Re: [Hornlist] Sex, Drugs, and Polka
c...@fenwickparva.com wrote: Blue Diamond is evidently the name of an organization with which I don't want my music associated. Almonds? http://www.bluediamond.com/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Riedl
Eric Egle wrote: Mr. Osmun, After I provided the serial number of my horn I was told by it's maker, Dan Rauch, that the ring was made by Riedl of Germany. That's all know! I'm awaiting a response from Mr. Rauch on possible contact information for Riedl, but in the meantime I thought I'd try the list. You might try to contact Stuart de Haro. He apprenticed with Rauch, but I don't know if that means he has any more knowledge of the maker of this ring than anyone else. http://www.deharohorns.com/ He might be able to copy the ring, though I imagine it would require taking it off the bell. It might be easier just to replace it with a more standard ring if you are interested in experimenting with bell flares. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Riedl
Robert Osmun wrote: Is it possible that you have Stuart confused with Keith Berg? Bob Osmun According to Stuart's own web site, he studied horn making with Dan Rauch and Rick Seraphinoff. http://www.deharohorns.com/about_me.htm Keith Berg studied with Rauch too. http://www.berghorns.com/keith.htm Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] metronome multiples of 6 [was: Mendelssohn Nocturne]
Steve Freides wrote: I don't see his point - what's so special about multiples of 6? In this age of digital metronomes, many people don't remember the traditional graduations on the metronome. These graduations were set up so that each click of the metronome represented about a 4-5% increase in tempo. The faster the tempo, the further away from each other the numbers get. Consequently, quite a few are multiples of 6. Although Hans's metronome must not, every mechanical metronome I've ever owned includes a notch for 63: 40, 42, 44, 46, 48, 50, 52, 54, 56, 58, 60, 63, 66, 69, 72. 76, 80, 84, 88, 92, 96, 100, 104, 108, 112, 116, 120, 126, 132, 138, 144, 152, 160, 168, 176, 184, 192, 200, 208 (I have one that goes to 216, the metronome equivalent of going to eleven, I suppose.) Thinking about it, it seems like the mostly commonly marked tempos in music before the digital-metronome-era were the numbers on the left side of the metronome (40, 44, 48... every other one from the list above). Maybe the earliest mechanical metronomes had only half the graduations of tempo of 20th century metronomes. I feel sorry for the poor students who are practicing working a passage up to tempo with a digital metronome, moving the tempo up only 1 beat per minute each time through. You'll run out of endurance before you ever get up to tempo! Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Ken Pope's Kool Aid (Jonathan West got it right!)
Kenneth Pope wrote: Greg,,, haven't you noticed? It's not Kool Aid... :) http://www.poperepair.com/store/index.php?main_page=product_infocPath=23_54products_id=1126 I figured it was Kool-aid a few hours before you bottled it ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Jonathan West got it right!
Larry Jellison wrote: About oiling rotor surfaces, that is. The horn community needs to standardize on his recommendation. Then we will be saved from thousands of horn threads on rotor oiling that could occur in just the next ten years. I have a feeling that it really doesn't make as big a difference as you believe. Even if you use only the tiniest bit of oil on the surface of the rotors using the hold the horn straight up and carefully drop oil directly on the rotors method, playing position and gravity will make the oil eventually drip back up the slide tubes, mix with grease, then eventually the grease-oil mixture will work its way back down to the rotor surface. I think the best advice is to make sure your oil will dissolve your grease into a non-gummy compound. If it doesn't, change the product you use. Then if diluted grease gets back into your rotors, you just add more oil to keep the proper viscosity. The only consequence is you might have to re-grease your slides more often. Maybe I've just drunk too much of Ken Pope's keep the entire inside of the horn coated in oil at all times Kool-aid. Different strokes for different folks, I guess. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Clevenger's horn
phir...@nypl.org wrote: Anyone on the list know what make and model Dale's current orchestral instrument is? All of his section appear to be playing the standard Steve Lewis horn, but his has some interesting looking straight slides and extra tubing on it. Maybe he was playing a descant? I believe he plays one of the older-wrap Paxman 40 models. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Recording Techniques
lewho...@yahoo.com wrote: Now that's a video game that I'd gladly waste time playing! Kendall, will the Good Professor market it on late night TV and sell it for $19.95 plus shipping and handling? If one orders quickly, will they get the Mellophone Marching Band version as an added bonus? I can see gold in them thar Mellophones. Now don't get ahead of yourself. You'll have to wait another year for French Horn Hero 2: Hottest Mellophone Party just like everyone else. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] bass clef
Richard V. West wrote: For example, the second horn part (in D) of the Piano Concerto No. 1. The first bar is notated as a low C in treble clef, but six bars later the same low C turns up notated in old notation bass clef. Was Brahms or the engraver trying to signal the horn player that the bass clef notes were in old notation and equivalent to the initial note notated in treble clef? It's even more apparent at rehearsal letter E in the first movement where there are nine+ bars of low C. The first bar appears in treble clef, followed by eight bars notated in bass clef. I don't have the score so I have no idea whether the part is notated differently there. I took a look at the score. (I also own the 1st and 3rd horn parts--thank you Thompson Edition!) The horns were written 2 parts to a staff. It sounds like the copyist kept the clefs on the 2nd horn part the same as the score even though the 1st horn part was copied into treble clef at the locations where the score moves to bass clef. As you said, the first bar is written in treble clef, then it changes to bass clef for the next entrance. All I can imagine is that the score was filled out with clefs and instrument names before the music was even written. The first measure was written in treble clef since the clef was already written and Brahms didn't want to scribble it out and replace it; then the clef changes to keep the part from dangling off the bottom of its staff. This was probably copied verbatim from the manuscript by the engraver. Anyone with a copy of the manuscript handy could probably confirm this conjecture. At letter E it's just as inexplicable. For this one, it could be justified that since the first C is part of the cadence of the music before rehearsal E, it should remain in the same clef. Then change clefs the next measure so it looks cleaner on the score and avoids changing clefs mid-phrase. Maybe there are some secret age-old engraving conventions at work here. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: embouchure
Jeremy Cucco wrote: And the fact that you assume that individuals' experiences aren't or can't be used by others on the list suggests that everyone on the list thinks only the way you do. I do not believe Hans' intention was to suggest that individuals' experiences cannot be applied to other individuals' problems. He simply was emphasizing the important point that the majority should not make the mistake of attributing the causes of their problems to problems of the minority. People naturally want to blame problems on something outside of their own control. It's easier to blame horn playing shortcomings on, for example, Chinese food than lack of diligent practice. Sure there are some people who might truly be adversely affected by said Chinese food. There are a lot more people willing to jump on the anti-Chinese food bandwagon so they have an excuse not to practice more. I'm reminded of the story of Phil Farkas describing embouchure generalizations as applying to something like 95% of horn players. Apparently significant number (majority?) of students came to him assuming they were in the minority 5%. Hans described the lifestyle decisions he made to accommodate his professional horn playing career. I assume there are excellent professional horn players who routinely eat a huge plate of hot wings and wash it down with a pint of blue cheese dressing and a pint of beer before a concert. Hans obviously isn't one of them. I invite all horn players to investigate which lifestyle works best for their bodies. Don't let Hans' posts discourage anyone from sharing their lifestyle, equipment, or technique choicess that lead to their successes. I value reading about Hans' experiences and certainly value reading about others' experiences as well. Just remember the standard disclaimers. YMMV, etc. So to answer your actual question: I have not had issues playing with certain foods or beverages. There are a few foods for which I assume I have mild allergies. If the symptoms affect horn playing body mechanisms, I avoid those foods when playing. In actual practice, I avoid those foods almost entirely. Seems prudent. (But if you like shrimp and it doesn't affect your body, eat it all you want before playing. Just brush your teeth afterwards.) Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Das Horn bei Mozart
David Sullivan wrote: does anyone know where I could possibly find a copy of Pizka's Das Horn bei Mozart for purchase? I don't think it has been in print for several years. You might find someone online selling a used copy. I haven't seen one for sale any time recently though. I remember Hans mentioning something about preparing a new edition, possibly on CD-ROM instead of a bound book. That was some time ago; I don't know if the project is still forthcoming, or maybe my memory is completely inaccurate. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] How to convince others
Mathew James wrote: Hey all, I was wondering if anyone had any advice on how to convince people. that FF is a sometimes dynamic I think your question really is how can you convince a student (or someone who mostly plays as an amateur) to learn the wide quality dynamic range actually required in the professional world? The important word is quality. A lot of people can play loud, but it sounds terrible. Same on the soft end. It's a lot easier to sound good at mezzo-something. One way to show the loud end of the dynamic range would be to invite them to sit in on a professional rehearsal of a large, loud orchestral piece. If there is seating behind the horn section, even better. Then they can attend the performance from the audience side and see how that kind of playing actually creates appropriate balance in certain situations. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Judge Judy
Jeremy Ristow wrote: I was wondering if there were any private teachers out there that had to drop a student due to non-payment and have had to take the matter to small claims court. What was your experience with that? What are the pros and cons of taking that sort of action? Thanks. I know a lot of teachers that require prepayment of a month's weekly lessons ahead of time. If the student cancels, the teacher has already been paid for the scheduled time (and can reserve the right never to reschedule that lesson.) And remember folks, at $200 a month for lessons that's $50 a lesson, but in months with 5 Thursdays, you get one lesson free Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Principle, Ass't Principal, 2nd, etc.
Steve Freides wrote: The first trumpet was a paid ringer, a college student. This year, there are three trumpeters, again the first/principal being a paid ringer college student. The new kid on the block is assistant principal, and my son still playing second. He wants to know exactly what that means, Your description is mostly right for professionals: the assistant will play parts just before the other players' solos so the principal can lay out, will alternate with the principal during repeats, will join in playing loud tuttis, will sustain notes so the principal can take a breath, etc. In a high school orchestra, unless the conductor or principal reigns in the players otherwise, I suspect the assistant principal trumpet will just play the first part the entire time except during solos. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Transpostion Assistance
Carlberg Jones wrote: Don't thing clefs. Don't think intervals. Think in the key. You've got to know your horn very well to do this, but it's no more difficult than playing a part in F. I think this is also the way I transpose most of the time. Horn parts are just movable-Do solfege. When you see a printed horn part with C D E F G A B C, think Do Re Mi Fa Sol La Ti Do, then the transposition tells you which key you're in. So for Horn in B-flat, it's Bb C D Eb F G A Bb in concert pitch (that's F G A Bb C D E F in F-horn-speak). All you have to figure out is which octave to play it in! I'll admit that most of the time I try to explain transposition to other people like this, it blows their minds. As far as Horn in H (B-natural), I've tried to convince myself that it's an easy transposition since when every note is a tritone apart from printed, you only have to memorize 6 pairs of notes. Alas, it doesn't work for this brain. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] 2009 Southeast Horn Workshop
Greetings! You are cordially invited to attend the 2009 Southeast Horn Workshop. The workshop will be held March 6–8, 2009 on the campus of Western Carolina University in Cullowhee, North Carolina, nestled in the beautiful Smoky Mountains. The host is Dr. Travis Bennett. Featured artists will include: Jeff Nelsen hornist of the Canadian Brass Roger Kaza associate principal horn of the Houston Symphony In addition to recitals, master classes, and lectures by regional and guest artists, the weekend will also include a webcam masterclass by Wendell Rider, live from California! Students can participate in solo and quartet competitions, and mock orchestral auditions. For more information, visit: www.southeasthornworkshop.org For information about exhibiting at the Southeast Horn Workshop, visit: www.southeasthornworkshop.org/exhibitors -- Greg Campbell, webmaster 2009 Southeast Horn Workshop March 6-8, 2009 Western Carolina University http://www.southeasthornworkshop.org/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Question for Blind Taste Test
Dawn McCandless wrote: Even though the players for this test were both professionals, who played the mystery horn? Was it the same person that played the Reynold's when they knew which horn it was? Or, did the professional people switch around? Both pros played all the horns. The format went something like this if I recall correctly: Pro 1, Horn 1, Excerpt 1 Pro 2, Horn 1, Excerpt 1 Pro 1, Horn 1, Excerpt 2 Pro 2, Horn 1, Excerpt 2 Pro 1, Horn 2, Excerpt 1 Pro 2, Horn 2, Excerpt 1 etc. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] IHS horns, gagets, reviews
[EMAIL PROTECTED] wrote: It consists of CD's of a conductor conducting a virtual orchestra on a large screen TV. It comes with the complete horn parts so a complete (and live) horn section can play long with the CD. And to answer another part of Steve's question... the conductor is a nobody. It's literally a close up of a conductor conducting a piece, bizarre facial expressions and all. The kind of thing nightmares are made of. But to reiterate Jerry's sentiments, IVASI is great. It's the most fun way to rehearse orchestral horn parts, and to learn your excerpts in context. You just have to turn the stereo up really loud so that balance is realistic. Most universities have smart classrooms these days, with a big projection screen and surround sound. This is the perfect environment for IVASI and any school with this setup should have IVASI on their short list of things to buy. It could be fun for home use too, but I don't know if I'd recommend it if you live in an apartment. Unless of course all your neighbors are horn players, or at least other musicians. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: is there a universal flight case?
[EMAIL PROTECTED] wrote: Just bring your horn oil bottles w/ only a very small amount of oil in them. I don't remember how much, but the airlines allow small amounts of liquids ... something like less than 2 onces. All liquid containers through US airport security checkpoints must be in 3 oz or smaller bottles and all of a passenger's liquid containers must fit in a single 1-quart clear zip-top bag. The containers must be 3 oz or less. It IS NOT acceptable to have a larger container with only 3 oz of liquid inside. (The metric conversion is officially 100 ml, which is actually 3.4 oz.) Luckily, valve oil typically comes in bottles smaller than 3 oz. Just off the plane, Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] MB6, MB7 and MB8
joey horn guy wrote: Does anyone know the differences between the MB6, MB7 and MB8? MB-6: 22 x 14 x 9 in. MB-7: 22 x 14 x 8.5 in. MB-7C: 20 x 14 x 8 in. MB-8: 24 x 14 x 6.5 in. All these cases will hold 1 straight mute and 1 stop mute and have modest room for music on the case itself. The 6 7 models will hold a stand in the case. Model 8 has some kind of zipper attachment system to attach a music/stand bag or suit bag (haven't seen one in the wild though). Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Falling Apart
Tim Kecherson wrote: As I was playing a solo, my third valve slide on the F horn slipped out and fell with a clatter to the stage floor. I kept playing, though my mind was racing. I couldn't get the slide again until the end of that section. Yep. Alternate fingerings are your friend. At least it was the 3rd valve slide. If these facts had run through your head it could have eased your nerves: Without an F 3rd valve slide, the only notes that cannot be played with another fingering on a double horn are the A-flat, G, and G-flat below low c. Without a B-flat 3rd valve slide, you can still play every note on the double horn except pedal D-flat. If you break the string (or lose both slides!) and can't use the 3rd valve at all, the only notes missing are the a-flat and d-flat below middle c1, and A-flat, G, G-flat, and D-flat below low c. Without the first or second valve, this all gets much more difficult! Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Counting rests
[EMAIL PROTECTED] wrote: Does anybody have any other hints or ideas about other things that I might try. One thing that helps me, especially in slow tempos, is to stop counting beats and only count measures. So instead of: Five - 2 - 3 - 4, Six - 2 - 3 - 4, etc. Just count Fi - i - i - ve, Si - i - i - ix I find that keeps me from forgetting the number I said at the beginning of the measure of rest. Fingers help too. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Looking for a piece
Steven Slaff wrote: Yes, it was at the 2003 IHS conference in Indiana - an incredible performance too! I have no idea where you get it from though. On Saturday, April 12, 2008 1:25 PM, Greg Campbell [EMAIL PROTECTED] wrote: Zsolt Nagy. www.rmwpublishing.com ^ Ahem. The link I provided IS where you get it from!!! Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Looking for a piece
Mathew James wrote: I was wondering if anyone knows where to get the music for a piece called happy blues. I don't remember the composers name. Zsolt Nagy. www.rmwpublishing.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] (NHR) What am I doing wrong?
John Roberts-James wrote: On my recent posting to the list, my item is blitzed by various numbers, as below. But the posting immediately following mine is beautiful and neat, no interjected numbers at all. What am I doing wrong? How should I format my submissions for correct showing in the List? You have to set your mail program to send messages as plain text. There's probably an option in there somewhere. You might even be able to set only mails sent to this list to format as plain text (and keep the default formatting when you email other folks). Maybe someone else using Eudora 7 for Windows (that's the program it appears you are using) can help you out if the option is hopeless buried in the mess of program preferences. If you don't send just plain text, the message will be converted to plain text by the mailing list. Messages sent in other formats usually get through, but sometimes get interspersed with garbage leftover from the conversion to plain text. Hope that helps, Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] stopped notes
[EMAIL PROTECTED] wrote: I can stop notes down to c# just below the staff. But further down is trouble. Is it just me, or is everybody allowed to stick in mute at that point? Stopped notes lower than that get difficult for a lot of people. The size of your hand affects the difficulty. It's a good idea to practice your stopping technique with the hand as low as possible, just so it would sound passable in case you play something where using the brass stopping mute is impossible. I think a lot of players wouldn't hesitate to use the brass stopping mute for notes around middle c and below. (Some players wouldn't hesitate using the stop mute for a stopped note in any register!) Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] IHS advisory board elections
hans wrote: How can we vote for past elections. Look at the ballot find out why I asked that The error comes TWICE. Did you receive the same ballot for the 2007 elections with the recent horn call Vol.XXXVIII, No.2, February 2008, which must be mailed back not later than April 15th, 2007 ) Oh boy ... You must have been mailed the ballot for the International Proofreading Society. Or maybe the International Time Travel Society ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] lacquer
joey horn guy wrote: I have a yellow brass horn (gold brass leadpipe) with no lacquer and frankly I'm tired of cleaning it (and my hands) so often. I've heard that having a horn lacquered can alter it's playing characteristics. Have there been any studies done on this? What can I expect will change? Many folks silver plate (or gold plate) the inside surface of the bell to keep their right hand from turning green. For the left hand, a hand guard will help. Silver plating has been shown to have practically zero effect on the horn's sound. I don't know what effect a hand guard would have, but it stands to reason that a thin piece of leather will have little more dampening effect on sound than your hand itself already does. Hans Pizka's advice to wipe down the horn with a cloth after playing is also a good one, since it must be a chemical reaction between the oils and sweat in your hands and the brass that causes the problem. If you have chronically sweaty hands, it might just be something that's difficult to avoid. A hand guard will be about $20, maybe less. Silver plating or lacquering will be quite a bit more expensive. Lacquering the whole horn will require thorough cleaning and polishing prior to lacquering. Just lacquering or plating the bell will be much less labor intensive, and likely a bit cheaper. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Cover Letters for Auditions
Steven Slaff wrote: Is it appropriate (or common practice) to send a cover letter along with a resume when answering symphony audition notices? I know that in other fields a cover letter is often considered necessary, but I'm not sure if it is expected for symphony auditions! Might as well. I'd keep it short and to the point. Many orchestras have started accepting resumes by email. Consider the body of the email your cover letter and attach your resume. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Concert Band question - upright bass
Steve Freides wrote: I have, sometimes but not all the time, seen a single string bass player in concert band performances. Is this part written in by band music composers? It seems to be in style currently for band composers to include parts for string bass and piano. While the pianist will sit out works without a piano part, it's not uncommon to have the bassist play the tuba part for pieces without a bass part. One of the high-profile US military bands (can't ever remember which one) has cellos in the ensemble. Pieces commissioned by that band always have cello parts too. Most other bands just leave those parts out (or just don't play the piece if they are too essential). I've also noticed it's also in style with many university band conductors to leave out alto clarinet parts, even if the composer (even someone like Grainger) wrote a unique part for that instrument and there are certainly players who could do the instrument justice. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] What happens when you slack off?
Tom Spillman wrote: Right after the surgery, I went down the hall to the office of my prosthodontist who installed immediate dentures, so I was not without teeth for any extended period of time. My healing has proceeded well. I can now eat better than I could in years. I even ate a handful of mixed nuts the other night, something I was unable to do before I started! On the other hand, my horn playing has gone to hell in a hand basket. I have difficulty dependably getting above the C on the third space of the treble clef. My lower register is doing much better. My tone, such as it was, has disappeared. It is now very raspy. I lost a couple of weeks of practice and it shows. Of course, my oral cavity has also completely changed. I have been struggling, to say the least! A lot of the problem is probably that your front teeth are no longer shaped the same as they were before the surgery. The embouchure muscles will have to relearn how to maneuver around the supporting teeth. Of course, other aspects of the procedure doubtlessly contribute to horn playing problems too. It's probably best to take it easy and play like you had to take a long while off. Start with fundamentals to get everything working right. If you dive right in too aggressively, you risk developing bad habits. I'd discuss with your dentist/oral surgeon the physical aspects of horn playing and see if there's any reason you should actually avoid horn playing while you heal. Things like high pressure inside the mouth, and possibly the setting of the jaw might not be conducive to healing. Best wished for a speedy recovery, Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] extended horn technique
Eric Egle wrote: Does anyone know of any online resources that have information and (hopefully) sound files of demonstrated extended horn techniques? I don't think there's any such online resource. Douglas Hill has a book called _Extended Techniques for the Horn_. It includes a CD with demonstrations of all the techniques he writes about. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mozart full orchestra parts concert 1 d maj
Ellen Manthe wrote: I believe that you can get them free of charge from one of the internet music services. I saw them once and should have downloaded them but didn't. Now I will think about this constantly until I again have time to search for them again. There are orchestra parts for most of the Mozart horn concerti, I believe. The digitized facsimiles of the Neue Mozart-Ausgabe are freely available online at http://dme.mozarteum.at/ It may be more satisfying to buy nicely printed parts. The NMA (like the ones online) is printed by Barenreiter. Other (older, less critical) editions can be obtained quite inexpensively from places like Kalmus (www.kalmus.com). Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Pictures at an Exhibition question
M. Elizabeth Fleming wrote: Prior to orchestra rehearsal today, I was approached by a conducting student with a question in regards to a particular notation in the Ravel orchestration of /Pictures at an Exhibition/: In the first movement, meaning Gnomus, there is an indication in the second horn part of hauteur réelle above a printed B-flat 2 *stopped* (in the middle of the bass clef). Real height meaning that it's new notation bass clef. I guess old notation bass clef is wrong height since it's written an octave too low. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Pictures at an Exhibition question
Jerry Houston wrote: Greg Campbell wrote: I guess old notation bass clef is wrong height since it's written an octave too low. They're both wrong, aren't they? One by 4 notes, the other by 5? right! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Berp - metal, plastic
Steve Freides wrote: My son ... got a plastic Berp at his teacher's request, but his teacher said the berp he wants my son to use is made of metal. The BERP folks discontinued the metal ones several years ago. The plastic versions were the new, improved model. The idea was that the plastic BERP clamps onto the leadpipe so you don't have to keeping removing it like you had to with the metal one--you just move the mouthpiece half an inch between leadpipe and BERP. Also, the plastic BERP has a little resistance adjustment ring. The old metal BERPs definitely feel and sound a bit different from the new ones and I've met folks who prefer the old ones to the new ones. You might find someone selling an old metal one online. Or, as others have mentioned, there are a few other makers producing BERP-like devices that resemble the old model. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] free public domain music [was: Mahler 9]
hans wrote: If you get access to the originals from the libraries if you edit them (make clear text), you would allow free public circulation ? Would you do this as a public service. I doubt. It may seem doubtful, but there are certainly a few websites doing exactly this: www.mutopiaproject.org www.imslp.org Although it will certainly be some time before enough volunteers prepare enough music to even scratch the surface of the available literature. And why not buying these very low priced Dover scores get the parts written out by yourself. This is the argument I like best. Even inexpensive parts are available for much of the literature from places like Kalmus. While I can do rudimentary study staring at my computer screen, I prefer to read music in print. The money and time expended buying quality paper and having the music bound nicely often exceeds the cost of simply purchasing the available inexpensive editions! Maybe other people are complacent with music printed on letter-size office paper that 1. bleeds the printing through to both sides because it's too thin, 2. reduces the original 10x13 pages until it's too small, and 3. blows off the stand because the paper is too light. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Lohengrin
Luke Zyla wrote: I am sitting here practicing the original notation part to the Introduction to Act III of the Opera Lohengrin. It starts in G horn in the first measure and switches to E horn on the third beat of measure 2. Later to G, back to E, then D and later A-flat horn. I am wondering if the rest of the opera has that many rapid changes? Why would it be written so? If I remember correctly, Wagner used this notation because it was what J.R. Lewy used for some valve horn exercises. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] The FIRST Memphis Horn List?
hans wrote: Auditions will start Nov. 29th will take place. Info : [EMAIL PROTECTED] make sure to remove the first u from that address. Qatar, not Quatar. see also: www.qatar-national-symphony-orchestra.qa ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Vilanelle
Mathew James wrote: Hey list, I was wondering if anyone knows how easily accessible the orchestral parts are to the Villanelle? My small-town community orchestra handled it fine when I performed it in high school. There are multiple orchestrations out there since the original Dukas orchestration is lost. We played whatever arrangement is available from one of the inexpensive rental music houses (Luck's or Kalmus). Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Congrats on Wendell Rider's DVDs
Let me be the first to congratulate Wendell Rider on his new DVDs. I got mine yesterday. They are extensive and follow the principles in his book well. I've watched the first of the 2 discs so far. It's a lot of information. Everything is explained clearly in a comfortably conversational tone. The delivery seems mostly off-the-cuff instead of rigorously scripted; this is evidence that Wendell truly believes and teaches what he is saying. As Wendell noted to the lists, you'll have to turn your volume way up. (And remember to turn it back down before watching something else!!) The editing is fine. There are occasional times when hard cuts seem abrupt, but the content is always there. Thank you for choosing subtle hard cuts instead of excessively-frequent fade-in/fade-outs or cheesy transitions. The pace is kept comfortable throughout. The photography is clear and focused, even on the extreme close-ups. And there's always something subtly amusing about extreme close-ups on the embouchure. (I remember laughing quite a bit the first time I looked at Farkas' Photographic Study of 40 Embouchures. Maybe it's just me.) Real World Horn Playing, the book and now the DVDs, should be near the top of every horn student's list of things to buy. Thank you Wendell for this great new resource! Sincerely, Greg Campbell ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] music question - Koetsier
I have a question about Jan Koetsier's Divertimento No. 2 for wind quintet: In the fourth movement, the horn starts with a printed F on the bottom of the bass staff. Is this old or new notation? Old notation is a 5th below the bassoon, sounds fine, but it seems strange that Koetsier would write this note and the E below it in the bass clef when there's nothing lower in the entire work. New notation is an octave and a 5th below the bassoon. It seems muddy, but that's likely due to my own response problems in that pedal register. The piece was written in 1947. I imagine members of this list may have met Koetsier personally, given his death only last year. Thanks for the help, Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Horn Quartet Album
John Dutton wrote: Principal Horns of CSO: Dutschke (1891-1895) Ketz (1895-1896) De Mare, L (1896-1922) Hoss, W (22-23) Frank, W (23-27) ? Farkas (36-41) Helen Kotas (41-47) Farkas (48-60) Leuba (60-62) Brouk (62-63) Van Norman (63-65) Brouk (65-66) Clevenger (66-) You're missing Pellegrino Lecce (1927-1936). ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mother Goose Suite - Mute Notation
Bill Gross wrote: The group I am with just started work on the Mother Goose Suite. We need help with the notation Otez les sourdines. ôtez = [you] remove or take away remove the mutes ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Flight case
Loren Mayhew wrote: The TE cases probably won't fit on smaller planes. The MB7 compact case should fit. I recently traveled on a smaller plane with my full size MB7 case and they allowed me to carry it on but it did not fit in overhead (it very nearly fit though). Has anyone seen or tried the new MB8? At 24x14x6.5 it's a bit wider than the MB7C (20x14x8) but thinner. Which dimension usually poses the biggest problem in small overhead compartments? Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Student Question
Steve Burg wrote: I have a new student, a girl in 7th grade. This student learned on a double horn and was taught to play everything on the B-flat side of the horn Do I leave well enough alone Or Do I insist that she change to using the F side as well. The main obstacle probably is, in actuality, that she doesn't want to think about fingerings since she's already learned them. The secondary obstacle is that she's probably tried the F side and it's easier to miss notes. Ask to see her horn for a moment. Take all the B-flat valve slides and keep them for a week. Then she'll learn the fingerings! And she'll have to use her embouchure more accurately. (Louis Stout apparently did just the opposite to teach his students the B-flat horn fingerings in the middle register.) No need to be cruel about it: don't do this if she's playing an important concert this week. Then try innovative exercises combining the use of the F and B-flat horn. Have her prepare an etude, but insist that she alternate between F and B-flat horn after *every note*. Then play a solo, but play all the notes in F horn territory on the B-flat horn and all the notes in B-flat horn territory on the F horn. To further expand fingering knowledge (which really means awareness about the harmonic series for every fingering) have her play an etude, but only one finger is allowed to moved each time the note changes. For an etude that doesn't go too low, it's often possible to make it work with some unorthodox fingering. It's almost like a game. (Thanks to Randy Faust for this idea.) Some of this stuff can get pretty advanced, but chances are a good 7th grader won't know it's hard unless you tell her it's hard. Good luck! Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] overseas transport IMPORTANT
[EMAIL PROTECTED] wrote: Hans's advice is invaluable. You must suspend the valve section. Then prevent other moving around and bumping into things or the case. Make sure the latches cannot come undone easily, and wrap it with a luggage strap. If anyone could put photos online showing how to prepare the horn for shipping or plane cargo, including the valve cluster immobilization, I think it would help everyone a lot. Brass Arts' instructions for shipping a horn are great, but a picture is worth a thousand words for many of us. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] loss of endurance
Adams, Natalie L wrote: ... I don't normally have endurance problems, ... This summer I've been doing a little over an hour a day, and the first few weeks I felt great by the end of the day. This past week, however, my lips are killing me You are more than likely practicing at a different pace now from how you practice during the academic year. You might try spreading your practice time throughout the day. For example: 1. Do basic warm-up and easy technique stuff (scales, lip slurs, etc.) in the morning. Nothing that strains the chops. Play just enough time to feel limber. 2. Do some technique building etudes later in the day. Set a time limit on this practice session so you don't overwork yourself. Maybe 1 hour; depends on your endurance level. Play this session pretty straight-through, and then stop when time is up. 3. Practice performance material (solos, chamber music, orchestral excerpts) in the evening. Take frequent short breaks during this practice session. It might be helpful to give yourself explicit assignments, like your teacher would during the academic year. It might be unstructured practice that's hurting your endurance. Another possibility altogether is that you've just been practicing so much for so long (every day for 2 years, etc.) that you're letting bad habits subconsciously creep into your playing. You may consider taking a few weeks completely off from the horn. Then you can start fresh again and re-teach yourself, focusing on fundamentals like air flow, tone, flexibility, etc. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Wisdom teeth extraction and recovery
Anna Henry wrote: This may have been discussed at some previous time, but here it is again. I'm getting my wisdom teeth extracted on Monday. ... What have your experiences been? Yes, this has been discussed at length. In a nutshell: 1. Take it easy. 2. Don't play if it's painful to play. 3. Make your oral surgeon aware that you play the horn. It may not mean much to him/her, but it can't hurt to mention it since there will be so much poking around in the mouth. 4. Do what your doctor tells you to do. 5. Keep in touch with that doctor if pain persists. 6. Use the time off to listen to great recordings and practice things like singing/ear training. That's really pretty much the routine if you have to go in for any surgery. Most folks in previous discussion (including me) seemed OK to play about 2 weeks after getting the wisdom teeth out. Some after a few days. Some after a month or so. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: The preferred tone/sound these days?
joey horn guy wrote: If a tree falls on an 8D in the forest, and no horn jocks are around to hear it, does it's sound have more 'core' than a Geyer? fish ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: Advice for a Noisey H179
Valerie WELLS wrote: Hmmm (Excuse me while I put my dusty nurse's hat back on for a moment.) This product may be good for the horn, but I'm not sure this stuff is good for the hornist. Kerosene, even very pure kerosene, is quite volatile I have concerns about inhaling fumes of a petroleum distillant. Aha! I think I have discovered the problem: Next time, try playing the horn by *exhaling*. [runs and ducks for cover] Greg ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] international notation
hans wrote: I just wonder, what kind of basic musical education were received by many players ? It seems, nobody had talked to them in school about this important matter. It is so simple: You have c1 on the first ledger line below staff and c2 c3 above, one octave apart each other, but also three octaves below, c C C1 , one octave apart each other also. Currently in the US, many teachers of music theory teach the octave designation system preferred by the Acoustical Society of America http://asa.aip.org/. In this system, the lowest C on the piano is C1 and each higher C is one number higher. Middle C is C4. Below the C1 on the piano is B0, A#0, and A0. To make matters more confusing, computer MIDI programs usually use a system where middle C is C3; still other MIDI programs use C5 to designate middle C. There is even some minor difference in the way the traditional Helmholtz octave designations are written. In some texts, the contra octave is written either C1 or C, (with a subscript prime mark) or CC. Lower in the sub-contra octave is B2 or B,, or BBB. The middle C is sometimes written c' or c1 then the next octave is c'' or c2. I've seen still other authors use horizontal lines over or under the note names instead of the numbers of prime marks. Unfortunately, the multiple systems seem to serve little purpose but to make it difficult to communicate effectively. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] International Horn Competition of America
Ryan P. Baldwin wrote: Does anyone know how many people generally particpate in the event? usually lots. (don't let that discourage you though) Of the following repetoire list, what do you recommend? Whatever best represents your playing. A great Gliere will advance to the second round; a bad Schumann will not. The repertoire list represents a great set of pieces of a variety of styles to read through (and purchase for your own library). You and your teacher should decide what pieces are best for you. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Cold weather and chops
[EMAIL PROTECTED] wrote: When cold weather gets here things get harder to do with the lips. Does anyone have any ideas on how to combat that - food, drink, herbs, etudes, anything. As far as helping chapped lips, I've had luck with Aquaphor. It comes in a medium-sized tube or a huge tub--no luck finding a small pocket-sized one. Look for it in with lotions in your pharmacy. Use a little bit any time you feel like your lips are definitely at-risk for getting chapped. Drink plenty of water to keep yourself hydrated too. Everyone's built differently, so your mileage may vary. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RM Williams Publishing
RM Williams Publishing IS still in business, but the owner has had some very unfortunate technical issues preventing her from being able to print new parts. She is working very hard to rectify the situation as quickly as possible. Greg Campbell (webmaster, RM Williams Publishing) Melvin Baldwin wrote: Does anyone have any information on when the Rm Williams Publushing website will be back in business? Dec. 21, 2006, I ordered over $200 worth of horn music I was really looking forward to playing-mostly music of Paul Basler. And I have not recieved any kind of response-no email confirmation of my order and no response to my 2 additional emails either. Just a few days ago, I went back to their website and it says they are unable to fill any orders at this time. Does anyone know what's going on? I know this music is worth waiting for-but for how long? Melvin Baldwin _ FREE online classifieds from Windows Live Expo – buy and sell with people you know http://clk.atdmt.com/MSN/go/msnnkwex001001msn/direct/01/?href=http://expo.live.com?s_cid=Hotmail_tagline_12/06 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/glc_horn%40fastmail.fm ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Instrument Insurance
Bo Gusman wrote: Google is your friend. http://www.clarionins.com/ While I can't say I'd particularly trust Google to make an *informed* decision on buying insurance, I know a lot of folks who are very satisfied with Clarion. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Hans humor!!
[EMAIL PROTECTED] wrote: Does anyone really believe that some one with Hans experience and expertise has problems reading music with many flats or sharps? ... As an reason for transposing, this is the most lame of the lot. I think you have confused the words not easy with too difficult. While Hans--and many of the rest of us--can surely read parts with many accidentals without difficulty, it's still easier to read a part with few accidentals and transpose. It's simply a matter of convenience. Many amateur musicians who prefer transposed parts do it for the same reason: reading the F part with lots of accidentals is easier (for them) than transposing at sight. So each musician must ask the question: in the long term, will it be easier to learn to transpose at sight, or will it be easier to find/write a part transposed to F for me? Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Fw: 2007 Reading Music Clinic
[EMAIL PROTECTED] wrote: Which country? Don't stop there! What city? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: NHR Re: [Hornlist] Mondo bizarro discussion
[EMAIL PROTECTED] wrote: At least I put NHR on the subject line. I don't care what you put in the subject line. If a forum of horn players might not find it helpful, interesting, or amusing, DON'T POST IT TO THE FORUM. Period. Now back to your regularly scheduled programming. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] cryo a horn
[EMAIL PROTECTED] wrote: There are, of course, two camps: those who believe it absolutely will improve the instrument (or at least certain instruments in certain conditions), and those who believe it is only a treatment for the wallet. I know someone who had his horn cryogenically frozen. Before he sent it off, he had a hard time keeping the high G# from cracking. When he got it back, the high G# became a lot easier to center. And you wouldn't believe how much more he started practicing right after getting back the newly-frozen dandy of a horn. Draw your own conclusions, Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: cryogenics
Bill Gross wrote: Yes, but what Kopprasch etude would be ideal for him to use to improve this technique? Hans Pizka wrote: Hello Joyce, you should practise alpacca-wrestling to improve your technique so the alpacca gets the shots easier quicker. No. 1, of course. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] The Buzzy Buzz video.
Wendell Rider wrote: For those of you who wanted to know what a buzzy buzz is, or for that matter, isn't. Go to my website (below) and click on the Buzzy Buzz link under Videos on the left side of the home page. Awesome Wendell! Thanks! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Break in embouchure
[EMAIL PROTECTED] wrote: When I descend on a g scale from space above staff, I feel like I would like to reposition my lips around the d. Should this be done, or do you need to play through it with air? Different teachers have different opinions on this. In Randy Gardner's book _Mastering the Horn's Low Register_, he advocates (this will be an extreme paraphrase, by the way) learning to play as low as possible using the high setting and as high as possible on the low setting. Then practice minimizing the severity of the shift between the two settings. One exercise includes holding a note in the shift range and moving between the two settings, keeping the pitch steady and the tone even as you shift back and forth. The goal is to be able to shift on a variety of notes without the shift being noticeably audible. I'd recommend the book highly! http://www.internationalopus.com/cgi-bin/io.pl?mode=composercomposer=94 Greg P.S. And yes, play through it with air too. ;-) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Recital
Mathew James wrote: *(Need to put an adaptation here to fill either ensemble or unaccompanied by a russian composer... ideas?) Buyanovsky Pieces for solo horn. (pub. McCoy) Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] assistant principals
Daniel B. Hrdy wrote: Does anyone know when professional orchestras started hiring assistant principals, and under what circumstances? Anton Horner had a regular assistant first horn in the Philadelphia Orchestra as early as 1909. (Source: Lee Bracegirdle. The New York school: Its development and its relationship with the Viennese style. _The Horn Call 14.2_ (April 1984).) Don't know about the use of assistants elsewhere in the world. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] This and That
[EMAIL PROTECTED] wrote: Did someone just compare the Gliere horn concerto to the Tchaikovsky Piano concerto?? Eldon said this: [EMAIL PROTECTED] wrote: The Gliere is a wonderful work and is only one of a handful of cocnerto that can stand toe to toe with a Rachmaninoff or Tchiakowsky Piano Concerto in a broad based Concerto Competition. I think he just meant that if you are competing in a concerto competition that puts all instruments in the same category, horn players (and most wind players for that matter) are at a disadvantage because our literature doesn't seem as good or flashy or whatever arbitrary criteria is often used when judging these things compared with piano and violin concertos. The Gliere is possibly flashy enough to pique a judges interest. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Air travel with horn post Aug 10, 2006
Dan McCartney wrote: I'm wondering if any on this list have had the misfortune of having to travel with horn by air in the last couple days. Are the airline security people allowing instruments to be carried on (sans valve oil, I suppose)? I just got back from a vacation that involved some flying. Travel away was pre-Aug 10, travel back was post-Aug 10. I didn't take my horn but my wife took her bassoon. Her case is another one of those that doesn't fit in the carry-on template but fits in every overhead compartment just fine. On our return flights, we didn't notice the airline crews really having a different attitude towards carry-on baggage. The TSA screeners just made absolutely sure that nothing liquid or gel-like (even chap stick!) was in any carry-on baggage. My recommendations: 1. Don't pack more stuff in your horn case than you absolutely need. Definitely no valve oil or slide grease. 2. As long as your case fits into the TSA's x-ray machines, you'll probably get through the checkpoint without any problems. 3. Don't try to bring a bunch of extra carry-ons. Forget about the AFM's musicians get to carry an extra bag letter. One horn and a shoulder-bag or purse is not too likely to get you hassled. Check everything else. 4. Wear your horn case like a backpack. Walk aboard just like everyone else with a backpack. Don't draw attention to your baggage being any different from anyone else's. Number 1 is the only one that different now from last week. Hopefully the rules won't get so bad in the coming weeks or months that traveling with a musical instrument becomes prohibitively difficult. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] High Range
Matt James wrote: 3. use of the BREATHING GYM!!! helped me in my endeavours. Here's a question: Can someone recommend a reputable dealer to buy this from? I ordered it last *December* from www.focus-on-excellence.com (since that was the site recommended by a list member around that time) and I never received it. Luckily they never charged my credit card. I emailed them and never got a reply. I called them on the phone over a dozen times and left a message and no one ever called me back. They are even in the same time zone as me! They obviously don't want my business and I'm happy to take my business elsewhere. Anyone have a good suggestion? Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Halliburton Horn Case?
Chris Tedesco wrote: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItemitem=320007528549category=16215 Never seen anything like this before. Looks quite similar to the case sold with the Pizka-Classic horn. http://www.pizka.de/PizClasHr.htm (look near the bottom of the page) Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] FW: Quality in student models
Corenut wrote: there is a lyre mount whose screw constantly undoes itself, THERE is a case for use of pliers on a horn - tighten it up so it won't undo with a bit of blue Loctite.. WHY on a thing this small when it's NEVER going to be used for marching, is there a lyre mount?!! Save yourself the trouble of Loctite and pliers and just remove the screw from the lyre holder. If you think you might ever use the lyre, put the screw in a safe place. If not, who cares? Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: Early Use of Valves, was Re: [Hornlist] Haydn Symphony No. 46
John Mason wrote: In an article published the The Horn Call (May, 1998), he argues convincingly that, in his words, valves were invented to make brass instruments chromatic and that the idea that the valves were invented as a mere crook changing devices is a myth. The article is online: http://www.public.asu.edu/~jqerics/why_valve.htm Having read that article, among others, I think it's a matter of perspective. The *inventors* invented the valves in an attempt to make brass instruments fully chromatic. Many *horn players* began using the valves as mere crook-changing devices at first and later started using them in the more modern way. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] for horn list serve
Ellen Manthe wrote: I would guess she means blocking as in beta-blocking. Ellen Manthe On 7/5/06 10:43 AM, milton [EMAIL PROTECTED] wrote: What do you mean by blocking? I am interested in your work. No. From what I can tell, it's about articulation blocking and similar physical and mental problems that make it difficult to play the horn, temporarily and/or permanently. If you look at the survey, it explains things a bit more clearly. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Airline-Compliant Case-Holton Millenium Merker
Fred Baucom wrote: Here in the U.S. in the latter part of 2002, the musicians union (AFM) here worked out an arrangement with the U.S. Dept. of Transportation, so that now you should be able to declare you are carrying a musical instrument and security and flight personnel are supposed to honor this and allow the instrument on-board. This is a little misleading. The agreement simply allows musicians to carry a musical instrument through security screening in addition to the normally allowed carry-on baggage. Carry-on baggage (including musical instruments) must conform to each airline's rules. This includes number of bags and size. Check with your airline well in advance of your flight for their specific policies. In general, if it fits in the overhead compartment and you carry it like a backpack or over-the-shoulder-bag, you'll be fine. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Wisdom teeth out
[EMAIL PROTECTED] wrote: I just had all four wisdom teeth taken out yesterday morning. ... My question is how long should I lay off the horn? This question has been addressed on the list numerous times. You might check out the archives: http://www.mail-archive.com/horn@music.memphis.edu/ To summarize: I have been told 2-7 days by the surgeon, and that is quite a range. That sounds like a good place to start. Try playing after about a week. Any discomfort? Wait a couple more days. Still have discomfort? Go back to the oral surgeon and check things out. Don't play if it makes you uncomfortable. Follow your doctor's advice. Can playing Horn induce dry-socket? Yes. How will I know when I am good to play? When you can play and everything feels just the same as it always does. It took me about 10 days after getting my wisdom teeth out to feel comfortable playing the horn. Some people take less time; some take more. While you're recovering from any surgery and you can't play the horn, practice singing. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Digital Recording of accompaniments
Michael Thurman wrote: Are there collections, or individual digital recordings of accompaniments for rehearsal purposes of standard horn repertoire (solos)? Quick, free, but lacking greatest quality: http://www.hornmidi.com/ Very good. expensive: http://www.absentsoloists.com/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] flight cases
Nicholas Hartman Hartman wrote: ...particularly the MB5 because It is my impression that this particular modelis the only one that can fit through carry on frames on airlines. Maximum carry-on dimensions vary by airline. There was an article about this in April 2006 International Musician. There seem to be two different ways airlines measure carry-ons: linear measurement (sum of all three dimensions) or actual dimensions. The strictest airlines cited in the article have maximums of 45 linear inches and 19x13.5x9. In the practical world, it seems that if you bring your case on the plane confidently and it fits in the overhead compartment, you usually don't have a lot of problems. (Your mileage may vary.) Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Low Horn Trill Range? Low Pedal Tone Range?
Bear Woodson wrote: How LOW can I write Half-Step and Whole- Step Trills, and get CLEAR, FAST Trills in good intonation? For half-step trills: As low as you want, as long as the fingering for the trill involves nothing more than wiggling the second finger. That means the following trills in the 2 octaves below middle C are less desirable: Bb-Cb, G-Ab, F-Gb, C-Db. For whole-step trills, I'd stick with the same principle and use the ones where you can wiggle the first finger. 1-0, 12-2, 13-3 (on F and Bb horns). Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Why not piston valves?
Steve Freides wrote: What is the difference between a piston valve and a Vienna valve? Until this point, I had assumed they were the same thing. Vienna horn pistons actually slide through the tubing in which the air travels through the valve. Regular (trumpet) pistons operate perpendicular to the tubing of the instrument and simply deflect the air into different directions. So, as air approaches valve... --Regular piston-- if valve is not activated: air is deflected to one side, bypassing additional tubing. if valve is activated: air is deflected to the other side, going through valve tubing. --Vienna double piston-- if valve is not activated: air goes straight through both pistons with no disruption in the direction of the air. if valve is activated: air turns 90 degrees through the first piston and into the valve tubing; the air then moves into the second piston and turns another 90 degrees out of the valve. Of course the easiest way to understand is to examine one closely. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Curious pricing
WIlliam Botte wrote: A young oboist in the local high school band was required to play a bell front F marching horn. She was annoyed to discover that the notes she was playing sounded lower than read. Her remarks, Who dreamed up this stupid system!, I guess she'd never gotten to play the English horn. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Southeast Horn Workshop
Just thought I'd let the horn list folks know that the early registration deadline for the 2006 Southeast Horn Workshop is looming! For the rest of February, registration fees are $60. Starting March 1 (this Wednesday!) the fee goes up to $70. Pinch those pennies! Check it out and register online at http://www.southeasthornworkshop.org/ -- Greg Campbell, webmaster 2006 Southeast Horn Workshop March 31-April 2, 2006 - Northwestern State University of Louisiana http://www.southeasthornworkshop.org/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] [getting off topic] Embouchure
Daniel Canarutto wrote: I don't think I need this, but just out of curiosity I checked the Merriam-Webster website, which gives also the (American English?) prononciation of the words. Hup is actually there, so even if you are not American you can follow Mr. Sanner's instructions... How differently is this word pronounced to speakers with a more British approach? Honestly, the Merriam-Webster pronouncer (the one you can click and listen to) seems to exhibit an awful lot of the Northern Cities Shift to my American ears. Her vowel sounds too high and flat--somewhere between hap and hop. Mine is lower and more rounded. The pronouncer for the word cup uses the vowel I'd use in hup. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] 2006 Southeast Horn Workshop
Just thought I'd let the horn list folks know that online registration for the 2006 Southeast Horn Workshop is now available! The 2006 Southeast Horn Workshop will be held March 31–April 2, 2006 at Northwestern State University of Louisiana in Natchitoches, Louisiana. Kristine Coreil is the host. Featured artists will include: * Adam Unsworth of the Philadelphia Orchestra * Gail Williams of Northwestern University, the Summit Brass, and the Chicago Symphony Orchestra (retired) Also appearing: The Four Hornsmen of the Apocalypse (Paul Blackstone, Audrey Good, Tony Licata, and Gerry Wood) Check it out at http://www.southeasthornworkshop.org/ -- Greg Campbell, webmaster 2006 Southeast Horn Workshop March 31-April 2, 2006 - Northwestern State University of Louisiana http://www.southeasthornworkshop.org/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Another Survey Revision
William Foss wrote: Dear List, I am testing my hypothesis that I can get my homework turned in (ha ha). Seriously, folks. (Correct me if I'm wrong William.) This guy is just taking a course on statistics and needs a data set from which to derive normal statistical information. I assume this stuff isn't going to be published in a journal; it's not going to be published anywhere where it's going to affect how people choose to practice. We could all make something up (completely lie!) and William would have a data set to use for this assignment. If we all were truthful, William might actually have some interesting data but his survey size is too small to create any real conclusions anyway. William could have said: I'm surveying serious horn players. Please pick any number from one to twenty. Given the numbers people choose, I will measure the central tendency, make a frequency distribution table, pie graph, find variance, standard deviation and then find the intervals of 1,2,3 of the standard deviation. It's wouldn't be much different, we'd still be arguing over the semantics of what makes a horn player serious. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] What Holton uses for grease
The suspense is killing me on this one! A good midwestern company might use... corn syrup? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] What Holton uses for grease
OK, let's try something not-so-weird... Vaseline? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] John Williams Concerto
Chris Tedesco wrote: I saw that the John Williams horn concerto was published in a piano reduction today at a music store! Looking at it, I don't think I'll program on my recital anytime soon. Or anytime for that matter! There's a reason it's written for Dale Clevenger. I seem to remember someone telling me that Clevenger wanted the concerto to be a realistic addition to the horn solo literature; that he specified specifically to Williams that the concerto be playable by a good conservatory student with piano accompaniment. Though having neither seen nor heard it myself, that doesn't mean the concerto isn't hard as nails. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Work in Progress
[EMAIL PROTECTED] wrote: Now, KOPPRASCH NO. 1 (slurred), KOPPRASCH NO. 1 (tongued), KOPPRASCH NO. 1 (slurred in E), KOPPRASCH NO. 1 (tongued in E), KOPPRASCH NO. 1 (slurred in Eb), KOPPRASCH NO. 1 (tongued in Eb), KOPPRASCH NO. 1 (slurred in D), KOPPRASCH NO. 1 (tongued in D), KOPPRASCH NO. 1 (slurred in Db), KOPPRASCH NO. 1 (tongued in Db), KOPPRASCH NO. 1 (slurred in C basso), KOPPRASCH NO. 1 (tongued in C basso), KOPPRASCH NO. 1 (slurred in H), KOPPRASCH NO. 1 (tongued in H), KOPPRASCH NO. 1 (slurred in Bb basso), KOPPRASCH NO. 1 (tongued in Bb basso), KOPPRASCH NO. 1 (slurred in C alto), KOPPRASCH NO. 1 (tongued in C alto), KOPPRASCH NO. 1 (slurred in Bb alto), KOPPRASCH NO. 1 (tongued in Bb alto), KOPPRASCH NO. 1 (slurred in A), KOPPRASCH NO. 1 (tongued in A), KOPPRASCH NO. 1 (slurred in Ab), KOPPRASCH NO. 1 (tongued in Ab), KOPPRASCH NO. 1 (tongued in G), KOPPRASCH NO. 1 (tongued in G), KOPPRASCH NO. 1 (slurred in F#), KOPPRASCH NO. 1 (tongued in F#) etc. What? No H alto? You never know when it will come in handy ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] 2005 Southeast Horn Workshop
Just a reminder that the deadline for early registration for the Southeast Horn Workshop is approaching! Saturday January 22 is the last day to register at the $70 price. After that, the price goes up to $80. Registration is available online, or you can mail in a check. http://www.southeasthornworkshop.org/ This year's workshop will be held February 2527, 2005 at the North Carolina School of the Arts in Winston-Salem, North Carolina. Featured artists include: David Jolley renowned soloist and chamber musician Stefan Jezierski of the Berlin Philharmonic William Caballero principal horn of the Pittsburgh Symphony Jacek Muzyk principal horn of the Buffalo Philharmonic For more information visit: http://www.southeasthornworkshop.org/ -- Greg Campbell, webmaster 2005 Southeast Horn Workshop February 25-27, 2005 - North Carolina School of the Arts http://www.southeasthornworkshop.org/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] 2005 Southeast Horn Workshop
Just a reminder that the deadline for early registration for the Southeast Horn Workshop is approaching! Saturday January 22 is the last day to register at the $70 price. After that, the price goes up to $80. Registration is available online, or you can mail in a check. This year's workshop will be held February 2527, 2005 at the North Carolina School of the Arts in Winston-Salem, North Carolina. Featured artists include: David Jolley, renowned soloist and chamber musician Stefan Jezierski of the Berlin Philharmonic William Caballero, principal horn of the Pittsburgh Symphony Jacek Muzyk, principal horn of the Buffalo Philharmonic For more information visit: http://www.southeasthornworkshop.org/ -- Greg Campbell, webmaster 2005 Southeast Horn Workshop February 25-27, 2005 - North Carolina School of the Arts http://www.southeasthornworkshop.org/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] 2005 Southeast Horn Workshop
I am pleased to announce that online registration for the 2005 Southeast Horn Workshop has begun. The 2005 Southeast Horn Workshop will take place February 25-27, 2005 at the North Carolina School of the Arts in beautiful Winston-Salem, North Carolina. Featured artists will include renowned soloist and chamber musician David Jolley, Stefan Jezierski of the Berlin Philharmonic, Pittsburgh Symphony principal William Caballero, and Buffalo Philharmonic principal Jacek Muzyk. There will be many fine exhibitors attending, competitions for students, lectures, recitals, and lots of plain-ol' horn-playing fun. Registration for the whole weekend is only $70 if you register by January 22. Early registration may be completed online or by mail. For more information, visit our web site: http://www.southeasthornworkshop.org/ -- Greg Campbell, webmaster 2005 Southeast Horn Workshop February 25-27, 2005 - North Carolina School of the Arts http://www.southeasthornworkshop.org/ ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Fingering concert A as 1-2 instead of open for music in A-minor
Steve Freides wrote: The piece is in concert A-minor and I find I much prefer the sound of concert A below middle C as 1-2 to the more usual open fingering because 1-2 is sharper. The same goes for the concert A an octave higher when taken on the F horn, 1-2 is preferable...[snip]... Am I thinking this through correctly? And is it worth the bother? The general rule is: use whatever fingering produces the best combination of good tone and in tune. This rule is especially true for sustained notes. If the passage is very fast, worry about what fingering makes the technique easiest instead. You're right: the 5th and 10th harmonics of the F horn are flatter than the 6th and 12th harmonics of the D horn. Another possibility (for a double horn) is to use the 4th and 8th harmonics of the A horn (T2), though it may be more difficult to coax the written E at the bottom of the staff into an acceptable tone quality with that fingering. Greg ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Tuning slide locks
[EMAIL PROTECTED] wrote: Does anyone KNOW where you can get tuning slide locks? If you just want something to keep your slides from pushing in too far, go to the hardware store and get some thin black rubber O-rings. Get ones that fit snugly over the legs of your tuning slides without sliding around *too* easily. Just slide them to the right spot. If your slides fall out, get a competent repair person to expand the slides so they will fit correctly. Greg ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Finger hooks straps, etc
[EMAIL PROTECTED] wrote: I'd _hope_ you can quickly unattach it. If not, it'll be an easy way to take out all the stands in front of your section, as well as maybe a few low-flying bassoons. [EMAIL PROTECTED] writes: This is an interesting device. I see they also have an extension for playing standing. What happens when you do the Geyer twist to get all the water in the right place to be emptied? Check out the video clips. There's one that shows water removal. It still seems a little cumbersome to me, but, like anything, I'm sure you'd get used to it. http://www.ergobone.com/ErgoHorn/eh-videoclips.html Greg ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Pinky Hook, Ducks Foot, or Hand Strap
[EMAIL PROTECTED] wrote: The ducks foot is an improvement as it moves the weight of the horn to the strongest part of the hand. However, depending on your ducks foot, adjustable or fixed, it's still a relatively small piece of material covered by cork that has a tendency to dig into the first knuckle of the index finger. In my experience, I found that to hurt as much sometimes as the pinky ring did. I've never understood why everyone seems to manufacture their duck's feet and flippers to be so uncomfortable. First off, don't make them too small. Next, find something softer than cork to glue on as a pad. I use one of those rubbery shoe-insert pads cut to the right shape; in fact, I glue a couple layers together. Since these foot pad things tend to get brittle, I sewed a small sock out of some leathery fabric (something that won't slide around) around the whole duck's foot. Mighty comfy. Be creative. Greg ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] oil addict
Carlberg Jones wrote: Would it be better to oil through a male tube? There's much less slide grease on its inside surface to wash into the rotors. Only if you're sure that the inside of the tube isn't covered with anything else (meatball sandwich, potato chips, bacterial culture...). Greg ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Screech horns
[EMAIL PROTECTED] wrote: I was listening to a performance of the Schumann Horn Konzerstueck What kind of horn would the first horn, whose part goes up to at least a high Z, play? A hornette? A picolo horn? Most first horns on the Schumann seem touse a B-flat/high-F double decsant horn. That like the B-flat side of the regular double + a horn half the size of the regular F horn on top. It doesn't make it physically any easier to play high E's, but it provides some insurance against really bad clams for players who *can* play that high. And off the subject: please do not quote the entire digest when sending a message to the list. Good etiquette would be to trim the message, much like I have above, to quote relevent parts. Since yours was an original thread, an otherwise blank email would have been appropriate. Greg ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mouthpieces
[EMAIL PROTECTED] wrote: ...I seek mouthpiece advice. Currently using a Schilke 30 mostly, and a 31B when middle and low range stuff dominates I've ordered a 30B as a compromise. Any other suggestions? Don't limit yourself to Schilke. Since getting mouthpieces on trial can be painstaking, and shipping costs rack up fast, my best advice would be to attend a horn workshop and visit the exhibitor rooms. Regional workshops will possibly have a good selection of mouthpieces and international workshops will probably have every mouthpiece under the sun available to try. Sometimes the mouthpiece vendors will give you a deal at workshops, not to mention you won't have to pay shipping. The next international workshop will be in Tuscaloosa, Alabama, USA next summer. You could also try buying a mouthpiece on eBay. If you don't like it, just put it back up for auction. If you're lucky, you'll make your money back. If you're luckier, you might make a couple bucks. Oh yeah, keep the same rim when trying a new mouthpiece (whenever possible); it usually eliminates a lot of nasty variables. Greg ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Solo Website
[EMAIL PROTECTED] wrote: For those that are familiar with www.hornexcerpts.org (if you're not, you shoudl be!), is there a similar site for solos? If not, some over-achieving doctoral student should make one... any takers? hornexcerpts.org gets by as OK copyright-wise because it only gives small excerpts of copyrighted works. A similar site for solo literature would necessitate including much larger portions of a complete work. Even though such a site could be presented as non-profit and educational in nature, I doubt the copyright police (or copyright holders of the solos!) would find it acceptable. But then again, I am not a lawyer. Greg ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Scales and Juggling a Soccer ball
jlmthompson wrote: Here's my analogy. ... So why practice it when time spent juggling a soccer ball could be better spent doing other things with the ball for that time? Your analogy is flawed in my opinion. This one Scales : horn playing :: dribbling the ball around cones : soccer is more like the way I view scales. You will never dribble the ball around cones in a game, but the ball control you develop in such a drill will help you in a game. As many others have pointed out, scales DO come in handy in actual horn playing from time to time (La Gazza Ladra, et al.). Additionally, scales are a good drill for memorizing fingering patterns and for general finger facility. If you play scales in other patterns (132435465768798, for example) you are only becoming facile in more patterns that come up in actual music making. Greg ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Stopped Horn Pitch
carson smith wrote: Does anyone know what issue Dr. Robert Pyle's article can be found in? Or any other articles on this subject? Thanks, Carson The index to all the articles in The Horn Call can be found on the IHS's website, www.hornsociety.org Greg ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
