[Hornlist] FF vs FFF
My (amateur) experience makes me believe that most composers and arrangers rarely write dynamic markings that are explicite for each instrument group or part. Very often the dynamic mark indicates the volume level desired for the entire ensemble, and it is expected that the conductor and individual players adjust to achieve a good overall sound. Regarding FF vs FFF - blend to fit, but if the 'blend' is already too loud don't make it worse by blasting away - save your chops for later. I don't think there is a notation for 'ugly' or 'painful'. A personal 'peeve' of mine is when an instrument has a solo line marked p, and it is played without enough volume to be heard (or is not played well at such a low volume). Main theme and counter-melody lines always need to be heard by the audience, and with enough volume so the harmony can be played under them. Jay Kosta Endwell NY harveycor harveycor at comcast.net asked ... Honestly, how DO you play an FF and an FFF-and distinguish between the two? ... ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
re: [Hornlist] Embouchure
Try gripping a small straw (like the straw used to stir coffe) in the center of your lips. Don't squeeze it between the upper and lower lips, but tighten the lips all the way around the straw, while keeping the corners spread at usual playing distance, and keep the chin 'down'. Jay Kosta Endwell NY amateur player -- Tokidoleg at aol.com Sat Feb 4 21:35:10 CST 2006 How do you keep your corners firm? I never understood that. Another question, How do you keep your corners firm without smiling? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] More air enigma
My thoughts make sure that you are not tensing-up or constricting any part of your body in such a way that the air flow is hindered. For example, 1) keep your neck muscles and throat relaxed. The throat should feel relaxed and 'open' - as when exhaling (not blowing) warm breath onto a cold window to make it foggy. 2) keep your shoulders 'down' and relaxed. 3) only use the 'embouchure muscles' of your face, everything else relaxed. 4) use mouthpiece pressure that is adequate to prevent air leaks, and try to not use more pressure than that. 5) play long tones to get the most full resonate sound - don't worry about being 'in tune' until you get the best sound. THEN adjust the slides so your best sound is also at the right pitches. 6) use as much air as you need to get good sound, inhale thru your mouth to get large air quantity quickly. Jay Kosta Endwell NY amateur player - not teacher --- Nicholas Hartman Hartman frenchorngeek at yahoo.com Sat Nov 26 17:40:42 CST 2005 Dear List, From the day I first picked up the horn in fourth grade, I have heard from every teacher I have played for say that I need to use more air. Finally, I think I catch on. I start blowing more. Exactly what I know will happen, happens. Every dynamic marking is voided and becomes fortissimo, Tchaikovsky 5 is played with the same edge as Beethoven 7, and the high range doesn't come out easier, just louder. I have to wonder what cryptic message am I missing in the teacher's instruction? Is that how Dale Clevenger, Gail Williams and all of the Chicago virtuosos play? I always viewed the More Air technique as a sort of cure-all for all of your playing problems. Could someone please set me straight? Thanks in advance Nick ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: slow valve. please help! rubbing alcohol ok?
alcohol is very drying, and the stink is difficult to remove. To remove thick oil from sluggish valves I use UltraPure lamp oil - clear, unscented, 100% paraffin (kerosene) - from K-Mart, Wal-mart, etc. Put the oil in thru the leadpipe, and try to not let it flow into the valve slides - keep the slides pointed upward while moving the valve levers. Be sure to re-oil the upper and lower valve bearings (the spindles), but not inside the rotor casing, or the valve slides. Jay Kosta Endwell NY amateur player -- whitacrehill at aol.com whitacrehill at aol.com Tue Aug 16 12:55:42 CDT 2005 Is there anything wrong with flushing valves with drug store alcohol? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
re: [Hornlist] mouthpiece metal
Heather, The Holton MDC is a very decent all-around mouthpiece, and I'd guess that some players consider it their magic-mpc after trying many others. If you are intent on trying other mpc, I suggest starting with what your local dealers have in stock - Holton MC DC, Schilke, Yamaha. Gold plating on the rim is supposed to make the rim a little more slick, for people who play with 'wet lips'. I use a Holton DC and a Moosewood B-12 (with DC-copy rim) and they both work fine, and very similarly for me. If the MDC fits comfortably and provides good endurance and intonation, then it doesn't seem there is need for change. Your 'horn tone' is strongly determined by how you play. For example by embouchure, muscle tension in neck / shoulders / chest, right-hand postion, air support. Jay Kosta Endwell NY amateur player - Gordon, Heather GOR04003 at byui.edu wrote: I'm in the market for a new mouthpiece. I've been playing on my little factory Fakas MDC for a few years now and it's served me well enough, but I think I'm ready to pay some bank for something really great. The rim size on my farkas is the most comfortable I've used (I used to play on a King H-2, if I remember right, but it was too big for me). My problem is that I want a deeper cup and something that resonates well, but my face is quite small. Anything deep enough for me is too big for my face. I've been looking at Storks recently. I haven't gotten to the audition stage yet, but I want to narrow the selection down a bit first (since mouthpiece trials are difficult to arrange where i'm the only horn player in town). My first quesiton is what have people heard about the Myers and Orval series' of Stork mouthpieces. I know it really depends per the player, but I don't even know what the physical difference is right now. My main question is, how does the metal make a difference? I've seen a lot of options for what they can be made out of. Is it strictly aesthetic, or is there a real difference in the sound? What's the difference between silver, silver w/ gold rim, gold, satin gold, satin silver, etc. I don't want to pay $30 for something that won't make a difference. Is there an acoustical difference? Does it change the resonance? I have a rosebrass horn because I like the sound of rosebrass, but does it make a difference in mouthpieces? Thanks, Heather ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Valve cleaning
Hello Hans, I suggest inserting the oil throught the leadpipe because that is the easiest and most safe way. Sometimes removing the 1st valve slide can be ackward, for example if the valves suddenly become slow just before a rehearsal or at a performance. Oiling through the valve slide is fine, but requires a little more concentration and can be done best when a proper 'work surface' is available to hold the oil, slide, horn body, etc. Mit freundlichen Grüßen / Best regards ... Jay Kosta Endwell NY amateur player -- hans at pizka.de wrote: Perfect Jay, perfect ! But why not inserting the oil through the first valve slide ? It is a shorter run. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] trombone 'shake'
I'm playing (on horn) the trombone part from Pennsylvania 6-5000 and there is a notation for what I've been told is a 'trombone shake' effect - shown similar to a ~ . Any ideas on how this can be done on horn ? I'll also be looking for recording so I can hear how it is supposed to sound. thanks, Jay Kosta Endwell NY ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mouthpieces - what does a narrower bore do?
Steve, My personal experience (limited to less than 12 mpcs, and as an amateur player) is that the bore size has a strong influence on my endurance. A larger bore reduces my endurance and make the high range more difficult and 'airy' sounding. Too small a bore feels stuffy and I'm not able to 'open-up the sound'. Also, when I start to tire, intonation and range suffer - so adequate endurance is critical. The mpcs that have been most useful for me are a #11 bore Holton DC, and a #12 bore Moosewood B12. Also, I've had best results with a 'medium' depth cup (e.g. the B12). Of course, all this must balance the ability and capacity of the player, and whether the pieces being played are at the extremes of the players ability. Jay Kosta Endwell NY amateur player -- Steve Freides steve at fridayscomputer.com wrote: I noticed when cleaning my son's Yamaha 30C4 mouthpiece that it's distinctly harder to get my cleaning brush through the tubing that's after the cup portion. I'm pretty sure the bore (inside diameter) is smaller than the 7BW mouthpiece I play. So, two questions: 1. All other things being equal, if this bore is narrower, how would it change playing the horn? I don't want to use my son's mouthpiece (wouldn't bother me but it seems to gross him out) but I'm curious. 2. Is there a primer online anywhere that discusses the individual parameters of mouthpiece construction and how they change tone, perceived playing difficulty, ease of hitting high and low notes, etc.? I could use one. Many thanks in advance. -S- ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Tuning slide locks
One consideration about the slide locks - especially for the main tuning slide - is to verify that the horn will fit in its case with the slide(s) pulled. With my horn case, if I do not push-in the main tuning slide the horn does not go into the case properly - but I don't use that slide for emptying water anyway... Jay Kosta Endwell NY ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] re: New to french horn....info needed
Samantha, For me, a Bach 5C trumpet mouthpiece fits quite well, and I use a Holton DC horn mouthpiece. I think that many local retail music instrument dealers carry the Holton line of mouthpieces, and many players are very satisfied with them. A big part of switching from trumpet to horn is learning what a good 'horn tone' should be - ask your director to suggest some CD's for you to hear. The main sound quality that many of us enjoy is the tone of the horn - the sound can 'stir your emotions' with its beauty. In many marches, the horns play lots of after-beats, and that is not too much fun, but those after-beats are very important because they keep the tempo moving. Also in many marches the horns have an important role in making key and chord changes. In band 'concert pieces' the horns are important as a blend between the other brass and the woodwinds. Also, because of the sound of the horn, it is often used to introduce a phrase that will be repeated by the other sections. Jay Kosta Endwell NY amateur player - Crazybaby160 at aol.com Tue Oct 12 21:06:37 CDT 2004 wrote: Hello.. I am a junior in high school and I have decided to switch to french horn b/c we dont have any f-horn players..I need help w/gettin a mouthpieceI dont know wut type to get.since there are a LOT of types..each brand differentlyI cant spend more than $50...I have been playing trumpet for like 5 yrs. so i dont need a beginners mouthpiece.I play mellophone in the marching band but we use trumpet mouthpieces and we are getting into christmas concert music now. please help Samantha ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Willson - or maybe Winston instruments?
Paul Mansur's comment about use of Willson (top level Swiss) brass instruments in a school setting made me think that maybe Dave Singletary's request was for info about E.M. Winston instruments - see web page: http://www.emwinston.com/ I do not have any experience with either Winston or Willson instruments. Jay Kosta Endwell NY ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Kendall's 'boucher buster
KendallBetts at aol.com KendallBetts at aol.com wrote: When I interview/audition a new student, either in studio or at KBHC, in order to look at the player's embouchure, I ask for a three octave F major (concert Bb) scale, starting on pedal F, slurred to top line F, breath, and back down. Then, I ask for the arpeggio, same way. ... --- (Jay Kosta replies...) It doesn't seem like it should be too difficult, does it? But wow is it humbling (just the 3 octave scale, never mind the arpeggio). This little test is a great way to see whether you've really got the chops, and to dispel any self-illusions about playing ability. Jay Kosta Endwell NY amateur player ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Valve Cleaning Class
Perhaps before you go thru the valve disassembly cleaning process, you could demonstrate how to do a basic 'valve rinse' using lightweight valve oil or UltraPure unscented Lamp Oil as a way to flush-out sluggish valves. - It sure is alot safer for a non-technician horn player to do a valve rinse than trying a full cleaning - especially if the only problem is sluggish valve action due to old oil/grease build-up. - For the full cleaning, I suggest to only work on 1 valve at a time, that way parts don't get swapped, and there are intact valves to show how they are supposed to be re-assembled... Jay Kosta Endwell NY amateur player, non-technician ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] King horn manufacture locations
Pre-UMI, the KING brand was built by H.N. White Co., Cleveland Ohio (I don't know the exact location), Eastlake is a near suburb of Cleveland). If you see a King instrument that is engraved H.N. White, that means it is pre-UMI. Jay Kosta Endwell NY ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] A Do-It-Yourself Screwbell How-To...
The Oberloh web site has some interesting items regarding instrument repair and restoration - see http://www.oberloh.com/gallery/gallery.htm Jay Kosta Endwell NY USA ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] HELP! - Linz / Italy
My strictly 'guess' is that the horn is a student model, and does not have any particular 'name recognition', 'collector' or 'historic' value, but it might be a decent 'player'. The $$ value of the horn depends on its type (single, double, etc.), its condition (needs work, playable as-is, etc.), accessories (good case, mute, mouthpieces, etc.), and of course how it plays (sound quality, intonation, response, etc.). I doubt this horn could replace a 667, but if you have some extra money and occasional use for a backup, or 'rough duty' horn (for example parades, outdoor playing) where you are concerned about the safety of your 'good' horn, then this one might be worth having. Another possible consideration is where you would keep another horn ... fixed bell horns don't fit under the bed very easily. Best Wishes, Jay Kosta Endwell NY USA ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Career on Horn performance
I suggest you talk with the music director at your school and find out if your county or state has instrumental competitions, evaluations, youth orchestra, etc., and become involved with them. You need to seek out opportunities to perform music that is difficult for you - not 'impossible stuff', but music that will force you grow rapidly as a musician. Best Wishes, Jay Kosta Endwell NY USA ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Valve Oil
I've been satisfied with a 'do it myself' blend of sewing machine oil and Ultra-Pure Unscented Lamp Oil (pure kerosene). I blend them together to get a mix that works well depending on the seasonal temperature. I use this on the bearing ends under the valve caps, and in the gap under the swing-arm for the other bearing ends. I mix the oil in a small bottle that has an eye-dropper lid. Jay Kosta Endwell NY ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Dental Work
I think the first step should be to spend a little internet-time to research what a palate expander is supposed to 'fix', and what is the risk if it is not done. It might that this procedure is much more effective if done when the patient is young, rather that waiting for a problem to occur later in life. With that knowledge you will be in a better position to discuss it with your dentist and better able to make a decision whether it would be to your advantage. Jay Kosta Endwell NY USA ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] re: post for the list (valve compression)
Just make certain to keep both ends of the rotor bearings oiled to prevent click-clack. If your regular oil isn't working (too light weight), then I suggest trying sewing machine oil - but just for the bearings, not on the body of the rotors. The air pressure change that you create by pulling or pushing a slide with the valve closed is much greater than would occur when playing. If the horn plays well, then its valves are probably completely adequate. Jay Kosta Endwell NY amateur player - SHANE DANIEL MARTIN artemisdakitty at angelfire.com Wed Mar 10 14:20:35 CST 2004 What can a person do to get by until a valve rebuild when the valves are less than 20% compression (the horn still plays wonderfully though)? Shane Martin ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Need clinic sponsor in NYC - May 2004
I need help to arrange a small horn clinic in the New York City area in early May - if you have contacts with a school or similar organization (civic group, church, music dealer, etc.) that would be interested in sponsoring such an event, please let me know. The details are that the Zurich Tonhalle Orchestra will be on tour in the US and Mr. Nigel Downing (horn) would like to lead a playing/training session - his available dates are May 3 thru 5 (Monday, Tuesday, Wednesday). Mr. Downing is the author of the book, Singing On The Wind - Aspects of Horn Playing - http://www.hornweb.ch/ In addition to his position with the Tonhalle Orchestra, Mr. Downing was recently a guest professor at the Royal Northern College of Music, Manchester, England. Mr. Downing also presented a session for the horn players at Chethams` School. The agenda and time for the clinic can be tailored depending on the expected participants, and the facilities that are available. I realize the lateness of this request - I had hoped to arrange a clinic thru one of the NYC colleges, but they were not able to schedule it. If you can assist me with this project, please reply directly to my personal email - [EMAIL PROTECTED] thank you, Jay Kosta Endwell NY (Binghamton area) USA ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] New intonation idea for harmonics
If you use 'just intonation' harmonic ratios (ratii ?) to determine the 'proper' pitch, then you also need to be aware that the pitch for each note is dependent on the 'root' note of the scale being considered. The proper pitches for the notes of a just intonation scale beginning on concert F (horn C) will be different than the same note names for a scale beginning on concert C (horn G) - even if the horn's A is kept the same. And there will be similar differences for all of the root notes. For general intonation, being able to play all the scales so they sound good is a reasonable goal! This problem with 'moving pitches' is why it is so important to listen carefully when playing in an emsemble and to play your notes so they blend with the others. For me, it is the horn A's and E's that give the most trouble. Jay Kosta Endwell NY ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] pedagogy - Menger
An item that I find very useful is from Wendell Rider's book Real World Horn Playing, and concerns high range embouchure control. The specific point is - ... think of bringing in the sides of the natural aperture as you get higher The embouchure section of the book is available online from Rider at URL - http://wendellworld.com/html/Embouchure.pdf and the item I mentioned is in topic #8. An interesting pedagogy subject might be to compare and contrast the description of embouchure control for horn among different authors. And to ask several advanced horn players which of those descriptions best matches what they feel is happening with their embouchures. Jay Kosta Endwell NY ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] something to think HR-Thomas Quasthoff
Hans is correct, talking about the 'extremes' does not usually help the vast majority who are somewhere in the middle. Hans' views are realistic, and not discrimination - I am sure he would acknowledge great playing by any person - even if the player was an 'extreme'. Jay Kosta Endwell NY USA Not a member of the 'Pizka Fan Club', but Hans has been solidly corrert in this discussion. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Lip Size
I enjoyed reading Hans Pizka's recent post about 'Lip Size' (and other physical attributes associated with horn playing) - Hans' views were very calm and reasoned, and learned thru a lifetime of professional experience. Of course there is the occasional 'exception' (horn player) who does very well regardless of having less than optimal physical characteristics - but there are many more who have tried and failed to reach the pro level. Regarding the '5 Tips' from the SBO web site - it is important to remember that the goal is to have the students learn an instrument that is suited to them given some very general (but true) guidelines. A teacher WANTS the student to do well, so the teacher is inclined to help the student find an instrument that will allow success. If a student has a strong desire to play a certain instrument, then I hope the teacher would allow it. But, if after a reasonable period, a student is obviously not suited to a particular instrument, the teacher should help (not force) the student to try something else. Jay Kosta Endwell NY USA amateur player ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] JAMES THATCHER
There was an interview with Thatcher in the May 2002 edition of the IHS magazine The Horn Call, volume XXXII, number 3, May 2002, page 57. The article was written by Mark McFarland. If you do not know of someone who receives Horn Call, then perhaps you could find it at a University (or music conservatory) library. You could also contact IHS about whether back-issues are available - http://www.hornsociety.org http://www.hornsociety.org/HORN_CALL/index.html Jay Kosta Endwell NY USA ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: earthshaking oil question
For my oiling needs I have 4 small bottles with 'eye drop' applicators - the bottles contain the following - 1) straight sewing machine oil (a low odor, clear, light machine oil). 2) straight Ultra-Pure Lamp oil (a low odor, clear, kerosene, which also has reasonable 'oiling characteristics' - search on kerosene and lubricity, if you want to do web research). 3) straight Al Cass. 4) a blend of Al Cass and sewing machine oil. --- The straight sewing machine oil is for the valve key mechanism, and the water keys. The 3 other oils are for the bearing ends (under the valve caps, and in the swing-arm gap) of the rotors. I never really oil the rotor bodies, but if the rotors become sluggish I rinse them thru the leadpipe with some Ultra-Pure to flush away whatever gunk (old grease, etc.) that is causing the problem. With my horns, I've found that the temperature has a great effect on what bearing oil works best - straight Ultra-Pure for winter, straight Al Cass for warm weather, and the blend for really hot weather. Also, for a really old, worn, euphonium with leaky piston valves, the sewing machine oil does a good job. With a properly operating rotary valve, the rotor body should never contact the walls of the rotor casing - there should always be a (very) small gap, and the typical amount of water condensation in the valves is enough to prevent excessive air leakage. Valves become sluggish when oil or grease leaks onto the rotors and 'gums-up' this small gap - that is when I use the Ultra-Pure to rinse the rotors. BTW, for slide grease I'm very happy with Selmer (pink goo) Slide and Cork grease (I keep the bottle in a ziplock bag for storage). Jay Kosta Endwell NY USA ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Valve Bumper installation
My thanks to Hans for the information about the correct way to install and adjust the bumpers. I did not know that in is nolonger proper to shave the bumpers to get alignment - according to Hans, using the correct size of bumper material allows alignment without need to shave. Jay Kosta Endwell NY USA ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] New bell problems
As an off-shoot of this problem What steps should be taken to help assure that an instrument repair or modification is successful? I'm thinking along the lines of somehow play-testing a new bell prior to final installation, if that is possible. Or, verifying that the new bell is really identical to the old one, by measuring, etc.. MY personality is that I would like to do these tests myself (with help and supervision from the repair tech). What about replacement of other tubing. I know that converting to screw-bell has a reputation for giving good results, but the bell flair is not (usually) changed in that situation. Jay Kosta Endwell NY USA ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Yamaha 861 horns
I wonder about a related topic concerning the valve tuning slides of my Yamaha 668n (older model, probably from early 1980's). My typical tuning-slide arrangement is with the main (Bb) and F tuning slides pulled quite far, but the slides for the individual valves are pulled very little. Perhaps I don't really have the slides set properly or I am not playing properly, BUT does anyone else have this situation on their horn? BTW, the horn plays ok this way, and I generally don't get any unwanted attention when playing at the 'fresh vegetable festival'. Just Curious, Jay Kosta Endwell NY USA At 08:23 PM 2/28/2003 EST, [EMAIL PROTECTED] wrote: Holton horns are tuned to A=446 with no hand in the bell, and the tuning slides pushed in all the way. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] mozart 2
Joseph, I did a google search using - mozart horn concerto analysis and got several hits, including the one below http://www.lib.utk.edu/~music/analysis/antab22.html Also searched using - mozart horn concerto performance analysis and got several hits, including http://otto.cmr.fsu.edu/~psychmus/ab15.html A critical part of choosing the topic for a research paper is that there is adequate existing material for you to use as background - compare / contrast / etc. Also it is necessary for the scope of the topic to be suitable for the amount of time and written pages that it will receive. You might consider discussing Mozart HC2 in comparison with his other HC, and in comparison with his concerti for other solo wind instruments. Do additional searches for suitable reference / background material, and adjust the specific topic to one that is do-able. Maybe talk some more with your teacher about this, the teacher probably is not expecting you to discover some astonishing new information about the topic. The goal of the paper is probably to show that you can do proper research, choose reliable sources (and make sure you discover and reference the major well-known sources, discover similar and contrary opinions, and organize and construct your paper so that it makes sense to read. Jay Kosta Endwell NY USA - joseph fuller [EMAIL PROTECTED] schrieb: I am doing a ten page form analysis of the mozart 2. My teacher (music history) asked if I could get at least five sources ,other than the piece, for the paper. Does any body have any suggestionson where to find some sources on the mozart 2 analysis. thank you. joseph fuller henderson state university ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: recording rehearsals
Perhaps the confusion is regarding the American (English?) idiom - not on the same page In this instance I think that Steve meant that the musicians have minor differences about phrasing, interpretation, etc. - not that the musicians have big differences, or lack of ability. Listening to a recording of the session might provide a better view of how all the parts are performned than is possible while actually playing. In any case, I really appreciate all of the constructive ideas and suggestions regarding my original question about 'quintet metronome' - I have read and saved them all, and will try using them. I have also found that reading (not playing) the part and analyzing the rhythms has been much more helpful to ME than sight-reading with the other players. Jay Kosta Endwell NY USA --- At 06:54 AM 2/18/2003 GMT, you wrote: Sorry, Steve, my bloodpressure is lower than most expect, otherwise I could not do Siegfried etc. And I am not yelling, as you suppose, when I say something absolutely true. I just wonder about the very curious advise often given by people who have zero ideas about real professional horn playing, - not just in the orchestra, but as soloist in small high class ensembles. This all very politely said. I could go on the common level also, if desired ..you would wonder. And after that long exposure to all kind of holes with the baton or with horn or other instruments in hand I am still alive able to show them how things should be. .. [EMAIL PROTECTED] schrieb: Hans wrote: You have quite strange views about the reality of a professional musicians = life. If they are not on the same page, as you said, they can NEVER perform= at that great level as Canadian or Empire Brass. AND FOR THE RECORDINGS. T= HERE IS ALSO A PRODUCER; WHO CAN READ MUSIC AND UNDERSTAND MUSIC And there = is a sound engineer . No need to work with tape metronome, except be= fore their very first recording, just to know about themselves. These peopl= e are hardest professionals, and they became hardest professionals because = of their ebormous musical working discipline their study background. OK, breathe slowly, that's good, just relax, now read Jack and Karen's replies. That's what I was talking about. And, try not to yell, it's bad for your blood pressure. -Steve Mumford ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de -- Prof.Hans Pizka email: [EMAIL PROTECTED] tel.: +49 89 903 9548 - www.pizka.de (horn site) with connections to www.pizka.de/Pizka-music.html (publications) - www.pizka.de/PizClasHr.htm (instruments, mouthpieces) www.pizka.de/PizWrHorn.htm (Viennese Horns) - www.pizka.de/mpiece.htm (mouthpieces) www.pizka.de/Pizka-travel.htm (pictures, stories, experiences from my travel) - open soon mail is virus checked ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/jkosta%40pronetisp.net ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Quintet metronome
I need a metronome system that allows multiple players to see a beat-light. Do any of you know of such a product (price is a concern)? What I'd really like is to have multiple lights on a pole that would individually show each beat - for example top light as 1st beat, next light down as 2nd beat, etc. Similar to a countdown 'Christmas Tree' that is used to start drag races - but would keep cycling in rhythm. My quartet/quintet has begun rehersing some Gabrieli (Canzona per sonare Nos. 1, 2, 3, 4, edited by Robert King) and it is difficult to keep everyone together. thanks, Jay Kosta Endwell NY USA ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] NHR - Cat's 'bad hair cut'
I received this story via email, and it shows how things really CAN get worse is from Oklahoma and has a slight accent. She has cats and when she lived in the south she would take them to the groomers and have what is called a Line Cut. To her a line cut is when all of the fur hanging down below the cat's tummy is taken off (because it gets matted or snarled). When she moved to Chicago, one of the cats fur got all tangled up during the move so she took it in for a line cut. She was quite surprised when she heard the price as it was twice as much as it was down south. She confirmed with the groomer that he understood what a line cut was and he said yes, I know what a LION cut is. It seems her accent came out sounding like LION not LINE and this is how her cat was returned to her. (see PHOTO) She cried for a week...but not as much as the cat. It was November in Chicago and the cat needed all the fur it had. -- see the photo at: http://www.pronetisp.net/~jkosta/BadHairCut.jpg Jay Kosta Endwell NY USA ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] mouthpieces
Hello Ryan, What seems to be the problem with the Giard C8 mpc when you use it on the Yamaha? Regarding your college audition playing - I suspect that items such as your intonation, articulation, rhythm, and dynamics are much more important than the 'sound quality' or extremes of range. As long as the 'sound quality' is recognizeably 'horn'. If the C8 (or C10) works OK, then why not continue using it, at least for several months while you get familiar with the Yamaha ? A good source of mpc info is Moosewood - see http://www.hornmouthpiece.com With my Yamaha 668N, I use a Moosewood B12 and am very pleased with it. Other good info is at John Ericson's site - http://www.public.asu.edu/~jqerics/sug_hnmp.htm Jay Kosta Endwell NY USA - At 09:38 PM 1/20/2003 -0600, [EMAIL PROTECTED] wrote: I've recently switched to a yamaha 667vs after playing an 8D with a giardinelli c8. Does anyone have a recommendation as to what mouthpiece I should use with the yamaha? I've played a stork c10 the last week, and it works reasponably well, but it's a bit difficult to play low, and it doesn't deliver quite the sound I desire to produce with this horn. Does anyone have experience with the 667vs? College auditions are around the corner, and I greatly need some advice. Thanks, Ryan K _ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] Gaboury-Sly mpc question
At 06:29 PM 12/10/2002 -0700, Karen McGale Fiehler [EMAIL PROTECTED] wrote: ... Here's a thought - why don't you just email her at MSU and ask? ;-) karen --- From the responses so far, it appears that Gaboury-Sly uses a fairly standard mpc - so it must be that the reproduction of the photo in my HORN CALL is somehow distorted. The photo seems to show some sort of huge flange on the mpc rim against her face. To clarify, my orginal question was intended to be about whether the photo was accurate and not necessarily about details of her mpc - unless the mpc was very unusual.. Thank you, Jay Kosta Endwell NY USA ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
[Hornlist] Kruspe wrap popularity gaining?
In the USA, it seems that there are several new versions of Kruspe wrap horns being introduced and gaining in popularity - for example - Holton Merker, Patterson, Patterson conversion, Atkinson, Osmun conversion, new Yamaha 668II, and maybe others. Also the new 8D's seem to continue to be popular and with somewhat less 'bad press'. It seemed that for a while the Geyer wrap, and 'smaller throated' horns were all the rage. Has the pendulum swung back towards the 'big horn' sound for the USA market? I KNOW that the choice of horn type is usually a personal matter, and that great horns can be found in all configurations, but it is interesting to understand how 'market trends' seem to occur. For you players who receive (or give) 'advice' or 'suggestions' from your teachers and/or business associates, have you seen any emphasis towards the bigger horns? Jay Kosta Endwell NY USA ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] Berlin Yamaha's (Osmun)
Just to clarify... the email I sent to Hans Pizka was marked as a PRIVATE EMAIL, and was not posted to the list. Also, I DID NOT write the quoted section below - I certainly believe that reliable and high quality parts CAN be made in the USA. My comment to Hans was that perhaps the Yamaha quality-control people in Japan CHOOSE to use parts that are made in Japan so they are sure of the quality of those parts. I agree with Hans that it is more likely that there are economic reasons for having part manufacturing done at a single location (Japan), and that quality-control (of USA parts) might not be the primary reason. Jay Kosta Endwell NY USA - At 08:55 PM 11/24/2002 GMT, [EMAIL PROTECTED] wrote: ... Jay had some arguments about parts being not so reliable if produced in the USA instead of Japan (Yamaha). Jay, you have no practical ideas. It were mere nonsense wrong investment policy by Yamaha, to have two sets of tools or mandrels for every part for every model, just to produce parts in Japan in the USA or in Europe (a third set perhaps). And the amortisation of these tools works only, if these machines run run run, not running one day to produce the necessary parts for a full month stand still the other four working days. ... ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
Re: [Hornlist] Orchestra and percussion
Wichita Band has a set of used Tympani - see http://www.wichitaband.com/used2.html PERCUSSION INSTRUMENTS TIMPANI Slingerland Universal set, copper bowls, quite good, from about 1975 $1875 Single Ludwig Standard Symphony timpani drum (singular timpanum), 25 copper bowl, dents and dings burnished out, re-sprayed copper bowl, new clutch and mechanical parts. Like new, but 30 years old. New list price = $2630. $1275 I have no idea of their condition or musical quality Jay Kosta Endwell NY USA ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
