Re: [Hornlist] Not Really a Mozart Fan
This is really hard to explain... Playing Mozart is not usually technically hard. It offers you the chance (and demands you) play very cleanly, because the textures are thin and you can hear every part very precisely, because the rhythms are simple enough to line up in tune, because the harmonies are simple musically and tastefully, because everyone knows what it should sound like. You just can't get away with concentration lapses, poor or dull musicianship, sloppy conducting, bad intonation, etc. An orchestra that plays Mozart greatly is demonstrating its cohesiveness and high standards. I like that challenge. After Mozart, music gets bigger and more complicated so that the average listener is not able to hear everything at once as a whole. Neither are the average musicians. As for me, tension is fun, but I wouldn't want it all the time. Flowers, mountains, and sunsets are pretty, predictable and simple, and many people like those, too. I hope you grow to appreciate simplicity. There's so little of it in life in 2006. PS I don't consider myself old (26) On Sun, 2006-04-09 at 17:12 -0400, [EMAIL PROTECTED] wrote: Since one of the list members asked, I figured I'd put my two cents in about why I don't particularly care for Mozart. Basically, I like tension, and I like music that splatters you up against the back wall of the hall. I like music that, when you're done playing it, you're thinking What a ride! I just don't get that from Mozart. I think Mozart's too pretty, the harmonies are simple, and the music is too predictable. (Of course a bad night of Mozart beats a good night of Sousa any day.) Different strokes for different folks, I figure. Putting on my flame-retardant undies awaiting the backlash, Kim Newell ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/mclaughlin_shane%40hotmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Youth Orchestra horn sectional ideas
One of my teachers in college had a really useful exercise. You sit the 4 players all facing toward each other in a square so no one can see anyone else's music. The teacher makes a score of 4 part chords, all whole notes. The parts are numbered 1-4, but 1 is not always the highest and 4 is not always the lowest. All different keys, Major, minor, V7, maybe some exotic ones if you want. Anyway, then he would call out the measure number and the quartet would play that chord, seeing how quickly we could figure out what the chord was, what member we had, and how to tune it appropriately. It's kind of fun, yet also very good practice. Maybe this would be a good transition into the chorales? Shane McLaughlin 2nd, Knoxville On Fri, 2005-10-14 at 23:55 -0400, Michelle Fawcett wrote: I'm leading an all-day horn sectional for our local youth orchestra. Would anyone like to share their favourite activities for leading a developing horn section? I'll spend a fair time on fun breathing exercises and focus on producing a beautiful ensemble sound with 4 part chorales and trios, etc.culminating in working on the pieces they are preparing for their performance. But I also love hearing new ideas! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/mclaughlin_shane%40hotmail.com -- Shane McLaughlin [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] WANTED: Kortesmaki Views Information...
I have a geyer Hill. It's amazing. Ab above the staff takes a little extra forethought and concentration, everything else is just flawless. If I miss notes or play out of tune, it's nice to know it's me. I bought it used 6 years ago, so I don't know what they sell for now or how long you have to wait. I've been told that recent (past 5 years) changes to the bell, 1st branch and leadpipe are major improvements. I play on a moosewood B cup and with a copy of a Schilke 30B rim. That was a big improvement over the stock 30B. Shane McLaughlin 2nd, Knoxville On Wed, 2005-05-04 at 13:42 -0400, James Ray Crenshaw wrote: If you have, or are familiar with, the Karl Hill Kortesmaki horns, please get in touch with me as I wish to find out all I can about these horns. I've heard that he has both Schmidt-style horn (piston changevalve) and a Geyer-wrap. Since I've never seen one, I'm asking here on the list. I'd also welcome thoughts and opinions from non-listers, assuming someone wants to put a 3rd-party in touch with me at: [EMAIL PROTECTED] You may comment on-line or, if you wish, e-mail me off-line. All off-line comments remain off-line, except those concerning my mother! jrc in SC ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/mclaughlin_shane%40hotmail.com -- Shane McLaughlin [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] fixed bell and airlines
It fits through the scanners, at least everywhere I've been. The people operating it always run it back and forth to look. You'll get a lot of smiles, some I used to play that, etc from the security folk. Really, I have done this a bunch of times. Shane ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] fixed bell and airlines
If possible, book a window seat. Put the flat part under the seat in front of you, hide the bell with your feet. Even better if you have a coat to put over it. If you're flying southwest, check in early so you can get a window seat. Most flight attendants just don't want to bother with making you get back off the plane to check it, etc, even if it isn't 100% FAA OK. The window seat makes it where no one would have to climb over your horn in an emergency. Don't get the emergency exit row. This will upset them. Some planes have closets that you put coats in; the bottom is usually empty and perfect for horns. Most importantly, act like carrying the thing onto the plane is natural and common. Smile, etc. I have a fixed bell horn in a Johnson case. I could check it without being really scared. If you worry about whatever your horn is in, look into Walt Johnson's cases. I once flew on an airline that did make me gate check it, and it was fine. I don't fly on them anymore, and no one else has ever given any trouble about the horn. Good luck. Shane McLaughlin 2nd, Knoxville ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Work(s) in progress
Within the next month This week: Berlioz: Beatrice and Benedict Rachmaninoff 2nd piano concerto Prokofiev Romeo and Juliet suites sunday morning I'm doing my quarterly offertory hymn arrangement, which I need to finish tomorrow. next week (chamber orch) Mozart Violin concerto 3 Brahms 2nd serenade then some pops stuff we don't have yet YPC week (firebird, harry potter music, a few easier things) plus our usual run-out concert music (Dvorak czech suite, Mozart 34, Glinka Kamarinska, etc) Brahms requiem Shane McLaughlin 2nd, Knoxville ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Christmas Performance--funny story
Well, not exactly, but this is a fun story about being an ensemble player doing the unexpected chamber gig so I'll tell it. I play 2nd horn in Knoxville. We do a set of Christmas run-outs to various small town in eastern TN; thursday we were at a small college in the small town of Harrogate. We've been having some messy weather this past few weeks, and there was a power line down nearby. It didn't affect their concert hall, but they were going to have to shut down the power for abut 45min while they fixed the problem. Our 1st horn, somewhat by accident, had three books of Christmas duets in her car, so with the help of a couple stage crew guys and their flashlights, we led a sing-a-long of just about every carol there is as the 45 minutes turned into 70, fairly effectively keeping the audience around. After everything came on, we did our regular show with no intermission and several omissions. Our asst conductor hasn't stopped thanking us for saving her show. Our string players would have fussed about how flashlights on music is not allowed by contract; horn players just like to play so we don't care. Never clean out your car...you never know what you might need. Shane McLaughlin On Sat, 2004-12-11 at 23:38, Carl Vidos wrote: Howdy everybody. I'm curious if there are any folks out there who have been playing with a community ensemble and just recently began playing with a brass or wind quintet. ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Scales and Juggling a Soccer ball
OK, I'll attempt this one. A scale will teach you all the notes to expect in that key signature/mode. After learning them in thirds, multiple octaves, starting on every degree of the scale, interval studies, Clark exercises, arpeggios, and whatever other patterns you can think of, and being able to play rapidly THEN you will feel comfortable reading technical stuff in that key, (or for us, also that transposition) and only having to watch out for the accidentals. The first exercises we transpose are often scale pattern, ie Here's the pattern, play in all keys In the more chromatic music, knowing your scales well enough allows you to look at a few lines of music and notice where you have modulated to--this will affect how you tune the chord members and phrase to cadences and help you to hear the music correctly before you play. It's also good when you first teach advanced tuning to teach students how to tune each note of the scale as a foundation for good tuning in all situations...certain scale degrees function in a certain way more time than not. Then you can learn the exceptions. If I didn't have to go to rehearsal right now, I could think of some more. I love scales. Shane McLaughlin 2nd, Knoxville On Thu, 2004-09-16 at 17:08, jlmthompson wrote: I hope I don't get the 'tradition' answer to this one like I did to the 'transposing' dialog. I've been playing horn off and on over the last 40 years. I play now in a decent symphony in the pacific northwest, it's not 1st class but it's decent and well respected. But I'm trying to find the true underlying use for 'scales' during a practice or warmup or what have you. Yes, I can play all of them and minor scales etc and I know all the theory that goes with it so don't give me the 'idiot' line, but what value do they really serve for the time spent doing them. Why do instructors push 'scales' into a students' practice time. When do you use 'scales' or how do you benefit from doing 'scales' when it comes time for a performance? Do we practice scales because our teachers did whose teachers did etc? Here's my analogy. I played professional soccer years ago in the US in the NASL and I'm still a class 'A' coach in the US, coaching high school boys right now but licensed to coach anywhere from tiny tots to professionals yada yada. Anyway, my point is, I've 'been there done that' in the sport of soccer. Juggling is a 'habit' kids start when they're all on their own with a soccer ball and when they have nothing 'better' to do with their time only because no one has taught them better things to do with that practice time by themselves. IMO juggling serves absolutely no purpose and I discourage my players from practicing it. You really don't develop usable skills doing it nor do you use it or do it in a game. So why practice it when time spent juggling a soccer ball could be better spent doing other things with the ball for that time? Juggling a soccer ball is better than doing nothing with it at all. Practicing scales is better than leaving the horn dormant and not playing it at all. But as with juggling in soccer, couldn't we find 'better' things to put into our practice time than 'scales'?Couldn't our practice time be better spent on other facets of the endeavor? Jim ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/mclaughlin_shane%40hotmail.com ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] horn and cello duets
Check out Three Songs from Marlboro (horn, cello) by David Amram. Shane McLaughlin 2nd, Knoxville _ Learn how to choose, serve, and enjoy wine at Wine @ MSN. http://wine.msn.com/ ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Speed of Sound [correction]
Air density varies inversely proportional to temperature? Sound (vibration) will travel slower through denser materials. That's my guess. It's been a few years. Ah. So why is there such a change in pitch with changes in air temperature inside the Horn? Shane McLaughlin [EMAIL PROTECTED] 2nd, Knoxville ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Ensemble Wien-Berlin
Last weekend I had the joy of hearing the WWQ Ensemble Wien-Berlin. All are current or former members of Vienna or Berlin Philharmonics. They make an annual trip to USA and one through Europe. Go hear them if you get the chance. Knoxville is not normally a destination for groups of this caliber so we were thrilled...it's nice to be in the other end of the hall for a change. I don't think I've ever heard WWQ sound like a legitimate ensemble that really belongs together before. Their Hindemith was just amazing. Even the pieces of lesser quality (e.g. Respighi's unfinished quintet from his days as a student) were made exceptional just by the skills of the musicians. Also if you look enough, you can find one of the many CD's they have recorded through the years. Their hornist, Stefan, is one of the BPO's principals. He spoke with our horn section briefly afterward and is just as friendly as he is talented. Shane McLaughlin 2nd, Knoxville NHR and personal: Olav, I've had some computer issues lately. Email me privately for something we discussed way, way back. ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
