Re: [Hornlist] breath support (double post)
no problem :) and thank you very much indeed ^_^ neuro [EMAIL PROTECTED] - Original Message - From: "Valerie WELLS" <[EMAIL PROTECTED]> To: "horn list" Sent: Tuesday, September 30, 2008 7:12 AM Subject: [Hornlist] breath support (double post) (I just realized I posted this response to the wrong list. So sorry for double posting.) Neuro, IMHO Mathew gave a very good discription of good breath support. But reading about good breath support and actually doing it are two different things. I came back to horn 2 1/2 years ago after a 33 year hiatus. I had a qualified private instructor who tried every angle imaginable to get me to breath correctly. I just didn't get it. I finally got some real help when I bought Wendell Rider's book, "Real World Horn Playing." Wendell has some super simple exercises in his warm up that teach you want to "feel for" and "listen for" that really helped me know when I was doing it correctly. I couldn't possibly explain it here, so I'd strongly recommend you get his book. I use Wendell's book and my Jeff Smiley book every single day. Another thing that Wendell taught me that seriously helped my breathing was to inhale as silently as possible. When the throat is wide open, large volumes of air pass quietly & efficiently. I was constricting my throat as well as sniffing through my nose when I inhaled which sounded like someone getting a sudden fright. I started taping my playing and it was very embarrassing to actually hear how much noise I was making w/ each inhalation. I'd been playing this way for over a year and changing the habit was a challenge. Now you might think this is kooky, but what forced me to finally stop sniffing on inhalation was to wear a swimmer's nose plug for a few minutes every day during my warm up. Old bad habits have a way of sneaking back up on me from time to time, so I still occasionally record myself to monitor my breathing. Valerie in Tacoma ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/neuroh%40gmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] about air support
hi there, I am an "old" horn student; re-pick up the horn for some years. May I ask some questions? 1. Could someone here please clarify the so-called "air support" for me? 2. Shall I, or do we, blow Every note (that is, All registers,) with "air support", or maybe only on higher register, or what? Thank you very much (I have many more, but... maybe save others for later time ... ^_^) neuro [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] horn + flute (+ violin + piano) repertoire
If you are still interested, I will see them on Thursday and get the publisher's information and the names of all of the movements and post it on Friday. Yes, sure, please ... and thank you... Neuro - Original Message - From: "Walter Lewis" <[EMAIL PROTECTED]> To: "The Horn List" Sent: Monday, March 10, 2008 9:51 PM Subject: Re: [Hornlist] horn + flute (+ violin + piano) repertoire Greetings. I can add a very nice work for Horn and Flute. It's a composition by Marcel Bouchard entitled Champetre. It is a selection of movements. Since I do not read French, I can't begin to tell you the names of the Movements, but they are very playable and pleasant to listen to... I have a unique situation with one of my students. He has studied horn with me for over three years, and his twin sister plays Flute. They are high school seniors and wanted to find a work they could perform together at Michigan's Solo and Ensemble Festival. The young woman's name is Peggy and her flute private teacher found this work for them to play, so Vinson and I began work on the horn part, and I've been coaching both of them during his lessons. The work is 4 various movements (due to time constraints they chose the first movement to play) . They have gone to the District level and received a first division rating, and this Saturday will perform it at the State level. If you are still interested, I will see them on Thursday and get the publisher's information and the names of all of the movements and post it on Friday. Walt Lewis ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] horn + flute (+ violin + piano) repertoire
Dear list, I have been looking for some repertoires for horn + flute (with/without violin) (with/without piano); that is, it could be horn flute duet, horn flute piano trio, horn flute violin trio, or horn flute violin piano quartet, for an intending double instruments (flute + horn) concert, (considering the violinist and pianist are paid accompanists...:) But I can only find "Auf dem Strom" by Schubert with flute playing the voice part; or, maybe transposing the "Der hirt auf dem Felsen" perhaps with flute playing clarinet while horn playing voice ? Brahms' horn trios (sorry for Ligeti) could be a possibility -- but it takes too long (30 min.) in a double-instruments-concert without the other. Any suggestion? Thank you very much. Neuro [EMAIL PROTECTED] skype:neuroh ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] horn + flute (+ violin + piano) repertoire
Dear list, I have been looking for some repertoires for horn + flute (with/without violin) (with/without piano); that is, it could be horn flute duet, horn flute piano trio, horn flute violin trio, or horn flute violin piano quartet, for an intending double instruments (flute + horn) concert, (considering the violinist and pianist are paid accompanists...:) But I can only find "Auf dem Strom" by Schubert with flute playing the voice part; or, maybe transposing the "Der hirt auf dem Felsen" perhaps with flute playing clarinet while horn playing voice ? Brahms' horn trios (sorry for Ligeti) could be a possibility -- but it takes too long (30 min.) in a double-instruments-concert without the other. Any suggestion? Thank you very much. Neuro [EMAIL PROTECTED] skype:neuroh ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mirafone Decker Model D
Dear list, Recently, I met/borrowed this mouthpiece, Mirafone Decker Model D. Supprisingly, it fits me very well; much better for me than Stork C8, C12W, GS, or Marcinkiewicz 9S, 11. I cannot find more information abou the specification of this mouthpiece. The material of it is quite different from every mouthpiece - nickelsilver I heard, and it's heavy. I found this two pages talking about Mirafone: http://www.parke.net/references/vincent_derosa.htm http://www.parke.net/derosa/derosa_design.htm Can anyone give me more information or specification about Mirafone, or speciffically the Mirafone Decker Model D. And, does anyone have this for sell, or where could I bought, or copy it? Thank you very much Neuro ^_^ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mirafone Decker Model D mouthpiece
Dear list, Recently, I met/borrowed this mouthpiece, Mirafone Decker Model D. Supprisingly, it fits me very well; much better for me than Stork C8, C12W, GS, or Marcinkiewicz 9S, 11. I cannot find more information abou the specification of this mouthpiece. The material of it is quite different from every mouthpiece - nickelsilver I heard, and it's heavy. I found this two pages talking about Mirafone: http://www.parke.net/references/vincent_derosa.htm http://www.parke.net/derosa/derosa_design.htm Can anyone give me more information or specification about Mirafone, or speciffically the Mirafone Decker Model D. And, does anyone have this for sell, or where could I bought, or copy it? Thank you very much Neuro ^_^ [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Happy Birthday Hans Pizka
What a glorious birthday messages on the list ... ^_^ My best wishes for Hans on the birthday ~ neuro ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Deklamation from horn concerto by Paul Hindemith
Well, my teacher said, At the recital, either I have to declaim, or I could find someone to declaim for me on the stage. So, I was thinking,... Could someone, who knows how to declaim this special German, make a sound file (mp3, wma, or something like) for me, so that I can learn how to read that in German. (So, then, please e-mail me that file, or put it somewhere for me to access.) Is this feasible? ^_^ Thank you very much :) Neuro [EMAIL PROTECTED] - Original Message - From: "hans" <[EMAIL PROTECTED]> To: "'The Horn List'" Sent: Friday, November 03, 2006 11:21 PM Subject: RE: [Hornlist] Deklamation from horn concerto by Paul Hindemith A speaker will cost extra, most horn players do have a special trained speaker voice - but I understand this poem as a good hint how to play the recitativo. Leave the poem in the program notes & just play the piece. Further: as the poem is written in German, a very special German, a translation into whatever language would never be at least similar. It is not the written word, but the "music" in the words. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Deklamation from horn concerto by Paul Hindemith
Excuse me ... another small question, When doing a recital on the concerto by Hindemith, do we actually "declaim" the Deklamation? If so, in German? (perhaps not in any translated language - English, Japanese, Chinese, or ... whatever.) Or, maybe is declamation just an option? -- How about the horn player can just play his/her horn, and put the "Deklamation" with its translation in the Programme Notes, or, have someone who speaks German to "declair" on the stage? Neuro ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] cryo a horn
I am curious... Does anyone heard of cryo, or cryogenics? Or has any experience with this? Here is an article I found, "For the Musical Alchemist, a New Tack: Cryogenics" by Terry H. Schwadron, originally on The New York Times, November 2, 1999 ( http://select.nytimes.com/gst/abstract.html?res=F00912F93F5F0C718CDDA80994D1494D81 ) , reprinted at http://www.trumpetguild.org/pdf/2001journal/0101schw.pdf (And I found it, for a horn, costs about US$ 100. -- much cheeper than a hand-made horn.) Any comment? ^_^ Neuro ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Deklamation from horn concerto by Paul Hindemith
Great! Thank Mr. Hans very much. It is my fortune that I met some one who knows the ancient German and willing to teach me these sentences. ^_^ May I clarify more? According to your translation, so far as I understood, - and English is even not my mother language - For the first half, the transforming part, line 4 and 5, Does it transforms 3 times (the hall, the present, and you), instead of 4 times (hall, present, you, and yours.) 1 Mein Rufen wandelt 2 In herbstgetonten Hain den Saal, 3 Das Eben in Verschollnes, 4 Dich in Gewand und Brauch der Ahnen, 5 In ihr Verlangen und Empfahm dein Glu(e)ck. Line 1: My (horn) call transforms Line 2: the hall (in) to autumn-colored grove, Line 3: present into past, line 4: you, wrapped in costume & custom of ancestors, Line 5 : to their desire and (to) your happiness perception. Is it that, line 5, "you" are "transformed (in)to their desire AND (also transformed) (in)to your happiness perception," while, line 4, "(you) wrapped in costume and (with?) custom of ancestors" is not a transformed event? And, what is "Empfahm" literally, for I cannot find it in dictionary. For the second half, the allowing part, line 7, 6 Go(e)nn teuren Schemen Ursta(e)nd, 7 Dir Halbvergessener Gemeinschaft, Line 6: Allow dear phantoms (their) resurrection, Line 7: - you half forgotten community - Is there anything "allowd" to the "you half-forgotten community," or, is it juat an extra explanation? As I see on your translation. For line 8, what is "tongestaltnes" literally? 8 Und mir mein tongestaltnes Sehnen. Line 8: and my (compositorial) sound forming longing to me. sound...(what?) "sonority" ? or just "sound" ? or ... else One extra question about "me." Am "I" the Mr. Hindemith (composer), or the (horn) player? (: Pprobably not the pianist or orchestra players. :) If "I" am Mr. Hindemith, then line 1 could be my "music" call, so is line 8 be my composing/piece sound. If "I" amd the horn player, line 1 could be my "(horn)" call, and line 8 could be my "horn" play/sound/music Thank you again very much spending your time for my problems Neuro - Original Message - From: "hans" <[EMAIL PROTECTED]> To: "'The Horn List'" Sent: Monday, October 16, 2006 1:22 AM Subject: RE: [Hornlist] Deklamation from horn concerto by Paul Hindemith Line 1: My (horn) call transforms Line 2: the hall (in) to autumn-colored grove, Line 3: present into past, line 4: you, wrapped in costume & custom of ancestors, Line 5 : to their desire and (to) your happiness perception. Line 6: Allow dear phantoms (their) resurrection, Line 7: - you half forgotten community - Line 8: and my (compositorial) sound forming longing to me. The emphasis of the first part is on "transform" - the hall into grove, the present into past, you into the costume & custom of the ancestors, (according) to their desire . The next sentence has the emphasis on "allow" - the resurrection of the phantoms, the half forgotten community, and to me (the composer Hindemith) the compositorial longing (or desire). If you keep these in mind, all of the text will be clear. The declamation of the text is not a good idea in the concert, but it is a great help for the audience to understand the recitativo & a great help for the performer, how to lay out the recitativo. German is a difficult language but double difficult if it gets into poesia & triple difficult if ancient terms are used. I have studied "alt-hochdeutsch" & "mittel-hochdeutsch" when in the classical gymnasium (lyceum) & our teachers practised language ethymology with us, which enables us for lifetime, to understand our mother language much much better than the average, not to speak of todays generation. But this might be similar in most countries around the globe. Feel free to ask me if there is another difficult translation for a German text. Greetings Hans -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Neuro ??? Sent: Sunday, October 15, 2006 11:24 PM To: horn@music.memphis.edu Subject: [Hornlist] Deklamation from horn concerto by Paul Hindemith I am looking for the English translation of the Dekamation from horn concerto by Paul Hindemith So far, my translation goes like this: 0 Declamation 1 My (horn) call transforms 2 The hall into Autumn-colored arboretum, 3 The present into far past, 4 You into wrapped in costume with custom of your ansisters, 5 And your pleasure into fulfilling their wish. 6 Allow (or Let) your ancestors' spirits their resurrection, 7 Yourself communion with these half-forgotten people, 8 And me my longings with my music. Where the original is: 0 Deklamation 1 Mein Rufen wandelt 2 In herbstgetonten Ha
[Hornlist] Deklamation from horn concerto by Paul Hindemith
I am looking for the English translation of the Dekamation from horn concerto by Paul Hindemith So far, my translation goes like this: 0 Declamation 1 My (horn) call transforms 2 The hall into Autumn-colored arboretum, 3 The present into far past, 4 You into wrapped in costume with custom of your ansisters, 5 And your pleasure into fulfilling their wish. 6 Allow (or Let) your ancestors' spirits their resurrection, 7 Yourself communion with these half-forgotten people, 8 And me my longings with my music. Where the original is: 0 Deklamation 1 Mein Rufen wandelt 2 In herbstgetonten Hain den Saal, 3 Das Eben in Verschollnes, 4 Dich in Gewand und Brauch der Ahnen, 5 In ihr Verlangen und Empfahm dein Glu(e)ck. 6 Go(e)nn teuren Schemen Ursta(e)nd, 7 Dir Halbvergessener Gemeinschaft, 8 Und mir mein tongestaltnes Sehnen. Questions: * Is my translation right, literally? Any correction or comment is welcome * at line 5 5 In ihr Verlangen und Empfahm dein Glu(e)ck. 5 And your pleasure into fulfilling their wish. "Whom" is to be transformed to what? Is Your pleasuer (be transformed) into fullfing their wish or Longing and Empfahm (by the way, what is Empfahm?) of your ancestors (be trnasformed) into your fortune. * at line 7 7 Dir Halbvergessener Gemeinschaft, 7 Yourself communion with these half-forgotten people, "Whom with what" is to be allowd? Is it (Allow) "Yourself" "communion with these half-forgotten people" or (Allow) "These half-forgotten people" "communion with you" By the way, I've also found some translation here; but they are different, and I doubt their accuracy. http://www.slso.org/notes/02-24-2006.htm (English) http://www.geocities.co.jp/MusicHall/1921/text03.html (Japanese) Thank you very much Neuro [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Yamaha models
Hi, list, Why Yamaha America has only models 667, 667V, 668 -- with their nickels and detachbles -- http://www.yamaha.com/yamahavgn/CDA/List/ModelSeriesListHE/0,6600,CTID%253D240900%2526CNTYP%253DPRODUCT,00.html , while Yamaha Japan has models 567, 668, 867, 868, 87, ( YHR-668ND , YHR-668D , YHR-567GDB , YHR-567, YHR-567D YHR-868GD, YHR-867KRD, YHR-87, YHR-87D ) : http://www.yamaha.co.jp/product/wind/brass/hr/index.html and http://www.yamaha.co.jp/product/wind/brass/hr/hr-spec.html . I will visite Japan next month. Is it good to buy a Japanese model horn at Tokyo or Osaka? Though I have an 8D now. Any comments.. Thank you very much :) Neuro ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] audition pieces suggestion
Can someone there give me some suggestion ? I am to have a horn audition for entrance of 3rd year music school. The required piece is No.35 (first piece) of 60 selected studies for Frehch Horn by C. Kopprasch Book 2, and two pieces of my choices. The first piece of my choices is (intended to be) Prelude from Suite no. 1 for unaccompanied cello (BWV 1007) by J.S. Bach. ( | GDBA BDBD GDBA BDBD | ) My questions are: How do you suggest the 2nd piece of my choices? ( Though I can find a paino accompanist, I thought a piece without piano accoampny would be more simple to manage. ) Actually, I am hoping there is a modern piece for solo horn, that, though sounds difficult yet not too difficult.. And how do you think the piece of Bach? ( Is that piece good for audition? Or, better not choose that one, why...? ) Thank you very much :) <: Old Horn Student :> ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] horn mute
Hi there, I am planning to buy a mute for band/orchestra use (French horn mute of course.) Any comments or suggestions? What material would be better, and price range? How do I choose one; what to looking for? How about DIY a mute myself? Is there a DIY site that teaches this? Thank you very much :) Neuro mailto:[EMAIL PROTECTED] mailto:[EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
