have the corkscrew that I swiped from the Hilton some 20 years ago. That was also the same trip where I was privileged to play the Bruckner D Minor Mass with the Vienna Boys Choir in St Stephen's. One of the violinists had bought a book about the choir, and during rehearsal handed it to one of the boys behind her, hoping to get one or two autographs. When the book came back at the end of rehearsal, the entire choir had autographed it. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Using P for high notes
Or, if it ain't broke, don't fix it. Gary --- Valerie WELLS [EMAIL PROTECTED] wrote: Jeff Carter wrote: I say ... do whatever you need to do to make it happen, use an extra set of ears, and most importantly, stay objective. Good point. What ever happened to the common sense mantra, If it works it's correct? Valerie, balanced embouchure student, amateur horn player___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ 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
A sad day indeed for the horn community. Mr Lawson's contributions to the art of horn making are beyond measure, and we will miss him. Somewhere, someone is playing the Epilogue from the Britten Serenade, and Mr Lawson can hear it. Follow the link below for a short NPR interview with Mr Lawson and Kendall Betts. http://www.npr.org/templates/story/story.php?storyId=6673671 Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: freaky double trumpet player
People, people, come on...he's miming to a recording. Gary --- Valerie WELLS [EMAIL PROTECTED] wrote: I don't have video capacity to see this. Is this person playing two instruments or a double trumpet? Is he playing a unison line or two parts? Do you know his name? Three times, now, I've seen a local Tacoma jazz artist perform a Bb cornet Bb trumpet simultaneously in Rich Wetzell's Groovin' Higher jazz band. He plays a single tune on both instruments in unison IN TUNE, TOO. It's pretty amazing. Valerie ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] the matchstick trick and the acousticoil
I haven't heard of the accousticoil in years. I'm curious...is the effect psychological, or is there really something to it? Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Changing teachers
No one teacher can teach you everything. Most of us on here have had probably at least a half dozen or so different teachers over the years, and we've all learned different things from different players. If your current teacher says it's time to change, then you would do well to change. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] centering pitch
Hi, Not a dumb question ;p and here's how I've explained it in the past. You already know that there is a certain amount of wiggle room for each pitch on the horn. So for instance, if you play an A440, you can lip it sharp or flat (or use your right hand, but that's a whole other story). There is the beginning of the problem of playing in the center...some teachers don't really teach how to tune a horn beyond the main tuning slide. The key to playing in the center of the pitch starts with having your horn in tune with itself. There's a ton of different ways to do this, but the simplest way seems to be to tune each valve with a tuner. Warm up, and using a nice, relaxed embouchure and starting on the F side, play a third space C, and tune it with the main slide. Then do the same thing for the B side, moving the appropriate slide, and adjust both the F and B sides to get them to match. Back to the F side...push the second valve, and get it in tune. Now the first valve, then the third valve. Repeat for the B side. What you're trying to do is to get the horn in tune with itself on both sides, with each slide lowering the pitch a half step, whole step, and a step and a half. This takes a little practice. You are correct...there is some tweaking to do when you're playing, and that all depends on what note you're playing in relation to the chord you're playing in (a written C# in the key of D is not the same as a written C# in the key of whatever...). This is one of the reasons you want room on both sides of the pitch to do the tweaking. All things being equal, if you've learned how to get your horn in tune with itself, then the amount of tweaking is minimal. The main reason you want to play in the center is for purposes of sound. If you play consistently flat, it doesn't carry, and has a dead sound to it. If you play consistently sharp, your sound will be very thin. Only by getting into the center of the pitch will your sound be full, resonant, and have good carry. I would also suggest you read Farkas' thoughts on tuning. Gary --- [EMAIL PROTECTED] wrote: Dumb question - when teachers say to center the note, what do they mean. center as is get a center to the pitch( ie , not wide) or center it as it lies on the horn. If it's as it lies on the horn, many of those notes will be out of tune since they need to be tweeked to be in tune. ** See what's free at http://www.aol.com. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] works for horn and wind ensemble
All this makes me wonder...are there any good (grade 6 and up) works that have been written for horn and wind ensemble? Not arrangements, but original works. And not Strauss or Mozart. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Teaching children, etc.
Just remember one thing...every generation hates the music that their kids listen to... Panic! At The Disco is my favorite right now. Bjork is not. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Modern works for Natural horn
The only piece that comes to mind that was written specifically for natural horn is James Collorafi's Sonata for Natural Horn and Piano. Gary --- David B. Thompson [EMAIL PROTECTED] wrote: Richard Burdick wrote: I am working on a list of compositions written since 1900 for the natural horn. So far the list is quite short. I don't know what your exact criteria are, in terms of instrumentation (whether only works which feature the natural horn as a solo instrument are to be included). In any case, your list will grow substantially. In terms of significant works, certainly Ligeti comes to mind. And if you don't mind a mildly cheeky answer, given your 1900 cut-off - how about the Ravel Pavane? David B. Thompson Principal Horn, Barcelona Symphony Orchestra ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Teaching Children
The meaning of life is whatever meaning you choose to give it. Gary --- debbie wenger [EMAIL PROTECTED] wrote: Hey Howard Sanner, you are very smart. In reply to your comments, only some of which I do not disagree, Howard said.How do they define a serious student? Around here it seems that music lessons are rarely more than a stop between soccer practice and karate class. The kids are taking lessons because their parents want them to One can take this to the next level. You are dealing with parents who have disposable income. OK, right now, I am in a funk, because I am dealing with the poorest. Not soccer and karate kids. All kids love music. Wahh, I am not finding fault with anyone's observations. I am just in a funk, life is hard, and if you don't have $, you will not get the benefits of exposure that $ provides. I am glad I live in the US. I wish I was smart enough and secure enough to belong to one of the humanitarian foundations. I am not in that class, I am just trying to survive, and not be in too much credit card debt. What is the meaning of life, anyway? I don't expect anyone to answer this by the way. Sincerely, Debbie Wenger From: Howard Sanner [EMAIL PROTECTED] Reply-To: The Horn List horn@music.memphis.edu To: horn@music.memphis.edu Subject: Re: [Hornlist] Teaching Children Date: Mon, 30 Apr 2007 19:22:25 -0400 G says: they won't take a student unless they are serious about learning to play the horn, oboe, or trumpet. [snip] Funny...I was always under the impression that the goal of teaching music to children was to give them an appreciation for music, not to create the next Dale Clevenger, Joseph Robinson, or Bernie Adelstein. How do they define a serious student? Around here it seems that music lessons are rarely more than a stop between soccer practice and karate class. The kids are taking lessons because their parents want them to or because a (mis-) guidance counselor at school has said it will make them more attractive to colleges. The kids don't actually practice, of course. At least this is what I hear from the majority of my friends who teach privately. Personally, I wouldn't expect a kid to be the next Joe Anderer or to want to major in music; but I would expect him to want to learn to play the horn. Besides, no teacher can create another Anderer (or Clevenger or Robinson). Howard Sanner [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/vtagirl%40hotmail.com _ Exercise your brain! Try Flexicon. http://games.msn.com/en/flexicon/default.htm?icid=flexicon_hmemailtaglineapril07 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Teaching Children
--- debbie wenger [EMAIL PROTECTED] wrote: Come on, are you serious. Yes. OK, is this a platitude, or a sincerely thought out answer? I thought it out. How old are you, and were you ever poor? 42, and yes. From: G [EMAIL PROTECTED] Reply-To: The Horn List horn@music.memphis.edu To: The Horn List horn@music.memphis.edu Subject: Re: [Hornlist] Teaching Children Date: Tue, 1 May 2007 17:39:47 -0700 (PDT) The meaning of life is whatever meaning you choose to give it. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Best Schools
I'm glad Kendall Betts actually said it out loud. A BM isn't worth the paper it's printed on, so you may as well get it for free, and/or major in something that you can fall back on. The odds are way against you getting a job in the major leagues; not even Vegas would take 100:1 odds. That's what I was getting at, and I wonder if the reality of professional music ought to be part of the educational package...not to discourage, but to put things into proper perspective. And yes, there are good teachers and not-so-good teachers. While this does have some impact, the bottom line is that it isn't your teacher's responsibility to make you a better player. It's your teacher's responsibility to give you the tools necessary to be a better player. Whether or not the tools get used is up to the student. Pedigrees mean very little outside of academia and dog shows. The only question that matters is can you play? And as far as not wanting to play everything, I'm not so sure I agree with that. I think you would be wise to take every possible opportunity to play, regardless of what it is or whether or not you think it is beneath you to do something like a pit job or a bar mitzvah or what have ya. Experience is the best teacher, and you're going to have to pay your dues one way or another. And at university, will you get to play chamber music? Sure you will...but you'll likely have to organize it. So there. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Best Schools?
Hi Well, you didn't say where you live, state wise, and you don't have to if you don't want to. The best place for you to go to undergraduate school is very likely where you live. There are some very fine teachers at state schools that can give you a solid foundation from which to proceed, as well as having good bands and orchestras in which to play (don't turn your nose up at band!). The other thing you have to think about is that only about half of your time as an undergraduate will be spent in music, the other half will be fulfilling course requirements outside of your major. College has become a very expensive thing to do. I can't speak for the rest of the country, but out here in California, a state university will run you about $2000 a year for resident tuition, compared to the year I spent at Northwestern which was close to $16,000 for tuition alone 13 years ago. My advice, such as it is, is to live at home if possible while you go to college. Trust me, you'll need the support. While I'm sure that you're a fine student (most musical students are), college is a huge change. It is just plain stupid to finish your bachelor degree and be in debt up to your eyeballs at age 22 or so. Unless of course you or your family is wealthy, then it doesn't matter much. Another good reason to go the state school route as an undergraduate has to do with the amount of time you will spend in your major. Only about half of the credits are in your major area, the other half are general education requirements. That being said, go to a university that has a horn teacher, and not a teacher that teaches all of the brass instruments. You really can't go wrong at the undergraduate level, provided of course that you take it seriously. In the end, the quality of teacher is not quite as important as the quality of student. Save the big money for graduate school, where all of your money will be spent on your major. Gary --- michael reeedy [EMAIL PROTECTED] wrote: Hello, Im a High School student who wants to do music performance for Horn in college and I was wondering if anyone could try to put together a top 5 for the best schools/teachers in the U.S for an undergraduate. Thanks. -Michael _ Invite your mail contacts to join your friends list with Windows Live Spaces. It's easy! http://spaces.live.com/spacesapi.aspx?wx_action=createwx_url=/friends.aspxmkt=en-us___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Teaching Children
Hi, I had a strange discussion the other day with a couple of players in the community orchestra. They were talking about their side jobs as private teachers, and the consensus among them was that they won't take a student unless they are serious about learning to play the horn, oboe, or trumpet. Funny...I was always under the impression that the goal of teaching music to children was to give them an appreciation for music, not to create the next Dale Clevenger, Joseph Robinson, or Bernie Adelstein. Comments, questions, insults, rebuttals? Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Getting Ready Emotionally for Beeth 9th.
Damn...you beat me to it. Gary --- Fred Baucom [EMAIL PROTECTED] wrote: You might have signed that, 'Valerie, missing the point entirely'... - Original Message From: Valerie WELLS [EMAIL PROTECTED] To: horn1 list horn@music.memphis.edu Sent: Saturday, April 28, 2007 2:36:29 PM Subject: [Hornlist] Re: Getting Ready Emotionally for Beeth 9th. Valium or Xanax may be helpful. If you're into natural stuff, try Kava (I often find Bee's orchestral stuff annoying.) Valerie, retired RN___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/fbaucom%40sbcglobal.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Preparing Great Music
Hi, I do almost exactly what you do...listen, listen, listen. The technique, the craft of horn playing is the easy part, really. The art of music is the hard part. How does my part fit with the rest of the music? Should I be leading or following? Who else is playing? You can't learn that stuff from just your part alone. If I don't have a recording, I get one. Several, if possible. When I was in school (and this was back in the days of LPs and no computers to creatively acquire music, I was a regular haunt at the used record store. I have probably 15 or 20 differnt recordings of the Mozart concerti, and four or five of Strauss, and lots of symphonic stuff including contemporary music. I played Rachmaninov Symphony No 2 this past January, and had three different recordings available. The point is not to find one and copy how it is played, but to take elements from each and incorporate them into how I approach the music. It's too easy to tell when a player can play the notes as opposed to play the music; I have seen countless posts by professional players who say that they hear auditions where the player has great technique, but has no musical sense of what they are playing. In the case of your bassoonist, that is the bane of existence in community bands and orchestras. And yes it is rude to ask, but only because in this day and age people can't handle the truth. I on the other hand would take the feedback to heart and fix the problem, particularly if it came from someone in another section! It's bad enough if your principal addresses it, but when it comes from another section... I have also been known to get copies of the other horn parts. You never know what can happen. Case in point was several years ago when I was asked to play assistant on Beethoven 9. Two days before the concert, the fourth horn got sick, and I was asked if I could play fourth. I already had the music, and had no reservations whatsoever about coming in to play fourth, including the solo. I listened to a couple of different recordings, and in particular got some ideas on how I would want to play the scale. Nailed the damn thing, too. Why? Because I knew how to play all the notes in horizontal sense, and because I studied how the notes fit in the vertical structure of the music. The same kind of thing happened when I was in Chicago; the principal horn at the University of Champagne-Urbana got sick and couldn't play Tchaik 5. I went in prepared to play the entire symphony, not just the solo. I played Cats last month. First thing I did was go get a video of the London production, before I even had the music. I went into the first rehearsal not only knowing the music, but also a general idea of how it was going to be staged. I fear that poor musicality is becoming a product of the changes in American education. Critical thinking and analytical skills are no longer emphasized; we simply teach to a test. And so it seems with music. I'm going to try to hear your concert, Mr Baucom. I've been wanting to join your orchestra, and based on your post, I would definitely want to be in your section. And you thought you went on a rant! Gary Just down the road... Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] eBay: Horn Mouth pipes Brass Instrument Uncut 11/32(item 220106548410 end time May-05-07 10:54:22 PDT)
--- Paul Mansur [EMAIL PROTECTED] wrote: Definitely, they are by pass pipes for a motorcycle. And that's too bad, because I'd really like to find a Ron Pinc leadpipe for my horn... Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Horns, dynamics, Conns, Alexanders, etc.
Great post. The primary mission of a horn player is to be told by the conductor that it is too loud. Or at least it ought to be. That way at least you know you're being heard. And I love the 'paint by numbers' analogy. I'm going to remember that. There's a time for oils, a time for acrylics, and a time for watercolors. But there is never a time for numbers. It often seems that horn players, more than any other musician, obsess about equipment, often at the expense of musicianship. I think Professor Pizka would agree. I hope. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] What makes Conns desirable?
I have a 10D that I bought in 1997. For a production horn, it's pretty darn good, and for those of us that can't afford to drop $7000-10,000 on a custom horn, it's a great compromise if you're looking for a Geyer-type horn. The only thing I need to do with it is change the leadpipe, for the usual reasons that players change leadpipes. I played an 8D forever before I got to Northwestern for my graduate work. I was able to play some other horns (Lewis, Yamaha customs, etc), and realized that I was working way too hard playing an 8D. I was able to pick up a 10D for a song, so I did. John's point about getting someone else to listen to you from out in the hall is very important. If you are judging your sound from playing in band rooms or other places that are not accoustically suited for music, you're fooling yourself into thinking that things are worse than they really are. I made that mistake last fall; telling John dude, this horn, man, I gotta change it, it sounds horrible, blah blah blah... and he told me no, you need to have someone else listen to you in a real hall. Once I got into a good hall, the horn blossomed with all sorts of colors that I didn't know were possible (I bought the 10D when I was in the Marines, and we didn't play in a lot of nice places). Perhaps the popularity of Conn is due to them virtually cornering the market many years ago? There's just a damn lot of them out there, and at the time there weren't that many different horns to choose from. I don't know. I just like my 10D. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Silent Brass, Mouthpieces
Hi, Ken What Moosewoods do you have? Gary Reply off list if you like --- Ken Bell [EMAIL PROTECTED] wrote: I have a big collection of horn junk that I don't need.( I am a packrat, but I am on a 12 step packrat program). I have 2 used Silent Brass systems, many mouthpieces including Lawson, Moosewood and Laskey, and custom E slides for a Lawson, and for an 8D. If anybody is interested, please email me or tell your friends. Thanks, Ken Bell __ 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/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Lubricating Valves
Doesn't anyone use the good ol' Selmer Tuning Slide and Cork Grease? You know, the pink stuff. Cheap, works great, lasts forever. I lose the bottle before I use it up. Al Cass on the valves, but I like Blue Juice too. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] None, really
...other than I'm back. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] The next ascent of mute
Hello all, I am in some dire need of advice. I'm heading into my fourth year undergrad and am still playing on the little sneezy red/white Humes stone-lined mute that is available anywhere and everywhere. I am looking to get a new mute this month. I play on a Yamaha 668ND (2003 purchased/made?). I tend to play with a middle area sound, not really notably bright, but tending to be darker. Can anyone suggest to me a mute that would compromise the nickel of my horn, perhaps the make/model, or my personal sound? I'm assistant principal in our Wind Ensemble, behind our head chair who plays a Holton with a Trumcor 45. If not contextual advice for my tone/specific horn, could anyone recommend to me a reputable maker/vendor of mutes that would be in the $130 or less price range? The dilligent dilletante of Horn, Casey P.S. What is the update on personal opinion about non-professional players such as myself? I've been playing for 11 years, have had private teachers and won scholarships, but there still is the notable social rift between those who do-it-for-a-living or the majors and those like myself. Don't want to start up a disastrous discourse, but just care to inquire! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] solo of your choice
The Hindemith Sonata (1939) is one that I know is very frequently used. First movement shows ability, tone, technique. If you want to try and venture into the more flashier side, the third movement will show it off plus give the nice slower section to show contrast if you want to call it that. Casey! From: Mark J. Syslo [EMAIL PROTECTED] Reply-To: The Horn List horn@music.memphis.edu To: Horn Discussion Group horn@music.memphis.edu Subject: [Hornlist] solo of your choice Date: Mon, 1 Aug 2005 14:10:49 -0500 When auditioning for an orchestra, virtually everyone asks for a solo of your choice. However, are most audition committees expecting to hear either the first movements of Mozart #2 or #4, or Strauus #1 or #2? Are the other staples of the literature (En Foret, Saint Saens Concertpiece, Adagio Allegro) appropriate for an orchestra audition? Mark J. Syslo ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/cjago08%40hotmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Please help me update my address book
Hi, Uh, no...I don't think so. Gary --- Petergordon [EMAIL PROTECTED] wrote: Horn, I'm updating my address book. Please take a moment to update your latest contact information. Your information is stored in my personal address book and will not be shared with anyone else. Plaxo is free, if you'd like to give it a try. Click the following link to correct or confirm your information: https://www.plaxo.com/edit_contact_info?r=30065442298-24285165-1767330903 Name: horn Job Title: Company: Work E-mail: horn@music.memphis.edu Work Phone: Work Fax: Work Address Line 1: Work Address Line 2: Work City, State, Zip: Mobile Phone: Home E-mail: Home Phone: Home Fax: Home Address Line 1: Home Address Line 2: Home City, State, Zip: Birthday: P.S. I've included my Plaxo card below so that you have my current information. I've also attached a copy as a vCard. +- | petergordon | [EMAIL PROTECTED] | French Horn Photography | | BoulderView Danes | work: (973)875-4679 | fax: (973)875-4679 | mobile: (201)394-3676 +- This message was sent to you by [EMAIL PROTECTED] via Plaxo. To opt out: https://www.plaxo.com/opt_out?r=30065442298-24285165-1767330903 Plaxo's Privacy Policy: http://www.plaxo.com/support/privacy ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] South Africa
There are plenty of very good up and coming hornists in South Africa, especially at the college level. Sean Kierman and his wife Pamela (at University of Cape Town and University of Stellenbosch) are turning out some great students who are playing regular adjunct with the Cape Philharmonic. I had the luxury of using one of Kierman's horns while there and playing second in the City Opera company's Magic Flute production. Don't rule SA out! Once you go you'll never want to leave. Casey I met the fellow who is putting the thing together at Tuscaloosa. He is really nice and enthusiastic but admitted that there weren't a lot of horn players in South Africa. He has a lot of plans, including outings in that very scenic and interesting place. I don't know that I will be able to justify the expense but if I can, I will go. I think this falls under the heading of outreach and development of the society. I hope it works out. What is of more concern to me is the status of 2007. If it goes to Europe as rumored, that will mean no International Symposium here until 2008. 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/cjago08%40hotmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] horn/trumpet duet book
Hi, You could arrange your own if you can't find what you want... Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Braces for brass players
Hi, Do you think he needs braces? And why does the final decision rest with the orthodontist? Gary --- Steve Freides [EMAIL PROTECTED] wrote: We've just been told my son, who will be 13 in a month or two, needs braces. I recall a discussion of an alternative kind of braces that, while a bit more expensive, worked better. Anyone have any specifics they can tell me? My son plays both horn and trumpet and the going is started starting to heat up for him as he has his first auditions for county-level band and the like this Fall. Thanks very much in advance. I will pass any information along to the orthodontist and let her make the final decision, of course. -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] mouthpiece rim contours/dimensions
Do rim contours/dimensions influence tone? If yes - how so? - and - what might the physics be behind this? Hi, Yes. Some rims have a flat surface, with a definite inside edge. These rims can aid in staccato, as well as a more defined attack to a note, but can be a detriment to smooth legato playing. Some rims are more rounded on the surface, with less of an edge going into the cup. These rims can aid legato and slurs, but can be a detriment to staccato and more defined attacks. Which leads directely into the mouthpiece, which to me has more of an effect on tone than the contour of the rim...some mouthpieces have more of a cup, or bowl shape if you will. These mouthpieces can aid in a clearer high range, but can be a detriment to a good clear low range. Basically, the more cup, the brighter and more 'trumpet-like' the tone. Some mouthpieces have straighter sides, more like a funnel. These mouthpieces can aid in the production of a clearer low range, but can be a detriment to a good clear high range. Which leads directly to the bore, or diameter of the hole at the bottom of the cup, or funnel, of the mouthpiece. A smaller size bore can create a clearer, brighter high range, but can be a detriment to a clear, open low range. Some mouthpieces have a large diameter bore. These mouthpieces can aid in the creation of a more open, clearer low range, but can be a detriment to a clear, open high range. Farkas explained it best in The Art Of Horn Playing...you should find a mouthpiece that runs right down the middle of the extremes. A mouthpiece with a rounded surface and slight edge, with an inside that is between a cup and a funnel. That way you get a good compromise between the two extremes. If you don't have the Farkas book, go get it. By the way, you should also have a copy of The Hornplayer's Handbook, by Verne Reynolds. Note that nowhere in the above paragraph did I use the terms can, or will not. There are no absolutes, as I'm quite sure that anyone on the list can cite an example of a player who sounds fantastic on a mouthpiece that no one else would consider. To each his own. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] questions for paper
--- Gordon, Heather [EMAIL PROTECTED] wrote: I'm writing a paper...Here're the questions: 1. What material (concertos, sonatas, etc.) helped you most in preparing for auditioning for a major symphony? The vast majority of auditions require one of the Mozart concerti. Mozart defines a hornplayer. Sometimes Strauss. You should be learning the bread and butter literature, and some of the jelly too, as part of your musical training; all of the literature is important. Even Varese. The best preparation for an audition is auditions. Take them every chance you can get. Auditioning is an art-form unto itself, and I'd be willing to bet that like learning to play chess, you have to lose a bunch before you start winning. There are simply too many variations of play that must be taken into account. Very few players win their first audition, and the vast majority never win. Such is the nature of the beast. 2. What etudes best prepared you for auditioning? Kopprasch, Maxime-Alphonse, Gallay, Reynolds, Bach Cello Suites, Arban, Kling, Neuling... However, etudes don't really help you to prepare for an audition. Etudes are for training in technique that will get you to the level of being able to audition in the first place. They are a means to an end, that being a well-developed player. Besides...isn't an orchestral excerpt just another kind of etude? 3. How do you mentally prepare for an audition? In the same manner that I would prepare for any performance. If you think you will win, you might. If you think you will lose, you will. I'd be willing to bet that the vast majority of capable players psyche themselves out. Don't pay any attention to the other players in the warm-up room. They aren't better than you, they just sound different, and their sound may not be what the orchestra is looking for. Better is too subjective a term in a room full of relatively equally accomplished players. And remember - the toughest competition in the audition will come from yourself, not the other players. 4. Do you have some sort of ritual (music or non-music related) you do to prepare for an audition? No. Why add a ritual to a routine that you wouldn't do for any other performance situation? You're asking for trouble. The morning of the day of the audition is too late to practice. I once had a conductor ask me at a pre-concert rehearsal if I wanted to run through the solo in Tchaik 5. I said no, if I don't know it now it's too late. Besides...the one I play here in about an hour is going to be the keeper. 5. What advice would you give to college-level horn player about playing in general? Practice. A lot. Learn your scales. Don't be a specialist of high or low horn, master the entire range. There are no specialists anymore; well, very, very few anyway. Don't look for shortcuts; there aren't any. Playing the horn is learning by rote. Play every chance you get...band, orchestra, quintets, chamber music, musicals, opera, bar mitzvahs, dinner parties, whatever. You MUST get used to performing, and there is no way other than doing it. Learn to play natural horn...your aim will improve as well as your finesse. If you don't have a natural horn, just play your double without using the valves. Practice a lot on the F side only for the same reasons. Go to concerts and recitals. Go to masterclasses for other instruments and singers; learn how other instruments approach the fine art of phrasing and shading. Teach young people...teaching wide-eyed children to make noise on a horn will help you solidify your own concepts of how you do what you do in the simplest of terms; you're also passing on a time-honored tradition of playing the horn. And you'll make a few bucks on the side, which is really the whole point now, isn't it? Never blame your horn until all other possibilities are ruled out. Your equipment is not the problem; it's you. And again, please give your name and symphony (unless you're just doing this for fun). Thanks for the help. Gary Suits No major league teams, but played Triple-A ball in Kansas, Missouri, Illinois, and South Carolina. Had to win a few of those jobs. Heather Red Gordon [EMAIL PROTECTED] (If you'd rather answer these questions by phone, you can email me for my number) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ 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
Hi, Just out of curiosity...why would you NOT want to march with a standard horn? As other has already pointed out, it can be done, and the results are far superior than mellophones or marching french horns. I would also add that learning to play an 8D or whatever on the march is good for you. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Scam...:(
Hi, I wouldn't trust anyone with such poor spelling and grammar. Gary --- Paul Rincon [EMAIL PROTECTED] wrote: Question for item #7333631683 - Atkinson nickel silver double french horn NRHello I am teresa willoe from califonia. i am intrested in purchasing this Goods please kindly get back to me with condition of the item and i can only raise a certified cashier check for the mode of payment you do not need to worry about the shipping process in adiition i am using my shipping compnay that i have been using for the past 5years is a trust and honest shipping company, i am presently in canada and i will order my my personal accountant to issue the payment plus the shipping company fees. please i will also like to ask you if you ?? will be able to cash the cheque on your behalf and immediatly dedut your iterm fees and wire the shipping company fees Please if you do accept with my option and you will be able to do as agreed. get back to me with your phone numberand full name and address to be use for the issuement of the cheque in accordance. sighs Skeptically, Paul R. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Dark sound
Hi, I think that was the hardest concept for me to learn - what you hear coming out of your horn just below your right ear is not what is heard by the listener in the hall. I finally learned that if it sounds too bright to you, it's more than likely just right in the hall. Gary --- Paul Mansur [EMAIL PROTECTED] wrote: Are you certain you need to darken it? Have you listened to yourself in a recording made in the back of a large hall where you can play and learn what your sound is in the music hall? Horn sound may be bright on stage but quite dark when it has turned around and perceived by the hearers who are some distance from the player. Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] My instrument is full of water - in the cold or in the hot
Hi, I think the Deep South is one of the most disgusting places to be employed outside as a musician. My cold weather story... Place: Head Shed, Parris Island, SC Time: 0730 Temperature: mid to low 20s Wind coming off the ocean at about 20mph So there we are, marching down the road to the head shed. Freezing our EGAs off. We park the band by the head shed in front of the lead platoon, and we start blowing air through our horns to warm them back up, and hopefully keep them there. The trombone slides were freezing up. Then there's this sound, this awful, strange sound... scrBAP! The snares were using double-layer poly heads, cranked down pretty tight. The cold wind caused the heads to shrink even further, then separate, then break. That was pretty cool. My hot weather story... Same place, in July Temp: about 100 degrees with 98% humidity. The water would condense on the outside of the instruments. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Principle v. principal
Hi, Okay...I've seen this in one too many posts now... A principle is something you adhere to. A principal position is something you aspire to, or, already have. So... In principle, the principal makes the decisions. Thank you, Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Resumes
--- Fred Baucom [EMAIL PROTECTED] wrote: I would think it might be helpful to you to mention a specific position if you are applying for that position - that might demonstrate familiarity with those specific parts. Also, seems to me that you could create a bad first impression if you spell 'principal' as 'principle'... Hi, I don't think I would include my position within an ensemble unless I was the only one in it. For instance...when citing university ensembles, it is assumed that through your course of study you will have played all positions. Even if you put principal horn of the university orchestra, whoever reads it is going to understand that there were likely others playing principal, second, third...all in a rotating section. Now, if you are the principal horn in your community orchestra or band, and the seating does not rotate, then by all means say principal, or third, or what have you. Or if you are attending school on a graduate fellowship, and one of the perks is a certain performance opportunity that no one else gets, put that in too. You can also cite masterclasses under the category of other experience. I don't think it's necessary to say something like auditioned for the Chicago Symphony. Everyone takes auditions. But if you were a finalist, you can say finalist, third horn, Chicago Symphony audition, 2001. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Marching
Hi, With all due respect, marching flat-footed will not work. If you are marching corps-style, you must roll from heel to toe on the outsides of your feet. If you march in the traditional manner, i.e. more knee lift, the toe strikes the ground first, and absorbs the impact. I will agree about the shoulders and upper-body alignment. Ideally, with either style of marching your head will move forward in a straight line, rather than bobbing up and down. Stability is all in the feet and legs. Gary --- David Jewell [EMAIL PROTECTED] wrote: 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/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ 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
Hi, And why settle for silver? Gary --- David Jewell [EMAIL PROTECTED] wrote: 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/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Recordings
Hi, Add Beethoven 5 7, Carlos Kleiber conducting the Vienna Philharmonic, recorded in 1974 and released on Deutsche Grammaphon. I understand that beginning in 1968, he was permanent guest conductor at the Bavarian State Opera. Perhaps Professor Pizka could share some stories about playing under Maestro Kleiber. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Conductors
Hi, With all the talk about conductors, I figure I might as well jump in. Personally, I have respect for anyone with the brass to get in front of a bunch of musicians who by their very nature can be rather unforgiving. It's pretty safe to say that the vast majority of us will never swing a stick. I used to be just as vocal as the next when I was dissatisfied with a conductor. It wasn't until I got on the podium that it hit me like a Mack truck that conducting is far more difficult than it looks from either side, either the risers or the audience. The first thing I ever conducted was a Sousa march that I knew backwards and forwards. But it's amazing how much you forget when you are facing the music, so to speak. As players, we're so used to following the leader that being the leader is pretty daunting. Fact is, conductors are human too, and even the great ones screw up from time to time. I remember playing under a very well-known and respected conductor; he made a mistake during the third movement of Lincolnshire Posy, and the band followed him to the letter and made the mistake sound like it was intended. The nasty little critic from the paper didn't even catch it. That comes with being attuned to not only your fellow musicians, but your conductor as well. I think that is one of the responsibilities of a good ensemble - you have to be ready to bail out your conductor on the rare occasions that he or she will need it. It's a great thing to accomplish your own mission, but it is truly wonderful to have the ability to support a fellow musician in the accomplishment of their mission. Case in point - the performance of the Strauss Serenade for Winds a few years ago, with me in the principal horn chair. The principal oboe was a freshman, and it was her first big chance in the principal chair, and she was terrified. I told her to just relax and play how she wanted to play, and I would follow her, and catch her if she fell. She played flawlessly, and I refused to share the bow with her at the end. Oh, yeah...the performance was the conductor's master's recital. On another occasion, while playing Mahler 3, the conductor, a very accomplished conductor and interpreter, lost it about 5 bars into the last movement. You could tell the orchestra was trying like hell to hold it together, but couldn't. He stopped the orchestra, turned to the audience, and said, sometimes, it just doesn't work. He restarted the last movement, and we played it out...probably a little better than we would have if there had been no error. I also could never figure out which is more difficult - being a wind player and knowing nothing about strings, or being a string player and knowing nothing about winds. Maybe it doesn't matter. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Canadian Brass
Hi, I have a recording of the Canadian Brass (Graham Page, horn) playing the Malcolm Arnold. The recording is on vinyl, A Touch Of Brass, MMG Records, CBC series, MMG 1123. I have a ton of classical music on vinyl (at least it seems like a ton after moving them across the country a couple of times). Some pretty rare stuff; Michelle Stebleton playing the Britten Serenade, Edmund Leloir playing the orchestrated version of the Weber Concertino... I would be willing to part with these. If there is sufficient interest, I will type up a catalogue for the group's consideration. Gary 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 Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Canadian Brass
Hi, Let's not forget the Parris Island Marine Air-Ground Tactical Brass Quintet. Gary --- Alan Cole [EMAIL PROTECTED] wrote: Who could forget them? Or the Epic Brass? Or the Chestnut Brass Company? Or the Monumental Brass? Or The Make Believe Brass? Or Guy Touvron? Even so, in the world of brass quintets, there's The Canadian Brass there's everybody else, no? -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. ~~ Don't forget The Empire Brass -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.11.10 - Release Date: 5/13/2005 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Oils, greases, valves, and slides
Hi, I use: Al Cass in the valves. Singer Sewing Machine Oil on the valve bearings and linkage. Selmer Slide and Cork Grease (the pink stuff) on the slides. All three work well, taste great, and are less filling. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Switching at C instead of G
Hi, I switch at Ab. Gary --- Steve Freides [EMAIL PROTECTED] wrote: Those of you who switch to the B-flat horn at C instead of G, do you play C on the F horn or the B-flat? I just tried this and much prefer the way it sounds; it feels right to take the C on the F horn most of the time, particularly for music in the key of C (concert F). Thanks. -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Fingering Question
In a message dated 5/7/2005 11:47:27 A.M. Central Standard Time, [EMAIL PROTECTED] yscomputer.com writes: www.kbnj.com/music/Horn_Fingering_Question.pdf Hi, My answer to the above fingering problem: A = T12 G# = T23 A = T12 low A = T12 All on the Bb side, you'll notice. You could also play the first grouping with the octave Cs all on the Bb side, but you'll probably find that the written middle C will be sharp on the Bb side - you'll have to close your right hand a bit to bring the pitch down. I'm not a huge fan of alternate fingerings, such as playing the A with T3, unless such alternate fingerings will produce a pattern if you will, of fingerings. One might find such a pattern in playing Bb arpeggios, where playing fourth-line D with T3 and first-space F open, all on the B horn. Ein Heldenleben and the Beethoven Op 16 come to mind. Another example might be an alternate fingering used to avoid two open notes in a row. The above example does not, for me, fall into a catagory of notes that would benefit from alternate fingerings. As was stated before in an earlier reply, the beginner is best off using standard fingerings. The choice of whether to switch between the F and Bb sides at written G# or C# is up to the teacher, and will likely create a debate all its own. Gary ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Horns that stand in F or Bb
Hi, Just out of curiousity...how many of you play a double horn that stands in Bb as opposed to F? Gary ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] I'm Too Nervous
Hi, Unfortunately, the best way to beat any kind of anxiety is to continually put yourself in situations that create the anxiety, as many on the list have already told you. Performance anxiety decreases in relation to the amount of performances you give. In the mental health field, we call it immersion therapy. Performance-enhancing drugs (Inderal) are a last resort, and should only be tried after everything else. Gary Suits, MSW, ACSW Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Beginning Methods
Hi, I learned out of the good ol' First Division Band Method. A few years later, I found my old copy in a box, so I took it and cut out the picture of Phil Farkas, entitled How To Hold The French Horn In F and stuck it on my locker at the university. Just in case I ever forgot. Thing that puzzled me was that I was completely lost if ever I had to hold a French Horn in Eb, or one in D, or one in A, or God forbid one in B. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Equipment for beginners
Hi, I gotta go with this side of the camp. I see no logical reason why a beginner shouldn't start on a double. Nor would I prefer to tell a beginner that they should start on trumpet and then switch to the horn in a few years. I seriously doubt that an 11yo is going to understand the logic behind such a request...all they know is that they want to play the horn, and someone is telling them they can't. What better way to set a kid up to fail? Same goes with oboes and bassoons. While I'm at it...what qualities do I look for in a kid that wants to play the horn? That's it right there. They want to play the horn. Whether or not the kid continues to play the horn, is good at it, wants to be a pro, or just plays for the hell of it is up to the kid. Part of your job as a teacher is to ensure that the kid is responsible for learning the horn. Don't EVER tell a beginner that the horn is the hardest instrument to play. Who cares? I really don't believe that the horn is any harder than any other instrument. Sure, horn players may make more mistakes per capita than other instruments (at least the critics pounce on horn players more than others...see Chapter One of Tuckwell's book: The Horn Player Missed A Note), but should this be a deterrent at a young and impressionable age? I think not. I was told from the word go that the horn was hard. Once I got it through the Kevlar enclosing my Brain Housing Group that it wasn't any harder than anything else, I improved. I would also add that if you are constantly drilling scales to a beginner, you're going to burn them out in a big hurry. Yes, scales are important at the beginning, but you must also understand that the reason a kid wants to learn an instrument is because they want to learn to play songs. So while you're assigning scales, teach them to play simple little songs like Mary Had A Little Lamb, and teach it to them without music. Have them push the right buttons and reproduce the right notes. Don't get too wrapped around the axle about tone quality; that's something that will develop over a period of years. Accuracy is more important than tone at the beginning; the child is going to want to play the right notes first. That kid's parent(s) will think you are the greatest teacher in the world when you send them home after the first lesson having learned a song, and that will be one hell of a happy kid, and the parent(s) will believe that their money is being well-spent, especially when you raise your rates. Teaching children is not about creating the next (insert your favorite horn-god's name here). It's about giving a child the opportunity to learn to create something enjoyable in a world that is obsessed with destruction. You're not just a horn teacher, you are a music teacher, and to teach youngins the joy of music is what all this smoke-filled, coffee-house, under-funded, non-existent National Endowment for the Arts crap is all about. Then you can hit them over the head with Kopprasch. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] range problems
Hi, I'm betting that you're going to get as many different answers as there are players. You can answer this question for yourself by trying the following: Play a third-space C, and while you're holding the long tone with a good sound, gradually start to pull the horn away from your face while keeping the pitch steady. It will become immediately apparent to you as to what you have to do to your embouchure to keep the pitch steady. Gary --- Julia Hencken [EMAIL PROTECTED] wrote: From: Jay Kosta [EMAIL PROTECTED] Reply-To: The Horn List horn@music.memphis.edu To: horn@music.memphis.edu Subject: [Hornlist] range problems Date: Fri, 8 Apr 2005 11:20:51 -0400 (EDT) I have a related question for those with a good high range - When you tighten your lips (embouchure), is there a particular 'direction' in which you feel (or imagine) the corners of your mouth pulling ? etc... Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart 25
Hi, Just use your standard double. If I remember correctly, and it's been a few years, horn 1 is in G all the way. But I could be wrong. Either way, I don't remember the Bb parts being that high anyways. The only reason there is four horns is because of the minor key; you need a pair of natural horns in Bb so the mediant of a G minor chord is an open tone on a Bb horn. In the trio, the G horns and the Bb horns trade off in the melodic line for this very reason. Have fun, Gary --- Catherine Eisele [EMAIL PROTECTED] wrote: Are the b-flat parts to Mozart's 25 symphony performed on a regular double horn most of the time or a descant? I will be playing first horn on the piece in June, and am curious. I'm planning on using my regular double, unless of course I'm informed that it's a crazy idea. I'd appreciate any tips or other related information, thanks! Catherine Eisele West Chester, Pa ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Conn 8D
Hi, I seem to remember the 300,000 and the C series to be particulary sought after. Gary Owner and operator of a Conn 10D --- [EMAIL PROTECTED] wrote: What is the best series and serial number range for this horn? I think I read something that the Conn 8D had a certain serial that you should look for. I think it was 20 and higher, I am not exactly sure. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Blasting
Hi, John probably remembers this as well...Nancy Cochran Block taught us to practice extreme dynamics across the entire register of the horn, the idea being if you can play softer or louder than you need to, bringing it all under control in a performance situation is that much easier of a task. There are few things more boring than a horn player with a narrow dynamic range. I took Farkas' advice quite literally...I would blast, blat, honk, whatever adjective you choose to apply, when working out in the basement. It did improve my low range in performance, and also squared away the high end as well. I would strongly advise against thinking that you have to loosen the embouchure to play in the low range. From my experience, playing in the low range is more a function of dropping the jaw and keeping the corners tight, thereby increasing the size of the opening between the lips. A bassoon reed produces a lower sound partly due to the size of the aperture. It is still the same shape as an oboe reed, it's just larger. Same applies to the aperture of your lips. Allowing the embouchure to go soft in the low range will produce a not pretty sound, and creates another problem if you have to make a wide leap from the middle of the bass cleff to the middle of the treble clef. Further, I believe that dropping the jaw will naturally open the throat. You don't see fff very often, and even less. Be that as it may, these dynamics and their little brothers, ppp and , need to be within your technical prowess. You need to be able to go to 11 in case you need that extra little oomph. Another thing about Ms Block...if you thought for one second that you were going to get away with playing Gallay or Maxime-Alphonse without a good musical plan, you were pretty much screwed. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Bass clef
Hi, I can't tell you when the world made a paradigm shift to new notation, but if it looks unreasonably low, chances are it's old. Gary --- Alex Damon [EMAIL PROTECTED] wrote: Hello all, An offhand comment on the list a couple days ago prompted me to bring up the following question: I have been aware for a while now that in music written for horn in bass clef there are two different notations; old bass clef which skips an octave and the more correct new bass clef notation. What is confusing me is, when bass clef comes up, how to tell which is being used? I know it would be simplistic to ask for the specific year/month/day that the world suddenly switched from one to the other, but is there at least a generally recognized period when the newer notation became common? Thanks for any help on this, 'Pilot Al' ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/beowulf_36%40yahoo.com Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Favorite obscure pieces for horn
Hi, SOLOSFORHORN...Joseph Ott Sonata for Horn and Piano...Josef Soproni Wind Quintet...Frigyes Hidas You could also take three of the Reynolds Etudes and make a little unaccompanied suite. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Favorite obscure pieces for horn
Hi again, Oh yeah...SOLOSFORHORN is for horn and tape. Gary Get Firefox!!http://www.mozilla.org/products/firefox/central.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Favorite obscure pieces for horn
Great idea for a post (that I see is receiving little attention). PIECES THAT RECEIVE LITTLE ATTENTION WHICH I ENJOY... Caprice - Calvin Custer 1992, there is a tape recording by Kathy Krubsack (formerly Buss) in WI only. Really fun and with a pensive and mournful cadenza Sonata in Bflat - Robert Sanders (1958) despite the recording by Phil Myers, I really have not heard much about it or have seen it played or circulated. Was a good shock I gave my peers playing the demented waltz second movement who hadn't heard it before. Intrada - Otto Ketting, unaccompanied. Yay for five-lets! Concerto - Karl Pilss (1969?), gutsy and lyrical. Concerto - (Wayne?) Patterson Kadish - (?) my memory is shaky hear as I heard it my freshman year for a senior recital. It's unaccompanied and based on Jewish lamentation and mournings. Play it out of sight, behind the audience with all the lights off! Has anyone heard things about or have comments on Symbols by Zoltan(?) ? Also, I am looking for a piece for horn and cassette tape or synthesizer for my junior recital. However, I am not sure how accessable these types of pieces are, especially to myself at a small liberal arts college of strictly undergraduates. Interlibrary loans can sometimes only go so far.. I know some of you all are college professors and you are good at advisement. ADVISE! ;) Casey Golomski Student - Anthropology, Horn Performance St. Norbert College Suite 751 De Pere, WI 54115 ___ 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
Hi, I really have to ask... If you keep your horn clean...snake out the leadpipe, rinse out the slides, and keep the inside coated with a thin film of oil, and not blow a bunch of trash (Coke, coffee, potato chips, Jolly Ranchers...) into the thing like Prof Pizka warns against, is all this really necessary? Granted, if its an old horn that hasn't been played in awhile, i can see an acid bath if nothing else works. But I also have visions of enterprising high school students dismantling a school horn and really mucking things up, not to mention mucking up themselves in the process. I had an L series 8D, that I personally played for over ten years. Just on a whim, I popped out a valve, and found that they were a bit discolored, but otherwise clean. And they spun just fine. By the way, muriatic acid is also great for etching concrete before you paint it. Seems like horn players, more than any other instrument, can think of really strange things to do to their horn(s). Gary Get Firefox! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
