[Hornlist] Why is this horn list format messing up?
Again, all the weird characters, and sometimes just total garble. I have my e-mail set to "text", yet when my posts appear on the digest, sometimes they are fine (no weird characters) and sometimes the formatting is messed up and with weird characters. Since I'm set to text and some of my posts appear fine, I assume the problem is at the Memphis end. Computer jocks, what's happening? Regard, Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: RE: Play low to play high- NHR
Oh, Bill! Valerie is a big girl and knows perfectly well what she is doing... I love it anytime Hans takes the time to respond to my post. Larry ;-) [Valerie wrote] > > > > Well, of course, Hans, every horn player knows that. > > Just how ignorant do you think we all are? > Sheesh! > > Valerie :o) > [Bill Tyler wrote:] > If you aren't sure if you will like the > answer, then don't ask the question. > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Play high to play low
Professor Pizka wrote: "It is not important, how high you can climb up or how low you can crawl down. Important is only, which notes you can play with QUALITY and SECURITY. It is not necessary to know all the muscles involved & being able to name them. It is solely important to play the given task, difficult & demanding or easy & average NICELY & IN STYLE. Greetings from wet & very warm Munich" Thank you, professor, for qualifying the intended purpose of our efforts to extend our range. My occasional ability to reach a high C or a pedal C in no way means that I am able to play those notes in concert. My goal is to gradually make those notes more secure and better sounding over time, just as you advise. Initially, using "tricks" to reach our highest or lowest notes gives us clues as to what we need to do to extend our range. For me, a lot of dedicated and continuous practice is a key component of playing well in the high and low ranges. Another key factor is improving one's general health, since horn playing is an athletic activity (and this is especially true for us old guys). Regards, Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Play high to play low
For years and years many horn instructors have recommended one to develop the low range to be able to play well in the upper register. Some of us have had some doubt about this. My experience was that the oxygenation of the lips from low playing could help with high range playing, but that this benefit was temporary. Well, the reverse has been happening for me: my best low range ability happens after I have been playing in the high range. I can play my lowest notes after I have been working hard in the high range. So, I wonder if any of you find this to work for your low range, too. The Balanced Embouchure exercise of slurring from pedal notes, up 3+ octaves seems to open up the highest notes for me. If I can't get a high note to respond, my best chance to be able to play it seems to be to slur up 3+ octaves from a pedal note. Makes for a strange sounding practice session. Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: OT: solo beginnings, Re: Re:
Professor Cabbage wrote: "My Concerto for Brass Trio and Orchestra starts with a wood block solo. And my Concertini for Toy Piano and Orchestra starts with a cello solo." ___ My "Concerto for Horn, Audience, with Seasonal Variations" calls for selected individuals in the audience to start with a cappella coughing in the winter and spontaneous sneezing in the spring. The genius of the composition considers the audience's need to supplement the quiet periods of a performance with its own contributions. Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Star Trek question (#2)
In listening to the "Main Theme", http://www.youtube.com/watch?v=vmOgJ0xj38g&feature=related at about 20 seconds in, there appears to be multiple tracks of unison horn playing. The unison is so perfect, I wonder how this was done. Was the single horn track dubbed back in with some electronic variation such as reverb, slight delay, etc. Did Rick record a second unison track? If it turns out that this was a horn section, then their unison is just incredibly good! Listen with a good set of head phones! BTW, the horn playing in this one minute track conveys a presence and intensity that makes us fall in love with the horn all over again. Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Ye old fan thread-- NHR
David G wrote: > But the [fan blade] tip travels faster than points nearer the center of > rotation, > making the molecules it whacks travel faster. > "Travel faster" = greater (linear) velocity. David, I agree with your conclusion, that the pitch of the sound at the outer end of the fan blades reflecting back is at a higher pitch. The sound doesn't get whacked back-- sound travels through a medium at a constant speed. The Doppler effect is operating due to the moving angled blade collapsing the length of the reflected sound waves and increasing the frequency. You get a stuttering sound effect due to the sound a split second later passing through the open area between the fan blades to the ceiling and reflecting back from the ceiling. A very annoying effect that is all Mr.and Mrs. Doppler's fault. I further theorize that this annoyance is worse with small and medium belled horns than it is with large belled horns, as if anyone cares and shallow bowled mouthpieces are worse, too. Nickle is worse than brass... Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Who uses the F Extension?
My second horn is the 4-valve Paxman model 10 single Bb. I have removed the F-extension and use the 4th valve for either stopping or for playing horn parts that are in A, E, or Eb. With this setup, my biggest limitation is not being able to play below low Bb (9th below middle C), as seldom as that is required. Otherwise, I don't need what the F-extension could give me, like better G's and C's. So, those of you who use the F-extension, how do you use it and how much do you use it? It sure is nice playing a light horn sans all the extra tubing. Thanks. Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Playing under a ceiling fan-not too horn related
On further analysis of why playing near an operating fan is so destabilizing and annoying, one can see that there are two factors working here. 1. The reflected sound volume is pulsating because some sound reflects from the blade, then a fraction of a second later the sound continues through the fan due to the open space between blades. 2. The moving blades with an angled blade pitch are changing the frequency of the reflected tone, and the reflected tone frequency varies along the radial axis of each blade-- the reflected frequency is higher near the tip of the blade. Therefore the reflected sound is all out of tune. I would think the second effect above would be the more annoying effect. Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Amusing copycat music themes - NHR
The church orchestra than I am in is getting ready to play "Part Three: Rejoice! The Lord is in You", by Camp Kirkland. At measure 143, the rhythm, melody, and accompaniment breaks out into a new theme that sounds so much like the introductory theme to the Village People's "YMCA". After a few playings of it, I mentioned this to my horn colleague who in turn couldn't resist sharing this with the entire orchestra. Since then, we are all trying to regain our composure and put on straight faces for our June 14th performance to the church. We all have fun with music themes-- John Williams, as much as we love him, is a chicken-and-egg composer-- where did we first hear that theme? There is a fun Youtube video about the ubiquitousness of Pachebel's Canon that surfaces in most music genres. http://www.youtube.com/watch?v=JdxkVQy7QLM Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Playing under a Ceiling Fan
Playing under a ceiling fan can interfere with one's horn playing. Not only does it result in a stutter sound, it also seems to affect the stability of one's horn playing. Some notes are affected worse that others. Fourth line D is affected the most for me, where the note doesn't feel secure. Why would the sound reflection from a ceiling fan affect one's sense of playing stability? One possible explanation is that the overall acoustic stability of horn playing may depend on one adapting to the acoustics of the room. When we play in a room, in a short time of a second or two, we adjust to the room acoustics. Whether this adjustment significantly involves a stable interaction of the standing sound wave in the horn and the complex reflected sound in the room, I don't know. I do perceive that the standing wave in the horn and even the vibrational feedback into the mouthpiece is deleteriously affected by the pulsating sound reflections coming from the ceiling fan. This is a choice between staying cool or sounding good. Anyway, I'm trying to come up with a new topic... One with too much time on his hands, Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: John Williams Horn Quartet
This wonderful collage of John Williams Music is also on Youtube where it is more directly accessible. http://www.youtube.com/watch?v=EWnC6IbYpgs Regards, Larry > message: 4 > date: Mon, 11 May 2009 06:18:09 EDT > from: valkh...@aol.com > subject: [Hornlist] John Williams Horn Quartet > > I found this on the interwebs and thought I'd pass it > along: > > (http://www.wimp.com/frenchhorns/) > > It's a horn quartet of John Williams music. > > -William ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Acoustical studies - weights
A simple, easy and $0.05 experiment that you can try is to slide a 1/4", 5/16" or 3/8" metal washer (whichever size fits) up the stem of your mouthpiece. It should rest tight just 1/4" to 1/2" above the insertion line of the mouthpiece into the horn. For a heavier response, use a metal nut instead of a washer; I prefer the washer. I find that you can immediately experience a change in the response of the horn and the overtones. This is one way to liven up a sluggish 8D. My favorite washer's inner diameter has been enlarged by the use of a rat tail file, to get it to rest at the sweet spot on the mouthpiece, in this case, 1/4" above the leadpipe tip. Regards, Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Jonathan West got it right!
Response to Greg Campbell: A "frequent and sparing" lubing approach has worked well for some of us. Many of our best horn players have recommended to lube frequently but sparingly. As Mr. West advises, a single drop down each slide receiver is enough. Here some more tips: 1. After lubing the rotors and while the valves are still in the down position, with mouthpiece out of the horn, blow through the horn with a lot of lung force; depress your trigger valve and blow again. This moves the thin valve oil down the horn so it won't drip back into the valve slides. 2. Try to maintain your horn position with valves up (and valve slides down). Dewater your valve slides by pulling the slides (instead of twirling). Store your horn with the valves up and don't use horn stands that place your valves in a down position. 3. Apply slide grease sparingly, and don't grease the last 1" of the open end of the slides. 4. When the grease on the slides loses viscosity, clean and re-grease. All of the above minimizes the opportunity of the valve oil from mixing with the slide grease and minimizes the opportunity of residue in the bottom of the slides from washing back to the rotors. Your rotors will work well and they will last longer. I agree with Greg with keeping the inside of the horn coated with oil. If the coating is thin it won't flow and become part of the mess. I don't recommend using detergent in the horn unless you do an extremely thorough job of cleaning everything in the horn. Unless you get rid of all the detergent-on-grease in your horn, it will make a gummy gunk. (Isolated lead pipe is okay to clean with detergent and snake.) Clean the horn by forcing water through it using a hose. (If under more than light water pressure, remove the slides so they don't fly out from water pressure.) The above system works well. Greg suggests other lubing procedures may work well, too. Possibly using lots of valve oil and having valve oil abundant through the horn could work; I don't know. Regards, Larry ___ Greg wrote: Larry Jellison wrote: > About oiling rotor surfaces, that is. The horn community needs to > standardize on his recommendation. Then we will be saved from > thousands of horn threads on rotor oiling that could occur in just > the next ten years. I have a feeling that it really doesn't make as big a difference as you believe. Even if you use only the tiniest bit of oil on the surface of the rotors using the "hold the horn straight up and carefully drop oil directly on the rotors" method, playing position and gravity will make the oil eventually drip back up the slide tubes, mix with grease, then eventually the grease-oil mixture will work its way back down to the rotor surface. I think the best advice is to make sure your oil will dissolve your grease into a non-gummy compound. If it doesn't, change the product you use. Then if diluted grease gets back into your rotors, you just add more oil to keep the proper viscosity. The only consequence is you might have to re-grease your slides more often. Maybe I've just drunk too much of Ken Pope's "keep the entire inside of the horn coated in oil at all times" Kool-aid. Different strokes for different folks, I guess. Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Jonathan West got it right!
About oiling rotor surfaces, that is. The horn community needs to standardize on his recommendation. Then we will be saved from thousands of horn threads on rotor oiling that could occur in just the next ten years. Jonathan is correct-- this is the best way (authoritative words of Jonathan): "There's always a bit of grease that collects at the end of the slide even if you wipe it away regularly, and there will almost certainly be a bit of grease on the inside of the valve tubing just beyond the furthest insertion point of the slides. I suggest that your method [putting oil in slides] will cause the oil to dissolve any of this grease it comes into contact with as it drops down towards the valves, and so thicken and gum up the valves. Instead, what I do when oiling the rotors is to remove the slides altogether. Then hold the horn so that the open ends of the slides are vertical. Position the dropper in turn above the centre of each open tube and drop a single drop of oil down each one, so that it drops on to the rotor directly without ever touching the sides of the tubing. Operate the valves to spread the oil across the rotors, then replace the slides. I suspect that avoiding grease contamination is more important for keeping the valves operating freely than the brand of oil you use." Jonathan has the best method, not Farkas on this one. Respectfully, Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Oil emulsion in horns - avoid!
Luke Zyla wrote: "My experience with putting oil in my horn is that it creates an emulsion with the water vapor and makes it difficult to empty all of the water. The annoying gurgling becomes maddening." Luke, My experience with oils is that some kinds readily form a cloudy emulsion with water and other oils do not. An emulsion mess inside of your horn can create a much worse problem than gumming up your dewatering. Emulsions can gather and bunch up as gelatinous clumps around your valve clusters and seriously affect the way the horn plays. A few years back I had an emulsion mess around my Bb side 2nd valve such that high F# was impossible to play. Once I cleaned my horn with with fast moving water the problem went away. (And, the gelatinous mess exited the bell!) Test for the emulsion forming properties of your oils by putting a drop of the oil with a couple drops of water between your index finger and thumb, and rub together for a minute. Ideally, the oil and water maintain separated, however, some oils form a cloudy emulsion. Keep the latter category of oil away from your valves! Regards, Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Donato
Wendell wrote: "OK, I hate being this negative so I am going to stop. But the reason I wrote this is because i hear a lot of playing that is headed in this direction. This is the stuff the demo tables at a horn workshop is made of. Just bad, insensitive notes. Ugly. Two thumbs down. Those of you who saw The Professor this summer in Denver saw some great "fooling around" and being facetious, etc. This is what the joke was all about." _ I share Valerie's view that many things can appear humorous, and I disagree with Wendell's last sentence that implies that humor occurs only when it is meant to be humor. Some of the best humor is the unintended kind. I also see the kind of horn playing mentioned by Wendell that is, "Just bad, insensitive...", yes I hear it all the time, and it is usually by amateur hornists who have far less technical ability than Donato. This "insensitivity" occurs in the thousands of youth and amateur adult ensembles across out great nation (U.S., that is). We can applaud Professors Pizka and Rider for expressing heartfelt convictions for the need for aesthetic expression. For others like Valerie to see humor in situations is also a valid reference (Palineze sentence structure). Take a look at this video, and see if you don't get a light hearted reaction. http://www.youtube.com/watch?v=FaLRYjaNSyw&feature=channel_page Best regards, Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: Senator McCain NEVER came to the rescue!
>subject: Re: [Hornlist] RE: Senator McCain NEVER came to the rescue! >I read this rather differently. > >Cheers, >Lawrence Perhaps this could be categorized as an interpretive study? Certainly, there is much to think about. Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Ensemble "call time" practices
[Debbie Schmidt wrote:] >The call time is when the service starts and you start getting paid.< Debbie, then "call time" could be seen as a "plus" for a professional because it adds to your pay. For an amateur, it is a burden that makes for a longer day; a church service or a concert becomes a bigger demand on one's time. The term "call time" is used by amateur groups to mean the time to show up. Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Ensemble "call time" practices
A minor issue that I have never seen discussed here is what "call times" you all are experiencing. I have been in ensembles where there is no call time (the advance time to arrive before the concert start time) to up to two hours. Call times of one hour are common. The reasons for such advance arrival times are: a) to get everyone there; b) to set up; c) for the audio person to get the microphones set up and adjusted; d) to run through the music (another rehearsal); e) and to have a quiet time for the last 10 to 20 minutes as the audience files in. Anyway, I think some of the call time demands are getting out of hand, and this is an irritant to some of us musicians. What are call times for professionals? An ensemble's call time is becoming a factor for me in deciding whether I want to join the ensemble. Regards, Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: French Horn Stands
Actually, this isn't a stand-- it is a step. Notice that if the horn sits with its bell flat on the floor, that the only additional needed support is an 8 1/2" step under the mouthpiece. I adopted my wife's kitchen plastic Rubbermaid step stool (one step). It easily accommodates two horns and looks like a horn docking station. This works at home; I don't take the step to rehearsals (to not look weird). Another thing, this position keeps the valves above the valve slides. I think this is important to keep sediment and oils in the crooks from flowing back into the valves. To digress ever further, I don't twirl my horn to rid it of condensate, but pull all the valve slides instead because the valves seem to work better if the condensate (and other residue) is not allowed to flow back into the valves. I try to keep the valves higher than the valve slides at all times. Regards, and Merry Christmas, Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Embouchure
I find that foods or medications that cause swelling or shrinking such as decongestants and some blood pressure medications can adversely affect the embouchure. Diuretics are particularly bad for this effect, and coffee is a mild diuretic. If I have some serious horn playing to do, I delay use of any of the above. I don't know if all horn players are affected in this way; I suspect those with embouchures that are very sensitive to mouthpiece size are likely to be affected this way. Regards, Larry _ [Jeremy Cucco wrote:] I'm actually curious to know kind if the opposite - are there things folks are aware of that adversely affect the embouchure? For example, certain coffee ruins my chops for days - it makes them sluggish and non-responsive. Also, artificial sweeteners have a similar effect. Does anyone find similarly or have some reasoning as to why? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: Balanced Embouchure helps asthmatic horn player
The Balanced Embouchure Method helps "average" players to have an opportunity to excel. It is most known for extending range, but it also improves tone and flexibility. Even professional hornists have tried it and benefited from it. Fortunately, some of the players on this list play so well that they don't want to consider this method. Others are grateful for the help that BE offers. Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Single F horns - Conn 4D
Steve asked: >Anyone playing in a community band or otherwise and using a single F horn?< Steve, we know you also have a single Bb, so do you play that in ensembles? I also have a single Bb as well as an 8D. I use either one of them to play in ensembles. Depending on the characteristics of the music, the ensemble, and the horn section, I chose one or the other. Generally, the single Bb does just fine with most ensembles. Playing the single F horn, or playing more on the F side of a double is good practice; I play up to 4th line D of the F side of my 8D because I like the sound of that D on the F side of the 8D (as well as the C a second below). But I also use the Bb side of the 8D throughout all ranges if I want clarity, quicker response, and better projection. Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Microphone location near bell
Where do you think the microphone should be placed for soloing in a large sanctuary (accompaniment is amplified). One of the church standard size vocal mics on a stand will be used. I'm using an 8d. Based on my trials at home using a microphone, it seems that a few feet in front and to the side of the bell would work. If the mic is moved backwards toward the rear of the bell, all the undesirable sounds (any buzz, valve sounds) get picked up and the tone gets bright yet has clarity. I won't have time to experiment in the church. If the mic location is toward the rear of the bell, does the sound coming out of the house speakers mellow and darken as it travels toward the audience? Thanks in advance for your comments. Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Help for embouchure problems
Milton's comment, "But you could have really good breath control and you could play out your nose", is amusing hyperbole. If there are others out there who believe proper embouchure muscle functioning (and to some extent, embouchure position) is an insignificant aspect of playing well, please post and explain why you think so. I know proper air support and control is critically important. I'm not a pro nor a teacher, so I don't think I'm qualified to explain exactly what proper air support and control is; I think the "control" part is very important, and it would be helpful if someone would explain what good air support and control is. Obviously, every beginning player who blows a sound through a horn is applying air pressure, air flow, and some level of air control. Telling such a person to use "air support and control" doesn't help them very much. I know what good air control and support is for my playing, but I ask a more experienced player to step forward and explain it in a way so that a person who doesn't know what it is can understand it. Thanks. Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re:le jeune chou- Cabbage Sprout
Thanks, Cabbage, for sharing your son's musical success with us. His innovative use of the horn in a rock band is worth listening to. Again, the site: http://www.myspace.com/themumlers Listen to the piece, "Red River Hustle", to hear how the horn eases into the mood of the song. The word, "mumler" doesn't exist in the dictionary, so, anyone know what it means? __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Annoying Sounds
Luke wrote: I tried some Viton, durometer 75, [for bumpers] and it is too hard, causing an annoying sound when playing Kopprasch. I quit playing Kopprasch several years ago because I thought the sounds coming out of my horn were annoying, too. Never thought of blaming the bumpers. More somberly, has there ever been a discussion on this list of bumpers? Bumpers need to allow quiet valve action, not cause a bounce, yet consistently stop at the same location over a long period of time (years, hopefully). I have been thinking of trying glue from a hot glue gun, applying the hot glue directly to the bumper location-- should make a perfect fit, then the excess would be trimmed with a razor blade. The hot glue comes in varying grades of hardness Larry Looking for last minute shopping deals? Find them fast with Yahoo! Search. http://tools.search.yahoo.com/newsearch/category.php?category=shopping ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Life Span of a Horn
Dave wrote: "A violin, made of wood, can last centuries. A horn, made of metal, has a life span of about 60 years unless heavily patched and refitted..." My 8D that was assembled in 1963 (thus, is 44 years of age) looks new with all its lacquer, and the best I can tell from looking at its piping (using light and mirror) there is no loss of metal anywhere. With no noticeable deterioration in 44 years, with tight slides, I wouldn't know how to forecast its useful life span. Larry Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Thursday humor: Halleluja Chorus -(double post)
Re: http://www.btinternet.com/~tim.johnson77/rambler/Messiahorganistoncrack.mp3 Our church music director had this explanation for the strange chording at the end: I think your friend might be correct about the transposer. The two indications I heard was the note before the last "Hallelujah" and then the last chord which sounded like an electronic movement, not a hand movement. The transposer button is usually by one of the preset stops on an organ. It sounds like the accidental note at the grand pause was when it happened. The last chord transition did not sound like it was the organist changing notes, but a smooth electronic shift instead. I find it amazing that the organist did not stop as soon as they heard the first chord with the choir. Interesting! ** Have a very Kruspe Christmas and a Geyer New Year! Larry Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: What happens when you slack off?
Deterioration in endurance, accuracy, dexterity, (loud) volume. One of the big surprises to me is the large difference among horn players in the effect of time off. Some players can take time off (several days, weeks) and seem to hardly miss a step in their playing when they return to horn. Others need to play every day to maintain some minimal proficiency, and I am one of these-- it is much better to play every day, even if you can manage only a few minutes, and use the minutes productively to exercise the lips (three-octave arpeggios and few lip trills, for example). Valerie, the horn practice police (HPP)are now on the way to your house. Good luck. Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: Reflector Design
Here is a reflector accommodation that I have found to be very small, portable, and practical such that I nearly always carry it in my satchel to rehearsals and concerts. Usually I don't need it, but it is there when I do. I use it whenever the acoustic material behind the bell is unacceptable (heavy curtain for example) or if the horn volume needs to be beefed up (such as when part of the horn section is missing). It consists of two parts: a lightweight metal folding music stand and your black concert music folder (the heavier the folder the better). Set up the stand at near its lowest position behind your bell at the distance you want. You can control the horizontal and verticle angles of the "reflector" music folder that is opened for maximum reflectance. Of course this may not be stable in a windy environment. I find it works great in doors. I generally use the reflector to bounce the sound upwards to the ceiling, thus preserving some of the indirect reflected quality of the sound that we usually prefer from the horn. Larry Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Kruspe and Benge MP, band music
There is a lot of new wind ensemble music being composed that is interesting and challenging, much of it is composed overseas. Two young composers with interesting compositions with great horn parts are Jacob de Hann and Johan de Meij. Contemporary church orchestra music also has good horn parts. Horn parts in church orchestra music are endurance demanding similar to horn music in wind ensemble music because horns are considered woodwinds as well as brass. So, when most of the brass rest during woodwind sections, the horns still play. Church music arrangers also love high horn so the preponderance of notation is in the upper register. What to do? Practice for endurance. Rest before rehearsals and performances. Select equipment that helps with endurance. Some mouthpieces are energy efficient while other mouthpieces drain the life out of you. I love my 8D, but playing it in demanding ensembles is like dancing with a 160 pound ballerina... the "lift" can be difficult, but then you have more to show off with the accomplishment. Larry Get easy, one-click access to your favorites. Make Yahoo! your homepage. http://www.yahoo.com/r/hs ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: 5 valve single horn???
If you are interested in a single Bb horn, I suggest finding one that you can play in tune on and and produce the tone you want from low C to high C (3 octaves) without an F extension. The F extension is a Rube Goldberg contraption (of very limited use), and if you think you need it, you would be better off staying on a double. The larger the volume of mpc you can use, the darker the tone will be. Using the stopping valve (4th valve), you can play down to Bb below low C. How often do you need to play below low Bb (2nd line bass clef) in concert?-- when you do, take your double. Regards, Larry __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Fixing old mute corks
Valerie wrote: _ I also have an early '60's Humes and Berg (paid $8 for it then). The corks are still nearly 1/8" high, but I wanted more cork. Instead of adding cork I used a hot glue gun to add more height (to about 3/16"). This has worked well, the glue is sticky and the mute adheres to the horn bell well. I also painted the mute a gloss two-tone brown color scheme (the house trim paint of my previous house-- a nice memory for me). Who knows, that old red-white paint might have been lead based anyway. Larry __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Joy of different horns
It felt good getting back on the 8D tonight for a 90 minute practice session. I had been on a small-medium belled Paxman for a week. Seems that I really enjoy alternating on two horns that have very different playing characteristics. This is more enjoyable than playing just one horn. Could this be the Clinton Effect of horn playing? Do other horn players enjoy switching horns, too? Larry __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] LA Horn Club Music on CD
There is a two LP remake on a single CD of the Los Angeles Horn Club music labeled, "Hollywood Horns" (case color photo of horns on a lawn). I bought the CD several years ago and cannot retrace from what company I purchased it. The CD includes the words, "A Reproduction of the two LP's made in the '50's". The inside label contains, "A Reproduction of the Los Angeles Horn Club Recordings. A Gift from the Wendell Hoss Memorial Library". Oddly, there is no catalog number and the paper insert looks like a homemade product. I could not find this disk using an Internet search. Perhaps someone else knows how to locate the source of this disk, and indicate how to purchase it. Larry Check out the hottest 2008 models today at Yahoo! Autos. http://autos.yahoo.com/new_cars.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Horn Digest, Vol 57, Issue 3
Also consider the sound track to "Silverado" by Bruce Broughton date: Sun, 2 Sep 2007 22:20:35 -0500 from: Jonathan Yoder <[EMAIL PROTECTED]> subject: [Hornlist] Film music featuring horns Hello -- I don't know if this has come up before, but I'd love recommendations for g= reat film music recordings featuring horns, even if the movies weren't them= selves great. I'll bet there are some pretty obscure ones out there I woul= d love to know about -- and buy, if available. Thanks in advance. Jonathan Yoder Central Illinois ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Horn Digest, Vol 57, Issue 4
If I may, I would like to share a personal story regarding the soundtrack to Always, and Jim Thatcher's solo. One evening during the school year of 1997-98, my oldest son, then in high school, literally burst into the apartment where we were then living, sobbing in a way that I could only interpret as emotion stemming from a horrible tragedy. He was returning from a 48 mile commute from a Portland (Or) Youth Philharmonic rehearsal, so my immediate thought was that he had just had an accident that had resulted in someone's death and I was bracing for the rest of the horrible story. Through the heaving and the sobs, it slowly came out that he was not overcome by tragedy, but overwhelmed by the exposure to this marvelous soundtrack (just purchased on the way home) with Mr. Thatcher's pure horn tone, the incredible musical beauty of William's score with Thatcher's interpretation and (I lack adequate words here) a "collision" with a spiritual realm that music helps us reach with such directness. As a parent, I thank God that I was present to witness this event. I have always wanted Mr. Thatcher to know that, among all the other incredible accomplishments and awards he has received, he left an most indelible mark on my son and I that night. If any of you know him personally, I would be grateful if you would pass my thanks along to him. Larry Garrett Original message, Fred Baucom wrote > message: 7 > date: Mon, 3 Sep 2007 11:28:58 -0700 > from: "Fred Baucom" <[EMAIL PROTECTED]> > subject: RE: [Hornlist] Re: Horn Digest, Vol 57, Issue 3 > > Which movie was that (the 'lake' solo)? > > Fred > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] Behalf Of > Sandra Clark > Sent: Monday, September 03, 2007 11:04 AM > To: 'The Horn List' > Subject: RE: [Hornlist] Re: Horn Digest, Vol 57, Issue 3 > > > Always - amazing...let me repeat: AMAZING horn solo (Thatcher) - in the > climactic scene over the lake - Williams wrote it for Thatcher specifically > - > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Ken in Perspective
Ken, you made a great post. Thanks. We need to keep our audience in mind, and also keep in mind the sensitivity of the playing situation when determining how important details like stopping vs. muting vs. normal hand position could be. Our church orchestra rehearses without the choir and without the organ, guitars and percussion; decisions are made in rehearsal regarding fine-tuning the orchestra's performance-- maybe one horn rather than two should play a unison line. Then, when we get in the service with the choir, the organ and guitars going forte, it doesn't matter how many horns are playing or how loud they are. This is the special relativity of music. Larry -- > > message: 1 > date: Thu, 23 Aug 2007 11:09:51 -0400 > from: <[EMAIL PROTECTED]> > subject: RE: [Hornlist] Stopped horn, found > everywhere in Broadway > > I like to say that Andrew Lloyd Weber paid for my > house (having spent 3 > years as principal horn touring with he and his > wife) - and I can honestly > say that the majority of times Pit conductors are > keyboardists - NOT > conductors. They typically do not know if you're > playing stopped or not - > OR, the pit is SO loud the stopped horn can not be > heard. > Lastly, the sound engineer usually places the pit > orchestra at such a lower > volume level than the singers that they sound as if > they're being 'phoned > in'. I once took off a show to watch our production > - it was really > depressing! All of our hard work in the pit was > basically lost in the mix, > or was obliterated by the volume levels of the > singers. > So... don't worry so much about the stopped playing > in Broadway shows. The > only exception I would add to this is if it is a > matter of caring how your > colleagues around you want it to sound. I would > also say that you always > want to play your best at ALL times, and sometimes > that might mean making a > change to the parts > Sincerely > Ken (off the road) Pope Be a better Heartthrob. Get better relationship answers from someone who knows. Yahoo! Answers - Check it out. http://answers.yahoo.com/dir/?link=list&sid=396545433 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: stopped horn CORRECTION!!!!!!!!
"As far as I know, there's no such thing as a non-transposing stop mute." Valerie * Valerie, you are totally wrong. There's not a mute out there that can transpose a single note! I don't understand why there is all this hypothetical conjecture on the list about what mutes can do. They aren't called mutes for nothing. :o) Larry Choose the right car based on your needs. Check out Yahoo! Autos new Car Finder tool. http://autos.yahoo.com/carfinder/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Who is Reba
"Can you mouthpiece buzz without a piano?" Come on, list comrades, what do you think? I think Wendell is on the right path regarding reality on this thread. Regarding Reba's lessons with Arnold Jacobs: "During the lessons and one to two weeks after them my playing, air flow, musicianship improved immenselyI was a totally different playerThen one month down the road I was back to sounding like dirt again." I have so much to learn. I hope these posts continue. Larry Need a vacation? Get great deals to amazing places on Yahoo! Travel. http://travel.yahoo.com/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Embouchure - lips- green grass
Herb Foster and Loren Meyhew wrote about the problems of "thin lips". The grass on the other side of the fence, the land of thick lips, isn't a walk in the park either (sorry for mixed metaphors). While thick lips might help with tone, the down side is that thick lips swell such that the embouchure position changes during playing-- where to aim with the embouchure to successfully hit notes does change depending on how long one has been playing. High notes are a struggle because the muscular collapsing of the embouchure orifice is difficult through that greater amount of soft flesh. Thick lipped players also need larger diameter mouthpieces that makes high horn playing more difficult. Anyway, I notice that thin lipped players don't have as much facial grimace as do thick lipped players. One saving grace of growing old (and I have been "growing" at this for quite some time), is that while the waistline increases, the lips thin out. Having thick lips is like having fat feet. Larry Boardwalk for $500? In 2007? Ha! Play Monopoly Here and Now (it's updated for today's economy) at Yahoo! Games. http://get.games.yahoo.com/proddesc?gamekey=monopolyherenow ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Making music in "Fly-over/Red State" America (Bill Hollin)
Bill reports on the robust state of symphony music in Montana. It is surprising where you can find symphony music and where you can't find it. Two examples: 1) Susanville California (pop. 15,000) in Lassen Co. (pop. 35,000) has a thriving symphony well-supported by the community, with a full horn section and a conductor who composes symphony music (including his first "symphony"). www.susanvillesymphony.com 2) Northern San Diego County (Oceanside, Carlsbad, Vista), population 400,000, has NO symphony of any kind. The closest thing to a symphony is a 24-member chamber orchestra of a Carlsbad church where I play horn. Why does a small rural city like Susanville (in ranch country) have a full symphony while an urban area in the middle of a culture-rich area (Southern Calif.) has none? I have no idea. The local paper arts editor told me that North County residents who "want culture" drive to San Diego. Larry Get the Yahoo! toolbar and be alerted to new email wherever you're surfing. http://new.toolbar.yahoo.com/toolbar/features/mail/index.php ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] The national anthem
Mr Sanner wrote: "Don't tell me the national anthem is unsingable owing to its range. It covers an octave and a fifth." __ And we horn players don't even need to remember the words if we play it on horn. The national anthem is one of my repertoire pieces as an amateur horn player. Pick whatever key you want to emphasize the range that you want to demonstrate. Played with gusto, starting with brassy edge if you want then go sweet in the high soft part. I think it is an outstanding audition piece. Larry The fish are biting. Get more visitors on your site using Yahoo! Search Marketing. http://searchmarketing.yahoo.com/arp/sponsoredsearch_v2.php ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] 4th of July D.C. Concert
As in previous years where the focus is put on the supposedly fabulous performers who we are supposed to be so fortunate to watch, the concert succumbed to the cult of personality of the Hollywood performers. The focus should be on celebrating the country, praising the men and women who made this country great, then on the wonderful music that was inspiringly composed to celebrate the heroism and accomplishments of our forefathers. Let's hope this annual concert can rescue its soul from its present narcissistic obsession. Larry Luggage? GPS? Comic books? Check out fitting gifts for grads at Yahoo! Search http://search.yahoo.com/search?fr=oni_on_mail&p=graduation+gifts&cs=bz ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Using "P" for high notes
Regarding Professor Pizka's specific message to Valerie Wells: "But, Valerie, keep asking with your problems. This is interesting, because there are too many players with similar problems - and too many teachers advocating false solutions..." _ Hans, Valerie has solved her high range "problem" by going outside of horn pedagogy to find a solution that works well for her, and for others, too. Furthermore, your advice as others advise, to improve the high range by practicing the low range, is not very effective. Too bad horn pedagogy regarding embouchure development has been poor through several decades of teaching, and that our best horn teachers are still discovering ways to explain embouchure formation is just further justification of my point. Yet, we all stand indebted to you for your generous contributions to the hornlist, and many of us are grateful. Larry Park yourself in front of a world of choices in alternative vehicles. Visit the Yahoo! Auto Green Center. http://autos.yahoo.com/green_center/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Tinnitus and Intonation
While I have moderately loud tinnitus in the left ear, to the extent that it affects my ability to recognize speech, I am still able to play horn in tune. I play in tune by focusing on the sound coming to my right ear. The brain has the ability to differentiate between the sounds coming to the two ears and focus on one ear. This is similar to the brain's ability to adapt to "mono vision", where contact eye lenses are refracted such that one eye is used for far vision and the other eye is used near vision. Whether musicians who have tinnitus in both ears can adapt and play well in tune, I don't know. Maybe those with this condition can speak to this possibility. Larry Take the Internet to Go: Yahoo!Go puts the Internet in your pocket: mail, news, photos & more. http://mobile.yahoo.com/go?refer=1GNXIC ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Ear overtones
Richard Hirsh wrote: >>>Actually the human ear is very non-linear... Our ears definitely do NOT create harmonic overtones. The wave patterns inside the cochleus are extremely non-linear.<<< _ My left ear tinnitus, with a fundamental of 4000 Hz, seems to have overtones. Plus, those listening to an interval of a fifth sometimes claim to be able to hear the third fall in. Maybe the brain and not the physical ear is causing these extra tones, but we seem to hear them. Maybe the brain has overtones! Need a vacation? Get great deals to amazing places on Yahoo! Travel. http://travel.yahoo.com/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] re: S____ V____ problem; Ideas?
Angela Gonzales wrote: First of all, I want to thank all who replied and gave me ideas and suggestions on fixing this problem. They have been helpful. Angela, all is cool, or hot (depending on your age category). Thanks for your inquiry. As a result of the un-dampened oscillation of responses of the entire list membership, we are now all experts, and everyone will be receiving a "Certificate of CRS Maintenance Competence". Regarding 8Ds in the forest and falling trees, at least everyone will be able to resuscitate the 8D CRS system. And, no... no (complaining) voices will be heard, but e-mails will be forthcoming and that is an undoubtable fact. Larry Luggage? GPS? Comic books? Check out fitting gifts for grads at Yahoo! Search http://search.yahoo.com/search?fr=oni_on_mail&p=graduation+gifts&cs=bz ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Spit valve problem: Ideas?...???????????????
So far, eight detailed and thoughtful responses to a mundane and trivial problem (Hans, you are so right!). Wish we could get this kind of response on the more interesting and thought provocative issues. Some months back I posted to request comments on the horn response differences of thin verses thick (metal) bells, and no one chose to comment. Are spit valves really more interesting than a discussion on the playing characteristics of a horn as a function of bell metal thickness? Sorry for being sardonic. __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: musical idiot & disgusting arranger.
This tops them all-- the concert band version of "The Marriage of Figaro Overture". When the saxophones join in by tackling the cello parts, you know the music world has reached a new low. Not even the clarinets on the violin parts can prepare you for this. __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Posts on different horn sounds
There have been some great posts lately about the different kind of horn sounds. I am a simple guy in a complex and contradictory kind of way, but what I think is the goal of one's horn sound as well as of one's all around horn playing, is that your soul is to be in the music that you play. I want you, all of you, to be in that sound. __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Conn 8D
I apologize that I didn't identify in my post that the large throated belled Conn horn with the "velvet fog" sound is the 8D. __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: What makes Conn horns desirable?
The dominate acoustic characteristic of the horn is the large bell. The large (throated) bell produces the characteristic "velvet fog" sound. The horn isn't easy to play, but consider too that the easiest playing horns aren't always the best sounding horns. Last fall I heard a concert of "Hornswaggle", basically the local San Diego horn club consisting of professionals and amateurs. There were a variety of horns, and in my opinion the player with the best overall tone (a person who wasn't the best player of the group) played an 8D. Larry __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Good stuff, Valerie
Your writing, that is: __ message: 10 date: Sun, 15 Apr 2007 00:06:39 -0700 from: "Valerie WELLS" <[EMAIL PROTECTED]> subject: [Hornlist] Too many sacrafices.. Gee, I don't know if becoming a good hornist is worth all that is expected of me:... __ Is this a cry for help, Valerie? The hornlist does need a referee to call timeout for piling on too roughly. Oh, this hygiene stuff... right up a nurse's alley, huh? But, you could have stayed at work if you wanted more of this, right? Brings back memories of the lead hornist in the local community band who has a plastic bottle of Coke sitting next to her chair, and takes a swig every 15 minutes. Yes, her valves (on her horn, that is) sound terrible, but she is a great horn player. Several months ago, someone posted on the list an old practice of "seasoning" a new horn by pouring milk through it. Ugh! Terrible image. Sorry to put that image (and smell) out there. Remember, horn dental hygiene includes flossing and use of the tongue cleaner (on you, not on your horn). Whether it's okay to drink the milk and play horn, I don't know. Probably, you shouldn't drink the milk after your pour it through your horn, would be my guess. Now go have a good day. Larry __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Hornlist week in review- NHR :- )
First of all on the international level, every member of the hornlist has been cleared of possibly being the father of Anna Nicole Smith's baby. So, apparently everyone is practicing horn as much as they claim. Our compliments to the list administrator for not losing 5 million e-mails this week like the Bush Administration did. Way to go! No complaints have been received by the Holton Anti-defamation Society this week, although many of you kept on posting about clattering Holton valves. Truth be known, Conn valves clatter too, but very few complaints have been lodged against the legacy Conn horns ever since a second "n" was added to the name of the horn. Keep complaining and you may find yourselves at an Imus Sensitivity Training School very soon. Happy Friday the 13th, and see you all back next week. Larry __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Valve oil season
Ah, at last, another go-around on this topic! There is so much for each of us to write. I feel sorry for those starting up with this topic and getting so much different and sometimes conflicting advice. I think it helps to understand a few principles. 1. Brass rotor surfaces should be oiled to prevent deterioration; oiling rotor surfaces can help performance by improving valve action. 2. There is an optimal thickness (viscosity) for every moving surface on the horn-- basically, the tighter the clearance, the thinner the oil needs to be. Finding the right viscosity it most important for valve bearings and rotor surfaces. If your valves are noisy, try a thicker oil on the bearings to take up the slack and to reduce vertical movement. 3. Oil often and sparingly; keep the slide grease and the rotor oil (in the horn) separated (small quantities; wipe and reapply slide grease frequently)-- this is a constant battle, but you can keep the oil and grease separated with diligent housekeeping. And this is a new wrinkle for the experts to explain-- some oils (kerosene, Selmer grease) maintain good separation from water, while some other lubricants create a messy cream-colored emulsion with water. The oil-water emulsions make a mess in the horn and can create a serious performance problem-- one time my 8D would not allow anyone to play a high F#. I cleaned the horn by forcing water through it, with a significant amount of the white emulsion mess coming out of the bell. Then the horn played fine. Has anyone studied this emulsion problem of some lubricants? Don't be flakey. Get Yahoo! Mail for Mobile and always stay connected to friends.http://mobile.yahoo.com/mail ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] When requesting Nowlen paper
... send the request to the person making the offer. Don't send your request to this 1000-member list. Others making similar offers of papers-- suggest in your post that requesters reply directly to you and not to the list. Thanks. Larry Now that's room service! Choose from over 150,000 hotels in 45,000 destinations on Yahoo! Travel to find your fit. http://farechase.yahoo.com/promo-generic-14795097 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Horn Digest, Vol 51, Issue 27 - NHR
Bill Hollin wrote: Well, it seems that I am in the distinct minority... I remain encamped in my position. If Mahler was a Druid, his music would have been something quite different. bh - still stuck in Ritzville, WA _ Well, if Mahler had been born in Montana, would his music have a decided blue grass or country bent? Would he have beaten Ferde Grofe to composing "On the Trail"? We could have had Mahler's "On the Plains Suite"; a musical treasure to never be. For a guy from Montana, what's wrong with being stuck in Central Washington? How can you tell the difference? :-) Larry Oceanside, CA We won't tell. Get more on shows you hate to love (and love to hate): Yahoo! TV's Guilty Pleasures list. http://tv.yahoo.com/collections/265 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Yamaha mpcs. - drilling a larger bore and special effects
When drilling out a mpc, there is more to consider than just enlarging the diameter of the bore. The other important factors are the effects on the transitions from the bowl to the bore and from the bore to the back bore. Another consideration is the change in the length of the bore (which increases when you drill). All of these factors influence how well the mpc works. The very minor change of boring out a mpc changes all of these factors, and could give you a result that you don't like (which is my experience). Don't drill unless you are willing to take the risk of ruining the mpc. It is reasonable to assume that a well designed mpc will likely not perform as well when drilled out because the "optimal" design gets changed by a process that is no better than "trial and error". Larry Expecting? Get great news right away with email Auto-Check. Try the Yahoo! Mail Beta. http://advision.webevents.yahoo.com/mailbeta/newmail_tools.html ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Stuck in high range limbo
The help comes from finding small improvements from a dozen different aspects of horn playing, including finding the optimal horn/mpc combination, experimenting with embouchure/facial muscle positioning and mpc placement, experimenting with chin-mouth-throat positions, applying breath support with balance between air pressure and air volume, practicing earnestly, daily, with much play time in the high range, applying mental concentration, and, praying. Apply all your inner resources, intelligence, and wiles to climb into the high range. Don't let "old" age become an excuse. Once those high notes start to squeak out, continue working to develop a full and free sounding tone. Don't give up and do have fun with the challenge. Larry We won't tell. Get more on shows you hate to love (and love to hate): Yahoo! TV's Guilty Pleasures list. http://tv.yahoo.com/collections/265 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Favors and good will
Prof. Pizka related an experience of being asked by a desperate person for scanned music, then later being told, "never mind". Another situation that needs consideration is when you ask another horn player to substitute in an ensemble. You need to be the person of authority to make the offer. I have been asked to substitute to only be told later either "we need to get the approval of the principal or the conductor", or, "we found someone else to substitute". This is inconsiderate behavior toward those individuals willing to extend a favor to the ensemble. Need Mail bonding? Go to the Yahoo! Mail Q&A for great tips from Yahoo! Answers users. http://answers.yahoo.com/dir/?link=list&sid=396546091 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Playing on a single Bb
When a friend decided to reduce his inventory of horns and sell his Paxman 10 (medium belled, yellow brass Bb single, stopping valve, F-extension), I jumped to buy it, for two reasons: 1) This is a horn that can ease me into my senior years since it is easy to blow and play, and is light to hold. I took off the F-extension piping since I don't need to play the missing low notes when I use this horn, and removing the F-extension piping reduces the weight-- playing off-the-leg is very easy with such a light horn. 2) Compared to my Elkhart 8D, my playing endurance is significantly increased with the Paxman 10, so I use it for the bloody church orchestra rehearsals where the director drives the brass to exhaustion. And, this horn is much more secure and responsive in the upper range compared to the 8D. Playing all the notes on the Bb side calls for one to practice the Bb fingerings, but I think being adept with Bb fingerings is a good skill to have. It's a pleasure having two playing horns with very different playing characteristics and tone colors. I play both horns everyday, and select the horn for the venue-- if I were playing the 2nd or 4th horn part in a concert band, the 8D would get the call, for example. Finding a good single horn, in tune and responsive in all ranges, reduces the necessity for the double horn configuration. There is a subtle beauty in playing on a single horn where there is no cross-over transition between horn sides. __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Brass interior green
Having played nickel silver horns all my life, now I have a brass horn. Some of the interior piping is coated with the green copper oxide. If this oxidation layer is firmly attached (say after cleaning with detergent and a snake), is it okay to leave? Or is all the green supposed to be removed (as part of normal maintenance on brass horns)? Thanks in advance for your advice. Larry Have a burning question? Go to www.Answers.yahoo.com and get answers from real people who know. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Horn-Saxophone composition principles
Since the irritation levels among the members are high at this time, I thought this would be a good time to bring this subject up. This is an issue for composers/arrangers and for music directors to discuss. I wasn't a music major, so I hope to get some advice from those of you who are educated in music composition/arranging and in music conducting. It pertains to wind ensembles and church orchestras where saxophones are incorporated. Often the alto sax parts and the horn parts are the same. While occasionally, a discriminating composer/arranger may want this particular blend of sound, I suspect these parts are put together for other compromising reasons such as: a) composer inability to score different lines for these instruments; b) composer laziness; c) necessity or practically concerns for having saxes cover when horns are not available or are incapable. Then, what is the responsibility of the conductor for selecting the appropriate instrumentation for the ensemble IF there are sufficient and capable horns available for playing the alto lines? If particular music pieces are best orchestrated for horns, is it the responsibility of the conductor to adjust the instrumentation to achieve the desired sound? The "proper adjustment" could involve asking the sax players to blend, to play softly, or to drop out; or to tell the horns to drop out. Generally, the horn sound and the sax sound are not compatible. It seems obvious to many of us horn players what is the best course of action, so I'm asking composers/arrangers and asking music directors what their views are regarding the interaction of alto saxes and horns. Larry Sponsored Link Mortgage rates near 39yr lows. $310k for $999/mo. Calculate new payment! www.LowerMyBills.com/lre ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Age and horn playing
Age could become a factor. Youth is also a detrimental factor regarding judgment and problem solving skills. What's the best age for being a horn player? Doesn't matter for each of us because we can't change that. Age may affect each of us differently, so there can be no general judgment. I'm nearly 60 and am playing better than when I quit horn at age 19. You don't know how much age may be affecting your playing until you work as hard as you can to be the best player that you can be. I find the harder (and intelligently) I work, the better player I become, and I suspect this will be the case for each of you. Do you Yahoo!? Everyone is raving about the all-new Yahoo! Mail beta. http://new.mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Memories of first solo competition
In hope that some of you may find it interesting to relate your experiences of your first solo performance, I share mine: At age 12 (47 years ago), after playing horn for 6 months, in rural Oregon, I played Beethoven's "Little Rondo" on a brass single F Reynolds at a regional competition. I played it well with no clams and got an "A". Years later I realized that I never played the 7th interval jumps (from A to high G), correctly. I landed on F everytime; this didn't sound bad and maybe the judge didn't realize it. However, slurring a 7th interval several times up to high G is much to expect of a beginning student! I wouldn't want to try this in public even today! Larry Sponsored Link Mortgage rates near 39yr lows. $420k for $1,399/mo. Calculate new payment! http://www.LowerMyBills.com/lre ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] The Pope Effect
Ken wrote: "I guarantee you that if someone pays a large amount for a repair on their horn - they'll be influenced to think that their instrument feels different." That's great, Ken, and gives us new hope. How much will you charge to fix my horn so that with my lips it can play the 1st horn part of Konzertstuck? Larry Access over 1 million songs - Yahoo! Music Unlimited (http://music.yahoo.com/unlimited) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Conductor's "state"
Bill Gross wrote: Where is the Cabbage in all this? I'm sure he would be willing to explain to us just exactly what atomic structure is needed to make a good conductor.I'm sure it has something to do with the distribution of electrons in the nuclear structure. _ Bill, I can't hold a candle to the brilliance of Dr. Cabbage, nor even understand his electron state, but, until he returns, here are some fundamental, basic, rudimentary comments. Quantum mechanics can be applied to the subject. First of all, subatomic particles have spin. They spin one way, then the other. They may flip from one energy state to another. You never know just how they are going to spin and flip. You can't tell where they are or where they are going, especially the faster they go. Some of these particles have "charm", but Dr. Cabbage needs to explain that one! I hope this sounds familiar to you; most of us experience these phenomena at the podium from sitting in the horn section of an orchestra. String theory also applies, but only for orchestras. Regards, Larry __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Conductors of amateur ensembles
Now to take the subject down a few common denominator levels, to the ranks of the uneducated and definitely unpaid-- thoughts on conductors of adult amateur groups. There is much that could be discussed here among those who chose to think about it at least a little. Amateurs play in ensembles for a variety of reasons, for differing goals. Most want to improve; most want the rehearsals and concerts to be enjoyable. I think these are among the most common and most important goals of amateurs. I am tired of looking around at faces in groups and seeing glum and frustrated expressions. The conductor is the one best positioned to change this undesirable condition. To cut this short-- conductors need to do the following. 1) Set clear expectations for performance. Hand out the music ahead of time and tell musicians to learn their parts in their own practice time. Give musicians a heads up of which pieces will be worked on at the next rehearsal-- announce at the previous rehearsal or send out a group e-mail. 2) Know the score yourself; know your interpretation. Nothing is as frustrating to the group as being directed by a conductor who is lost or is studying the score during rehearsal. 3) Hold your instructive comments until a substantial portion of the piece has been played-- better, wait until the movement is finished. Then go over your long list of comments with everyone. My biggest gripe is aimed at conductors who stop every time they have some comment to make-- this may be acceptable for the pro ranks, but it is totally unacceptable for amateur groups. Remember that amateurs are there to enjoy the music, not to be micromanaged by a neurotic conductor-- and there are many of these out there. 4) The conductor at rehearsal should bring the ensemble together to play as a unity, to bring intensity to the music beyond the mere mechanics. The key awareness issue for clear-headed ensemble amateurs is -- are we having fun? Regards, Larry __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Merry Times + Natural Horn Playing
The most exhilarating natural horn playing doesn't have anything to do with whether your horn has valves or not. It has to do with whether you have no clothes on or not while you play horn. __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Hans support
It is okay for your guys to print your supporting thoughts of Hans, but then to attach the offending diatribe, to attach the trash all over again, just isn't thinking on your part. When you strongly don't like something, don't reprint it. I appreciate Hans, too. See how I can state that without attaching all the trash? __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Horn protection
1. Don't leave your horn in an unattended auto. 2. Don't leave your horn unattended when in a public place. 3. Don't sit your horn on a chair (during a rehearsal or concert break). Treat these rules like firmware to the brain. Prevent theft of your horn. Prevent your horn from being knocked off a chair to the floor. __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Austrian post flareups
I could write a master's degree thesis in the subject of statistics on the occurrence of these dog and cat fights on the Memphis list. Appears that the median of event happenings is about every six months with a standard deviation of one month. If we view these events from a mathematical and statistical perspective, then we can see them absent of the personal view. These events happen. They can be studied. They can't always be predicted because they seem to have a statistical nature. The newbies on the list often precipitate the chain reaction that trip these events, and they also provide the most fodder. Occasionally, the veterans get buckshot in the britches, too. Time to head for the trench. __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Oiling rotor surfaces
Steve Mumford wrote: The only drawback I can think of oiling the rotor faces is that anything more than a drop or two will wander elsewhere in the horn, melt your tuning slide grease and transport it back into your valves, which will eventually make for slow music... I think your valves will work consistently faster if you play every day and you don't oil the rotor faces. __ Oil in the horn is a changing, dynamic state. I agree with Steve, that the mixing of oils will cause sluggish valves. However, if you keep the oils separated, then pure valve oil on the rotors will produce the quickest valve action. I agree with Steve, that you need to oil the rotor surfaces sparingly. The trick is to learn to keep the slide grease from migrating into the rotors-- this is done by frequently wiping the valve slides with a clean cloth; reinserting the valve slides to contact and draw out more slide grease, then wipe again-- each time you insert, withdraw, and clean with a dry cloth, you can draw out up to 50% of the remaining slide grease in the slide receivers (we're removing the old, diluted slide grease). The simple concept here is the removal of as much of the diluted slide grease from the horn before you apply new, thick slide grease. Then, with a sigh, resign yourself to your fate with your horn that the oils will want to mix-- due to something like the law of horn oil entropy. The more often you remove and replace your diluted slide grease, the better you will keep the slide grease out of the rotors. My valves are faster than I am; either I have great valves, or I am a slow player. It's all relative, anyway. __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Beta Blockers -
Regarding William Botte's concern that beta blockers may be performance enhancing drugs similar to drug enhancing drugs used by athletes, consider the facts that beta blockers lower blood pressure and reduce the rate of the pulse. Reducing blood pressure and reducing the rate of the heart beat reduce the body's ability to perform. Strength and endurance are reduced. Yes, nervousness can be reduced by these drugs, but beta blockers are actually performance dis-enhancers in the parameters considered important to athletes. I take a beta blocker to lower blood pressure, but I reduce the dose or delay taking the beta blocker if I have a heavy rehearsal or concert ahead of me due to the debilitating effects described above. __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Performance Anxiety
Writing as an amateur horn player and one who aspires to no more than enjoying playing horn, I have been able to overcome most of the anxiety problem by changing my attitude about what is important. Instead of being mentally critical of myself or accepting the critical attitudes of others, I look forward as I play to expressing my music. Maybe this sounds simplistic, but I find that making a change in my fundamental value system, as to why I play horn, works in reducing the worries. This may not work well for professionals or serious students, but for those of us on the downhill slope of life, those of us over 50, it works pretty well. If you play for enjoyment, and if you are able to play with a mature musical expression, then your trust in your musical expression helps to calm the nerves. Of course, you still need to work just as hard and also not pick pieces to play in public that are beyond your confident playing ability. While playing for enjoyment, one can still work seriously and put in a lot of time and effort, but the goal is musical expression, not perfection. Larry __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Horn case, and the bell
While the valve cluster may held tightly, the bell is usually suspended (maybe touched with foam in one area). Does this leave the bell highly vulnerable for blunt force momentum shifts (e.g., horn + case heaved into a large bin). Seems to me that you would want some pretty rigid packing material (styrofoam) but only if the external shell is very rigid and strong (otherwise a crushed hard case causes a crushed bell with tight packing). Larry __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Pliers
Bill wrote: "It's interesting that the schedule of repair surcharges is in no way related to actual damage, only to the perceived audacity of the attempt. I find that very few people are the incompetent idiots you portray." __ Bill, Steve did not say or insinuate the things you accuse him of. A more objective interpretation of Steve's position is that repair costs relate to the amount of work required; generally, more damage, more work. Furthermore, you are unfair in calling people idiots in this case. They may be uninformed, but they are not idiots. Maybe you can explain why your interpretation of others' posts has been so strident lately. Larry __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Jesu, Joy of Man's Desiring (breathing)
Playing the version for horn and piano from virtualsheetmusic.com is a huge challenge because of the lack of locations to breath. In 9/8 at moderato, in the key of F, much of the playing is below the treble staff (requiring more air). The horn carries all of the melody in continuous triplets with no place to breath for sections up to 13 measures long. Possible ways to handle this include: 1) play at a slow tempo and truncate a note at the end of a sub-phrase to grab a quick breath; 2) play at a fast tempo to get as far as one can, dropping out a note at the end of a sub-phrase to breath; 3) play as a horn duet with piano accompaniment; 4) reorganize the arrangement and give some of the melody to the piano; 5) go buy a different arrangement (where?). Suggestions? Thanks. Larry __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Teaching the joy of horn playing (difficult etudes thread)
For those who keep putting up distracting arguments, arguing with me regarding concepts that I never made, judge yourselves as horn teachers by how many of your students are still playing horn at age 30, age 40, age 50, and beyond. Of your students that quit, why did they quit? You tell us. One of my students taught me a lot as she said goodbye when she needed to move away with her husband. She and I sat together in two horn sections. As part of her goodbye, she said she learned from me how exciting and enjoyable horn playing could be, that sitting next to me woke her up to a new dimension for her own horn playing. I think she is a better student than I am a teacher. She learned something most valuable through osmosis by just being next to another horn player, gaining inspiration and understanding to continue as a life-long horn player. If you still need to have the dots connected: teach and inspire in a way that makes your students want to come back for more. Don't equate this to being easy or playing simple music; students get excited when they see progress. __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Difficult Etudes- final word
At the risk of sounding like a spoiled child, I think a basic approach to horn playing should be, to do what you enjoy. This is not written naively. Most of us are accomplished in life, e.g., I am a retired research engineer; I know discipline and hard work are necessary for achieving many goals in life. But, I also know that most musicians who quit music do so because they no longer enjoy it enough to dedicate the time and energy to continue. What good does it do to teach others to practice what they don't like, when the end result is their quitting music altogether? __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Avoiding Difficult Etudes
Previous: (from me:) >Steve,. >Don't play etudes that you don't enjoy. There are >many different ways to develop as a horn player >without needing to practice drudgery that you don't like. > >__ Then, Richard wrote: The etudes I do not relish are the ones which challenge me to go beyond my present level. If I avoid them because they are unpleasant, I will end up treading water, going nowhere. No pain, no gain. Ultimately I think it's more fun to try to be a good horn player than a mediocre one, even if one does not succeed. Richard ___ My followup: Richard, While I acknowledge your comment on not liking difficult etudes, I want to clarify that I did not suggest to Steve to avoid difficult etudes. I see no relationship between the technical difficulty of music and its enjoyment. Some of the most technically difficult music (and etudes) are the most enjoyable. In fact, I prefer being with ensembles that play more difficult music. Many of us feel great satisfaction in progressing with our horn playing, and the only way to see the progress is by playing more difficult music. Simple music can always be a challenge, too, to play simple music more beautifully. I find some of the simple horn passages to be artistically challenging. Regards, Larry __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Playing with good tone while playing with others
Steve, I hope you aren't in one of the concert bands that plays at one of two dynamic levels: loud and louder. Concert bands can play exquisitely if disciplined and lead by a discriminating conductor, but unfortunately, these are in the minority. Here are some choices: 1) find a different band; find a smaller ensemble; 2) use your political influence to relocate yourself to the back of the band; 3) become friends with the conductor and with the principals, and again use your political wiles to broaden their weltschaung to include the possiblities of soft and delicate playing; a corollary approach would be to pop off with snide comments during rehearsal about "how nice would it be if the band could play softly at times" (not recommended). Regarding playing those continuous off-beats, follow Professor Pizka's advice. I think off-beats can also be an opportunity to work on a disciplined embouchure if you can relax your lips during the non-play duration, then set again for the off-beat. Try to avoid sacrificing tone quality for volume. When your tone is good, you will feel that in your embouchure even if you can't here yourself against the 17 saxophones and 13 trombones. We are constantly in the process of trying to find our best venue. Find music happiness in seeing your own progress. Find what you need to make your own practice at home more enjoyable. For example, make up your own practice routine, play improvision, put as much of your own practice under your own control while still achieving your playing goals (of improved tone, extended range, endurance, musical expression, etc.). Don't play etudes that you don't enjoy. There are many different ways to develop as a horn player without needing to practice drudgery that you don't like. __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Pay to Play
Rachel wrote: Hornfolks: (full time pros may ignore this) Do you remember the days when NP orchestras allowed us to participate FREE of charge? __ There are NP (non-professional) ensembles around that do not charge its members a fee to play. Church sponsored orchestras and bands may not charge, in fact some may pay! There was a church in Roseville, CA that paid its small wind ensemble $100 per musician per week for a weekly 2-hr. rehearsal and a 3-hr. block of time on Sundays to cover the music for two church services. Some conductors perform their tasks for free or for a little stipend; others use the position to gain a substantial portion of their income from the amateur ensemble. The amount of stipend determines to a large extent how much the ensemble members pay. Some groups are more open about their finances than others. If you pay, I think you have a right to see the income/expense spreadsheet. The governmentally supported groups ask you for confidential information: birthdate, SS#, sometimes charge card #. I recommend that you never give them your birthdate and your SS#, as these forms probably end up on someone's desk unsecured. It amazes me how musicians freely give out this information on any form put in front of them. I have never been turned away from an ensemble for not filling in this information. Often, I am the only one in the group withholding my confidential information. The only business obligation you owe the group is your required fee, a way for them to contact you, and your music performance. __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Inner Embouchure
Last Friday, this list had a brief exchange regarding the relevance of the concept of inner embouchure. I want to point out that Froydis Ree Wekre in "Thoughts of Playing the Horn Well" has a subchapter, "The use of the muscles inside the mouthpiece rim". She writes, "The center muscles operate inside the rim of the mouthpiece. We can feel them, but not see them when we are playing... How these central muscles should work depends on what the music and interpretation demand such as register, dynamics, sound, and articulation. The player should rely on his/her ear when evaluating the resulting sound and deciding what (if any) ajustments must be made"... Her very worthwhile book is available for purchase. __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Funding Civic Concert Bands in Calif.
Many if not most are funded as an adjunct course of a community college or public adult education program. As a community college program, each musician enrolls as a student and pays approx. $26 per semester for one credit hour. As a public adult education class, the musician also enrolls, fills out computer bubble sheets detailing one's life goals, and pays a fee in the range of $30 per semester. In both cases, the state and federal government subsidize the concert bands by providing the room, insurance, music library, and a stipend for the conductor. Adult enducation supported bands need to take attendance for every rehearsal and concert, because the state reimburses the school district according to attendance-- two years ago, this was $12 per musician per rehearsal or concert. __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Correcting a wolf note -- Thanks, Rachel
I had been having difficulty with a developed wolf note (note that didn't want to speak-- a quiet wolf!), the high F#. I spent daily practice time trying to get this note to speak. Rachel advised me to check my bumper settings and also to clean the horn. In my case, water pressure cleaning did the trick and the F# now plays like the rest of the notes. So, thanks, Rachel. I will no longer need to humbly ask my colleagues to play my exposed passages with the pesky F#'s. More etilolgy on the specific culprit: the cleaning yielded a slightly white gelatinous mixture of valve oil, slide grease and water emulsion that exited the bell. So, the material was likely lodged in the main horn tubing section that connects the valves. This is where some of the valve oil-slide grease mixture migrates over time. The valve slides may have had the material, too, but I didn't get to see what exited the slides. __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Is Rachel Wrong?
John Mason wrote: "I just noticed this exchange and have this to say to Fred and Larry: You're wrong about Rachel." Yikes! I started this silly "Rachel, you are wrong" thread, by intending to poke humor at Rachel's, "If I can do it, anyone can do it", regarding playing the Brandenburg 1 and other feats on an 8D. I intended to make humor regarding Rachel's challenge by twisting the logic to be-- I wouldn't because I can't, not because I won't. Rachel had generously suggested that anyone can play as well as she can, and I poked humor at that. So, John, to set the record straight, regardless of what I wrote, I am not wrong about Rachel. She has shown herself to be a generous contributor to the horn community and has much to share with us. Keep posting, John, and we will find out what you are all about! Ha! Tip of the day-- develop a more powerful fortissimo by using the inner embouchure muscles to open the embouchure orifice. You will feel the lips curl out a bit. This works especially well for playing fortissimo in the lower register. Larry, a 60th percentile amateur horn player __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Rachel, you are so wrong!
Rachel wrote: "I invite any 8D player on this list to go right ahead and do the 1st part of Brandenburg 1 with your 8D... Do whatever it takes to get your light playing chops in there. If I can do it, so can anyone else." No doubt about it-- I will never be playing the 1st horn part of Brandenburg 1 or even the Brandenburg 23, on my 8D, an 888D or any other nickel tube. Rachel, you let me down; I got to thinking that you were always right. Incidentally, I and many others would love to play in your horn section for an evening, and what a whirlwind evening that would be! Larry __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Shallow-bowled mpcs
Two observations I would like comments on (agree, disagree): 1) Shallow-bowled mpcs (Shilke 29, Laskey "G" series) help improve the efficiency and a quicker response of large belled horns (8D, King Eroica). Deeper mpcs on such horns require more energy to play (more effort to produce a fortissimo). 2) Shallow-bowled mpcs, while helping with high register playing, make the partials seem closer such that accuracy becomes a problem (high notes to the embouchure feel closer and are harder to pinpoint). Thanks. Larry __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Horn slotting characteristics
Apparently horns vary in how wide (in pitch variation) that they slot on notes. Is there a consensus of opinion regarding the appropriate or desirable amount of slot pitch variation? Does the width of the desirable slotting relate to the performance level of the player, with beginning players doing better on tight slotting horns? My 8D slots pretty wide. Some notes such as 3rd space C on the Bb side slot really wide such that I need to pay a lot attention to intonation, since the pitch can easily bend up or down pretty far on that note. How important is the note slotting characteristics of a horn in one's selection of a horn? Which common factory-made horns slot wide and which ones slot narrow? Thanks. I guess mouthpieces significantly affect the characteristics of note slotting... (but, one thing at a time). Larry __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Off list participation
Charles R wondered Thanks everyone for the great response to my questions both on and off list!! Though I don't understand how everyone can benefit if people are answering questions and debating privately? This is my first time here. Is there a private club underneath/behind the list? Some list members find it more appropriate to respond just to the initiator. Generally this works well. Just observe rules of courtesy when responding privately, as if you are responding to the entire list. Many worthwhile information exchanges and even friendships have developed this way. This "club" isn't at all like Opus Dei. Larry, member, Fraternity Brother of Horns of the Sacred List __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Ear training for musical disasters
Ensembles can correct quickly if everyone is listening. One type of disaster is where two sides of the ensemble get out of coordination, perhaps due to poor acoustics. A few weeks ago one local ensemble had the concert disaster of two sides of the ensemble starting different pieces. This occurred because the conductor went out of sequence on the program, made a quiet comment to the group about what was up (the wrong piece) and some ensemble members did not hear. So, we had "Blue Tango" and "With a Song In My Heart" being played simultaneously. It sounded surprisingly good. It took a while for the conductor to get everyone to stop, as the trumpets really enjoyed doing the melody of With a Song In My Heart and didn't want to quit. Finally, when quiet arrived, the conductor turned around and lectured the audience about how the American composer, Charles Ives, composed music like this. This was for an audience that probably never heard of Charles Ives. Rehearsals now have the trumpets pulling this gag on the conductor on some number in the rehearsal. Mistakes are slow to be forgotten. This one, maybe, never. This group has had even worse disasters, though. Last year, the group did a "music at the movies" concert-- not all of the video, to be shown on a large theater screen, had been pre-screened, and an XX-rated bedroom video scene was projected on screen located behind the musicians while they played away. This concert was for a community arts festival, by the way. The musicians (and I was one) saw only the expressions on the faces of the audience. Larry __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mid-range tonguing reverb problem
I'm having a problem with tonguing cleanly in the range from about first line E to third space C, with the start of the notes sounding like there is a reverberation. In other words, the initial attack has a slight shattering sound. Suggestions? Thanks. Larry __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Ear training
Regarding posts suggesting that we should hear the tone in our mind before we play: does anyone disagree with this? I have read others writing that they have a "feel" where the pitch is, even if they don't consciously find the pitch in their mind. Both approaches work. Others suggest that we listen to the mind's mental tone instead of our horn's sound, or at least give our mind's mental sound image the higher priority in our attention. For pitch finding, this approach works well. However, "listening" is more than finding the pitch and being in tune. Listening includes our interaction with the horn to produce the tone changes and phrase forming-- the musician's molding of the composition-- to give it interpretation. This is similar to how the artist works his paint to create a beautiful painting on a canvas. Just as the painter works intimately with the colors on his palette and on the canvas, I think we need to be intimate with the sound of our horn. Larry __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Horn advice (Conn 8D hand grip)
Adjust the rotor strings such that the finger paddles are straight out, at 0 degrees with the plane of the rotor slides. I have medium-large hands and the 8D hand grip is no problem. ___ message: 6 date: Fri, 12 May 2006 22:05:03 -0400 from: [EMAIL PROTECTED] subject: [Hornlist] horn advice ...now the conn 8d has a great tone but the grip is horribly small and constricts my playing so if anyone has any advice that would be great __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Ewazen's sound files
I commented on not flaming Chris for his critical opinion based on listening to the sample sound clips at: http://www.ericewazen.com/newsite/music/balladehorn.html Willing to admit that I could be wrong, I listened to them again. Again, I come away with the opinion that these sound clips are unoriginal and cliche. Perhaps Ewazen's other compositions are worthy of professional praise. __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Re: Works for Horn and Flute - flames
Chris wrote: Hmm, trite and vapid come to my mind before beautiful :) De gustibus et cetera Flame suit on, Chris __ snip [Chris is responding to:] --- Christine > Mr Ewazen's music is so beautiful. > _ > > >From: "Russ... > > > >I'll second Linda's recommendation. This is a challenging but very > >rewarding and accessible work. The Pastorale is simply gorgeous. > >Sound clips and a sample of the score are available at > >http://www.ericewazen.com/newsite/music/balladehorn.html > > > >Linda _ Well, the music can be all of the above. Music can be beautiful and very simple. "Trite and vapid" is an opinion of how one may feel about the music. Music can be "trite and vapid" because the composition is over formulaic or because the musicians' performance is uninspired. The subject compositions seem formulaic to me; indeed, they sound like the stuff that I routinely improvise spontaneously as part of my daily horn practice. Would I publish this kind of stuff and sell it? Probably not. I might play it in church for the service offertory, however. My $0.02, and no degree in music... probably worth $0.01 then. Chris, no flames for you. Maybe a tomato for being mischievous. __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
