[Hornlist] RE: New York Phil Opening Night
How about the Cello Concerto? Even a horn player can be in awe of Yo-Yo Ma. I have had the privilege to play in a college band over the last few years (as a "Guest Artist"). Many of the students are not music majors, and of those that are, some are outstanding musicians - a very small handful of them you may even hear about in years to come. Most of them, however, are dreadfully ignorant of the musical literature older than their own teen years (I'll leave it to others to discuss whether what they are familiar with counts as musical literature). This is not their fault - they simply haven't been exposed. I don't think anyone has ever tried to instill in them a love of music beyond whatever is playing on popular radio right now. My own two boys have been going to live concerts of professional Orchestras (Minnesota and SPCO, CSO) for as long as they can remember (and as often as I can afford it), but if I were a gambling man, I would bet money most of their friends (other than the ones we brought with us) have never seen the inside of a concert hall. I wish I could make the NY Phil opening concert required viewing for all beginning musicians. There was more than loud brass playing (and what was there was entirely within the character of the pieces - blame the recording and broadcast technology if you must find fault), there was real music. Timothy A. Johnson ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: New York Phil Opening Night
I am astonished at the vitriol generated over a simple comment about the brass playing of the NY Phil. Come on people - we are not talking about some amateur band - and Dvorak 7th Symphony - if you don't like the brass playing there - you belong on a different list. Timothy A. Johnson ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Pedagogical tools (was Mouthpiece buzzing)
Hi Jonathan, I did not intend to imply that Reba was a beginning or unprofessional player. That is why I changed the subject line and omitted her original comments that prompted the new thread. I was responding to your comment that buzzing had little value. As others have supplied better articulated support for a similar position such as held by Arnold Jacobs, I'll leave it at that. This does, however, lead me to wonder about some of the pedagogical tools that are used without necessarily understanding why or when they may no longer be useful ( I am certainly not referring to anyone on this list). Thus, if Arnold Jacobs recommended buzzing a particular song and that got passed along without his rationale, it may be that it has taken on the status of a totem. Perhaps its value does not require full comprehension, but I suspect that it will be more valuable if understood. I'll give another example. I was at a middle school concert not too long ago, and it sounded like there was a 50 member percussion section. Nearly all the players were dutifully tapping (some almost stomping) their right foot, just as their teacher told them to. My sons were taught, as I was taught, to tap a foot in order to internalize the beat. At what point does one instruct students to break that habit? I never was. I play in the Minnesota State Band; we had one recording session ruined because someone was heavily tapping a foot and it was picked up by the recording equipment. How about tuning one's horn to concert B flat (just because that is what the band always tunes to)? Are there any others out there? Timothy A. Johnson -Original Message- From: Jonathan West Sent: Monday, August 06, 2007 1:11 PM To: horn@music.memphis.edu Subject: Re: [Hornlist] Mouthpiece buzzing Hi Timothy Reba by all accounts is a fairly advanced player - she had a professional position in an army band. ... Therefore your point with regard to younger players is probably not applicable to her. ... Regards Jonathan West ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Flight case
"Out of curiosity, do you have any experience with getting [the Thompson case] on smaller planes. Say, 2 and 2 or 2 and 1 configurations?" - Tim Thompson No - but I'm usually too cheap to fly when I am traveling the short distances typically covered by such planes. I am quite certain, however, that it will not fit in those compartments. Timothy A. Johnson -Original Message- ... the Thompson case...easily fits in the overhead compartments of any larger aircraft... ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mouthpiece buzzing
"If you have a horn available to play, then I see little use in mouthpiece buzzing." - Jonathan West With respect, I would submit that there are some uses for mouthpiece buzzing - particularly for younger and amateur horn players. There is a tendency I have observed, to play somewhat approximately - without having a clear concept of the pitch in mind - letting the horn force the right pitch (more or less) with its harmonic series. While this works passably well in the lower to middle range, it is full of danger in the higher ranges where one will find many pitches close together. This is not from lack of ability, though. It may be laziness, or simply lack of understanding, but when most players listen to a piece, they can identify poor intonation, and if asked to sing the same piece, will be able to do so quite readily and accurately (I'm not talking "Queen of the Night" Aria here). Removing the horn with its harmonic crutch from the equation while buzzing the mouthpiece does a couple things. It will enable the player to focus on the pitch without other technical distractions. If you can hear the pitch, you can play it. If you can't hear it, it will be obvious. Buzzing can also clear up problems with too much pressure or tension. I have seen Bernhard Scully use this in a master class to significantly improve the playing of an already quite talented performer. I have used it myself to help my two sons (one Horn, the other Trumpet) with their playing. When they are having trouble with a particular passage, I will have them stop playing and take a moment to first sing it. If they can't sing it, then they don't know the music and are just guessing. We stop to learn what it should sound like - then, play the piece with just mouthpiece, taking care to keep the pitch as accurate as possible. After that is accomplished, we go back to the instrument. I find that this significantly improves their playing. Timothy A. Johnson -Original Message- From: Jonathan West Sent: Monday, August 06, 2007 7:43 AM To: horn@music.memphis.edu Subject: Re: [Hornlist] What should I be doing in the practice room? If you have a horn available to play, then I see little use in mouthpiece buzzing. As far as I'm concerned, mouthpiece buzzing is of limited use, basically to try to keep your lip in where you can't play the horn itself because it would disturb your neighbors, or because you are travelling and cannot take the horn with you. But if those situations don't apply, then I think it better to spend your time actually practicing the horn. Regards Jonathan West ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Best/preferred Flight Case?
"Which detachable bell case do you all prefer as a carry on for flights?" I will echo Phil Jacobs recommendation of the Thompson case. I have taken my horn all over the world in a Thompson case and have found it to be convenient, compact, lightweight, and protects my horn well. It is slightly larger than the dimensions specified by most airlines, but it easily fits in the overhead compartments of any larger aircraft (DC10's are just a bit snug, but it fits) and I have never had any trouble bringing it on the plane with me. Timothy A. Johnson -Original Message- From: PLJ59 Sent: Sunday, August 05, 2007 2:48 PM To: The Horn List Subject: Re: [Hornlist] Best/preferred Flight Case? Thompson. Small, great protection, well made. http://www.thompsonedition.com/ Phil Jacobs ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Cold Sores
Not magic, but I tried Abreva that last time I had a cold sore, and I was playing without pain in about a day, and the sore cleared up within 5 or six days. Timothy A. Johnson -Original Message- From: Carter, Jeffrey Sent: Saturday, August 04, 2007 7:56 PM Subject: [Hornlist] Cold Sores Hey there. Just wondering if anyone has any magic cure all's for cold sores. ... (have heard maybe abreva, but not sure)... Jeff Carter ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/timothyjohnson%40netzero. net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] horn/music related novels?
I just finished reading a book by bassist Barry Green, with Timothy Gallwey entitled "The Inner Game of Music." I found it to be an excellent book with many practical solutions for dealing with the mental obstacles to playing up to our full potential. I am now starting on his follow up book, "The Mastery of Music: Ten Pathways to True Artistry" which looks at ten qualities that outstanding musicians exemplify - he identifies "Courage" with hornists and percussionists - "Confidence" with trumpets - "Fun" with Trombonists - etc. (it's not as corny as it sounds) and includes numerous anecdotes and interviews with genuine masters in their fields. Any musician would find ample food for thought in these two books. Timothy A. Johnson Northwestern College St. Paul, Minnesota http://tajohnson.org -Original Message- >From: "Adams, Natalie L" <[EMAIL PROTECTED]> >Subject: [Hornlist] horn/music related novels? > >Does anyone know of any horn or music related novels? If not novels, >then must read books? (Other than the obvious Farkas and Brain >biographies, and the Art of French Horn Playing). I'm just looking for >some summer reading. Thanks- > >-Natalie Adams ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] free scores and a mystery hornist
If you click in the upper right on the picture of the British and US
flag, you can then read the site in English.
Timothy A. Johnson
Northwestern College
St. Paul, Minnesota
http://tajohnson.org
-Original Message-
From: David Goldberg
Sent: Sunday, May 27, 2007 1:04 AM
To: The Horn List
Subject: [Hornlist] free scores and a mystery hornist
I stumbled on this website - it has lots of free sheet music
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But - sacre bleu! - it is in French.
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http://www.free-scores.com/
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{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
___
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[Hornlist] WORST Arrangements?
This may not be the WORST - but I find the transcription of the "Ballet of the Chicks in Their Shells" from Mussorgsky's Pictures at an Exhibition - as arranged for the Philip Jones Brass Ensemble to be particularly dissatisfying. I also heard a band arrangement by J. Boyd, played last month by the University of Minnesota Wind Ensemble - a stunning performance, but the "Bydlo" section seemed all wrong. It gave the horns the melody (correcting Ravel's single mistake), but it started forte and way too fast - I thought it sounded more like a picture of war elephants than an oxcart. Surely, that wasn't Craig Kirchhoff's fault? Timothy A. Johnson Northwestern College St. Paul, Minnesota http://tajohnson.org -Original Message- Bill Hollin: The "worst" arrangement of any kind I have ever had the MISfortune to play is the Band score (Leidzen?) of Schubert's Unfinished. I have never come across ANYthing that transcribes worse for Band than this. I'm sure many of you have your own favorite "WORSTS". This might make a fun list/thread. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Beyond Belief
Dear Hans, You are, of course, entirely correct, and will get no argument from me. As my response to the comment about belief and the placebo effect was toungue-in-cheek, I did not fully develop my idea. I intended, though perhaps too subtly, to point out the dual sides of the practice coin - quantity and quality. I assure you I have, in collaboration with my teacher, developed a pattern of practice very much in keeping with your recommendations. Mindless repetition has little value - something I am aggressively working to teach my boys, one of whom plays Horn, and the other trumpet. If I don't, they tend to play through their lesson material and then wonder what to do with the other 20 minutes of their daily 30 minute practice assignment. They still think I am crazy when I tell them that if they really focused on their work intelligently, they could practice for an hour and not feel like they were done (though the 14 year old Horn player is starting to catch on). They are both getting professional lessons - something I never had the opportunity when I was growing up (well - my band instructors were professional - but not Horn players - and with minimal resources to work with - they did their best). The "boring factor" for the boys is not from lack of material, but as yet undeveloped musical imagination. Still - there is no way I can get an effective, intelligent, targeted practice in, without a commitment to the time needed to do it. And it isn't enough to do once in a while - It really has to be almost daily (Oh, if only I were wealthy enough that I didn't have to pay the bills with a non-horn playing job). Skills and patterns get ingrained and reinforced by repetition. The lip has more strength and endurance by giving it long workouts. And tone improves as I no longer have to consciously think about the mechanics of producing it. Have I arrived? No! In fact, the further I go, the more I realize just how far I have to go. But I continue to make progress. On a nearly unrelated note, I am anticipating the experience tonight of listening to one of the world's leading orchestras play Mahler 6! Timothy A. Johnson Campus Technologies Northwestern College St. Paul, Minnesota http://tajohnson.org -Original Message- From: hans Sent: Friday, October 27, 2006 12:56 AM To: 'The Horn List' Subject: RE: [Hornlist] Beyond Belief Were you right as believing "lots of time practising" woulds make a better player? No, you were not right, as this requires the right way of practising. This method of hammering in things, is useless, absolutely useless. But just hammering in pieces, if things (technique) are not prepared yet, off course, this consumes a lot of time & energy. And there is no placebo as a substitute. Clever practising is less time consuming, less boring, less tiring. And it can enrich otherwise wasted boring time. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Beyond Belief
I am so disillusioned. I used to believe that lots of time practicing would make me a better player. Now that I know it's just a placebo effect I wonder what I might have missed had I spent the time sitting in front of the TV instead of practicing. Come to think of it, my 11 and 14 year old sons don't seem to hold a strong belief that a lot of practicing will help them much. Maybe I should force them to practice for hours a day and see if they fail to improve. Since there are two of them, would that count as a double blind experiment? Or maybe it is just the cold weather here in Minnesota. All those trips to band practice in the winter have already cryogenically altered my horn. Timothy A. Johnson Campus Technologies Northwestern College St. Paul, Minnesota http://tajohnson.org -Original Message- From: Bill Gross Sent: Wednesday, October 25, 2006 6:35 PM To: 'The Horn List' Subject: RE: [Hornlist] cryo a horn Human subjective nature is the bane of a lot of experiments. This has lead to the development of blind and double blind experiments. Things set up to eliminate the bias. Until that happens believing the cryo-treating a horn works is just that, a belief. Many folks accomplish a lot of things on belief alone. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
