Re: [Hornlist] New Amsterdam Brass Band and the Tenor Horn
Confession: I have a Yamaha tenor, and it's actually fun to play in the right group. As mentioned, it's probably best not to have an important (french) horn gig the next day. The Wick mouthpiece seems large and quite rounded to my horn lips, but you can also use your horn mouthpiece and an adapter at the expense of the "traditional" tenor sound. Either way they're pretty easy to adjust to (possible intonation issues aside). As a bonus for us lazy horn players, the British style upright valve models can be played left-handed! Jake At 04:25 PM 5/5/2009, you wrote: Hi Robson, Maybe it's a national thing, certainly I've never come across that view of the Wick mouthpiece (which is not to say that that view doesn't exist). I tend to equate them with Bach mouthpieces. As a standard "catch-all" mouthpiece for young cornet players we normally recommend a Wick 3 or 4, for trumpets, a Bach 7C. Cheers, Lawrence -- Lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jbewalt%40iastate.edu ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] NPR Inauguration Music
Sort of HR: While we're talking inauguration music, can someone identify the fanfare-like piece that National Public Radio uses for intros and outros on a lot of their political coverage? Thanks, Jake ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] The ECONOMIST on "I Found My Horn"
Also the Wall Street Journal at http://online.wsj.com/article/SB122809570929868093.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] That Holton slide
Dawn: If that water slide - the one with the symbol - won't go all the way in, try turning it around. At least on some Holtons, the two legs are different lengths and the slide bottoms out if it's reversed. If I misunderstood or you've already tried this, then never mind. Jake Ewalt At 04:20 PM 1/20/2008, you wrote: Tuning of a double horn Yes, it is a Holton horn. Thank you for that information about what that slide is. That water slide (with the symbol) was jammed way out when I first acquiered the horn. After we finally got it out we saw that the slide must have been dropped because the end of the one side was bent which had been why it was jammed immovable to begin with. Now it works. The slide is only a fraction of an inch out past it's mark. When I first got the horn I noticed it was difficult to tune the F side perfectly. When we finally got that slide unjammed and I got it back in it was obvious that the horn tuned to itself much easier. It was a relief to find out what the problem was. Still, it can't be totally in either. Don't know why. I have checked it with tuners many times and there seems to be the slightest off balance if it is in all the way. Maybe it's just one of those funny things about the fact each horn is different. Besides the fact there is never any water there I don't like to pull that slide because it still is slightly out of round enough that it is a nuisance to pull and put back in. So, it pretty much stays in place. T ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Tuning of a double horn
Most horns are designed to be "in tune" (whatever that is) with the tuning slides pulled out a bit. This gives some leeway both up and down to adjust to ensembles that may be slightly sharp or flat. Remember, though, that all of the slides are not necessarily TUNING slides but may be just for emptying water. The water slides stay all the way in. Jake Ewalt At 12:18 PM 1/17/2008, you wrote: . . . . . . . Now to my question. With a high class french horn I would expect that all slides both on the Bb side and the F side would be matched to produce perfect tuning, and not require any particular adjustments. . . . . . . . ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Film music featuring horns
If someone wants to try a different collection, that fanfare turns up in Kunzel/Cincinnati's "Hollywood's Greatest Hits, Vol.2". Jake At 08:43 AM 9/4/2007, James Wester wrote: There is one fantastic fanfare at the very end of the movie Grand Canyon with Steve Martin. The entire rest of the sound track is pop crap. . . . . . . . ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Need Title - NHR
If it's the one I'm thinking of, try Waltz 2 from Shostakovich's Jazz Suite #2. You can pull up a sample on Amazon to check. Slinky little piece. Good luck! Jake Ewalt At 08:52 AM 8/28/2007, you wrote: Can anyone tell me the name of that delightful waltz now being used in the current Sprint telephone commercials? Thanks. Wilbert in SC [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jbewalt%40iastate.edu ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] NHR 8D from a non-Conn artist
As long as there's no lanolin in your grease, you'll be fine. At 12:44 PM 4/25/2007, you wrote: Must be difficult to hold onto your 8d thru this, however... - Original Message From: Steve Freides <[EMAIL PROTECTED]> To: The Horn List Sent: Wednesday, April 25, 2007 10:42:47 AM Subject: RE: [Hornlist] RE: 8D from a non-Conn artist Since we're digressing, allow me to offer "skin the cat" is an excellent exercise - hang from a pullup bar or a set of rings, bring your legs up and through your arms, continuing to rotate until your torso has basically done as much of a full 360 as you can manage safely, then return to the starting position. Please do not fall down, however! -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/fbaucom%40sbcglobal.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jbewalt%40iastate.edu ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: tenor
At 09:51 PM 1/8/2007, you wrote: many others, Mrs. Miller has a large fan base. Did any of you ever hear Joyce Grenfell's "Wrong Songs for Wrong Singers (or Songs to Make You Sick)"? Simon Along those lines, I'll add the lounge act of "Jonathan and Darlene" - actually Jo Stafford and Paul Weston. Two real pros who knew exactly what they were doing. Jake ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Elders resource
At 11:20 PM 12/17/2006, you wrote: Recently, a seasoned citizen wrote asking for help and ideas for reintering music and playing the horn. There is an organization at www.newhorizonsmusic.org that addresses this need for elders 50 years and better that are reintering or starting music interests. My browser won't let me in to the site so maybe some one with a more cooperative computer can advise the list of the site usefullness. Note boycot shampoo. Demand real poo. William Botte William: Try http://www.newhorizonsmusic.org/nhima.htm to avoid the cutesy opening junk. Makes the site worthless if you are on dialup. Jake ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] tiny differences (was: cry, oh horn)
At 07:52 AM 10/30/2006, you wrote: Speaking of tiny differences among instruments, I'd like to know what the listers think about the widespread belief that a horn plays better if it has been played for an extended period of time by a good player. . . . . . . Uh-oh. Do you suppose the converse is also true, and that I have been slowly ruining a perfectly good horn all these years? Jake Ewalt ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] pitch-changing software
David: Yeah, what he said. The good news is, for working up a difficult piece at home you can tolerate some audio funnies (audities?). The bad news is, vocal high range to low range is a long way for these programs, and piano is one of the hardest instruments to shift satisfactorily. "Acceptable" is in the ear of the beholder - the cheapest decent solution I've tried is Waves Soundshifter (www.waves.com) , but that is using a very loose definition of "cheap", and even that is only a plugin for a host editor program. Jeremy's offer in another message might let you hear what can be done, and decide whether it will do the job. My $0.02, Jake Ewalt At 12:19 PM 5/30/2006, you wrote: http://audacity.sourceforge.net/ Just be aware the doing independent time/pitch will leave clearly audible artifacts; it's the nature of the technology. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Recording and Mic Placement
Trey: At the risk of pulling the thread further off-subject, finally a question I may be qualified to answer. Like all of the really interesting ones, it's complicated. My day job is as a reinforcement engineer. Now, usually we have plenty of things to do without looking for things to amplify, and I agree that an indoor wind ensemble is NOT the first thing that comes to mind, unless you consider the Astrodome "indoors". Section micing of a wind ensemble/concert band/orchestra is not for the faint of heart, but there are those large outdoor events or the occasional indoor requirements like you mentioned. One serious technical issue in the mic setup is called leakage; unwanted pickup of nearby instruments. We have to put the mics where the sound from the target instrument or section predominates and other sounds are minimized. Now, closer micing of any instrument picks up a sound that is unlike what the audience listener is accustomed to, and horns are simply an extreme example of this. *IF* you need more horn sound (not always the case) you have to go where the horn sound is - behind the horns. This uncharacteristic sound can be corrected with careful processing for the most part, but what I CAN'T do is remove all of the trumpet or percussion leakage caused by a less obnoxious mic placement. Notice, we are talking reinforcement here, not recording, and pretty aggressive reinforcement at that. Often we can get a lot of advantage from simpler "area" micing when the boss hasn't ordered us to blow the walls off the hall. In this case we RELY on a form of leakage to help blend and condition the sound. So, back to practical matters, while it is possible to get a decent horn sound from this situation, it's not necessarily easy, and I usually consider it a last resort. Let's assume your "sound guys" are competent engineers. They may have limited access to the ensemble rehearsals and need maximum flexibility to make adjustments on the fly (ideally, we shouldn't be correcting section imbalances, but that's another issue). They may simply be unaware of the sound you are trying to achieve, and could use a music director or assistant conductor to point out "Hey, that's not what the horns should sound like". Just like playing the horn, there's no substitute for having some musical experience at the knobs. Now, about recording . . . . . . Hope that helps. I gotta go practice. Jake Ewalt Amateur Horn Player, Professional Sound Guy At 09:59 AM 1/25/2006, you wrote: I would like to piggyback on Michael's microphone questions with something that has been bugging me for some time. In my job, there is a certain fascination with "sound reinforcement," not just with jazz or rock groups, but with wind ensembles, too. Even in indoor venues there seems to be this need to electronically reinforce the group. Part of this stems from the use of electronic instruments (keyboard, sometimes guitars) with the wind ensemble, part of it from the use of vocalists, and some of it, I fear, is "because we own the equipment," though I hope this isn't always the case. I've worked with three different sound guys, and all three have always put the microphones very close to the bells of the horn section. I can understand why they might do this, but is there any better place for microphones in this situation? When an audience hears a hornist or horn section in a totally acoustic setting (which I much prefer), they aren't hearing the sound as it comes directly out of the bell, as we horn players are all aware. But when a mic is placed right at the bell of a player, the audience is getting a more "raw" sound, one that I find a lot less pleasant. Does anyone on the list have experience with mic placement in this situation, or suggestions. I've had a hard time making my point on this one, and would appreciate any advice that anyone might give. Thanks, Trey ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] repair technitians
At 05:40 PM 1/11/2006, you wrote: Am I making too big an issue over valve timing or should the timing marks from the bearing to the cap line up exactly? Kathy<< I think where the valve timing marks line up is determined by the RPM your running at. You want a 5 degree advance at higher rpms to avoid valve float. Wes, is that correct? LLB IIRC too much advance at low RPM will cause a backfire. This is annoying to your section-mates. Jake Ewalt ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
