Re: [Hornlist] Fwd: Gail Williams' Geyer STOLEN
I have read through the several messages about Gail's horn. It is very sad and having been through it myself, I know that she feels violated. The purpose of my message is to dIspute what someone else said about a young student probably not ending up with the horn. My K series 8D was stolen in 1969 from my practice room at Temple University. I had run upstairs momentarily to turn in a paper. When I returned it was gone. I believed the building to be well guarded or would never have taken the risk. I did what seemed to make sense at the time. I made a police report in Phila, called the pollice departments in NYC, Baltimore and Washington. I also gave the serial number to every horn player that I knew. It was devastating. I still have nightmares about it. Fortunately, my teacher, John Simonelli, gave me a fine 8D to use which I later bought. Two years later, my high school school horn teacher, Tony Ryva, called to tell me that a 9 year old boy had shown up with it at a group lesson on a Saturday morning. Tony borrowed it to demonstrate something to the class and checked the serial number. I witnessed it a week later when he invited me to attend the class. The long and short of it is that the police picked up the horn and learned that the horn had been purchased on a corner in North Phila by the boy's mother's boyfriend for $25.00. We concluded that it was stolen for drug money. Walter Lawson repaired the damage that had been inflicted in the interim and made it a new horn again. The moral of the story is that the horn may not stray very far and may end up with a young student. If teaching networks exist, they should be included in any notification.. Gretchen Zook Sent wirelessly via BlackBerry from T-Mobile. -Original Message- From: Robert Ward [EMAIL PROTECTED] Date: Wed, 6 Sep 2006 13:06:44 To:Horn Mailing List - old horn@music.memphis.edu, Horn Mailing List New [EMAIL PROTECTED] Subject: [Hornlist] Fwd: Gail Williams' Geyer STOLEN From Karl Hill - keep an eye out everyone... Begin forwarded message: Today (9/6/06), Gail Williams real Carl Geyer was stolen along with alot of her belongings from her car in Council Bluffs, Iowa. Serial # 1066 is located near the engraved name of Carl Geyer on the bell. The bell flare is silverplated. The rest of the horn is brass. If you wouldn't mind passing this along it would be of great help. Perhaps it might be found in the future. It was in an older style Marcus Bonna clamshell type case that is aqua in color. Thanks for any help you can provide. Karl ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/gretchenzook%40cs.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] leadpipes on 8D
I have a K series 8D that was and is a very fine horn. Having said that, it needed a valve job which Walter Lawson did 3 years ago. I was amazed with the result. After the valve job the horn was better than it had ever been, even when new. Notes centered much better, particularly in the high register. I could even play a high A that was focused and in tune on 12 as well as open (previously my only alternative) and also with the 3rd valve. Gretchen Zook Sent wirelessly via BlackBerry from T-Mobile. -Original Message- From: Luke Zyla [EMAIL PROTECTED] Date: Thu, 13 Apr 2006 22:48:13 To:The Horn List horn@music.memphis.edu Subject: Re: [Hornlist] leadpipes on 8D All I can say is that I wasn't pleased with the upper register and the focus of the low register on my 8-D. Walter Lawson sent me some mouthpieces and a couple of leadpipes and I found a combination that transformed a very good horn into a great horn. Simple as that. I am not concerned about maintaining any sort of integrity of an 8-D. After all, it is a mass produced horn. The goal of a company like Conn is to maximize profit by producing the best horn for the lowest price. This involves compromise. When you get into the next class of horn, you pay lots more for a superior instrument. When you are put on the line in a professional situation, you want the proper tools to express yourself. I will say that only experienced and well trained players should tinker with equipment. Younger or less experienced players may fall into the trap of looking for answers in places other than the practice room. I already had several years of professional performing and lots of training before I made the equipment improvements. My favorite horn of all time is my Paxman Model 20L. Manufactured in 1980, it is a magnificent piece of fine craftsmanship. I had to get the valves replated by Chuck Ward once. My son, who is a junior in horn performance at West Virginia University, plays it now. He sounds great on it. Boy, it would be great to have young chops again. CORdially, Luke Zyla - Original Message - From: debbie wenger [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Thursday, April 13, 2006 8:45 PM Subject: Re: [Hornlist] leadpipes on 8D Luke, What kind of 8D is it? It is perceived that depending upon the year of manufacture, there is a variance of quality. Beware. I have heard two arguments. Think along the lines of old automobiles. Some people want to zealously restore them to their original condition. Some want to customize. If you are a purist, and you believe in your horn, because of who you bought it from, or how it played for you when you tried it out, then, you don't want to change it. There are those, who say,if you own an horn, it will be immensely improved by replacing the bell/leadpipe/valve caps/slide liners/shortening or lengthening the slides, with superior Lawson/German made/custom milled/ etc.etc. I like to believe that the manufacturers do some kind of testing to put the most effective leadpipe with the most effective bells, etc. In other words, if they, through test playing, found that a larger throat/ bigger bell, differently bent leadpipe, would make that horn play so much better, wouldn't they manufacture it that way then? And, if you do this, replace critical parts of your horn, the purists will call your horn a Frankenstein horn. I heard a person brag that his horn had an XXX bell, an leadpipe and valve section. How many professional sections have Frankenstein horns in their sections? I don't know. My strategy, is to buy your horn, whatever make, used from a professional. But then, a friend of mine is thrilled with his horn, because it was owned by a string of professionals. Maybe, that meant that it was not meeting their requirements. You can have fun customizing. But, also remember, the person who enthusiastically offers to customize your horn, rather than restore it, is out to earn some money. Of course! I am likely naive. I am not a renowed horn player. (HA) But because of that, I do believe, I have nothing to lose by speaking my mind. My knowledge is miniscule in comparison to the far greater wealth of knowledge on this list. But, when it comes to earning a living hornwise, no professional wants to hurt another. If there is a market for something, someone will gladly make money off it. That is free enterprise. I guess, you can see I am a purist, I have an Elkhart 300,000 series 8D, that was sold to me by a professional when he retired, and I was encouraged to make it into a Frankenstein horn by someone who knows his stuff, and I didn't, I only had it cleaned, and I am GLAD From: Luke Zyla [EMAIL PROTECTED] Reply-To: The Horn List horn@music.memphis.edu To: The Horn List horn@music.memphis.edu Subject: Re: [Hornlist] leadpipes on 8D Date: Thu, 13 Apr 2006 05:55:39
[Hornlist] Re: Music Scale Cards
Our scale card decks can be used in two ways: as a regular deck of cards and/or as a way to practice playing scales. (They are not flash cards.) Shuffling and picking a card is actually more random than playing chromatically. The goal is to learn each scale independently, not in order (as would come from chromatic or starting at c). The deck is small enough to fit in most musical instrument cases and so can go easily where the musician goes: to class, to a concert, to the practice hall, on a bus to a gig. Certainly anybody can write the names of scales on slips of paper and draw one out; however we have found that most people don't take the time to do so and if they do, they don't tend to be as easy to keep track of or as mobile as a deck of cards. So far, people think they're just plain fun and it makes a perfect stocking stuffer. David Gretchen King MI Fun Scale Cards http://sio.midco.net/mifunscalecards ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Marcus Bonna Cases
Two years ago I ordered a case directly from Marcus Bonna. The case arrived with a minimal wait and I handled the transaction wit Mr. Bonna via e-mail. This was after I tried to find one in the states. Sent wirelessly via BlackBerry from T-Mobile. -Original Message- From: [EMAIL PROTECTED] Date: Fri, 11 Nov 2005 15:43:20 -0500 (GMT-05:00) To:horn@music.memphis.edu Subject: [Hornlist] Marcus Bonna Cases What is the situation with Marcus Bonna and those that left him to start their own case business? Are they making cases under the Marcus Bonna name meaning that they are counterfeits? Or are they using their own label? And how does this connect (if it does) to those that make cases for Osmun? I am looking for a case and really like the Marcus Bonna cases but there is such a long wait. And I have heard that we should stay away from those that are counterfeits for obvious reasons. Clarification would be most appreciated from anyone who knows. Thanks, Gary ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/gretchenzook%40cs.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Chapstick
Eucerin cream works quite well for anyone who is allergic to products with petroleum based ingredients, paba or perfume. It gives a gentle light waxy feel with no irritation. It comes in fairly large quantities but I transfer it to a tiny jar. Sent wirelessly via BlackBerry from T-Mobile. -Original Message- From: Bill Hauser [EMAIL PROTECTED] Date: Tue, 4 Oct 2005 16:08:46 To:horn@music.memphis.edu Subject: [Hornlist] Re: Chapstick I use this daily: http://www.chapstick.com/natural It's easy to find in stores. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/gretchenzook%40cs.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Profound remarks
This was said at my lesson. Nothing's good unless it's perfect. - John Simonelli -Original Message- From: [EMAIL PROTECTED] Date: Mon, 17 Jan 2005 13:40:16 To:horn@music.memphis.edu Subject: [Hornlist] Re: Profound remarks Anton Horner: There are two types of horn players and they are not HIGH and LOW. They are GOOD and BAD! Anton Horner: You've got to have THE STUFF! Mason Jones: Get the right notes, the right rhythm and don't play too loud. It's a business. Mason Jones: Not so good. Bring that one back next week. Mason Jones: That was good. Do the next one. Ward Fearn: The whole idea is to get better than everyone else. Ward Fearn: If you can play all 60 Kopprasch well and play a good long tone on every note of the range, you can get a job. Ward Fearn: You've got to be ready for anything in this business. What if George Szell calls me right now for a recommendation? Sol Schoenbach (to a bassoonist in our octet): Why? Why? You go to the Julliard School of Music and you play like that! Why? Curtis student in WW class: Gosh, Mr. DeLancie, I don't know what happened. It sounded great at home! JDL: OK. We'll have class next week at your house! John DeLancie (to a student who had resigned from Curtis at the end of the term): So, (name withheld to protect the guilty), I hear you are not returning to The Institute next year. Are you getting out of music? Student: I'm going to study conducting. JDL: Oh! So you ARE getting out of music! Stanislaw Skowaczewski to me in the hallway before Bruckner 9: Kendall, are you all warmed off? SS to Dave Kamminga and me during rehearsal of Mozart Bb violin concerto: Horns, ees sounds great, but, sometimes, ees could be a little less. KB: You mean a little less great? Ormandy: Don't be afraid of them. There is no reason to be nervous. But, whatever happens, TRY NOT TO CRACK! Young, arrogant, upstart, fancy pants guest conductor: Mr. Jones, please play the solo this way, (sings solo). MJ: No. No. I'd rather play it musically. (orchestra shuffles feet). KB ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/gretchenzook%40cs.com Sent wirelessly via BlackBerry from T-Mobile.___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] A VISIT FROM ST. DENNIS
Merry Christmas Professor! -Original Message- From: [EMAIL PROTECTED] Date: Sat, 25 Dec 2004 12:14:06 To:horn@music.memphis.edu, [EMAIL PROTECTED] Subject: [Hornlist] A VISIT FROM ST. DENNIS A VISIT FROM ST. DENNIS By Prof. I. M. Gestopftmitscheist Twas the night before Kopprasch, when all through the house Not a hornist was playing, not even some Strauss; The Holtons were packed in their cases with care, In hopes that St. Dennis soon would be there. The students were nestled all snug in their beds, While visions of symphony jobs danced in their heads; As Mamma and I filled out financial aid forms, We wished that those kids had never been born! With auditions looming for college and schools, These two musicians were acting like fools. Playing only solos, excerpts, and such, Their playing was not to be considered, much. Add to these facts that these kids had big heads, Mamma and I were in the throes of great dread. Since money was tight and the wallet quite thin, Unless they got scholarships, the future was grim. When out on the lawn there arose such a sound, I sprang from the desk like a deer on a bound! Away to the window, I flew like a flash, Tore open the shutters and threw up the sash! The moon on the breast of the new-fallen snow Gave the lustre of midday to objects below, When what to my wondering eyes should appear, But a gigantic sleigh and eight great-big reindeer! A distinguished man had his hand on the rein, I new in a moment that it surely was St. Brain. More rapid than Al Cass his coursers they came, And he free buzzed, and shouted, and called them by name: Now, Alex! now Kruspe! now Conn and Holton! On, Yamaha! on Geyer! on, Schmid and Lawson! To the top of the range! to the pedal notes fall! Now play away! play away! play away all! When great horn players perform, they take the stage tall. They play solos perfectly, with no warm up at all! So up to the roof-top the coursers they flew, With a sleigh full of music, and St. Dennis too. And then, in an eighth note, I heard on the roof The puffing and blowing of each little toot. As I drew in my head, and was fumbling around, Down the chimney came St. Dennis, ready to sound. He was dressed in his tails, and patent leather shoes, And he then said to me, In a minute, great news! A bundle of music he had flung on his back, And in his right hand, a Marcus Bona pack. I stared at his face, and his eyes were afire, and I knew in his life, there was only one desire, to take out a horn and make music, not noise, and do it perfectly, with confidence and poise! He opened the gig bag and picked up his horn, like I knew he had done since the day he was born. He then played the Siegfried with nary a clam, and all I could think of was hot damn! And this great performance had awakened the kids, Who came in a'running, and put on the skids. They were all shaken, scared, and bewildered of that Since the only horn playing they had done had sounded like crap. He then played Till Eulenspiegel with nary a crack, And all with perfect rhythm, dynamics and attack. His beautiful tone was simply amazing, Not to mention his incredible phrasing. The kids starting yelling, HOW CAN WE DO THAT? WE'LL NEVER SUCCEED IF WE STILL SOUND LIKE CRAP! And then St. Dennis said, Please, don't despair. There is remedy for all problems, so there. My instructions, now, you should perfectly heed, If you really ever, ever want to succeed. St. Dennis then reached down into his sack, And pulled out some music and handed it back. There are five fundamentals to playing horn well, Without support for you air, your playing will smell. A strong embouchure gives you right notes and range, Good articulation keeps things from sounding strange. One must know their intervals and play pitches in tune, Or else you will clam and play like a bufoon! You need perfect rhythm, without any glitches, Otherwise, you'll have the audience in stitches. Put it all together and what have you got? Why, great playing, for sure, and crap it is not! If you work on the basics one hour per day, Then people will listen, they might even pay! So practice these studies, numbers one through sixty. Until you have assuredness and consistency. This time you invest is always well spent, Especially when you perform at any event. Your excerpts and solos will go like the wind, Since you know all the techniques to employ within. A tricky passage is now in your grasp, Since you have practiced and practiced: KOPPRASCH!!! With a wink of his eye and a nod of his head, I've got others to tell, tonight, he said. And then with his horn and his music in hand, Up the chimney he went, fast as fast can. He sprang to his sleigh and buzzed to his team, Away they all flew, as if in a dream. But I heard him exclaim, ere he drove out of sight, Happy KOPPRASCH to all and to all a good night! Copywrong, 1999, revised versions, 2000, 2002, 2004 Prof. I. M. Gestopftmitscheist SEASONINGS GREETONINGS and MOSTESTEST OF
Re: [Hornlist] Gilbert Sullivan MIKADO Question...
There are two parts. -Original Message- From: Ray and Sonja Crenshaw [EMAIL PROTECTED] Date: Fri, 15 Oct 2004 13:10:07 To:[EMAIL PROTECTED] Subject: [Hornlist] Gilbert Sullivan MIKADO Question... If you're old enough to read this, then you probably weren't born when I last played the Mikado. Anywhoo, the question is this: Q: How many horn parts are there? I only remember one, but there may have been a second book that I didn't see since there was no 2nd horn player. jrc in SC ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/gretchenzook%40cs.com Sent wirelessly via BlackBerry from T-Mobile. ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Fw: Introduction to the Final Scene of Capriccio byStrauss
I played the Moonlight music a couple of years ago. I hand copied the horn part from a score at the Public Library and my accompanist used a piano reduction/rehearsal score. It worked beautifully. -Original Message- From: jgschreck [EMAIL PROTECTED] Date: Tue, 27 Apr 2004 22:46:54 To:Horn List [EMAIL PROTECTED] Subject: [Hornlist] Fw: Introduction to the Final Scene of Capriccio by Strauss I was wondering if anyone knows of an arrangement for horn of the Introduction to the Final Scene of Capriccio by Richard Strauss. I received the following message from someone I'll be teaching next fall, and I wasn't aware that a version for horn existed. Yours truly, John Schreckengost - Original Message - From: Mark A Engen [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Tuesday, April 27, 2004 10:30 PM Subject: Wondering if you could help Professor Schreckengost, Hi, this is Brittany Engen again. I was wondering if you could help me locate a piece of music for the horn. I have been working on my song list for my senior recital, and one of the pieces I want to play is the Introduction to the Final Scene of Capriccio by Richard Strauss. The only problem is, I can not find the music for it anywhere. I was wondering if you had any suggestions as to where I could possibly find it or if you know that it is in print? Thanks so much, and I hope to hear from you soon. Sincerely, Brittany Engen ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/gretchenzook%40cs.com Sent wirelessly via BlackBerry from T-Mobile. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Peter and the Wolf
Hi all; If any of you currently have a copy of the 3rd horn part to Peter and The Wolf sitting on your stand, could you email me directly at [EMAIL PROTECTED] ? I've got a question, if you'd be so kind as to help! Thanks Gretchen ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Going over to the dark side.....horn to cello
Hans listers; As a long time (with some short 'vacations') subscriber to this and other hornlists, I've heard Hans talk about this correlation between learning musicality and playing a stringed instrument. His arguments seemed pretty convincing, so three years ago, I decided to start taking cello lessons. Today, I play in the cello section in a (80-year-old!) community orchestra. I am one of six cellos, and am BY NO MEANS the weakest player in the section. I even get a paying gig now and again I think my previous steel-string guitar playing (abandoned since high school) did help me a bit, as my fingertips toughened up very quickly, and I do play piano at about an intermediate level, so there was some dexterity trained into my left hand. Other than that, my only 'advantage' going in was that I'd played horn for 35 years and had perhaps more orchestra playing experience (as a horn player) than most amateur horn players. (Oh, and since most of that experience has been as a 4th horn player, I've spent many measures of rest watching the cello section play.) It's been a remarkably rewarding experience, and, as expected, Hans was right. Working with bow technique has made me think about note groups, phrases and emphasis in a completely new way. I do not practice the cello much any more - usually 20 minutes or so a week to 'hit spots'. Most of the learning comes with playing in the section, under the baton of a conductor who is himself an Eastman graduate horn player-turned cellist. (!!!) I practiced more diligently in the first 18 months, and it would be nice to be able to put in more time on the cello, but, of course, I am first and foremost a HORN player, (and there is always the pesky day job taking up precious hours every day...) and so my practice time goes there, first. For anyone else considering this very rewarding experiment, some further information: My cello is a rental, although the rental is applied to the purchase, and I will eventually own it if I keep it up - very likely. The 'experiment' cost me $30 a month for both cello rental AND lessons (I lucked out here - the instructor, a Peabody grad with experience with Baltimore orchestra - is also a church music director, and so we just supplied a few church music gigs in return for the lessons). The occasional cello gigs I get more than pay for the rental and lessons, a fact which amuses me. I was 41 years old when I started, so that should calm anyone's old dog, new tricks qualms. I would also like to suggest that STRING players might benefit from learning a BRASS instrument: They'd likely tighten up their rhythm/pulse sense dramatically. I think they'd perhaps develop more pitch discipline, despite the reputation string players have for outstanding pitch sense. On a string instrument, if you miss a pitch by any distance, the only consequence is a woefully out of tune but still prettily toned (perhaps even expressively played with vibrato) note. You err that far on a brass instrument and you get an earth-shattering, ugly, the-whole-world-knows-you-goofed CLAM. I hope someone else gives this a try - it's been very rewarding. Fun, too. Gretchen Vork 4th horn St. Cloud Symphony Orchestra Cellist Willmar Community Orchestra ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Horn Celebrities?
Jake Janson? What LA studio free-lancer played the horn on the sound track for that episode sounding almost as good as Prof. I.M. Gestopftmitscheist? Hint: His name is not Vince or Jim or KB and not Stiers himself. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Horn celebrities? (Very Marginally HR)
Is it his lack of proficiency that is deemed so amusing (and depressing)? His dorky choice of instrument? Or is it the choice of a Mozart piece that inspires the levity... I'm inexplicably curious... Gretchen - Original Message - From: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Sunday, January 11, 2004 11:25 AM Subject: Re: [Hornlist] Horn celebrities? In a message dated 11/01/2004 17:22:37 GMT Standard Time, [EMAIL PROTECTED] writes: I believe that the actor Ewan McGregor also played French horn. A video of him playing Mozart 495 exists and is wheeled out by the BBC every so often, usually to howls of laughter - quite depressing really. All the best, Lawrence þaes ofereode - þisses swa maeg http://lawrenceyates.co.uk ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/gretchenv%40mchsi.com ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
