Re: [Hornlist] low horn solo

[KendallBetts]

 
Nielsen - Canto Serioso
 
Neuling - Bagatelle
 
Bach/Hoss - Cello Suites
 
KB
 
In a message dated 1/11/2007 10:00:36 PM Eastern Standard Time,  
[EMAIL PROTECTED] writes:

I am a  college student and was looking for a low horn solo. By that I do NOT 
mean one  that is just a bunch of bass clef stuff (the hole time), but for 
one who has  facilty in the low range and would like it to show off that 
quality. I want to  use it for a masterclass, and wish it to be one that is 
performable at one.  

thanks justin.





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[Hornlist] KENDALL BETTS HORN CAMP 2007

[KendallBetts]

 
THIRTEENTH ANNUAL KENDALL BETTS HORN CAMP  
CAMP OGONTZ 
LYMAN, NEW HAMPSHIRE 
JUNE 9 - 24, 2007
 
 
_www.horncamp.org_ (http://www.horncamp.org) 

UNIQUE SEMINAR AND RETREAT  
STUDY, PERFORM AND HAVE FUN FOR ONE  WEEK OR TWO
IN THE BEAUTIFUL WHITE MOUNTAINS OF NEW HAMPSHIRE 

INTENSE  DAILY SCHEDULE  
CURRICULUM TAILORED TO THE INDIVIDUAL  PERFORMER 

FUNDAMENTALS, TECHNIQUE AND MUSICIANSHIP  
SOLO REPERTOIRE AND RECITAL  PREPARATION  
ORCHESTRAL REPERTOIRE AND AUDITION  PREPARATION  
PRIVATE LESSONS AND MASTER CLASSES  
PUBLIC RECITALS AND ENSEMBLE CONCERTS  
2007 FACULTY TO INCLUDE:   
JEFFREY AGRELL,  University of Iowa  
HERMANN BAUMANN,  Soloist  
KENDALL BETTS,  Minnesota Orchestra, ret.  
LIN FOULK,  Western Michigan University  
RANDY GARDNER,  Philadelphia Orchestra, ret.  
LOWELL GREER,  Soloist  
MICHAEL  HATFIELD, Indiana University, emeritus  
DOUGLAS HILL,  University of Wisconsin-Madison 
RICHARD MACKEY,  Boston Symphony Orchestra, ret.  
ABBY MAYER,  Mercy College  
JESSE McCORMICK,  Cleveland Orchestra  
BERNHARD SCULLY,  Canadian Brass  
EDWIN THAYER,  National Symphony, ret.  
ARLENE KIES,  Pianist  
MILTON PHIBBS,  Composer in  Residence 

FINE FACILITIES AND GREAT FOOD IN A RUSTIC, IDYLLIC, COUNTRY  SETTING AT 
BEAUTIFUL CAMP OGONTZ 

VERY REASONABLE COST  
ALL HORN PLAYERS AGE 15 AND OLDER ARE  WELCOME TO APPLY: 
AMATEURS, PROFESSIONALS, STUDENTS, EDUCATORS 
SCHOLARSHIPS AWARDED ON A COMPETITIVE  BASIS FOR STUDENTS AGE 15-27 
ENROLLMENT IS LIMITED TO ENSURE  PERSONAL ATTENTION WITH A PARTICIPANT TO 
FACULTY RATIO OF 4:1 
IMPROVE YOUR MUSICIANSHIP!  
ACHIEVE A STANDARD OF EXCELLENCE! 
_www.horncamp.org_ (http://www.horncamp.org)  
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Re: [Hornlist] Happy Holidays

[KendallBetts]

 
In a message dated 12/24/2006 5:08:46 AM Eastern Standard Time,  
[EMAIL PROTECTED] writes:

Additionally, a fiscally successful, personally fulfilling, and   
medically uncomplicated recognition of the generally accepted   
calendar year 2006, 


Duoh, Wendell, it's gonna be 2007 but thanks for the good wishes  anyway!
 
LB
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Lawson Brass Instruments (was Re: [Hornlist] Conn Rose Brass)

[KendallBetts]

 
Hello All,
 
Yes, I now own LBI and we will be moving to NH when my new staff are  trained 
by Walter, Bruce and Paul.  They will continue to work as  consultants well 
into the future.  Walter will continue to make mouthpieces  as long as he wants 
to.  All current products and services are still  available and will be in 
the future. Some new products are in the works.   Details on those when they 
are 
ready.
 
I'm planning to be at NE IHS Workshop at Mansfield, PA in March with a  
display.  I may try to make some of the other regional workshops if  possible 
and I 
am planning to be in Denver in '08 assuming the roads are open by  then.
 
Please write or call if you have questions or interest in our  products.  
More info at _www.lawsonhorns.com_ (http://www.lawsonhorns.com)  .
 
Thank you and all best wishes,
 
Kendall Betts
 
In a message dated 12/21/2006 7:15:16 PM Eastern Standard Time,  
[EMAIL PROTECTED] writes:

In a  message dated 12/20/2006 6:26:40 PM Eastern Standard Time,   
[EMAIL PROTECTED] writes:

If the  report on Lawson is true,  it will be sad to see the business close.
But  somehow I sense that it  will be in good hands once it moves to  New
Hampshire.   


--
This report is true.  The operation will continue in  Boonsboro for  about 
six 
months, then move to New Hampshire.   The business isn't closing,  it's just 
changing hands.   

Dave Weiner
Brass Arts Unlimited




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[Hornlist] Complete set of Absent Soloist CD

[KendallBetts]

 
Chris,
 
I'll buy them.  We can use them at KBHC!   Send me your  address and I'll 
mail you a check.
 
Thanks!
 
Kendall Betts

In a message dated 12/17/2006 4:20:18 P.M. Eastern Standard Time,  
[EMAIL PROTECTED] writes:

Firstly,  pardon to all for the double post.

I am selling a complete set of  Absent Soloist CDs in New condition.  This 
includes all 4 Mozart horn  concerti and Haydn 1.  
Normally priced at 135 Pounds, I'm selling the  entire set for $130 including 
Express Mail (1-2 days most places.  Always  been 1 day for me).  It would 
make a perfect holiday gift for any horn  studio or enthusiast and will help me 
register for classes!

Please  contact me offlist at [EMAIL PROTECTED] if you are interested.  If i 
 have no interested parties, I will accept near offers   


Thanks,
Chris 

PS if you reply, please remove the  [hornlist] or [horn] from the subject, as 
I have my hornlist mail filtered and  I will be able to reply quicker.




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[Hornlist] Announcement of Interest for High School Seniors

[KendallBetts]

The University of New Hampshire  Department of Music 
announces  the 

2007  UNH Young Artist Scholarship 
for horn, violin, viola, oboe, bassoon  
February 24, 2007 

SCHOLARSHIP AWARD 
Non-resident - $50,000 tuition scholarship offered  over 4 years* 
($12,500 per year for tuition)  
Resident - $28,000 tuition  offered over 4 years* 
($7,000 per year for tuition)  

ELIGIBILITY REQUIREMENTS  
The  scholarship competition Is open  to high school seniors planning to 
major in music and will be held at the  
Paul  Creative Arts Center. University of New Hampshlre,  Durham, NH on 
February 24, 2007. 
Call 603-862-2418. or  e-mail  [EMAIL PROTECTED] 
(mailto:[EMAIL PROTECTED])   to schedule.
This competition  will take the place of the regular entrance  audition.   

REGISTRATION DEADLINE 
February  1, 2007 
The  contestant must submit the undergraduate application to the University 
Admissions Office  before the 
February 1, 2007 deadline 

AUDITION REQUIREMENTS  

Horn: First movement of Strauss’ First  Horn Concerto. accompanied and first 
movement of any one of Mozart’s four horn  concertos, unaccompanied. 
Violin: First movement, with cadenza of  Mozart’s Concerto in D, K.218,  
accompanied, and any two movements from a Bach solo sonata or partita,  
unaccompanied. 
Viola: A movement of Schubert’s Arpeggione Sonata. Accompanied, and any  two 
movements from a Bach suite, unaccompanied. 
Oboe: First movement of Mozart’s Concerto in C, K.314, accompanied, and  one 
of Barret’s Fifteen Grand  Studies. 
Bassoon: Bourdeau’s Premier Solo,accompanied, and a choice  of the 3rd 
movement of Mozart’s Concerto in Bb, K.491 or the  2nd movement of Telemann’s 
Sonata in F minor,  unaccompanied. 

In addition to the requirements  listed above, you may be asked to 
demonstrate major scales and sight reading. A  written music theory test will 
be 
administered as part of the audition process. 
An  accompanist will he provided for the required pieces but competitors may  
bring their own if preferred. 
One winner will be chosen from the  competition. Should the committee 
consider none of the candidates to be  meritorious, a “no prize” decision will 
be 
rendered. All competitors will be considered  for other music  scholarship  
opportunities.  *Awards will be applied to tuition  only.  The total of other  
tuition scholarship (University merit awards and/or Smyth Fund)  and the music 
tuition scholarship cannot exceed the cost of tuition.  Scholarships will not 
be 
awarded  until the competitor has been admitted to the University. 
Regular audition  dates are Dec. I, 2006; Jan. 27; Feb. 16. 17. and 19, 2007. 
(There are  scholarships available for other instruments and voice.  Please 
schedule an  audition.)
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Re: [Hornlist] Leadpipes

[KendallBetts]

Jim McDermott writes:

I'm just  curious, from all of the vast experience on this list, what 
improved  playing characteristics could I expect from installing a custom 
leadpipe  on my early Texas 8D?  It plays well now, so what would  change?
With Lawson FB210.125 you could expect: more centeredness, better  
projection, better in tune Bb horn especially in upper register, quicker  
response, 
easier slurs, easier staccato.  This is all assuming the valves  are tight and 
the 
horn is in overall good condition.  If the valves are  leaking, a leadpipe 
makes for little or no improvement so they should be rebuilt  before trying 
pipes.
 
KB
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[Hornlist] Leadpipes (was French Besson Trumpets)

[KendallBetts]

 
Hello Dave and Listers:
 
All true what you said about hours and hours of design and  testing but I 
think your description of the manufacturing of a pipe is a  bit simplistic.  
Since I'm working on a batch of pipes, learning to  make them right, I'll list 
details and approximate times so the folks  will know.
 
Cut and heat treat approx. 2' of tubing - 2  secs. to cut, 1 hour or more 
to heat treat in furnace.
Step end of pipe and rough step taper pipe on  hand press - 10 min.
Soap mandrel and pipe, screw mandrel on  hydraulic press - 30 seconds
Draw pipe - 30  seconds
Remove pipe from mandrel, remove mandrel from  press, clean both - 1 min.
Heat treat pipe - 1 hour or  so
Cool pipe, heat pitch and fill pipe, cool again -  30 min.
Cut bending block from wood and finish edges smooth  - 15 min
Measure precisely and cut receiver end of pipe  exactly so it plays right 
when finished  - 2 min (measuring precisely is a small step  omitted by 
most manufacturers).
Bend pipe - 30 seconds
Get wrinkles in pipe, heat, remove pitch,  throw in trash - 2 min
Swear like a sailor, treat cuts, burns, broken  fingernails, etc. - 
another 5 min or so
Start over at top of list - 3 hours, 2  secs.
Get good bend this time, remove pitch, 2 min.
Make cap - first 7 steps above  without rough step taper plus bead end on 
lathe - 2 hrs., 50  min., 2 sec.
Make slide connector - inner and outer  straight tube - cut, bead on 
lathe - 5 min
Make cap ferrule cut and bead on  lathe - 2 min.
Cut blank from sheet metal, heat treat, press,  grind, shape and finish 
hand guard - 15 min.
Solder parts together, stamp name and  number - 10 min or so
Clean, buff and polish - 30 min. or  more.  If doing nickel silver, add 
some time for polishing.
 
Now, these are all the processes, and you make parts like caps, ferrules,  
slide receivers in batches.  If you have all your parts made, cleaned and  
ready 
to go, it is still at least an hour solid time from start  (bending) to 
finish (assembly and buffing) to make a finished pipe if nothing  goes wrong.
 
So now you have a very good idea of what you are paying for in a custom  
leadpipe.  And what is worth in order to play better?
 
Kendall Betts
Apprentice Horn Maker
   
 
In a message dated 11/3/2006 10:55:02 P.M. Eastern Standard Time,  
[EMAIL PROTECTED] writes:

In a  message dated 11/3/2006 12:44:56 PM Eastern Standard Time,  
[EMAIL PROTECTED] writes:
I would translate "both hills and sips in  them" as hills and dips along the
taper, that is, the taper never  decreasing, but sometimes increasing faster.
Put a straight edge along it,  and you'll see hills and dips.
--
You're right, in that this is the only  interpretation of the story that 
makes 
any sense.  It reminds me of a  story which Walt Lawson told me (I'll leave 
out details and names) about a  suggestion to make a leadpipe with a straight 
taper.  Walter had to  point out that this had been proven to be a poor 
design for 
a  horn.

When you think about it, there is infinite variation in possible  leadpipe 
designs, but only a very few actually work well.  That's why  makers get a 
lot of 
money for good pipes.  They put a lot of work  into the design.  I've seen 
leadpipes being made.  It takes only  a few minutes of actual labor to draw a 
pipe. 
But only think of the  hundreds of hours it takes to design the pipe, to 
install and maintain the  machinery, and then to test and prove the pipe!

Dave Weiner
Brass  Arts Unlimited.




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[Hornlist] A Double Dactyl

[KendallBetts]

Clamidy Clamity,
I. M. Gestopftmitscheist
told you to  practice
your Kopprasch today.

Instead you did excerpts,
concertos and Alphonse 
and so you still  sound like
a moose when you play.
 
KB
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RE: Miking was RE: [Hornlist] Haydn/Dorati Hornists

[KendallBetts]

 
Jeremy,
 
Sorry, you missed my point, and I did not take it personally at all as  I did 
get paid union scale!  This was an "experimental" session  in quad.  They 
must have had 72 tracks and mikes to match.  The year  was about 1978 or 79.  
There were lights on our mikes, and they were  OFF!  I looked up the recording, 
it is re-released on CD now, Sony SMK  45844, Boulez conducting Varese w/NYPhil 
and other groups.  This was the  old crew from CBS, Andy Kazdin, Bud Graham, 
etc.  All good producers,  engineers, etc.  I worked with them a lot in 
Phila., Marlboro and  NYC.  I just thought it was really funny!  We all did.  
As to  
direct miking of horns, I agree with you.  That day, the mikes were pointed  
at the wall behind us, as I recall, and were above our heads.  Andy Kazdin,  
and his buddy, John McClure, liked multi channel mixing in big, reverberant  
rooms.  It was not unusual for them to mike the horn solos with a direct  mike 
and mix it in with the indirect sound for more presence.  In small  commercial 
studios, the good engineers always miked horns indirect, the bad ones  
directly.  
 
As to MN Beethoven 5 recording, this was done after I left the orchestra so  
I have no idea who is involved there now.
 
Shooting is too kind.  They should have to listen to their mistakes  cranked 
up to 120 DB and slowly go deaf.  Oops, maybe they are deaf  already?   Yeah, 
but poison them slowly instead of shooting.
 
KB
 
In a message dated 7/14/2006 1:02:25 P.M. Eastern Daylight Time,  
[EMAIL PROTECTED] writes:

message:  15
date: Fri, 14 Jul 2006 11:01:37 -0400
from: "Jeremy Cucco"  <[EMAIL PROTECTED]>
subject: RE: Miking was RE: [Hornlist]  Haydn/Dorati Hornists 

Good stuff!

Kendall - 

I wouldn't  take it too personally for a couple of reasons.

1 - many (if not most)  mics don't have a light on them.  It's quite
possible they were using  one type (with lights) for other parts of the
orchestra and a specific type  (without lights) for the horns.  I often
use different mics to get  different parts of the orchestra.  Clarinets
and trumpets sound great  through ribbon mics (no lights) and horns and
bones sound good through tube  mics (some have lights.)

2 - horns in general when direct mic'ed sound  like poop!  Perhaps they
realized this and simply turned the mics off  after the fact.  

Paul - 

I feel for you.  This had to  be an insane group of sessions!  The horn
just sounds crappy when a  mic is shoved up the bell!  Of course they
weren't getting a good  sound from it.  Sometimes I really feel like some
sound engineers need  to be shot!  


FWIW, I'm writing an article on micing and  recording the orchestra.  I
am going to try to excerpt the part about  the horns and see if the horn
call will publish it.  It should be done  in a month or so.  (It's
long!!!  I'll need to do some judicious  cutting!)

J.

PS - 

Kendall - Do you recall who did your  recording (MO's) of Beethoven 5?
The disc is great but for some reason the  engineer chose to use a rather
fake sounding reverb processor at the end of  the tracks.  Another
candidate for someone to get  shot...


 
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Miking was RE: [Hornlist] Haydn/Dorati Hornists

[KendallBetts]

 
Very funny Paul!
 
Reminds me of a time many moons ago.  I was playing extra with a top 5  US 
orchestra recording Varese's Arcana in quadrophonic.  The orchestra  was in a 
big circle around the conductor and the nine horns were in a line,  quite far 
away and under a balcony.  We noticed the red lights on the mikes  behind us 
were not on but they were on throughout the rest of the room, a  large, quite 
reverberant ballroom.  The principal thought  something might be wrong so 
during 
a break he went to the booth  and told the engineers.  Their reply was "Yes. 
We know."  Take that  any way you want, I guess.
 
KB
 
PS: I have the recording, which is quite good, and the horns sound  fine.
 
 
 
In a message dated 7/12/2006 1:00:52 P.M. Eastern Daylight Time,  
[EMAIL PROTECTED] writes:

Message  text written by The Horn List
>The anti-humorous thing is it, that we  care most for
blending the sound at best, but studio manager,  recording
technicians, (deaf) conductors, orchestra manager dont  care
except for the budget. <

Dear All

Years ago, I depped  regularly with a (now defunct) broadcasting orchestra=
,
the repertoire  of which was  light music in various forms.  Each player  w=
as
individually miked (they could, and often did, make a special tape  of one=

individual player and then invite that luckless person to join  them in th=
e
box at the end of the day for a 'friendly' chat about the  special tape). =

One of the engineers told me that he always filtered  the sound of the thr=
ee
horns when he was 'in the box' to remove all  the 'French Horn' sound out =
of
it as he reckoned that the tone of our  instrument was "too sombre".  What=

we heard over the air if  listening to a recording on the radio could
sometimes sound like a  peashooter trombone (and believe me, the regular
three horn players there  were superb).

A well known British player (now deceased) started his  distinguished care=
er
in another such orchestra in another British  city.  We were discussing th=
is
one day and he told me that the  first thing that he did when he went in t=
o
work in the morning was to  take off his hat and coat and put them over th=
e
microphone behind his  chair!

Cheers

Paul A. Kampen (W. Yorks  UK)




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[Hornlist] RE: College Ear Training & Sight Singing

[KendallBetts]

 
LOL!!!  I had one at KBHC tell me after I had recommended that he  improve 
his non-existent aural skills that "he didn't need good rhythm  or sight 
reading 
ability because he was a music ed major!  I replied,  "That's great!  You'll 
be like a French teacher who can't speak  French!"  He said, "Oh.  I never 
really thought about it that  way."
 
I am continually appalled by the low level of aural skills in college music  
majors of both disciplines.  I'm also appalled when I ask someone if  they 
passed their ear training courses and they reply "Yes.  I get  A's"   The 
fault, 
I'm afraid, is in what is the generally accepted  standard or lack of it.  I 
have students come to me with MM's in  performance who can't recognize 
intervals or sight read a simple etude like  Kopprasch No. 15 with good rhythm 
and 90% 
of the right notes..  Then, I  also suspect there are people with MA's whose 
grammar sucks and have a  vocabulary under a hundred words.   
 
If the non-sight-readers end up teaching music do the illiterate MA's end  up 
teaching English?  Do we have a "circle of illiteracy", both musical and  
academic?
 
KB
 
 
In a message dated 5/19/2006 1:01:08 P.M. Eastern Daylight Time,  
[EMAIL PROTECTED] writes:

Similarly, I have heard about a clarinet player who didn't think he  needed
to know about anything prior to the classical era, because his  instrument
wasn't invented until then

--Susan  Thompson

Steve Mumford wrote 
It used to be popular  among many of my classmates to say "I don't need
to learn theory, I'm a  performance major".  It's easy to pick that kind of
person out by the  way they play.  

Dave wrote:

We spend several hours a day  doing harmonic and formal analysis of=
everything from Bach chorals and  cello suites to Wagner opera and roman=
tic symphonies -next year is 20th  century harmony and analysis- in addit=
ion to a lot of 4-part embellished  choral writing, and arranging things =
for various  instrumentation.





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[Hornlist] Bach vs. Mozart on a desert isle

[KendallBetts]

 
I dunno Steve, I think my desert island choice would be Prof. IMG doing  
Kopprasch No. 1 or Elvis doing "Hound Dog."  
 
Great music moves the soul, no matter what period it comes from.  I  always 
find the "good stuff" rewarding.  Remember, there is a lot more  bad music than 
there is good!  Bach is probably more "academic" than  Mozart and Mozart is 
probably more "emotional" than Bach. 
 
Now that I think about it, if I could only have ONE piece to listen to on  
the desert isle, I think I'd pick silence.  Only one piece would drive me  nuts 
because there is so much music I like!
 
KB
 
In a message dated 4/11/2006 11:10:07 A.M. Eastern Daylight Time,  
[EMAIL PROTECTED] writes:

I  wrote:

> Mozart  is arguably the greatest composer to ever have  walked 
> the face of this  Earth.  For a musician not to like  Mozart 
> means only that the  musician doesn't understand  Mozart.

to which Kendall Betts said:

> Well, I agree with the  second sentence completely but I think 
> J.S. Bach is arguably the  greatest composer ever.  He broke 
> the fertile ground and  grew  the first crops!  Those seeded 
> everything that has  come since.

and Linda Sherman opined:

> I think it's possible  to admire a composition (or its 
> performance) on technical and  esthetic merits, yet not connect 
> emotionally with the results.   I think that's the response some 
> people, including myself, have to  many of Mozart's works.

I reply:

If asked to answer the  provberial question, "If stranded on a desert island
with recordings of  only one composer (or even with just a single recording),
who/what would it  be?" I would choose Bach, and not Mozart.  My relationship
with Mozart  is something along the lines Linda described, by which I mean
that if I  have a choice of listening, I will choose Bach (the 1955 Glenn
Gould  'Goldberg Variations' if I get only one recording), but if I am  the
performer, I prefer Mozart - if that makes any sense.  I find Bach  rather
academic to perform while I find Mozart demands much more of me as  an artist
and is therefore much more rewarding to perform. 

And to  Wendell Rider, I say, "but you didn't mention Don  Giovanni!"

-S-






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[Hornlist] Mozart

[KendallBetts]

 
Steve wrote:

Mozart  is arguably the greatest composer to ever have walked the face of
this  Earth.  For a musician not to like Mozart means only that the  musician
doesn't understand Mozart.



Well, I agree with the second sentence completely but I think J.S. Bach is  
arguably the greatest composer ever.  He broke the fertile ground and grew  the 
first crops!  Those seeded everything that has come since.
 
KB
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[Hornlist] Piston valves, etc.

[KendallBetts]

 
Not true.  Your 6D had rotor's, didn't it?  8D's had rotors,  too.  By WWII, 
American companies were making rotor valves.  Reynolds,  King and Conn made 
single F's for the military as they were easy to build and  most important, 
cheap to buy.  The Conn 2D, and the early Buescher doubles  used German valves. 
 
This was up until about 1930.  I don't know about  York and King, who made Schmi
dt wraps, also.
 
KB
 
Pete wrote:

Regarding piston valves you are probably correct as nearly all  rotary
valves assemblies were coming from Germany at that time.That included
the early Conn doubles, which used rotary valves except for  the change
valve, which was a piston.




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[Hornlist] Re: The power (or lack of it) of language

[KendallBetts]

 
Ralph wrote:

Old guys  like me lament that the younger generation has no respect for or 
even  knowledge of 
my language as it was taught to me, ignoring that English  used to look and 
sound the way Chaucer wrote it, and that one 
day, English  as I speak it will be as remote and inaccessible to future 
generations as the  Canterbury Tales are to me.


Yeah, same is true of music, too, I'm afraid.
 
KB
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[Hornlist] NY Philharmonic hornists

[KendallBetts]

 
Jimmy Chambers was principal and Joe Singer was associate principal until  
Chambers' early retirement from playing due to health problems.  Singer  then 
became principal until he retired a few years later in 1972.  Joe  Singer 
published a book, Embouchure Building for French Horn, which is a  valuable 
resource.  He began his career as a violist with the Detroit  Symphony as horn 
was his 
second instrument.  He played in the section in  Detroit as an extra in the 
big works.  He then went to the NYP as a violist  and still doubled on horn in 
the big works.  When they had auditions for  assoc. pr., he won and went to 
full-time hornist.  I believe that was in  the early 50's.
 
KB
 
In a message dated 2/4/2006 1:01:20 PM Eastern Standard Time,  
[EMAIL PROTECTED] writes:

Joe  Singer was also a violist. I have seen both Singer and James Chambers  
listed as principal or solo horn during the period mentioned. I don't know  
what the actual organization of the section was but I believe Chambers was  
principal from 1946-1969.

Richard  Smith
www.rgsmithmusic.com


- Original Message -  
From: "Sheldon Kirshner" <[EMAIL PROTECTED]>
To:  <[EMAIL PROTECTED]>; "'The Horn List'"  
Sent: Friday, February 03, 2006 7:06  PM
Subject: RE: [Hornlist] Reminded from the Chicago Horn  Section


And speaking of musical families, just for fun, Joe Singer  was of course
Arnold Jacob's first, I believe, cousin. Now there's the  start of a musical
family reunion. And talk about covering the parts,  Arnold Jacob's mother was
a pianist and when Jacobs auditioned at Curtis,  when he was about 13, he
played the Carnival of Venice on the Tuba, since  he had earlier won a cornet
playing it on the trumpet. I confess I don't  know what else Singer could
play, but probably  something.

Shel

-Original Message-
From:  [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED]  On Behalf Of
Carl Bangs
Sent: Friday, February 03, 2006 6:08 PM
To:  The Horn List
Subject: Re: [Hornlist] Reminded from the Chicago Horn  Section

Adam Heuston wrote:

>Yeah, that whole thing about it  reminded me. Does anyone know who the
principle horn player of the New York  Philharmonic was in the mid-60s?
>
>
>

Joe  Singer

>-
>
>
>
>

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End  of Horn Digest, Vol 38, Issue  4
***




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[Hornlist] Re: Conn vs. Yamaha vs. Hoyer, etc.

[KendallBetts]

 
Well, I'm flattered but I have not heard from Herr Meinl.  I will  admit that 
the last Hoyer I tried was at KBHC last June.  I'm not sure when  it was 
made.  The other's I tried were early ones, I think.  As  to prices, here are 
today's prices at The Brasswind and the Woodwind of South  Bend IN:
 
Conn 8D - $3,079

Yamaha 886II N - $2,957

Holton 179,  188 - $2,979

Hoyer 6802 - $3,145
 
These are all fixed bell, NS, string linkage horns, so actually the Hoyer  is 
the most expensive of its peers.  The Holton Merker 189 comes in at  $3,499 
so a bit more money.
 
As to Lawsons, yes the intonation is superior, and so is everything else  
about them.  They also cost a lot more money, and I was not including them,  
certainly, in this group of instruments.
 
I stick by my original recommendation: the Yamaha 668II is the best player  
and the best value of this group.
 
KB
 
 
 

from:  "Pandolfi, Orlando" <[EMAIL PROTECTED]>
subject: RE: [Hornlist]  Re: Conn vs. Yamaha vs. Hoyer, etc.

That was my FIRST impression of the  Hoyers when they first came out.
The recent ones, however are FAR superior,  as the company has listened
very closely to the input of a number of young  and older players alike.
I am quite sure Gerhard Meinl, the new owner of  the Hoyer company would
love to get Kendall's input regarding the recent  offerings of the 8D /
Kruspe copy. And BTW, the 6800 series Hoyer is  actually less expensive
than the 668-II.

Still, none are as in tune  as our Lawson horns...agreed Mr. Betts?

Orlando  Pandolfi

-Original Message-
From:  [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED]  On =
Behalf
Of [EMAIL PROTECTED]
Sent: Monday, January 30, 2006  2:52 PM
To: horn@music.memphis.edu
Subject: [Hornlist] Re: Conn vs.  Yamaha vs. Hoyer, etc.

Given a choice, I'd take the Yamaha 668II.   The best Kruspe  Horner
clone on=20
the market today.  The  Hoyer is a good copy of  the 8D but is just that,
a=20
copy.   It has all the old faults most notably  the intonation,
especially in  the=20
upper register.  The current Conn 8D  is actually a King  in Conn
clothing.  N
ot much to rave about  there.  The  9D is also crap, IMHO, as just a
funny=20
hybrid done as  a  marketing gimmick.  The 10D, actually a 6D wrapped up
like  a=20
Geyer, is  their best player now.  The 11D is a funny  hybrid, like the
9D.   The=20
Yamaha has a good scale and  response, nice but not particularly
distinctive =20
sound, is well made  and at a street price under the Conn or the Hoyer, a

bargain to  boot!  Don't rule out the Holton Merkermatics, either, in
this  price=20
range.  I would consider those over the current Conns  and  Hoyers.
=20
KB=20




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[Hornlist] Re: Conn vs. Yamaha vs. Hoyer, etc.

[KendallBetts]

Given a choice, I'd take the Yamaha 668II.  The best Kruspe  Horner clone on 
the market today.  The Hoyer is a good copy of  the 8D but is just that, a 
copy.  It has all the old faults most notably  the intonation, especially in 
the 
upper register.  The current Conn 8D  is actually a King in Conn clothing.  N
ot much to rave about  there.  The 9D is also crap, IMHO, as just a funny 
hybrid done as  a marketing gimmick.  The 10D, actually a 6D wrapped up like a 
Geyer, is  their best player now.  The 11D is a funny hybrid, like the 9D.   
The 
Yamaha has a good scale and response, nice but not particularly distinctive  
sound, is well made and at a street price under the Conn or the Hoyer, a  
bargain to boot!  Don't rule out the Holton Merkermatics, either, in  this 
price 
range.  I would consider those over the current Conns and  Hoyers.
 
KB 
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[Hornlist] Re:Tuckwell's Paxman / Prof. G.'s tuben

[KendallBetts]

 
For the record, the Paxman in question here was an F alto-Bb soprano double  
horn.  Paxman made the one for BT to use on the Zelenka recordings with  Bobby 
Routch on 2nd.  He did return the horn after the sessions.  I  don't know if 
the "Don't want it, won't buy it" story is true but he told me  that it was 
good for that repertoire.
 
Paxman's Bb-Bbsoprano model has been in their catalogue for many years and  I 
have known some good players who own(ed) them including Bobby Routch, Herb  
Winslow and Chuck Kavalovski.  
 
Alexander had an F alto-Bb soprano full double in their catalogue for a  
while but I never saw one "in the brass."
 
My teacher,  Prof. I.M. Gestopftmitscheist, has recently discovered  that the 
missnamed "Wagner Tube" (which he had discoverd earlier should actually  be 
called the "Mozart Tube" since Mozart did write a "hand tube" concerto, later  
reworked for the bassoon that KBHCer's have heard him perform on occasion at  
camp on his right-handed-Eb-Wagner-Tube) actually has it's roots in the 
baroque  era and was known as the "Tube da caccia."  Hand stopping was not 
known on  
this instrument in the baroque era as it did not start until the later  
classical era when the food got better and people grew bigger and had longer  
arms. 
 The Prof. has aquired a four-valve model, previously owned by Paul  Navarro 
and the USC marching band, which he has dubbed, appropriately I  think, the 
"Telemann Tube."  This unusual instrument is pitched  in F (or E or even Eb if 
you pull some slides) and has all the notes  on it from A to F.  He will be 
perforiming baroque masterpieces on  this instrument at KBHC 2006 which should 
result in a revival or even a revile  of interest in it.  The good Prof. G. 
calls these sort of studies of the  history of instruments "hornography" but 
did 
not get a trademark due to  mispelling it on the application.
 
Does anyone know if it is true that the first F alto horn was invented 15  
minutes after the world premiere of the Schumann Konzertstueck?  If so, who  
made it?  Where is it now?  Was it copied?  If so, are the  Chinese selling 
them 
on E-bay and for how much including shipping?  Are  they any good?  Do they 
have a high E on them? Have your students brought  them to lessons when you 
have 
assigned them Brandenburg 1 or 2 and told them  they need a descant horn in 
order to play this repertoire?  Can you  practice M-A up an octave on them to 
improve your upper register the same as you  can practice Kopprasch on a low F 
horn an octave lower to improve your low  register?  
 
KB
_www.horncamp.org_ (http://www.horncamp.org)  
 
In a message dated 1/22/2006 9:04:46 AM Eastern Standard Time,  
[EMAIL PROTECTED] writes:

Date: Sun, 22 Jan 2006 08:33:45 -0500
From: "Ray & Sonja Crenshaw" <[EMAIL PROTECTED]>
Subject:  Tuckwell's Paxman

> This talk of Barry Tuckwell's Holton reminds me  of a story 

> ... (Tuckwell) asked Paxmans to make him a Bb/Bb  soprano horn which they 
> duly did

> The horn did eventually  sell to a Japanese gentleman 


One wonders how many of these Paxman  could've possibly made? I played on
back in the summer of 1981. Louis Stout  Jr. had one and my air force band
horn section convened at Louis Jr's for a  round of quartets and such. That
nasty Schumann piece with all the high  "E"'s was dragged out and, since I
was playing 1st, Louis said, "Hold on a  second, I have something you might
need for this."

Louis came back  holding a cool-looking double horn with nearly non-existent
valve slides on  one side. "It's a Bb-HIGH Bb double."

Well, I had a nice Eb, but I've  never been all that good on E. Probably
'cause I've never had to play one  in public. Anyway, I gave it a shot, but
the E fizzed. Louis said, "Yeah,  that happens when I try it too."

Wonder where the Paxman is now? ...and  Louis?

jrc in SC




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[Hornlist] KENDALL BETTS HORN CAMP for 2006

[KendallBetts]

 
TWELFTH ANNUAL KENDALL BETTS HORN CAMP   

_www.horncamp.org_ 
(res://C:\Program%20Files\America%20Online%209.0b\resource.dll/www.horncamp.org)
 

UNIQUE  SEMINAR AND RETREAT 

STUDY, PERFORM AND HAVE FUN FOR ONE WEEK OR  TWO
IN THE BEAUTIFUL WHITE MOUNTAINS OF NEW HAMPSHIRE 

INTENSE DAILY  SCHEDULE 

CURRICULUM TAILORED TO THE INDIVIDUAL PERFORMER  

FUNDAMENTALS, TECHNIQUE AND MUSICIANSHIP 

SOLO REPERTOIRE AND  RECITAL PREPARATION 

ORCHESTRAL REPERTOIRE AND AUDITION PREPARATION  

PRIVATE LESSONS AND MASTER CLASSES 

PUBLIC RECITALS AND ENSEMBLE  CONCERTS 


2006 FACULTY (subject to change) TO INCLUDE: 
*   JEFFREY AGRELL, University of  Iowa
*   HERMANN BAUMANN, Soloist
*   KENDALL BETTS, University of New  Hampshire, Minnesota Orchestra 
(ret.)
*   LIN FOULK, Western Michigan  University
*   RANDY GARDNER, University of Cincinnati,  Philadelphia Orchestra, 
(ret.)
*   LOWELL GREER, Soloist
*   MICHAEL HATFIELD, Indiana  University
*   SOREN HERMANSSON, University of  Michigan
*   DOUGLAS HILL, University of Wisconsin -  Madison
*   RICHARD MACKEY, Boston Symphony Orchestra  (ret.)
*   ABBY MAYER, Mercy  College
*   BERNHARD SCULLY, Canadian  Brass
*   EDWIN THAYER, National Symphony Orchestra  (ret.)
*   MILTON PHIBBS, Composer in  Residence
*   PROF. I.M. GESTOPFTMITSCHEIST, Decomposer  in Residence


FINE FACILITIES AND GREAT FOOD IN A  RUSTIC, IDYLLIC, COUNTRY SETTING AT 
BEAUTIFUL CAMP OGONTZ 

VERY  REASONABLE COST 

ALL HORNPLAYERS AGE 15 AND OLDER ARE WELCOME TO APPLY:  
AMATEURS, PROFESSIONALS, STUDENTS, EDUCATORS 
A NUMBER OF SCHOLARSHIPS ARE AVAILABLE ON A COMPETITIVE  BASIS FOR STUDENTS 
AGE 15 TO 28

ENROLLMENT IS LIMITED TO ENSURE PERSONAL  ATTENTION WITH A PARTICIPANT TO 
FACULTY RATIO OF 4:1

IMPROVE YOUR  MUSICIANSHIP! 

ACHIEVE A STANDARD OF EXCELLENCE! 
FOR DETAILED INFORMATION ON THE PROGRAM, APPLICATION  PROCEDURES AND 
SCHOLARSHIPS, PLEASE VISIT: 
_www.horncamp.org_ (http://www.horncamp.org/)  
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[Hornlist] RE: Sound/Style etc.

[KendallBetts]

I can only venture a guess but I would have to say it was too  early.  Also, 
Mahler was in NY for a relatively short time, as I recall, 3  years, maybe?  
Stokowski was in Phila. for a long time and helped to found  Curtis as well.  
Horner taught many fine students at Curtis who went to  many different 
orchestras around the country.  Until Jimmy Chambers in the  late 40's, I 
believe most 
NY players were of the "European" school, i.e.  Bruno Jaenecke played an Alex 
103 and many others liked the Schmidt horns.   Around NYC, there were, and 
still are, two "styles" of playing.  When I was  a free-lancer there, it was 
not 
uncommon for many of us to take whatever color  horn the section leader on 
the gig used.  One time, we all even showed  up with 4 single B Alexanders just 
for "experimental" purposes.  By the  concert, though, it was an Alex on 
first, two Brass Kruspes on 2nd, 3rd, and an  8D on fourth. In Philly in those 
days, was quite different.  Everybody  played NS horns except for maybe 1 or 2 
folks.  That has changed  now.
 
KB
 
 

from: "Bill Gross" <[EMAIL PROTECTED]>
subject: RE:  [Hornlist] Sound/Style etc.

Mr. Betts,

Do you believe that Mahler  influenced this at all when he moved from Vienna
to the NY Symphony?  Or  was that too early in the time line to affect what
we are hearing  today?



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[Hornlist] Sound/Style etc.

[KendallBetts]

 
 
I think the "true American sound" would be that of Anton Horner.   Think 
about this, he had a hand in the invention and propogated the use of  the large 
belled nickel silver horn.  He also worked for a conductor,  Stokowski, who had 
unique and revolutionary ideas about  sound.  Horner's stule really only 
caught on in the US and what  Leonard mentions is more or less correct as even 
Cleveland has a coast line,  though fresh water.  I think Szell was after a 
more 
Viennese sound, though.  Problem is that this has evolved into something it is 
not in many instances  these days as too many players stuff their big mitts 
too far up the  bell.  The "other American" sound the Leonard refers to is 
more, 
 IMO, of the traditional European sound, if there is such a thing, with some  
variances.
 
Hans mentions vowels and languages and this is to be considered.   Vowel 
shape is one very important aspect of tone production and different  languages 
make players hear things differently in music as well.  I have  had success 
playing and teaching a wide open throat syllable in order to get the  player to 
produce the biggest, roundest sound that their aural cavity and  sinuses allows 
them to create.  In this way, you find your best individual  sound.  Then, you 
can play on any equipment you want to properly and really  hear the difference 
between horns, mp's, alloys, etc.  My system seems to  work for most folks, 
though not everyone I have taught at one time or another  uses it exactly.  I 
will note, also, that I have never heard this syllable  used in any language, 
not even Jerseyese. Bright/dark/centered/hollow are  all kind of subjective 
terms, though.  What Hans might write to describe a  type of sound and what I 
would write after hearing the exact same player might  be completely different. 
 
I came from the Horner school and still subscribe  to that but Hans said I 
have a "bright" sound.  Leonard calls it  "dark" which is more of the corrupted 
(muffled) version.  I think  of my sound as "wide," "clear" and "centered."  
Good  oxymoron?
 
Another problem I encounter frequently now amongst players relates to my  
previous post about volume: I hear too many people equating a very loud and  
buzzy FF up close to being good.  it's not any good if it doesn't sound  good 
in 
the hall away from you and good up close as well.  Of course, that  buzz saw, 
or a**tone as I like to call it, doesn't project very well but it  still annoys 
the hell out of most of the folks close to you.  Of course, if  they sound 
like that, then I guess you are ok with it unless you try to play  somewhere 
else.  Funny how many of the conductors running around these days  want that 
type 
of sound.  I guess that makes sense, though, that a**holes  would want to 
hear a**tone!
 
Hans is right about everyone sounding the same!  God forbid that it  ever 
happens!  Personally, I miss the nationalistic sounds of the past as  well as 
the 
diversity we use to have in the US.  I can always pick out  Vienna, though!  
And Hans, they are all sounding the same, very loud, and  attendance is down!  
You are right about interpretation though.  I  don't hear a lot of fine 
interpretations these days but lots of clean technical  performances.  Who 
knows?  
Maybe the audiences really want lots of  vibrato and clams!  I know someone 
very well who can give them that!
 
KB
 
 
 
Mark Seuron wrote:

What is  the difference in the American and the universal sound?  Also   is
the
American sound from Jones, chambers, etc. or Hollywood?   What do  major
American orchestras  play?

Ron

Leonard replied:


Ron,
I have lived in a true cultural backwater for too  many years but the last
time I checked there were 2 "American  Sounds".  In any area that is touched
by salt water a darker 8D sound  is very popular, inland a lighter, more
centered sound, is considered  correct.

Again folks, I am a true isolate and the above may no longer  be true.

LLBrown





Hans replied:

The  difference is the "vowel ouuh" in the sound in general
which is a result of  the language. Even that vowel is not
clean, but distorted. Were it clear  English, it would be
better (See the British School).

Dont attack me  for that, but it is a fact. Italians would
never play with a rather dark  tone as their language is of
the brighter part, so is it with the Japanese.  Germany is
divided, as some prefer to go after the language which  has
quite bright vowels, while others follow the rather dark (or
hollow)  sound concept, if it can be seen as a concept at
all, even it sounds like a  hollow oven pipe. 

The Hollywood players, Chikago school, St.Louis,  Denver,
Bill Capps students & Bill Vermeulens students or  Kendall
Betts can be seen different as they play much brighter
(clear  sound, shiny) than the mass of players in the USA. I
do not see Phil Myers  as belonging to the dark school. These
are just a few samples. Most  soloists anyway exhibit
themselves from the

[Hornlist] Re: Vienna Phil New Year's Concert

[KendallBetts]

 
I recorded the show and finally had a chance to watch.  This was  a great 
concert!  It is always wonderful to hear how great musicians  respond and 
produce 
when given strong, knowledgable leadership.   One of the greatest things 
about the Vienna Philharmonic is the perfect  balance.  You just don't hear 
this 
many places, including some other  so-called "greatest" orchestras.  The brass 
are never blaring, always a  nice sound, like the horns.  Percussion is 
phenominal!  Ever see a  snare drummer in the US (or anywhere) play like 
chamber 
music?  Did you see  the tympanist's and bass drummer's elegant touch and hear 
the warm, supportive  sound?  Do you see anyone wearing earplugs, even those 
sitting directly in  front of brass and drums?  Everyone here now has to wear 
them or go  deaf.  You can't play your best with ear plugs.  That is the main  
reason I "retired" early. Most conductors don't have a clue.  If  anything, 
they 
encourage louder playing from all as the idiots equate volume  with 
excitement.  If you have no ideas, or if you do have one or two and  can't 
express it, 
or just say the same crap over and over again, just tell  the musiciants to 
play louder!  That will get the audience to clap and  maybe even contribute 
money, all 1/4 or 1/3 of the house of them!  Many US orchestras now are closer 
in 
sound to DCI or a heavy  metal band than to real symphony sound.  My advice to 
those of  you who play, keep earplugs handy at all time and use them!
 
Our "business" has seen it's best days, I'm afraid, in the US.  Long  live 
the Vienna Philharmonic!
 
KB
 
Prof. Hans P. wrote:

New Year  Concert 2006:
It was one of the three or four best New Year Concerts  I
listened to (von Karajan & Harnoncourt & Kleiber  perhaps).
Thzey told me they rehearsed very hard with Mariss  Jansons,
even their most familiar pieces. But the orchestra sounded
most  NOBLE. It was very different to other years as it was
not a fun or joyous  concert but a very serious concert with
highest spirit & extreme fine  playing by all groups.




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[Hornlist] Prof. I.M. G. - Part 1

[KendallBetts]

 
OK, since I'm the one who knows him the best, after all, and he was  and 
still is in a way, MY TEACHER, I can tell you what little I know about his  
background.  I can only surmise some of this, and  other stuff is factual, to 
the 
best of my memory but please don't  mistake any of this for the absolute truth 
on the subject. As to Prof. G.'s  name, he does know German, some English and 
Yiddish to a degree, as well as  a smattering of French, Italian, Spanish, 
Latin, Chinese, Japanese and  Texan, but I think it was probably maybe 
mispelled 
by the INS clerk at  Ellis Island when he immigrated.  Also, he worked his 
first gigs in the US  playing horn and reciting poetry, a la Hindemith Althorn 
Sonate but with Bongo  drums added during the poetry, at  Greenwich Village 
coffee shops in  the late 40's-early 50's.  He might have changed it then to a 
more 
easly  remembered stage name so that the audience members would have some 
reason to  return.  
 
A veritable, authentic, legendary performer and teacher of the horn, Prof.  
Ignaz Manfred
Gestopftmitscheist was born at a very early age in the  village of
Schplittenotendorf am Oede, Germany, which is a suburb of Bad  Lippstadt 
which is near
Wein am Rhine.  His mother, Helga  Swarzhertzschlutt Gestopftmitscheist was 
well
known in the musical circles of  the area and had a special place in her 
heart for the many
horn players she  knew.  She was renowned for her kindnesses to all of them,  
especially
those who were touring through the area.  This has  caused some confusion in 
regard to the
identity of Iggy’s father as to  whether it might have been Oscar Franz, 
Franz Strauss,
Franz Oscar, Oscar  Strauss or the immortal Otto Fisch, who was to be the 
professor’s
horn  teacher at the Hochschule fur Musik und Bierbrauen und Wurstmachen von  
Bad
Lippstadt.  The professor claims his father was probably Oscar Franz  but if 
you ever
heard him play, you would realize that it is probably Otto  Fisch as the 
stylistic similarities
of tone production, musicality and  embouchure are more akin to genetic 
mutation than
one of educational  background and musical traditions passed on from teacher 
to student,
though  it has been said that Prof. G. had surpassed his teacher in his 
abilities to  miss
notes both equally well from above and below as well as being able to  play 
most of the
horn solos beautifully with all of the wrong  fingerings.
 
Iggy began his musical studies at the age of 3 when he started lessons on  
the double bass. 
He found the bass to be quite difficult due to its size and  soon switched to 
violin and said
“The violin is a very easy instrument  compared to the double bass because it 
is so much
smaller.  I had no  trouble at all with the violin:  just the bow!”  He then 
took up piano  but
found that to be too cumbersome to transport back and forth to his school  
for rehearsals
as he had become the accompanist for the Kinderchor.  It  was a fateful day 
for the horn
world when his mother took him to a  performance of the Staatsoper Bad 
Lippstadt and he
first heard the sounds of  Otto Fisch performing the famous offstage call 
from Richard
Wanker’s opera,  Siegfried und Godzilla, and little Iggy begged for a horn 
and lessons
from  the master.  As fate had it, the very next day, the famous touring 
virtuoso  of the
time, Franz Oscar, who was a houseguest that night forgot his horn as  he ran 
for the train
that morning so Iggy got it out of the  case and tried his first notes.  It 
was immediatly apparent that he  had a “special gift” as the sounds were the 
most unique ever heard in a  household renowned for its “horniness!”  Ignaz 
auditioned for Prof. Fisch  the next day and was immediately accepted at the 
Hochschule.
 
Prof. Fisch had many students but Iggy was the only one to survive his  
rigorous,
disciplined training in that all the others finally quit playing  after years 
of study of
Kopprasch No. 1.  Iggy did not tire in his  relentless pursuit of perfection 
of this etude
over his 15 years of study at  the Hochschule and he continues that pursuit 
to this day!  He
did  finally graduate and found employment, winning an audition for the great 
 conductor
Fritz von Errantschtich and served as Principal 8th  horn and Principal 4th 
Wagner Tuber of the  Schplittenotendorf am Oedland  Staatsoper und 
Philharmoniker until immigrating to the USA at the end of  WWII.  He was still 
being 
pursued by the Allies to stand trial at Nuremburg  (not for his politics but 
for 
his horn playing) so he lived underground in  Greenwich Village in NYC until 
the 
statute of limitations ran out on his crimes  against humanity.  He then 
moved to Exit 2 and pursued a free-lance horn  career in South Jersey.  
Professor 
G. as he liked to be called, was  Principal, or Solo Horn as he insisted, of 
the Mullica Hill Opera, Fourth  Horn of the Paulsboro Chamber Orchestra and he 
was and still is Assistant  Associate Principal Mellophone of the NJ 

[Hornlist] Prof. I.M. G. - Part 2

[KendallBetts]

 
I had to work part-time to earn spending money and to pay for my horn  
lessons.  Vinnie
talked to his dad and he gave us both jobs as Vermin  Control Assistants at 
the landfill. 
This required us to shoot the rats with  .22 caliber rifles as we were not 
old enough yet to
carry handguns.  Sal  would pay us a nickel a rat.  There were also a lot of 
seagulls and  we
were allowed to shoot them too but Sal wouldn't pay us for those as they  
were not as
dangerous and filthy as the rats.  One Saturday morning we  had started work 
at dawn
since Prof. G. was coming to pick us up to go  camping for the weekend and we 
needed $5
each to pay for our expenses.   We needed about fifty more rats to make this 
when we ran
out of  ammunition.  We were just getting out our switchblade knives to 
continue  the job
manually when Prof. G. arrived in his '57 Volkswagen Microbus to pick  us up. 
 We told
him our problem and he said, "Don't vurry.  I vill  take care of dis for 
you".  Expecting
him to get some kind of weapon out  of the bus, we were really surprised when 
he got out
his horn.  He  started to play the Siegfried Long Call.  This startled the 
seagulls into  flying
and the rats were scurrying everywhere from out of their dens.   During the 
soft middle
section, the animals all calmed down and even seemed  to be listening to his 
glorious
sound.  He started the last  section.  It was exciting!  Faster and louder!  
Faster, louder  and
higher!  When he got to the high B flat at the end (remember he  played 
everything in E
flat), he hit the sixth valve and played the loudest,  edgiest and sharpest 
note I have ever
heard on a horn!  All the rats  dropped dead!  Half the seagulls fell from 
the air!  The other
half  flew away in terror never to return!  What a sight!  Sal was really  
mad that he had to
pay us close to $1000 that day.  He even counted the  dead rats twice.  His 
anger was
tempered later when he was awarded the  first ever New Jersey State Cleanest 
Landfill
Award by the newly formed  NJEPA.  He got a free trip to Trenton by limousine 
and
shook hands with  the governor and even got his picture in the Philadelphia 
newspapers. 
Prof.  G. gave us all the money even though he had done the work.  I went to  
Vincent
Dell'Osa's shop and bought a used Kruspe, my first double horn.   Vinnie 
found a nice '53
Cadillac and then rebuilt it with stolen parts so  that it looked like a '59.
 
Prof. G. was really interested in our development as individuals as well as  
horn players. 
He would take us to Philadelphia to show us the culture of the  city and we 
would watch
wrestling, boxing or hockey and then go to Pat's  Steaks for a cheese-wit. 
Once, he even
took us to hear the Philadelphia  Orchestra when Mason Jones gave the North 
American
premiere of the Gliere  Horn Concerto.  That was a glorious performance!  The 
 wonderful
string sound coupled with Mr. Jones' warm horn sound and perfect  execution 
of the solo
part are still vivid in my memory.  I did not  understand Prof. G.'s comments 
in the car
afterward when we were going home  at all, except for his complaints about 
Mr. Jones
having played the piece in  F instead of E flat.  "Dat schtoopid Hungarian 
Conductor! 
Vhy doesn't  someone in dat orchester put him to flight!  Vhy, I vould even 
loan dem  my
horn to do dat!"  I had no clue at the time, but I was learning  another 
important lesson in
professionalism.
 
Prof. G. would also take us camping once a year so that we would learn how  
to appreciate
natural beauty and learn personal independence and  resourcefulness.  We 
would go to E.I.
DuPont State Park in Carney's  Point.  It was a beautiful location and had a 
campground,
nature trails,  a wildlife preserve and a shooting range all with a view of 
the Carney's  Point
Plant where my dad worked as an explosives hazards engineer.  We  would set 
up camp
and then hike the trails and enjoy the peace and quiet  which was only 
occaisionally
interrupted by the explosive testing going on at  my dad's lab.  Then we 
would play horn
ensemble music until our chops  were sore and memorize some excerpts.  At 
night, after
dinner, we would  sit around the campfire and Prof. G. would tell us stories 
about Otto
Fisch,  and stories that Otto Fisch had told him, and stories about putting 
conductors  to
flight, and all sorts of other wonderful insights and observations about  
horn playing and
life in general.  We would also smoke cigarettes, drink  beer, swear a lot 
and tell jokes. 
The real highlight of the trip would be  our instruction at the firing range. 
 We would
shoot all sorts of  weapons including pistols, rifles, and shotguns. Prof. G 
usually had a
nice  assortment of pictures of conductors to use for targets.  What great  
fun!  Then, he
would take his horn out and amaze us with the strength of  his embouchure.  
He would
tape the 6th lever down and play only on the  second bell.  Waiting quietly 
for a bird to fly
by, he would lift the 

[Hornlist] Re: French Nationalistic Sound

[KendallBetts]

 
Actually, this is only part of the story, and a little bit off at  that.  
 
As explained to me by Michel Garcin-Marrou (who was there):
 
French orchestras were losing their recording contracts due to the  
uniqueness of their sound in the WW's and brass.  The producers and  conductors 
were 
deeming them "unmarketable."  Daniel Barenboim brought in  Mike Bloom (who was 
available as he had just left Cleveland) to serve as  co-principal and help 
train the horn players in the Orchestre de  Paris to adopt a more "universal" 
approach.  WW and trumpet players  also adopted more "universal" styles and the 
old schools gradually but  relatively quickly ceased to exist.  Paxman full 
doubles in red brass  became the instrument of choice by many pros though now 
one 
finds many  Alexanders, Holtons, Hoyers, Conns, and E. Schmids as well as 
other  makes being played in France just like everywhere else.
 
Michel was trained on the ascending Selmer double horn (the  French pro's 
choice B.B.) and played with a wide vibrato, a la  Barboteu et al.  He now 
plays 
on a Paxman.  He is also one of the  greatest natural horn players I have ever 
heard. 
 
I find it ironic that the true "French horn" is no longer used in  France!  
It long ago ceased to be used by the British, who gave it  that name in the 
first place!  It is also evident of late that the eastern  Europeans and 
Russians 
are adopting a more "universal" style.  I'm  sure this is "market driven," as 
well.  I don't think the Viennese will  switch as they are managing quite 
well to market what they do and they have  figured out how to sell their 
uniqueness.  In reality though, the Vienna  Philharmonic is an "original 
instruments 
group" in the truest sense.
 
Questions: What would be considered the "true American" style of horn  
playing?  Who uses it these days? 
 
KB
 
In a message dated 12/29/2005 11:21:34 AM Eastern Standard Time,  
[EMAIL PROTECTED] writes:

I  believe it was Indiana Universitie's Myron Bloom who worked in  France
(Orchestre de Paris) and attempted to make the French adopt the big  Conn 8-=
D
horns and sound concept. Before Myron Bloom entered the scen;  it was common
to see ascending horns and hear a much more 'nationalistic'  sound. Now (lik=
e
in many other places), one hears only the same sound  (few exceptions,
Vienna, Russian Orchestras, some Eastern European  orchestras)


Paul Rincon




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[Hornlist] Re: CLAMSAA

[KendallBetts]

"Longhorn" Lenny of Laredo connjuncts:

I wish  to congratulate you on the founding of Clamsaa, a noble concept.
Perhaps  you would consider moving the holiday to some less congested part of
the  year.  My first thought would be Sept. 1st of each year.  That is  the
date of the "ultimate clam" by one of the world's great horn  players.
Now, Leonard, I am the mostestest of appreciations having that you have  made 
the recognizations of the many importances and nobilities (and  please don't 
forgettings or ignorings be making of the ignobilities, either) of  this 
holiday and that perhaps we do all need the break from holidays at this  
conngested 
time of year and that we are probably maybe too many conncurrent  
celebrations to keep the conncentrated trackings of so, yes, Sept. 1st is a  
nice day to 
perhaps have "International Triumph 2 Clam Day" and we will  need other days 
for "Clamdependance Day" and "Clamorial Day" and  "Clamident's Day" and don't 
make the forgetings of our astronomical  days in the universal calender of the 
solar system,   the "Winter Clamstice" and the "Spring Claminox" and we also  
need to have "Clamoween" and please don't make the forgetings  of 
"Clamsgiving" but now, I am having the thinkings that we  really should be 
making EVERY 
day a part of CLAMSAA, since we all do this every  day, without failings, and 
in 
that way, we will have more holidays than  everyone else on the planet put 
together and I am  really, really thinking that the "ultimate clam" is probably 
the  "clam to end all clams" so perhaps making the "penultimate clam" would  
at least give us some hope as then there would only one more clam  making 
comings after that one but I am still having the wonderings of  what this 
"ultimate 
clam" is: the hows, whens, whats, wheres, whos, whys,  and lotsa "you knows" 
about it so please be advisings making here, if you could  be so kind and my 
many thankings in advances to you very much be having and  please be giving all 
details as I am now "Brain Dead" on this subject.


Could you give us tips on how to observe this  holiday?
Now, I don't make the slightestest of thinkings that any of you  need tips 
from me on how to clam, and I do take my role as your leader in  this endeavor 
with the mostest of seriousnesses and enlightenments, so I will do  this, since 
obviously you are all by now in a clamor over this, as you  certainly, 
probably maybe do need to know the explanations of what  the clams you are 
making 
are, exactly in details, so I will make  the sendings of a copy of my famous 
"Lexicon of Clamology" to these  lists as soon as I can make the findings of it 
as I have just recently  moved my many possessionssesses from Exit 2, NJ to Bad 
Corner, NH, as my  parole officer moved and I, of course, had to move along 
with him, and so  I still am having difficulties even finding my Kopprasch Book 
1 in the  many boxes, trunks and U-Hauls and I-Hauls but here is a start, 
right off  the top of my head: so, go get out your Kopprasch Book 1 (if it's 
not  
already on your stand), and make the openings of the pages to No.  1 (if it's 
not already turned to there), and start practicing it nice and slow,  about 
mm 60 to the quarter note, using the F side, ONLY, and if you don't  clam, 
really, really, really good, from either above or below a note, we're  talking 
about a good "schpleah" or "schplooee" at some point before  you get to the 
bottom of the page, then my name isn't Prof. Ignaz Manfred  Gestopftmitscheist 
and 
you are a liar, a cheat and a thief, if not all of  those at once, and maybe 
even a politician or a conductor or even  a two or three or four letter acronym 
and please remember  that CLAMSAA is a celebration of what we all do and love 
best and that it comes  naturally, is nothing to be ashamed of or about, and 
should be done in  public, as often as possible, and with great pride and no 
excuses, and this is a  "No-Brainer!"
 
Kindestest of Seasonings Greetonings and Mostest of Bivalvulations,
 
Prof. I. M.  Gestopftmitscheist
Principal 8th horn and Principal  4th Wagner Tuber,  Schplittenotendorf am 
Oedland Staatsoper und  Philharmoniker, (ret.)
Solo  Horn, Bad Corner Brass Quintet
Hornist,  Broken Winds WW  Quintet
Solo 4th Horn (Leader, call me for bookings),  Smirnoff Horn  Quartet
Assistant Associate Principal Mellophone, NJ  Turnpike Authority Drum  and 
Bugle Corps, "The Phantom Lane Changers"  (summer only)
Hornist as Needed,  L'Ensemble du Chambre des  Palourdes
Principal Natural Horn, I Soloisti di  Feces
Principal  Baroque and Hunting Horn, Camarata Vongoleforte
Adjunct,  Part-time,  Arms-length Professor of Horn and Pest Control, Exit 2 
Community   College, Exit 2, NJ (Ret.)
Adjunct, Part-time, Arms-length Professor of  Horn,  Pest Control and Home 
Petroleum Studies, Northern New Hampshire  Technical  Institute, Bad Corner, 
NH
Author, "The Kopprasch Connection,"  "Kopprasch for  Fun and Profit," 
"Kopprasch for the New Mil

[Hornlist] Re: Critics

[KendallBetts]

Well, there's this guy who plays violin,
 
but he has a bad sound.
 
So, he switches to viola,
 
but he plays out of tune.
 
Then, he takes up the horn,
 
but he misses too many notes.
 
So, he joins the percussion section,
 
but he has bad rhythm.
 
Then, they take one stick away,
 
and make him the conductor,
 
but he can't schmooze.
 
So he becomes a music critic!
 
 
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[Hornlist] re: Airport blues

[KendallBetts]

 
[EMAIL PROTECTED] (mailto:[EMAIL PROTECTED])   asks:

Anybody  know how many terrorists they have caught
carrying French  horns?



None.  The ones I know only carry batons.
 
KB
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[Hornlist] Re: Hey, This Looks Pretty Much Like Alexander 103

[KendallBetts]

I'm sure that Besson gets their "stenciled" horns from Lidl, now for at  
least 10 years.   Hoyer also makes a very good horn with this wrap  (sort of a 
cross between Geyer and Kruspe).  I have seen and played several  owned by 
KBHCers.  They are tighter and brighter than the Geyer wrapped  Hoyers that are 
so 
common.  
 
Hans, Klaus, was Hoyer part of the GDR conglomerate with Kruspe, Knopf and  
Moennig?
 
KB
 
Alan wrote: (snipped)
 
Hans wrote: (snipped)
 
Klaus wrote: (snipped)
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[Hornlist] Buzzing, etc.

[KendallBetts]

 
 
Here is what I sent to the Yahoo list a while back:
 
Steve Colley wrote:

KB,

Write more about freebuzzing when you get a moment. Range?  Tone quality?
Actual exercises...etc.





And several others responded with their opinions and relayed other  opinions.
 
My opinion is that free buzzing and mouthpiece buzzing as practice  aids are 
virtually useless compared to real horn playing, meaning with  the horn.  I 
know of several people who harmed themselves by getting  addicted to free 
buzzing as an integral part of their daily routine.  They  lost control, sound 
quality and dynamic range.  Only after getting back to  "real" practicing did 
things return and progress was made.
 
I do use free buzzing for certain things, though.  One is to  help people 
discover their natural embouchure.  I am constantly amazed at  how many people 
play with horrible contortions to their face.  No, I won't  describe the 
process 
here.  I don't have time and I really can't do it  justice without personal 
contact as it is a highly individualized  endeavor.  If I ever write a book on 
the subject, I'll let you all  know.  Another use is for a short pre-warmup 
just to get the blood  circulating though I find ISO-kinetic lip stretching is 
better for that.  I  talk about that at camp and have a handout on that.  If I 
ever find the  scan of it, maybe I'll put on the KBHC website.  Jimmy Chambers 
use to buzz  into his fingers as a warm up.  I use to do my lip stretches in  
the car on the way to rehearsals and concerts.  Really helped to get warmed  
up during Minnesota winter.
 
As to buzzing the mouthpiece, again I find it useless compared to playing  
the horn.   I've tried it and I've know many brass players who  swore by it and 
did it a lot every day.  It just never really helped me  compared to spending 
that time on real horn playing.
 
I am also not a fan of breathing apparati, BERP, etc., but I know  successful 
players who swear by that stuff as well.  I do recommend aerobic  exercise 
and weight training, though I have given up the 16oz. arm lifts as well  as 
carbon monoxide resistance training.
 
These are just my opinions.  Others obviously say that these things  work for 
them and are helpful.  Different strokes, etc.
 
KB
 
PS:  For the record, I can free buzz all over the range and hit a  high C 
with the horn on a table or shelf if I can get the right  mouthpipe angle to 
set 
my chops properly.  I practice most of the time with  my little finger on top 
of the pinky hook with no flippers, duck's feet or  tethers on my horns.  Try 
that to help reduce your mouthpiece pressure and  get away from the "Lefty 
Armstrong" school of  playing.

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[Hornlist] Fwd: The horn on the shelf and other urban legends Re: Lip Buzzing, exercise, e

[KendallBetts]

I wrote this to the other list a few weeks ago.  
 
KB
--- Begin Message ---
 
Steve Colley wrote:

KB,

Write more about freebuzzing when you get a moment. Range?  Tone quality?
Actual exercises...etc.





And several others responded with their opinions and relayed other  opinions.
 
My opinion is that free buzzing and mouthpiece buzzing as practice  aids are 
virtually useless compared to real horn playing, meaning with  the horn.  I 
know of several people who harmed themselves by getting  addicted to free 
buzzing as an integral part of their daily routine.  They  lost control, sound 
quality and dynamic range.  Only after getting back to  "real" practicing did 
things return and progress was made.
 
I do use free buzzing for certain things, though.  One is to  help people 
discover their natural embouchure.  I am constantly amazed at  how many people 
play with horrible contortions to their face.  No, I won't  describe the 
process 
here.  I don't have time and I really can't do it  justice without personal 
contact as it is a highly individualized  endeavor.  If I ever write a book on 
the subject, I'll let you all  know.  Another use is for a short pre-warmup 
just to get the blood  circulating though I find ISO-kinetic lip stretching is 
better for that.  I  talk about that at camp and have a handout on that.  If I 
ever find the  scan of it, maybe I'll put on the KBHC website.  Jimmy Chambers 
use to buzz  into his fingers as a warm up.  I use to do my lip stretches in  
the car on the way to rehearsals and concerts.  Really helped to get warmed  
up during Minnesota winter.
 
As to buzzing the mouthpiece, again I find it useless compared to playing  
the horn.   I've tried it and I've know many brass players who  swore by it and 
did it a lot every day.  It just never really helped me  compared to spending 
that time on real horn playing.
 
I am also not a fan of breathing apparati, BERP, etc., but I know  successful 
players who swear by that stuff as well.  I do recommend aerobic  exercise 
and weight training, though I have given up the 16oz. arm lifts as well  as 
carbon monoxide resistance training.
 
These are just my opinions.  Others obviously say that these things  work for 
them and are helpful.  Different strokes, etc.
 
KB
 
PS:  For the record, I can free buzz all over the range and hit a  high C 
with the horn on a table or shelf if I can get the right  mouthpipe angle to 
set 
my chops properly.  I practice most of the time with  my little finger on top 
of the pinky hook with no flippers, duck's feet or  tethers on my horns.  Try 
that to help reduce your mouthpiece pressure and  get away from the "Lefty 
Armstrong" school of  playing.
--- End Message ---
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[Hornlist] Re: Survey

[KendallBetts]

 
0-32.875 hours per week depending on my workload.
 
KB
 
 
Skippy the Wonder Guy wrote:

Dear  List,
I am doing a statistics for my math class. My topic is practice  habits of 
professional players. If as many teachers or professional  players could let 
me know:
"How many hours per week do you  practice?"
The requirements of the project require the poll to include  fifty people. 
So, I would like to get as many replies as possible. Feel  free to contact me 
privately or on-list.

Thank you very  much
William Foss



Paul Ingraham's advice to young horn  players:
Find a good teacher. Practice diligently. Watch what you say to  your 
colleagues.




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[Hornlist] Upcoming Rebel Baroque Ensemble Concert at UNH

[KendallBetts]

 
I'm sending this to both lists even though it appeared  originally on Memphis.
 
Thanks to Peter Hirsch for the "heads up" on this  group.  They are 
performing at UNH next Monday at 8 PM.  One of the  guest natural horn players 
from 
Germany, Jean-Sebastien Salm, is a KBHC alum  from 2001.  He is an excellent 
player with valves, so I assume he is  even better without them!  Anyway, I'm 
looking forward to the  concert.
 
Here is the link to the UNH Celebrity Series for details  and ticket info:
 
_http://www.unh.edu/celebrity/_ (http://www.unh.edu/celebrity/) 
 
Hope to see you there!
 
Kendall Betts
 
>From the NY Times:
 
November 5, 2005
 
Classical Music Review | Rebel

Celebrating the Horn in Its 'Natural'  State 
By _BERNARD  HOLLAND_ 
(http://query.nytimes.com/search/query?ppds=bylL&v1=BERNARD 
HOLLAND&fdq=19960101&td=sysdate&sort=newest&ac=BERNARD 
HOLLAND&inline=nyt-per) 
 
The immediate ancestors of the modern horn served as a kind of telegraphy,  
sending signals between hunting parties on horseback separated in the  
enthusiasms of the chase. Late in the 17th century, a certain Franz Anton von  
Sporck, 
whose love of killing animals equaled his love of music, influenced the  
transition of this practical instrument into one beautiful for its own sake. A  
generation later, composers found a permanent place for the horn in orchestras  
large and small. 
Two of these composers were Telemann and Bach, the subjects of Rebel's  
period-instrument program at Miller Theater on Wednesday. Two young Germans,  
Wilhelm Bruns and Jean-Sébastien Salm, with their so-called natural horns in  
hand, 
were visitors. By the early 1800's, the horn had grown a set of valves  
enabling it to play just about any note you chose. "Natural" refers to a  
previous 
instrument confined by nature's laws of sound and alterable only by  movement 
of the lips or by putting your fist in the bell opening. 
Even in its current relatively convenient state, the horn is a treacherous  
beast. Accidents and cracked tones tend to arrive as unexpected natural  
disasters, and concert listeners should not judge them too harshly. The  
valveless, 
natural horn is an even more terrifying prospect for modern  performers. It, 
the high-Baroque trumpets made famous by Bach, and the feats  demanded by both 
in 18th-century repertory make you wonder whether little men  from outer space 
- with lips of gold, lungs of iron and nerves of steel - had  landed among 
the Baroque orchestras of the day. 
Mr. Bruns and Mr. Salm did very well in difficult music; utter smoothness of  
execution was neither expected nor achieved. Telemann's F major 
Overture-Suite  captured the outdoor nature of paired horns vividly. More 
familiar was 
Bach's  first "Brandenburg" Concerto, also in F (the key natural to horns). 
Telemann was  all pleasure, the Bach a grittier, tougher piece. 
It was also interesting to hear a Sinfonia in G: Bach borrowing from himself  
and spicing the string sound of the third "Brandenburg" with horns and winds. 
 
Rebel has become a flickering star in New York City's underperforming  
early-music world. Especially helpful among its members were Jörg-Michael  
Schwarz, 
violinist and general overseer on Wednesday; Dongsok Shin, a virtuoso  
harpsichordist in Bach's D major "Brandenburg"; Debra Nagy, a busy and fluent  
oboist; and Matthias Maute, transverse flutist and violist. 

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[Hornlist] Re: "Kruspe" and "Geyer" wraps

[KendallBetts]

 
Here is list of different "wraps" of F-Bb full double horns and the  
manufacturers/assemblers who make/made them.  I don't profess that this  list 
is 
complete, it is off the top of my head at this moment.
 
Traditional Kruspe wrap with or without separate Bb  tuning slide: Kruspe 
(held German patent), Conn, Holton, Reynolds, King,  Yamaha, Hoyer, Moennig, 
Baier, Dressel, Eastman, Atkinson, Willson,  Patterson, Mirafone.
 
Traditional Geyer wrap (some with slight  modifications): Knopf (held 
German patent), Geyer, Alexander 1103/200, Yamaha,  Hoyer, Schmid, Kalison, 
Duerk,  Ganter/Pizka, Berg, Lewis, Hill,  Hatch, DeHaro, Olds, Maxtone, 
Atkinson, 
Holton, Willson, Kuehn.
 
Piston change valve: Schmidt (held German patent),  Kalison, Conn, King, 
York, Orsi, Geyer.
 
Traditional Alexander 103 wrap: Alexander Model  103 (held German 
patent), Boosey and Hawkes, Buescher, Schertzer,  Duerk
 
Conn 6D wrap: Conn, Olds, Buescher, Reynolds, Orsi,  Anborg
 
Wraps unique to the individual maker (some copied  by one or two others): 
Lawson (Yamaha 666), Paxman, Otto, Yamaha 567/667V,  Jiracek, King, 
McCracken, Pintea, Veneklasen, Thein, Alexander 101, Alexander  603.
 
I just listed  66 different horns with 17 different  wraps.  There are 
advantages and disadvantages, depending on who  is opining, on all of them.  
One 
person's BMW is another person's Yugo and  BMW has made a few lemons as well.
 
You've gotten several responses as to generalizations but there are many  
exceptions to those.  I've owned Kruspes with four different bell  sizes in 
three 
different alloys.  They all played and  sounded different.  Holton 177 and 
179 are wrapped the same but play  completely different.  Lawson Fourier and 
Classical models are wrapped the  same but have distinct differences.  I've 
played Geyers that were terrific  and I've played Geyers that sucked.  Same 
with 
8D's.  I worked  with a guy in a big 5 orchestra who had a Kruspe with no 
fourth 
line  D!  No fingering worked.  Great horn except for 1 note!  I had a  Conn 
8D that was converted to all Lawson tapers and bell before they  were making 
everything themselves.  Terrific horn!  I sold it to a  student, now a 
university teacher, in 1982 and he is still using it.  Did  not play like any 
stock 
Conn 8D, or Kruspe, or Holton or any of the above  listed Kruspe wraps.  Played 
a lot like the early Lawsons, and the present  Lawson Fourier, for that 
matter.  The wrap is the least important factor in  a horn.  Way behind the 
tapers, 
bore, valves, alloys, fit and  finish. A good set of tapers will play pretty 
much the same no matter how  you wrap it up. 
 
You can't pigeon hole this stuff.  It's way too  complicated.  And we should 
all be thankful for the amount of  equipment and its variety that is available 
these days.  If you can't find  a good horn to satisfy your needs, it's your 
problem, not the equipment.
 
KB   

Ash  Brown wrote
>
> > I know that this topic comes up every now and  then, but I
> > hope you'll bear with me. What are the  supposed
> > advantages/disadvantages of Kruspe-style and Geyer-style  wraps?
> >
> > Thanks in advanced!

 
 
I am,  however, doing a mini-research
project, of sorts. I am having difficulty  finding information about the
specific wraps other than physical  differences. I've seen mention that each
wrap has its advantages and  disadvantages, but I've not seen any mention on
what these actually might  be.

Thank you  again!




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Re: [Hornlist] horn material

[KendallBetts]

 
Excellent source of info on materials and acoustics:
 
_www.lawsonhorns.com_ (http://www.lawsonhorns.com) 
 
KB
 
 
 
In a message dated 9/27/2005 1:01:42 PM Eastern Daylight Time,  
[EMAIL PROTECTED] writes:

Hello  Trey and Horn List members, Engelbert Schmid has written an 
informative  article on the effect of different bells and alloys that you can 
read on  our web page http://www.osmun.com/prod/Schmid/Schmidbell.htm  In 
this  article you will find some insightful information that explains the  
differences between the different alloys used in horn bells as well as the  
two distinctive methods of forming bells and the effect these have on the  
sound. I hope this is helpful.

Jim Becker
Osmun  Music

http://www.osmun.com (web site)

(781)646-5756  (Phone)
(781)646-2480 (Fax)



- Original Message -  
From: "Adam Heuston" <[EMAIL PROTECTED]>
To: "The Horn  List" 
Sent: Monday, September 26, 2005 7:16  PM
Subject: Re: [Hornlist] horn material


>I don't think there  is a signifigant difference in the metal of the bell, 
>mostly because  I've only played on two different horns so far, the current 
>being an  8D. The 8D sounds a lot better to me than the last horn I had, but 
 
>that could be due to the design in the horns and what I've done with  my 
>horn teacher, since I went through an embouchere change around the  time I 
>switched to the 8D. So I honestly can't really say  much.
>
>
> Trey Johnson <[EMAIL PROTECTED]>  wrote:
> I'm fairly new to this list, so please forgive me if this is a  recycled
> topic. I'm curious to hear members' thoughts on gold brass  vs. yellow 
> brass
> (and nickel silver for that matter) as the  primary material in a horn. 
> What
> kind of difference (if any)  does it make for you. I've heard several
> different thoughts on the  matter, I just want to see if there's any 
> "trend"
> in the  opinions of players. Feel free to respond privately if you'd  like.
>
> Thanks,
> Trey


 
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[Hornlist] Kendall Betts in Recital this Friday

[kendallbetts]

 
For those of you in or near the Adirondack region of upstate New York:

 
>From FIELD and FOREST to CONCERT HALL: A HISTORY of the HORN
 
KENDALL BETTS, horn and commentary
 
CLAIRE BLACK, piano
 
LONG LAKE METHODIST CHURCH, LONG LAKE, NY
FRIDAY, JULY 8, 2005 at 7:30 PM
 
Parable for Solo Horn (1972) Vincent Persichetti
 on Lawson Fourier
Signals: Religious, Military, Domestic and Hunting
 on animal horn and conch shell
Matinee Dans Les Bois Jean-Baptiste de Croze
 on Couesnon Trompe de Chasse
Sonata for Horn and Piano, Op. 17 Ludwig van Beethoven
 on Seraphinoff natural horn
Villanelle for Horn and Piano (1906)  Paul Dukas
 on Hawkes and Sons Cor a Piston
Orchestral Excerpts
 on Wiener Pumpenhorn
Fantasie, Op. 2 Franz Strauss
 on Yamaha 667V
 
intermission
 
Hooray for Hollywood: The Most Heard Instrument in the World!
 on Conn 8D #320440 
Sonata No. 1 for Horn and Piano (1966)  Don Haddad
 on Lawson Fourier
Elegie for Horn and Piano  (1957) Francis Poulenc
 on Lawson Fourier
Morceau de Concert, Op. 94   Camille Saint-Saens
 on Lawson Fourier
 
  
 
 
 
 
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[Hornlist] Kendall Betts Horn Camp - spaces open for week 2, June 19-26

[KendallBetts]

Dear Horn Listers:

I've had some cancellations and I now have three college and/or adult 
openings for KBHC 2005, Week 2, June 19-26.  Please visit our web site, 
www.horncamp.org , for details.  

If you are interested in joining us, please contact me immediately.

Thank you!

Kendall Betts  
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[Hornlist] Re: Ward Fearn

[KendallBetts]

Chris Earnest wrote:
Farkas once mentioned that Ward Fearn replaced him as first in Kansas City 
when he moved to Chicago.  This was of course before Fearn was in 
Philadelphia.

I heard that Fearn once sang La Donna Mobile in a Philly rehearsal when the 
vocal soloist was late or absent.  Apparently he was quite good..
Actually, it was Herb Pierson who replaced Farkas in KC.  Herb played a year 
there and went to Philly as 2nd.  He was drafted into the army in '42 and Ward 
joined Phila. while still a Curtis student.  Herb returned from the war and 
as he put it "gladly" accepted 4th horn even though he could have had his 2nd 
chair back.  He retired in '73 and recently passed on.  One of the great horn 
players and a wonderful man with an incredible sense of humor.  On his KC 
Symphony engagement:  "Well, I was 21 years old and getting ready to graduate 
from 
Curtis.  Had been playing semi-pro ball (Herb was a talented pitcher)at home 
in Trenton during the summers and was offered a contract by the Phillies to 
join their Reading farm club.  $40 a month.  Same week, got offered 1st horn in 
Kansas City.  $60 a month.  Took the symphony job.  Biggest mistake of my 
life."  Herb Pierson was also Jimmy Chambers' first teacher.  ON HORN.  I don't 
think Jimmy played ball!

Ward had a fantastic voice.  He could sing the entire range of the horn using 
his regular voice and his falsetto for the high notes.  He was very insistant 
on developing a good ear by learning solfege. 

As a young student, I was fortunate to hear the Jones/Fearn/Mayer/Pierson 
quartet many times.  Many regarded that section as the best in the business in 
those days.  

KB
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[Hornlist] Re: Ward Fearn

[KendallBetts]

Ward O. Fearn played second horn in the Philadelphia Orchestra, first to 
Jimmy Chambers, later to Mason Jones, from 1942-1965.  He was offered many 1st 
positions in other orchestras but liked what he was doing in Phila. best.  
George 
Szell called him "my favorite hornplayer" and offered him the solo job in 
Cleveland three times!  He was a regular 1st horn with Pablo Casals at the 
Prades 
Festival and later in Puerto Rico.  He played with Anshel Brusilow and the 
Chamber Symphony of Philadelphia for its two year existance from '65-'67 before 
taking the prof. job at the University of South Florida.  He later joined the 
Florida Symphony in Orlando and taught at Rollins College.  He was a graduate 
of the University of Michigan and Curtis and also was a fine jazz clarinetist 
and saxophonist who worked his way through school playing in Big Bands.  He 
taught a Temple Unversity and the Philadelphia Musical Academy (now The 
Pennsylvania Academy of the Arts) and had hundreds, maybe thousands, of private 
students, including Walter Lawson and myself.  TTBOMK, he never taught at 
Peabody. 
Walter said he went to Ward to work on low register, I studied with Ward for 3 
years during high school before Curtis w/Jones.  Other successful students 
that I can think of off-hand are Bill Kuyper (NY Phil), Milt Blalack 
(Cincinnati 
Sym.), Carolyn Blice, Arnold Mascaro and Mark Fischer (Fl. Sym. now Orlando 
Philharmonic) and there are many more.  His strengths as a teacher were sound 
quality, embouchure, phrasing (the best!) and attitude.  I can safely say that 
Ward is the primary reason I was successful in the first place and lasted this 
long in "the business."

He was great musician and a remarkable human being.

Kendall Betts 

Loren Mayhew wrote:
I'm just curious. Would those in the know (Kendall Betts, Walter Lawson?)
care to enlighten us about Mr. Fearn. I think he taught at Peabody and may
have played at Philadelphia. I know he once performed a concert with Mason
Jones, but that is all I know.
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[Hornlist] Re: Holton Farkas Models

[KendallBetts]

Phil Farkas told me that the first design at Holton on which he collaborated 
was to copy his Geyer.  They then decided to go with the then more popular 
Kruspe/Conn 8D wrap and did so with the tapers taken from the Geyer and the 
wrap 
taken from the "Berv" Kruspe wrap (postwar horns with shortened leadpipe and 
added Bb tuning slide) owned by Gene Rittich (Jones-Curtis grad and long-time 
principal in Toronto).  This resulted in the 177 and 178, with the smaller 
bell.  They then used tapers and bell flare measurements from Gene's Kruspe to 
develop the 179 and 180 in order to go head to head with Conn and increase 
sales. 
 

I suppose this is the truth?

KB

 
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[Hornlist] Re: Musician Strikes

[KendallBetts]

Well said and a good one to remember!

KB

Bill Gross wrote:
On "job actions" in general. . . 

I have a good friend, a retired General, who observed that management
usually gets the unions it deserves.  
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[Hornlist] Re:Music for Horn and (selected instrument here)

[KendallBetts]

The Dalley Horn Catalogue is the thing to have these days.   22,500 entries 
from 2 to 18 players (winds, strings, brass and mixed ensembles) plus horn and 
voices both solo and choir.  $20 on CD ROM direct from the author, Nielsen 
Dalley.  Write him directly at [EMAIL PROTECTED] to order.  I would 
recommend this for every serious horn player.

KB

In a message dated 3/22/2005 1:01:23 PM Eastern Standard Time, 
[EMAIL PROTECTED] writes:
Help.  I'm looking for a music database that lists music for ensemble of
horn and various other instruments other than the typical wind quintet, etc.
I've looked at Thompson, King, Southern Music, and JW Pepper and haven't
found a database that you could type in a specific combination of
instruments
and get a list of pieces written for that combo.

For those that are curious, I'm looking for music that would fit various
situations such as my family reunion where we could have oboe, bassoon, and
horn.  Or a church group consisting of horn, violin, and piano.  Or a social
group including horn, cello, piano, and soprano voice.

If any of you want to reply with specific recommendations please be aware
that the music would need to be no more than a moderate level of diffuculty
(good high school or early college level).

Thanks,
David Clarke
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[Hornlist] Re: Horn Digest, Vol 27, Issue 24

[KendallBetts]

I do too.

KB

Hans wrote:
<< D.B. holds the horn to the side for a better
sound projection, not because he plays the hand horn also
(in the demo). If one plays the hand horn, this sidewards
position is not ideal for the use of the hand, as the hand
must be able to move freely & quickly, so not to carry any
weight of the horn, and leaving all the weight to the left
hand. Handhorn playing is much easier if the horn bell
touches the knee or the right lower ribs, so the horn is
suspended by the left hand & the body.

Prof.Chiba in Tokyo plays that like also. Well, he studied
with Dennis Brain privately. Francis Orval keeps the horn
much to the side and so do I. >>
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[Hornlist] Re: Scmid stop arms

[KendallBetts]

In a message dated 3/19/2005 1:00:48 PM Eastern Standard Time, 
[EMAIL PROTECTED] writes:
Unfortunately, there have been no advances in horn design and 
construction since the Beginning of the last century.  Cheaper yes, better no.

- Steve Mumford
Ever heard of Lawson Brass Instruments?

KB
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[Hornlist] Re: Midwest Horn Workshop

[KendallBetts]

Last I heard, Patrick Miles is organizing it for February 24-26, 2006 at 
UW-Stevens Point.  Planned headliners are American Horn Quartet, Tom Varner, 
Lowell Greer and myself.  I'm sure he'll get some PR out on it when things are 
finalized.

KB

In a message dated 3/9/2005 1:00:49 PM Eastern Standard Time, 
[EMAIL PROTECTED] writes:
Has anyone heard anything about the Midwest Horn Workshop?  I went last

year (at Butler University), but I have heard nothing about a 
conference this year.  Does anyone know if there will be one, when,
where . . . 
those kind of things?  Thank you!

Anna Henry


Hi Anna,

 There isn't going to be one this year because nobody wanted to
host it.  I've been trying to convince some of my teacher friends to
host it next year, but so far, no luck.  If anyone knows a Midwestern
Horn professor well enough to just call and make demands, I highly
suggest you try as well.  Statistically speaking, one of us is bound to
succeed.

Stuart

Stuart A. de Haro,
Custom Horn Leadpipes, Brass Repair and Modification
(217) 377-1462
[EMAIL PROTECTED]
http://www.deharohorns.com



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[Hornlist] Re: Actions You've Had to Take During Performances

[KendallBetts]

Here's an old story told to me by trombonist-conductor Henry Charles Smith 
III:

A trombonist in a major opera orchestra gets called for an outside job that 
conflicts and he can't find a sub.  Desperate, he talks to one of the opera 
house janitors about subbing for him.

The janitor keeps saying "No, no, no, I can't play the trombone."  The 
trombonist keeps saying "It's not a problem.  Just dress in my tails, sit there 
and 
wait.  When the other trombonists start playing, put the mouthpiece up to your 
face and move the slide up and down.  Nobody will know the difference."  
Finally convinced, the janitor accepts the gig.

The next day, the trombonist sees the janitor and asks "How'd it go last 
night?"

"Terrible!" replies the janitor.

"Did you wear my tails?"

"Yes."

"Did you sit and wait for the other trombonists to play?"

"Yes."

"Did you put the mouthpiece to you lips and move the slide up and down, up 
and down?"

"Yes."

"Then what on earth went wrong?"

"The other two trombonists were janitors, too!"
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RE: [Hornlist] Horn and High Voice pieces

[KendallBetts]

Hans wrote:
Get a castrate made. It is quite simple, just kicking into
his b...s very hard, the high "d" will be available.


Also for the original version of K'stueck!

KB
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[Hornlist] Re: Re: NHR - a New England Expression

[KendallBetts]

Right on!  SOUTH JERSEY, to be exact, where I studied with my teacher, Prof. 
I.M.G., in beautiful, downtown Exit 2.  He called the night before Halloween 
"Kopprasch No. 1 Night," but I think for him that was every night!

Cheers!

KB
According to the answer given on the website
(http://www.alphadictionary.com/articles/yankeetest.html) The most common
uses are
* I don't use any word for this - This is common throughout most of the U.S=
.
* Devil's night - Very common in Michigan.
* Mischief night - Centered heavily on New York City and New Jersey.
* Cabbage night - Favors Vermont and western Massachusetts.

If the site author did his study correctly, that would have you growing up
in New York City of New Jersey.

-Original Message-
=20

Bill Gross wrote:

What's the night before Halloween called?

* I don't use any word for this
* Devil's night
* Mischief night
* Cabbage night

Mischief night where I grew up.  Where was that?   I live in New England,
now=20
and I don't know what it is called here.

KB
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[Hornlist] Re: NHR - a New England Expression

[KendallBetts]

Bill Gross wrote:

What's the night before Halloween called?

* I don't use any word for this
* Devil's night
* Mischief night
* Cabbage night

Mischief night where I grew up.  Where was that?   I live in New England, now 
and I don't know what it is called here.

KB
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[Hornlist] Re: Works in progress

[KendallBetts]

Actually enjoying having time to practice.  My ears don't ring anymore and my 
lip feels great!   Have done all Kopprasch, both high and low lately, all 
Kling, some Gallay, Gugel, Belloli, now today starting through Verne Reynolds 
48. 
 Also, baroque concertos (will be recording a bunch by the end of the year), 
Mozart concertos, Strauss concertos, Gliere concerto, lots of horn and piano 
stuff as well as horn alone stuff.  No excerpts or orchestra parts (not that I 
practiced that stuff very much, anyway, as that's what rehearsals are for).

KB
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[Hornlist] Sunday Brahms

[KendallBetts]

For those of you in the New England area, I'm doing the Brahms Trio, Op. 40 
tomorrow, Sunday, February 13, 2005 under the auspices of the North Country 
Chamber Players with violinist Curtis MacCumber and pianist Bernard Rose.  3PM, 
Sugar Hill Meeting House, Sugar Hill, NH (Rt. 117, I93 exit 38 or Rt. 302 to 
117, I91 exit 17).  First half of the program has trios by Mozart and Prokofiev 
with cellist Edward Arron.  

If any of you can make it, please say hello!

Thanks!

Kendall Betts
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[Hornlist] Re: Scam test

[KendallBetts]

Hey, I got this one too and the first one you got, word for word, except this 
one said "Good day Kendall Betts."  I wrote back to the first one which horn 
he was inquiring about and he said the Alexander 303.  I don't have an Alex 
for sale.  I wrote back to this one saying "I only accept cash."  I also report 
these idiots to aol as spam.

What is more annoying are the scam email with links to webpages wanting eBay, 
PayPal, or bank information.

Be careful out there!

KB

Ken Pope wrote:
OK, Here's a test!

Dissect the following (seemingly innocuous) email and tell me how you know
it's a scam!

Ken



Good Day Kenneth Pope,  I am Eric Wright I have a

customer  interested in purchasing your items i'll

want you to get back to me with the price,picture and

the present condition of it, thanks i wait your urgent

reply.

Eric.



"Just Put Your Lips Together And Blow"





http://www.poperepair.com  



U.S. Dealer:  Ricco Kuhn, Paxman, and Deitmar Durk

Pope Instrument Repair

80 Wenham Street

Jamaica Plain, MA  02130

617-522-0532
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[Hornlist] Giardinelli C4 or C1

[KendallBetts]

John Stork, no question.

Hoss writes:
Hi List,

I'm looking for the old version C1 or C4 mouthpiece cup.  Does anyone know 
where I can find one?  Either new or used.  Who makes the best copy these days? 
 
If a C1 is not available, what is the closest copy of this mouthpiece and 
where can I buy it?

Thanks for your time,
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[Hornlist] Re: Profound remarks

[KendallBetts]

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


 
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[Hornlist] KENDALL BETTS HORN CAMP for 2005

[KendallBetts]

ELEVENTH ANNUAL KENDALL BETTS HORN CAMP  

www.horncamp.org

UNIQUE SEMINAR AND RETREAT 

STUDY, PERFORM AND HAVE FUN FOR ONE WEEK OR TWO
IN THE BEAUTIFUL WHITE MOUNTAINS OF NEW HAMPSHIRE 

INTENSE DAILY SCHEDULE 

CURRICULUM TAILORED TO THE INDIVIDUAL PERFORMER 

FUNDAMENTALS, TECHNIQUE AND MUSICIANSHIP 

SOLO REPERTOIRE AND RECITAL PREPARATION 

ORCHESTRAL REPERTOIRE AND AUDITION PREPARATION 

PRIVATE LESSONS AND MASTER CLASSES 

PUBLIC RECITALS AND ENSEMBLE CONCERTS 

2005 FACULTY (subject to change) TO INCLUDE:
HERMANN BAUMANN, Soloist
KENDALL BETTS, North Country Chamber Players, Minnesota Orchestra (ret.)
MICHEL GARCIN-MARROU, Orchestre de Paris
LOWELL GREER, Soloist
DON HADDAD, Educator, Composer
MICHAEL HATFIELD, Indiana University
SÖREN HERMANSSON, University of Michigan
DOUGLAS HILL, University of Wisconsin - Madison
W. PETER KURAU, Eastman School of Music, Rochester Philharmonic
RICHARD MACKEY, Boston Symphony Orchestra
ABBY MAYER, Mercy College
BERNHARD SCULLY, Canadian Brass
MILTON PHIBBS, Composer in Residence
FINE FACILITIES AND GREAT FOOD IN A RUSTIC, IDYLLIC, COUNTRY SETTING AT 
BEAUTIFUL CAMP OGONTZ 

VERY REASONABLE COST 

ALL HORNPLAYERS AGE 15 AND OLDER ARE WELCOME TO APPLY: 
AMATEURS, PROFESSIONALS, STUDENTS, EDUCATORS
A NUMBER OF SCHOLARSHIPS ARE AVAILABLE ON A COMPETITIVE BASIS FOR STUDENTS 
AGE 15 TO 28

ENROLLMENT IS LIMITED TO ENSURE PERSONAL ATTENTION WITH A PARTICIPANT TO 
FACULTY RATIO OF 4:1

IMPROVE YOUR MUSICIANSHIP! 

ACHIEVE A STANDARD OF EXCELLENCE!
FOR DETAILED INFORMATION ON THE PROGRAM, APPLICATION PROCEDURES AND 
SCHOLARSHIPS, PLEASE VISIT:
www.horncamp.org 
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[Hornlist] Re: Guns and Horns

[KendallBetts]

Peter H. wrote:
The correct URL is: http://home.earthlink.net/~punto50/HornPistol.jpeg

Anyone recall who the guy in the picture was?

Sorry.

Peter Hirsch


I think that is a very old picture of my teacher, Prof. I.M.G., with his 
Sansone 6 chambered, dual rifled pistol.  He is shooting a "Maestro" right 
between 
the eyes, which is why he is grinning ear to ear.  Obviously, the girl is a 
model or a waitress at Margie's Truck Stop, Motel and Showers at Exit 2, NJ and 
not a real soldier (the nails are the giveaway). She is holding a Smith and 
Wesson model H465D horn.

KB
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[Hornlist] Re: Chambers

[KendallBetts]

Alex wrote:
I'm not sure I trust the accuracy of the Giard or Stork design... noting
that both designs differ greatly from each other, both the cup and the rim.
John Stork has the original Giardinelli molds, cutters and specs.  I would 
trust him for accurate reproductions of any mouthpiece.

KB
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[Hornlist] Re: Chambers

[KendallBetts]

Does anyone know what mouthpiece Chambers used?

Ron
Giardinelli C1

KB
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[Hornlist] Re: Mouthpiece survey clarification

[KendallBetts]

TAKE 2:

Stuart de Haro wrote:
Here is the funniest comment I have received so far:

"I'm glad you made this an anonymous survey.  I wouldn't want any
knowing I play on a Bach."

Please feel free to top that.  I could always use a chuckle.

Hermann Baumann uses a Bach.

KB
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[Hornlist] Fwd: Mouthpiece Survey Clarification

[KendallBetts]

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[Hornlist] Canadian Brass names new hornplayer to group

[KendallBetts]

Hello Hornlisters,

Bernhard Scully has been appointed as the horn player with the Canadian 
Brass.  He starts with them in January.

For more info on Bernhard: http://www.horncamp.org/bs.htm .

As you might surmise, I am a very proud teacher at this point!

Happy Holidays!

KB
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[Hornlist] Paul Eastman Horn

[KendallBetts]

Hello gang,

I have decided to sell the Paul Eastman horn I reviewed here a few months 
back.  If you are interested, please take a look at:

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3767109731&ssPageName=ADME:
B:EF:US:1

Thanks!

KB
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[Hornlist] Re: Doing It For A Living

[KendallBetts]

Alan Cole wrote:
<< Instead of striving to master the instrument & join the musicians union so 
we can make money playing at Carnegie Hall, maybe we ought to be striving 
to join the stangehands union so we can make a fortune working at Carnegie 
Hall.  Check out...

http://www.opinionjournal.com/la/?id=110005902 

Who knew?  >>
I read the article and wrote the following to the WSJ:

<< The following letter has been submitted via the OpinionJournal article 
response feature. Contents of response as follows:
#---

Name: Kendall Betts
E-mail: [EMAIL PROTECTED]
City/State: Sugar Hill, NH
Date: Wed, November 17th, 2004

Subject:
Re: Where Stagehands Clean Up In More Ways Than One

Comment:

Dear Ms. Jepson, 

I enjoyed your article but I would like to point out a statistical error. You 
wrote "Carnegie stagehand and properties manager Dennis O'Connell made 
between $309,000 and $344,000 annually, second only to former executive and 
artistic 
directors Franz Xaver Ohnesorg and the late Robert Harth. That's more than 
some principal players in major symphony orchestras. " As a former principal 
and 
associate principal horn player of several major orchestras, I can safely say 
that Mr. O'Connell's salary is higher than all major orchestra principals, 
except for perhaps the concertmasters of the Big Five. Generally speaking, most 
principals are paid between 25 and 60% over scale depending on the orchestra 
and their experience, reputation and longevity. Top concertmasters, woodwind 
and brass principals might get to double scale at some point in their careers. 
With some scales now in the lower six figures, they still would not top Mr. 
O'Connell's pay.

Thank you again for your fine article and your attention to my response.

Sincerely, 
A. Kendall Betts
Former principal horn, Minnesota Orchestra
President, Cormont Music 
www.horncamp.org >>

Funny, my scholarship job at Interlochen Arts Academy was stage manager for 
all recitals.  Why didn't I see the correct career track at that point in my 
life?

DAMN!!!

KB
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[Hornlist] Re: Is it worth it to have your caps engraved?

[KendallBetts]

Stacy Louise Devino wrote:

<< I have been thinking about getting my valve caps engraved for a while now,
but don't know whether it would be worth it. They currently have a mirror
finish on them that looks very out of place with the paxmans and hoyers in
my section, also appears very contemporary. How much would it cost? >>

It would cost plenty, I'm sure.  You could buy an electric engraver at Home 
Depot and do it yourself, though.

Actually, the best use for your money would be for lessons with a top teacher 
or a week at KBHC.  The best use for you time, should you wish to attempt 
DYI, would be practicing Kopprasch until you get it right.

Why do you care about this, anyway?  Horns are not jewelry.  It won't change 
the way it plays or sounds.  ETC!!!

Kendall Betts


 
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[Hornlist] Re: Christian Lindberg, literature theft, etc.

[KendallBetts]

I own and have heard the recording several times.  It is quite good from an 
interpretive standpoint as Lindberg seems to be a very musical player in any 
repertoire.  From the sound standpoint, there is no mistaking that it is a 
trombone.  I heard him live in recital a few years back and I'll assume he used the 
same equipment as in this recording.  It was a very narrow bore, small belled 
instrument by a Russian maker I never heard of.  I did not get a good look at 
the MP but I would assume it would be smaller as well.  His sound is very 
clear, open (naturally) and somewhat more compact than the typical symphonic 
trombonist but I have heard jazzers play with more of his type sound.  Actually, 
he sounds a lot like Tommy Dorsey!  His dynamic range was excellent but the 
soft end is where you wish the hand was in the bell and it was pointing backwards.

I heard Gerard Schwarz, now music director of the Seattle Symphony, play the 
Brahms Horn Trio on a Miraphone oval shaped four rotary valved flugelhorn many 
years ago when he was still principal trumpet of the New York Philharmonic.  
It was a very nice performance but I think Brahms was rolling over, as they 
say.  Gerry even admitted to me later that the only reason he did it was that he 
was bored with the trumpet literature and looking for challenges and also, 
that's why he took up conducting.  Just got bored with playing.  I tried that 
flugelhorn of his and liked it.  I joked that I was going to buy one and take up 
playing the trumpet literature on it until the critics liked my horn playing 
better.  We got a good laugh!

I look at this stuff as gimicks by these guys.  I admit that the trumpet, 
'bone, euphoniumists and tuba players have a dearth of repertoire compared to us 
but why can't they just live and let live.  I think they have inferiority 
complexes because they know they play a lesser form of brass than we do.  Playing 
string transcriptions, though, or arranging overtures and symphonies for 8, 
12, 16 horns, THAT"S DIFFERENT!  The bow jockeys in the wire quire deserve it.  
The cellists have stolen pieces from us!  Janos Starker recorded Mozart 3 and 
Rostropovitch use to play Strauss 1!  Who would want to play a wired box 
anyway?  They practice 8 hours a day! They see more notes on one page than we see 
all season!  The only easy thing about it is not having to transpose or switch 
to mellophone.  Hmmm, some of them switch to viola, though, don't they?

KB


Jon wrote:
I hope most of you out there have heard the virtuosity of the trombone 
player Christian Lindberg. Anyway. in a recording in 1998(i think) he did 
the Mozart Horn Concertos on his trombone (he used one that made it sound 
pretty much like a horn). Reviews said that that it was remarkable. one 
ofthe grammaphone critics said that he "prefered his [Chiristian Lindberg's] 
version to the best horn recordings of the piece." Which comes to my point. 
Has anyone heard his version of the horn recordings? if so, how does it 
compare and is it worth the money?

Regards,
Jon
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[Hornlist] Re: Scales

[KendallBetts]

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.

About half the people, including college performance majors and HS kids 
planning to be performance majors don't even KNOW their scales and arpeggios, no 
less practice them every day.

The next part of the process is to play notes on the piano and have the 
student play them on the horn in order to determine if they can recognize 
intervals.  About half or more will fail miserably at this, also.

IMO, you need to KNOW all your scales, arpeggios, broken arpeggios and 
intervals in order to maximize your limited practice time.  Practice them until you 
KNOW them.  Then, a daily or weekly or monthly or yearly or bi-annual or 
decadenal routine of them for maintenance, whatever, is up to you.  This knowledge, 
coupled with impeccable rhythm, will enable you to sight-read better, learn 
music quicker, and perform in general at the highest level.

If you are inclined to be a professional, without it, you will end up 
"pumping gas" as the old saying goes.  (I guess the updated version of that is 
"flipping burgers").  That's not to say that I have known some pro's who were lousy 
sight readers, though, but I think they never played to the best of their 
abilities or competed well at the highest level with those who could.

Don't neglect any fundamentals.  If you don't have them mastered, then you 
had better practice them until you do.  Then, it's easier (and faster in the 
long run) to go on to learning repertoire. 

Personally, I practice scales, arpeggios and broken arpeggios often.  At 
least several days each week.  Helps keep my lip in shape and my mind and ear 
alert.  I vary the sides I use to make the fingerings interesting.  I can sight 
read anything you put in front of me and have no fingering problems on any 
instrument I pick up.  Single, double, descant, triple, F, Bb, HiF, Eb, you name 
it.  It took a lot of study and practice to get to this point, not just on the 
horn, but ear training, solfege and piano as well.  Use your time effectively 
and you can get there, too, if you make a plan.

Your $100 tip of the day.

Kendall Betts
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[Hornlist] Re: Eastman horn - a review

[KendallBetts]

Russ writes:
About the Paul Eastman horn's valve tolerance, Kendall wrote "... they were 
at .003", about the same as Holton. ..."

Is that a radial measurement?

At what tolerance does a valve's inability to seal (with a film of a 'normal' 
oil) become problematic?

Russ Smiley (an engineer, but not a machinist)
Marlborough, CT
The measurement is the distance between the rotor and casing.  As to the 
other question, this is right at the borderline to using heavier oil.  At about 
.006, I think a valve job is in the works.  Maybe Walter can elaborate on this 
if he reads it.

KB
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[Hornlist] Eastman horn - a review

[KendallBetts]

Hello Listers,

I recently purchased a Paul Eastman horn from an E-bay seller.  I paid $808 
including shipping.  I spent a week with Walt Lawson and Co. earlier in August 
working on various projects, one of which was to analyze the Chinese made 
instrument.  Here is a review.

We were first truly amazed at the finish.  The seller had written that it is 
was nickle silver and also silver plated.  It is neither, but a brass horn 
with bright nickle plating.  Walter said this is a good finish but will be 
problematic in removing dents as it will tend to flake off when worked.  Lowell had 
mentioned the pitting problem as well, but remember, you will have the same 
problem with hard laquer.  It does look very nice, though.

Upon arrival, the change valve was sticking and no amount of oil helped.  
When I got it apart, we discovered that all the valves were poorly fitted as they 
had just put them together and sent it off with no lapping or finishing.  The 
slides had not been deburred as well and several were out of line.  I spent 
about four hours disassembling the horn, lapping and refitting the valves, 
deburring and refitting the slides, drilling the plating out of the string holes 
on the levers, and reassembling.  Bruce measured the valve tolerance when I was 
finished and had them working fine. He said they were at .003", about the 
same as Holton.  The bearings are tight and the valves spin freely.  All the 
slides are now fitted properly and it is very, very shiny.

To summerized the quality, this horn was 4 hours labor shy of a finished 
product.  Go figure but there are more expensive horns out there that are 4 hours 
or more shy of finished, also.

Playing characteristics of this instrument are quite good, especially 
considering the price.  Response is good and intonation is excellent, much to our 
surprise as it is an obvious Conn 8D copy.  They apparently did not copy Conn 
intonation!  The sound was also surprisingly good, though a bit dead compared to 
real NS.  The soft end was particularly fine.  The loud end has a tendency to 
blatt out rather than edge.

The case is a very nice copy of the Pro Tec form case.  Nicely finished and 
well fitted.

I think this is an excellent student horn, especially at that price.  Figure 
$50 and hour labor and it cost me about a grand.  Does it play $1500 different 
than a new Conn? No.  It plays better, IMHO, than the new 8D's.  Was the 
workmanship $1500 different than a new Conn?  No.  More like $500 difference.  I 
would have liked the sound better if it had a Conn bell, I'm sure.  Is this a 
bargain?  Yes, if you are willing to have the horn finished by a tech.

BTW, Martin Smith of the Pittsburgh Symphony and his wife both tried the horn 
as well and agreed that it was an excellent student instrument.  We figured 
this horn would get someone through HS and non-conservatory college studies 
without much trouble at all.  Will you see these in major orchestras?  Probably 
not but you never know.  There are some pretty cheap pros out there!

I haven't decided yet what to do with it.  I'll let you know if I put it up 
for sale on hornplayer.net or e-bay, whatever.  Or, if there is a real 
cheapskate amongst y'all who needs a new horn, make me an offer!!!

All best wishes,

Kendall Betts
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[Hornlist] Re: 1943 Conn

[KendallBetts]

Buescher also made compasses and bombsites during WW2.

KB

In a message dated 5/24/04 12:01:16 PM Central Daylight Time, 
[EMAIL PROTECTED] writes:
from: "Leonard & Peggy Brown" <[EMAIL PROTECTED]>
subject: [Hornlist] 1943 Conn

Here is a nice 1943 C.G. Conn on Ebay that looks in good condition.  So far
it is only up to $56.00!

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&category=585&item=2245770829&rd=
1

LB
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[Hornlist] Kendall Betts Horn Camp 2004

[KendallBetts]

Dear Hornlisters:

I have had a few cancellations and now have some spaces available for KBHC 
2004.  I'm sorry but our High School classes are full so I only have spaces for 
college, amateur and professional participants.

This year's faculty: Baumann, Betts, Garcin-Marrou, Greer, Haddad, Hatfield, 
Hermansson, Hill, Kurau, Mackey, Mayer, Routch, Scully.  Elaine Ross will be 
at the piano and our composer in residence is Milton Phibbs.  

Details at  www.horncamp.org  or e-mail me ASAP if you are interested in 
joining us.

Thank you and I hope to see you in June!

Kendall Betts
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[Hornlist] Re: They are really getting close

[KendallBetts]

Tom Warner wrote:
I can't help but feel this is bad news for the job market.



Some of the other instruments are very good.

I, for one, am not worried.  Very realistic, though.  Sounds like a second 
rate section - badly out of tune, sloppy articulation.  Needs a few cracks and 
clams, though.

The solo selection is not much better.

Obviously, the player furnishing the sample was not of the first rate, at 
least by my standards.

KB
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[Hornlist] Re: Factory defects, and something you can do about it

[KendallBetts]

Chris Tedesco asks:

<< In all seriousness, I bet most of us never heard of "factory dust" or 
lapping compound in new horns until the recent hornlist posts. If it were really a 
problem, wouldn't it have been brought to the general horn-public's attention 
much earlier?  >>

I had some time to think about the other brand new horns I've owned through 
the years and if there were problems.  Here goes:

Conn 8D - L series, Elkhart, 1968 - Yes.  Metal shavings in valves.  
Clattered after a few weeks use.  Cleaned and adjusted by Walter Lawson, no 
problem.

Alexander 107VN descant - 1969 - no problems

Mirafone - full double - 1969 - no problems

King Eroica - 1972 - pilot model - no problems

Mirafone - full double - 1973 - no problems

Holton 181 - 1974 - sticky valves - cleaned - lots of oil cleared that up 
but they always clattered - never could get all the end play out.

Alexander 107 descant - 1976 - no problems

Alexander 303 full triple - 1977 - sticky valves - lapped - still were
 
sticky - attributed to expansion/contraction of hollow rotors.  Bad 
design corrected by Alex since, I think.

Englebert Schmid - full double - 1996 - one sticky valve - taken apart -  
  metal shavings in casing - cleaned and oiled fixed it.

Every used horn I have ever bought, mostly vintage 8D's, I
 immediately disassemble and clean, oil and grease because I trust no 
one's crud but my own.  They have also gone for valve rebuilds at 
Lawsons - no problems.

As to the many students, colleagues, acquaintances at workshops, 
KBHCers, etc. that I have known who had horn quality problems, it is the majority 
not the minority I can honestly say.  Some due to poor/sloppy workmanship 
and/or finishing.  Others due to lack of common sense minimal maintenance by the 
owners.  But hey, I've know people who bought new cars and never changed the 
oil either.

To answer Chris' question:  I have known about for years.  Others have known 
about it for years.  You are a student and now you know about it.  To quote 
Marty Hackelman "That's why they're called students."

KB 

   
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[Hornlist] Re: Factory defects, and something you can do about it

[KendallBetts]

Bill Bamberg writes:
Has anyone out there gotten a new horn they were happy with?

Yes. 7 to be exact over a 24 year period.  All are engraved LAWSON, USA.

Kendall Betts
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[Hornlist] Scams LOL!!! Chapter Two

[KendallBetts]

Here is the reply from Mr. Smitth and my reply to him.  We'll see if he 
writes back on this!

Subject: Re: URGENT REPLYPATMENT AND SHIPPING ARRANGEMENT
Hello, 
Thanks for your recent mail.The price of $9,000 is okay by me, and i am ready 
to purchase it immediately,but concerning the shipping of the Lawson 963 
Classical Descant,like i told you that my shipping agent will take care of that.
Currently i am not in the states.I located in UK.And i am not finicially 
balanced for know. i just called my client who is in the us that owes me the sum 
$15, and has agreed to pay you on my behalf.So as soon as you recieve the 
payment i will like you to deduct the price of the Lawson 963 Classical Descant 
which is $9,000.Then send the remaining balance to my shipping agent through 
WESTERN UNION so that he can be able to make use of the balance to pay and make an 
arrangement for the pick-up.Why i did it like this is because my client is 
always busy and also believe this business is based on trust.So please this is 
okay with you and you agree with this terms please mail me back with your 
contact address and phone number such as: 
NAME:.
ADDRESS:..
CITY:...
STATE:
ZIP CODE:... 
PHONE NUMBER
And as soon as you provide me with your contact address payment will be made 
out to you immediately.Hope to see your urgent reply soonest. 
My best regards to your family, 
Martins.. 

I am sorry I cannot agree to these terms.  This instrument is too valuable 
for me to let go without all of the money up front in cash or wired into my 
account.  Your debts and arrangements with others are no concern of mine and I 
will not be a party to that.

Bottom line, my terms or no horn for you.  Again, CASH US MONEY or DIRECT 
WIRE BANK TRANSFER (arranged by my bank) from you, your client, your shipping 
agent, your grandmother, your pet goat, I don't care who.

I don't know what it is like in the UK but here in the USA, MONEY DOES THE 
TALKING.

Thank you.
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[Hornlist] Scams LOL!!!

[KendallBetts]

Here is an inquiry and my reply to an obvious scammer:
Subject: ENQUIRY.Lawson 963 Classical Descant
Goodday,
Martins Smitth by name,I came across your Lawson 963 Classical Descant, which 
i am interested in,and i am ready to purchase it immediately.But i would like 
to know the present status and it's cost price so that I can proceed further 
on this,meanwhile my client will pay you on my behalf, with cashier's check, 
for the shippment I have a reputable shipping agent that will come and pick it 
up from your place as soon as the payment is sent to you.
the pic will be needed to see.
Thanks hope to read from you ASAP

Regards.

Dear Mr. Martins Smitth,

Thank you for your enquirer into my Lawson 963 Classical Descant.  I am very 
happy to sell this horn to you through your shipping agent or directly with 
you.  If you wish to use your agent, please put him or her in contact with me to 
arrange the exchange of your $9000 US CASH MONEYfor the horn at a location to 
be arranged.  Sorry, I do not take checks of any kind and I am not equipped 
to handle credit cards.  If you do not want to pay cash, I would accept a wire 
transfer. If you give me your account number, social security number and any 
passwords that I would need, I will have my bank take the money from your 
account, plus the service charges for the transaction.  Once this transaction is 
complete, I will send you the horn by UPS surface, at my own cost.  If you are 
not in the US, I will send the horn by UPS Global, again at my own expense.  
There is no case for this horn, so I will have to charge you a $500 packing and 
handling charge, as there is currently a bubble wrap shortage here due to war 
in Iraq, plus insurance (approx. $100) if you want it insured.  You probably 
won't need insurance because this horn is extremely well made so I doubt if 
even UPS can make any dents in it.  Of course, you can save the extra charges by 
having your agent pick up the horn once I have your money. 

I'm sorry, but I don't have any more pictures of the horn to send to you now.

Are you the Martins Smitth who plays in the Pittsburgh Symphony?

Looking forward to your reply, I remain,

Sincerely.
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[Hornlist] Personal Attacks (was two horns or two bells)

[KendallBetts]

William, let's get one thing straight:

All "know it all students" annoy the hell out of me and you are no exception. 
 You come off on this list like some horn god and you haven't even finished 
school.  Just remember, when I was your age I was already 4 years a 
professional and assoc. principal in the Pittsburgh Symphony.  If you stick with it 
and 
get some breaks, you might get to a major orchestra some day.  Until then, you 
had better respect your elders and think about what you write in public before 
you publish it.

Yes, this is a forum for discussion, so if you write something that is wrong 
or stupid, you can expect to be corrected.  If you can't take that, than don't 
write or only write what you know.

You are excused for being wrong, thank you, and I accept your apology.  

As to my opinions, I don't publish stuff that is untrue.  As to your "facts," 
I was correcting you.  Do you argue with your teacher in lessons?  If someone 
tells you "you sound like crap so fix it," do you run away, pout and hide 
under your bed?  If so, get a day job, there is no future for you in this business

I am not "slinging mud," only telling you things you should know and giving 
you some insight into the real world of the horn business.  You are 
enthusiastic about the horn and I only want you to acheive your goals.

Most sincerly,

Kendall Betts

William wrote:
Excuse me, but I did admit earlier I was wrong on that information. 

I don't think it's really necessary to resort to personal attacks like that. 
In addition, its not very nice at all.

Some things you disagree on were facts, which I respectfully correct myself 
on. On the things that are your opinion, I do not wish to argue nor do I wish 
to resort to mud-slinging. 

I apologize for irritating you so much. Apparently it was a good deal of 
irritation.

*backs away about 200 yards*
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[Hornlist] Re: two horns or two bells?

[KendallBetts]

William, William, William, wrote:
The instrument itself can be raised or 
lowered an entire half step on both sides of the horn. No other horn I know 
of does 
that, not at least any manufactured today.
I have owned a long slide for years.  Had one for a Conn, now for a Lawson.  
Handy for tricky E horn stuff but I have only used it on "La Gazza Ladra" and 
Czerny "Andante and Pollacca."  Might use it for Weber, I don't know.  Never 
had much trouble with fingerings in that.

Why does one need to raise the pitch a half step?  Haydn "Farewell" easy on 
the regular horn.  Same with Carmen.  Seems to me this would just confuse 
things and screw up the acoustic. 

By the way, I owned a Schmid for a while.  Sold it.

Please don't start making assumptions about the Veneklasen horn.  I was there.

Still -6 here.

KB
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[Hornlist] Re:Geniuses on the list was Phil Myers horn

[KendallBetts]

William writes:
Holy moly. I hope she's prepared for the intonation differences. The switch 
from a Conn 8D to a Schmid is like going from Venus to Mars.

Seems like going to Shosty 10 is a little shaky until she's played on it more 
than a week or two.
William, I routinely use to switch back and forth between a Conn and an 
Alexander descant.  No one ever criticized me for my intonation.  Shosty 10 might 
be shaky for you, but I assume Ms. Palmer is an experienced professional and 
not some student speculator.

Now up to -6.

KB
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[Hornlist] Re: Two horns or two bells?

[KendallBetts]

William wrote:
Schmid is a genius for having the only horns I know of in 
the world that can use different sized bells. 
Sorry, wrong answer.  The freelancers (Ray Alonge and Joe DeAngelis in 
particular) in NY (including myself at one time) were using Alex flares on Conn 8D's 
years ago.  Reason: more compact sound, quicker response, edge comes at a 
lower dynamic.  I once played a ballet run at the Met on 1st horn, no assistant 
that was four 18 service weeks in a row.  Yes, that's nine hours of playing, 6 
days a week for a month.  Repertoire included Sleeping Beauty, Romeo and 
Juliet (Prokofiev) for full length and one mixed program was Webern Passacaglia, 
Dvorak 7 and Brahms 2nd Piano Concerto.  We had either 2 rehearsal and 1 
performance every day or 1 rehearsal and 2 performances.  The small bell on the big 
horn helped since an early edge in the sound helped save my lip.

As an aside, that section was myself (on the Conn-Lawson), Frank Donaruma on 
2nd (Geyer), Joe Anderer on 3rd (Alex 107 descant), Julie Landsman on 4th 
(Conn 8D and C1).  After a rehearsal or two, people were coming up and saying that 
this was the best free-lance section they had ever heard.  Frank said, "Well, 
that shoots that theory."
My experience has shown that matched equipment is better but I'll take the 
better player over the better horn next to me any day.

Walt Lawson's made two different size flares at first.  He called the Alex 
size "standard" and Conn size "Large." They have made only the large size since. 
 Reason: Alloy and hardness is much more important than size.  Also, the 
advanced acoustic design of the Lawson models has all the big/medium/small stuff 
taken care of in the tapers and tubes so the flare size is not a big factor.

I love all the misinformation that goes out as gospel on these lists!  And, 
oh, William, Schmid may be a genius but as for you...

Regards from MN, -26 F here yesterday, up to a balmy -7 this morning.

KB
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[Hornlist] Re: Where is???

[KendallBetts]

Giovanni asks:
Hi all,


   Does anyone know if Prof. I.M. Gestopftmitscheist is still on the 
hornlist? I miss some of his pithy comments and general good humor.

Giovanni :->
I can safely say that my teacher, Prof. G., is still lurking on the list but 
his busy schedule keeps him from writing.  Also, the intelligence level shown 
in the posts here lately has been very high so he probably doesn't understand 
half of what is being discussed.  I think the only thing he might respond to 
is the question from the student working on Reynolds Etude No. 6 and we all 
know what his advice there would be.

As to his current projects, he just left for Vienna, the scab, to record the 
clams for the Vienna Sound Cube sample module.  As usual, he is getting the 
same fee for the wrong notes as he gets for the right ones.  Otherwise, he has 
had a busy season having completed his 1,500,000th live in the practice room 
performance of Kopprasch No. 1.  He also just returned from the APCC (American 
Pest Control Council) convention in Atlantic City where he gave his famous 
seminar on killing rats with ultra sound.  He had gotten a new bell flare for the 
front bell of the Sansone made especially for him by Black and Decker using 
the same "pre-aged material" that Hoyer is using on the Heritage models.  
Unfortunately, it was so cold that the rat he was going to use for his demo had 
already frozen to death in the back of the microbus.  I guess he found some live 
rats in the hotel kitchen so that saved the day.

Hans, if you go the Vienna anytime in the next few days, look him up at the 
Hotel Ekelhaft.  I must warn you, though, that he might not be in very good 
humor as he is under a lot of stress having to perform at such a high level for 
these recordings.

I'm sure he sends his "Seasonings Greetonings" to you all and would thank you 
for asking about him!

Best regards,

Kendall Betts
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[Hornlist] Re: Sampler at the NAMM show

[KendallBetts]

What is the name/manufacturer of this equipment, software, whatever it is?  
Do they have a website?

Thanks!!!

Kendall Betts

Bill Bamberg wrote:
Make your own.  My son just got back from the NAMM show in LA.  They are 
demonstrating a sampler where they sampled every possible skill of all the 
musicians from, he recalls, a Viennese orchestra, including legato playing of every 
possible interval, many dynamic ranges, and several attacks for each note 
randomized into the mix by the computer.  My son does a lot of sampling and mixing, 
and says the only thing they could do to improve the realism is to throw in a 
few clams.  It takes two hard discs to hold it all, but only costs $5000.
<< snip >> etc.
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[Hornlist] Re: Horn Celebrities?

[KendallBetts]

As to the MASH episode and Charles Winchester aka David Ogden Stiers, here is 
an important question: 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. 
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[Hornlist] KENDALL BETTS HORN CAMP 2004

[KendallBetts]

   
TENTH ANNUAL KENDALL BETTS HORN CAMP 
CAMP OGONTZ, LYMAN, NEW HAMPSHIRE
JUNE 12 - 27, 2004
http://www.horncamp.org

UNIQUE SEMINAR AND RETREAT 
STUDY, PERFORM AND HAVE FUN FOR ONE WEEK OR TWO
IN THE BEAUTIFUL WHITE MOUNTAINS OF NEW HAMPSHIRE 

INTENSE DAILY SCHEDULE 
CURRICULUM TAILORED TO THE INDIVIDUAL PERFORMER 

FUNDAMENTALS, TECHNIQUE AND MUSICIANSHIP 
SOLO REPERTOIRE AND RECITAL PREPARATION 
ORCHESTRAL REPERTOIRE AND AUDITION PREPARATION 
PRIVATE LESSONS AND MASTER CLASSES 
PUBLIC RECITALS AND ENSEMBLE CONCERTS 
2004 FACULTY (subject to change) TO INCLUDE:
 HERMANN BAUMANN 
KENDALL BETTS
 MICHEL GARCIN-MARROU
 LOWELL GREER
 MICHAEL HATFIELD
 SOREN HERMANSSON
 DOUGLAS HILL
PETER KURAU
 RICHARD MACKEY
 ABBY MAYER
 ROBERT ROUTCH
JAMES THATCHER
ELAINE ROSS, collaborative pianist 
MILTON PHIBBS, composer in residence 
PLUS PROFESSOR I.M. GESTOPFTMITSCHEIST!!!
FINE FACILITIES AND GREAT FOOD IN A RUSTIC, IDYLLIC, COUNTRY SETTING AT 
BEAUTIFUL CAMP OGONTZ 
VERY REASONABLE COST 
ALL HORN PLAYERS AGE 15 AND OLDER ARE WELCOME TO APPLY: 
AMATEURS, PROFESSIONALS, STUDENTS, EDUCATORS
ENROLLMENT IS LIMITED TO ENSURE PERSONAL ATTENTION WITH A PARTICIPANT TO 
FACULTY RATIO OF 4:1
IMPROVE YOUR MUSICIANSHIP! 
ACHIEVE A STANDARD OF EXCELLENCE!
The tenth annual KENDALL BETTS HORN CAMP will take place JUNE 12 - 27, 2004 
at CAMP OGONTZ in LYMAN, NEW HAMPSHIRE.   KBHC is a UNIQUE SEMINAR and RETREAT 
for horn players age 15 and older who are seriously interested in improving 
their performance skills and musicianship. Amateurs, professionals, students and 
educators are invited to study and perform in this intense program under the 
guidance of a world class faculty in the beautiful White Mountains of New 
Hampshire. 
Curriculum is tailored to the needs and goals of each individual participant. 
The schedule includes private lessons, master classes, horn ensembles, mock 
orchestral auditions, informal performances and public concerts. Participants 
receive instruction in all aspects of playing the horn. FUNDAMENTALS: improve 
your breathing, embouchure, tone production, rhythm, articulation, phrasing, 
intonation, dynamics and endurance. SOLO REPERTOIRE and RECITAL PREPARATION: 
refine your solo performance abilities and perform in public if you wish. 
ORCHESTRAL REPERTOIRE and AUDITION PREPARATION: perfect your audition skills and 
knowledge of orchestral excerpts and take a mock audition if you so choose. 
ENSEMBLES: fine tune your capability to perform successfully in the horn section. 
ENROLLMENT is LIMITED in order to enable a participant to faculty ratio 4:1. 
This ensures that every participant has an unparalleled opportunity to IMPROVE 
their TECHNIQUE and MUSICIANSHIP. All of this in a noncompetitive atmosphere 
of FUN and CAMARADERIE in the IDYLLIC COUNTRY SETTING of CAMP OGONTZ!
www.horncamp.org
ADDITIONAL INFORMATION: 
YOU MAY ATTEND EITHER OR BOTH WEEKS: Week 1 is June 12-19, 2004. Week 2 is 
June 20 - 27, 2004. Two week participants will have free days between sessions. 
COST: $950 for one week, $1850 for two weeks includes tuition, room and board 
at Camp Ogontz. Auditor's fee for non-playing spouse, relative, etc., $375 
per week includes room and board. 
PAYMENT SCHEDULE: Application deposit: $100 per week (nonrefundable unless 
enrollment is full). Balance is due by May 15, 2004.
APPLICATION PROCEDURES: AMATEURS, PROFESSIONALS, EDUCATORS, COLLEGE and 
UNIVERSITY STUDENTS age 18 and older are registered to participate on a first-come, 
first-served basis until maximum enrollment is reached.  Application: 
http://www.horncamp.org/reserve.htm.
APPLICATION PROCEDURES for HIGH SCHOOL STUDENTS: Acceptance for participation 
at KBHC for high school students scheduled to graduate in 2004, 2005 and 2006 
is by qualifying application. You must be at least 15 years of age as of June 
12, 2004, presently in 10th, 11th, or 12th grade and currently studying horn 
privately. The application includes a tape of your performance of three set 
pieces and music of your own choice, a short essay on the subject "Why I Wish to 
Participate at KBHC in 2004" and two letters of recommendation. To receive 
the application forms and materials, send an e-mail with your name and address, 
telephone number, date of birth, current grade in school, and name of your 
horn teacher to [EMAIL PROTECTED]  Materials will be sent to you by regular mail 
upon receipt of your request.
SCHOLARSHIP INFORMATION:   A LIMITED NUMBER of ONE WEEK SCHOLARSHIPS will be 
awarded on a competitive basis to deserving students age 15 through 24.  You 
may qualify (in the case of HS students) and/or reserve (in the case of college 
students) a place at camp if you are set in your plans to participate and 
apply for a scholarship as well.  For details on the scholarship program and 
competition, please visit the SCHOLARSHIP INFORMATION page at 
http://www.horncamp.org/scholar.htm.
QUESTIONS? PLEASE VISIT the KBHC WEB SITE, www.horncamp.org
 or WRITE TO KENDA

[Hornlist] Re: Intonation, was Greensleeves

[KendallBetts]

Graham asks:
How much do you guys use the right hand for intonation?
Very little on my Lawsons,  A lot on my Serafinoff.

KB, who is very handy.
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[Hornlist] Re: Greensleeves

[KendallBetts]

Prof. Hans Pizka wrote:
Has anyone ever thought, that the right hand (bell hand) can be used to
adjust pitch ? I have never heard any word about this here on the
list. Funny, isn't it?
No, Hans, not funny, just pathetic.  It's amazing how many people come to 
KBHC and when I mention intonation problems, they immediately start moving slides 
and trying other fingerings.  I don't know where the breakdown is, I can only 
blame their instructors at home I guess (and some come from "recognized" 
instructors).  At KBHC, we introduce everyone to the natural horn and then, all of 
a sudden, a miracle occurs: this, coupled with my instructions on proper tone 
production helps most people to play better in tune.

Reminds of a funny story, though.  When I was still an adjunct instructor in 
a university music school, I had a student completing his Masters in 
Performance.  He had played a good recital, been a dedicated student, gotten good 
grades and performed very well in all ensembles and had shown good leadership 
qualities.  I certainly felt that he deserved his degree.  He had to pass his 
"orals" though.  I never have understood why a performance major needs to pass an 
"oral" exam but as his major teacher, I had to serve on the jury. The other 
members were the head of musicology and the trumpet instructor who was head of 
the brass department.  I asked before the student came in the room how much time 
was allotted for this and I was told 15 minutes.  The student came in and the 
first question came from Prof. Trumpet, something like "What is the influence 
of the renaissance and early baroque composers on modern day brass 
interpretation and playing styles?"  The student then replied extensively using words 
like "anacruces" and "semi-quaver" which all sounded to me like BS he was making 
up on the spot but the others nodded approval.  Then Prof. Musicology asked 
something like "What is Ligeti's legacy and how does that influence composers 
today?"  He then went on and on about Ligeti again sounding to me like total BS 
but the others were nodding approval.  When it got to my question, I looked 
at my watch and saw that we had about a minute left due to the extensive BS so 
I asked (to the astonishment of the others): "On a standard F-B Flat double 
horn, how many fingerings are there for a fourth line, treble clef D written for 
horn in F?"  The student thought for a few seconds and replied: "Seven."  
"Correct" I replied.  I then asked: "How many of them are in tune?"  He 
immediately replied: "None."  "Correct again" I said!  "Give him his degree!"  The 
others just looked at us in amazement and bewilderment!

Kendall Betts
Bachelor of Music in French Horn 
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[Hornlist] Joe Theisman, football and horn playing

[KendallBetts]

Amy and Hans wrote:

That was the joke.  The speaker, Theisman, was a football player...who 
apparently is no Einstein...Albert or "Norman"...

Amy

At 05:08 PM 10/23/2003 +0200, you wrote:
>Who was Norman Einstein ? I know Albert Einstein, who was genius indeed.
>Or Mozart, Wagner, Michelangelo, Goethe, Leonardo da Vinci, Hieronymus
>Bosch, Mantegna, Rubens, ...
Hey!  Theisman was making a joke!!!  He said that during a broadcast to get a 
laugh.

Some horn-related AMERICAN football (not soccer) questions:

1)What ex-NFL player played the horn?  What team did he play on?

2)What professional horn player played in the NFL?  Which team?  
In which major orchestra did he play?  What position?  Which two 
major orchestras has he served as Personnel Manager?  (Hint: he
is still Personnel Manager of one of them.)

3)What make of alphorn does Thor the Viking play on the sidelines 
during the during the MN Vikings home games?

4)What major orchestra principal horn player took up the instrument 3 
days after he got his front teeth knocked out while playing football  
   without a helmet?  Do you think the two events are related?

KB
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[Hornlist] Re: Sextet

[KendallBetts]

Robert asks:
I am going to purchase/perform the Beethoven Sextet Op. 81b. would anyone 
happen to know if there are problems in either the Peters or International 
edition?  
As to purchasing, there are no problems assuming you have sufficient funds.  
I am guessing the Peters costs more.  David Thompson would know.  I have an 
old French edition that cost me $1.50 at Elkan Vogel in 1963.  If that one is 
still around, it should go now for about $150.00.

As to performing, both editions have the same and usual problems: getting the 
right notes, the right rhythms, not playing too loud, getting in tune and in 
ensemble with a wire choir, etc.

Just remember that the cost of the music will not influence the way it goes.

Good luck!

KB 
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[Hornlist] Re: Beware of Sham buyers

[KendallBetts]

I got the same stuff but for my Lawson Classical Descant.  I wrote back that 
I wanted CASH, USD, up front in unmarked 20 dollar bills with non-consecutive 
serial numbers.  LOL!!!  But do beware.  I have gotten several of these scam 
inquiries for horns I listed on hornplayer.net.  

Kendall Betts 

> message: 16
> date: Sat, 18 Oct 2003 07:53:44 -0700
> from: David K McCurley <[EMAIL PROTECTED]>
> subject: [Hornlist] Re: Beware of sham buyers!
> 
> This is timely information indeed. I have a horn for sale on
> Hornplayer.net, a Finke double descant. I got an email a couple of days
> back and I thought it was strange, but here are some of the things I
> picked up on  that raised red flags.
> 
> 1. Buyer claimed to be from England, but was shipping to Nigeria.
> (classic)
> 2. He would send a cashiers check. (bogus checks are easily devised using
> a laser printer)
> 3. He would arrange to have the horn picked up.
> 4. The text of the email was odd, it looked like the potential buyer had
> done a sloppy job of cutting/pasting in info from my ad *or* they were
> using some sort of computer program to copy/paste things into a form
> letter type of email. The grammar was odd and it just looked and read
> strange. 
> 5. He stated that the church was paying for the horn (he was on some sort
> of mission - somehow, I don't think this was a heavenly mission).
> 
> I replied to the first email stating that I thought we should use an
> escrow service and described how it worked. I received a reply that
> basically reiterated the original offer. I have not responded to this. If
> he sends another, I think I will send the original post from this thread.
> 
> Just so everyone will be aware, the potential buyer's email address is: 
> [EMAIL PROTECTED]
> 
> I don't know for certain that this person is a crook, but it seemed
> obvious to me that this could be an opportunity for my wallet to be
> relieved of more than I wanted to part with.
> 
> BTW, there is an info page on Hornplayer.net that warns sellers about
> fraudulent buyers, a nice educational fearture, no doubt made necessary
> by dishonest slime taking advantage of good people.
> 
> Good luck in all your business dealings.
> David McCurley
> Woodstock, GA
> Paxman 25
> 

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[Hornlist] Re: what happen

[KendallBetts]

Hans writes:

> Hello list members, where are you ? Did you all get the call from the army =
> or airforce ? Or as civilian administrators: did you get the invitation to 
> =
> be administrator in Iraq for the coming years ?
> 

Hans, don't worry!  They are all off-line practicing Kopprasch and Schantl 
(maybe even on the F side), I'm sure!!!

Kendall
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[Hornlist] Re: Grand Conard

[KendallBetts]

Bob Dickow wants to know:

> Ok, everybody knows that in French a cracked note is often called a 'conard'
> ('duck'), right? Ok, describe the biggest 'conard' that you yourselves have
> either personally executed or witnessed in a performance, recorded, live, 
> or
> otherwise

I don't know where to start, there are just so many and how do describe them 
without using improper language?

KB
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[Hornlist] KENDALL BETTS HORN CAMP for 2003

[KendallBetts]

NINTH ANNUAL KENDALL BETTS HORN CAMP 
CAMP OGONTZ, LYMAN, NEW HAMPSHIRE
JUNE 14 - 29, 2003

UNIQUE SEMINAR AND RETREAT 

STUDY,PERFORM AND HAVE FUN FOR ONE WEEK OR TWO
IN THE BEAUTIFUL WHITE MOUNTAINS OF NEW HAMPSHIRE 

INTENSE DAILY SCHEDULE 

CURRICULUM TAILORED TO THE INDIVIDUAL PERFORMER 

FUNDAMENTALS, TECHNIQUE AND MUSICIANSHIP 

SOLO REPERTOIRE AND RECITAL PREPARATION 

ORCHESTRAL REPERTOIRE AND AUDITION PREPARATION 

PRIVATE LESSONS AND MASTER CLASSES 

PUBLIC RECITALS AND ENSEMBLE CONCERTS 

    2003 FACULTY (subject to change) TO INCLUDE:

    HERMANN BAUMANN, Soloist
    KENDALL BETTS, Minnesota Orchestra
    MICHEL GARCIN-MARROU, Orchestre de Paris 
    LOWELL GREER, Soloist
    MARTIN HACKLEMAN, National Symphony 
    MICHAEL HATFIELD, Indiana University
    SOREN HERMANSSON, University of Michigan
    ROGER KAZA, Houston Symphony
    CHARLES KAVALOVSKI, Boston Symphony (ret.)
    ABBY MAYER, Mercy College
    JENNIFER MONTONE, Dallas Symphony
    ROBERT ROUTCH, Soloist
    JAMES THATCHER, Hollywood Studio Artist

  FINE FACILITIES AND GREAT FOOD IN A RUSTIC, IDYLLIC, COUNTRY SETTING AT 
BEAUTIFUL CAMP OGONTZ 

VERY REASONABLE COST 

ALL HORNPLAYERS AGE 14 AND OLDER ARE WELCOME TO APPLY: 
AMATEURS, PROFESSIONALS, STUDENTS, EDUCATORS

ENROLLMENT IS LIMITED TO ENSURE PERSONAL ATTENTION WITH A PARTICIPANT TO 
FACULTY RATIO OF 4:1

IMPROVE YOUR MUSICIANSHIP! 

ACHIEVE A STANDARD OF EXCELLENCE!

SCHOLARSHIPS AVAILABLE for STUDENTS AGE 14 through 24

DIRECTOR'S FELLOWSHIP AVAILABLE for a YOUNG PROFESSIONAL, AGE 25 through 29

FOR MORE INFORMATION, PLEASE VISIT THE KBHC WEB SITE: http://www.horncamp.org/";>Kendall Betts Horn Camp 
 (http://www.horncamp.org).



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[Hornlist] Re: list feedback/Eroica

[KendallBetts]

Rick wrote:

> I got an interesting piece of information from a co-player, who claims to 
> have heard it from Robert Schwendeman (sp?) - it seems, on the 
> Szell/Cleveland recording of the Beethoven 7, the high passages in the 
> outer movements were played by 6 horns.  I wonder if Szell did the same 
> thing with the Eroica from that set?
> 
> Rick Spence
> [EMAIL PROTECTED]
> --

I don't know about the recordings but I heard Cleveland live with Szell on 
tour in 1965 or 66 in Villanova, PA do Beethoven 7 with 4 horns and lots of 
doubling.  Ormandy did it w/4, lots of doubling and inserts.

KB
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[Hornlist] Re: Question for Elkhart 8D junkies

[KendallBetts]

I have not used an 8D as a daily driver for 20+ years but I am certainly 
familiar with them and still own my two 1938 originals.

The best 8Ds were the earliest (pre-letter) ones.  They were superbly made, 
had a slightly larger bell throat and lots of metal in the bell.  By the 
letter series, the horns had changed quite a bit.  The biggest mistake, I 
think, was making the bells thinner and thinner.  Made the horn lighter but 
gutted the sound.  Mechanically, a lot of the horns from the 60's were sloppy 
as well.  Conn went downhill with the move to Abilene and now has come back a 
bit.  The irony now is that the Abilene and UMI Conns have a much better bell 
than the letter series and a generally good sound.  I don't like the valves 
on either-Abilene were straight, now they are tapered but slow.  The change 
valve linkage is a joke.

8D playing characteristics are different now as well.  The new ones are much 
stuffier than the old.  People are amazed when they compare a new one to my 
32's.  And yes, both of mine have had Lawson valve jobs and are not 
leaking.

I won't ever go back to a Conn for making a living, my Lawsons are superior 
in all respects, but several served me well and "paid the rent" at one time 
or another.   I would still recommend any Elkhart horn if you can find one in 
good or restorable shape over a new or Abilene horn.  A new Eastlake bell 
would be a good replacement for any old, shot Conn bell.  Lawson pipes help 
intonation and response as well.   I don't know Patterson's equipment so I 
can't comment there.

If you want more 8D info or discussion possibilities, join Dick Martz' list:  
http://groups.yahoo.com/group/pre_letter_series_elkhart_conn_8D/?yguid=60363918";>Yahoo!
 Groups : pre_letter_series_elkhart_conn_8D .

Kendall Betts 

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[Hornlist] Re: list feedback/Eroica

[KendallBetts]

Geez, Jon, give me a minute!

We use all four horns at that spot unless the conductor asks otherwise.  I 
don't recall anyone asking.  We also double or triple the third horn tune in 
the slow movement.  Ormandy always used 6 horns for Eroica and had a lot of 
inserts.  We did it once with Tennstedt with 6 horns here in MN.  He had all 
six at the tune in the last movement playing as loud as possible.  One local 
critic wrote that if Beethoven had done it like that, Napoleon would have 
gladly left Vienna, immediately.  I once did Beethoven 7 with Stokowski with 
8 horns!  Now that was something else!

Jon, if you would have posted this to the VirtualKBHC list, I probably would 
have responded sooner.  You (and all) are welcome to join at  http://groups.yahoo.com/group/VirtualKBHC/";>Yahoo! Groups : 
VirtualKBHC .

Good luck with Eroica!

KB



Jon Woodyard wrote:


> Let me levy a mild criticism of this e-mail site.
> 
> One of the services that could be most helpful to many of us is that of
> sharing experiences in performance.  This is particularly so when there
> are countless interpretations and misinterpretations of standard
> repertory.  I recall one post asking about standing during the Mahler
> First and there was considerable feedback on this. (Is this musical
> interpretation?) On the other hand, when asking about Beethoven Symphony
> No. 3 and whether is was commonplace to have all three horns play a
> certain line together, only one digester(?) responded.  The Beethoven 3rd
> is one of the most commonly performed pieces in the repertory of almost
> every professional and amateur orchestra...and we have only one comment? 
> We in community orchestras usually have one or two performances of the
> major pieces.  Usually it is a unique experience, e.g., Berlioz Symphony
> Fantastique, or God forbid, Rouse's Infernal Machine, so we count heavily
> on advice from our colleagues who may have performed this and others,
> before.
> 
> If we can't get advice on this digest, then where?  This is probably one
> of the largest collections of horn players who regularly "talk" with each
> other.  Wish we did more of this rather than anecdotal information about
> Anna Russell (whom I dearly love as a comedienne)
> 
> Let the games begin.
> 
> 
> Jon Woodyard
> Lewes, DE
> 

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[Hornlist] Re: Summer Camps

[KendallBetts]

Loren wrote:

>   For some really great horn instruction including coaching in
> orchestral excerpts by leading professional hornists, check out KBHC at
> http://www.iaxs.net/~cormont/KBHC/
> 

Thanks for the plug, Loren, but our web address has changed.  Please take a 
look at: < www.horncamp.org > for info on KBHC.  I am 
working on details, 
yet, for 2003, but most of website is now up to date.

Thanks!

Kendall Betts
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[Hornlist] Summer

[KendallBetts]

In a message dated 1/17/03 12:00:36 PM Central Standard Time, 
[EMAIL PROTECTED] writes:

>   For some really great horn instruction including coaching in
> orchestral excerpts by leading professional hornists, check out KBHC at
> http://www.iaxs.net/~cormont/KBHC/
> 

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[Hornlist] Re: Lucy Kay's true length!

[KendallBetts]

--
[ Picked text/plain from multipart/alternative ]
Thank you all for your kind wishes!

Lucy checked into the world at 20 (twenty) and 3/4 inches.  Hans can figure
out how many centimeters.

We are all doing fine.

Best wishes to all for the Holidays!

Kendall and Anna Betts

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[Hornlist] Re: Horn digest, Vol 1 #77 - 34 msgs

[KendallBetts]

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