[Hornlist] Re: Tinnitus and Intonation
I have unilateral hearing loss in my right ear...i.e. I am completely deaf on my bell ear. Sometimes, it can be difficult to hear myself and tune when a group is at full volume as a result. One thing I do to help is to pull the bell (briefly...or you will inhibit the bell's ringing) into my right side so I can "feel" the note. Took me a few tries to nail down the relation of the feeling to the intonation, but I did. Very helpful in loud situations. The cricket chorus for me is a bit louder, but has never really interfered with intonation. > > -- > > message: 3 > date: Sat, 26 May 2007 15:17:03 -0700 > from: "Valerie WELLS" <[EMAIL PROTECTED]> > subject: [Hornlist] Re: Tinnitus and Intonation > > Larry wrote: > adapt and play well in tune, I don't know. Maybe > those with this condition can speak to this > possibility.> > > I have bilateral tinnitus that sounds like a far away chorus of summer > crickets. When I came back to horn about 18 months ago, I was worried that > it would interfere with my ability to listen & play in tune. To my > surprize, it doesn't. I can match pitches with even the quietest flute or > violin. Musical tones are easier to hear than spoken language. ~Valerie, > balanced embouchure student > > > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Ear overtones
I am completely deaf in my right ear...a condition called "Sensory Neural Hearing Loss". Essentially the nerve that processes sounds died. In an effort for my brain to compensate, it turns up the "volume knob" to my right ear to "max volume"...but all I get as a result is a sound that is akin to a blow dryer running from across the room. Kind of like having tinnitus across the entire sound spectrum. I hear all kinds of very high pitched and random (non-linear) tones as a result. They come in and out, and actually have nothing whatsoever to do with my environment...it is "all in my head" so to speak. "Good Imagination" would be a more likely cause of hearing tones within a harmonic series...and that is certainly a plus in playing! > > message: 1 > date: Wed, 23 May 2007 12:19:36 -0700 (PDT) > from: Larry Jellison <[EMAIL PROTECTED]> > subject: [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
RE: [Hornlist] RE: The preferred tone/sound these days?
Please, I beg you, let this thread DIE! It has overrun it's useful life!! LOL!!! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: The preferred tone/sound these days?
Replying to 2 at once here: Hans, castrated alto-trombone...I know what you mean big guy! When tone is such that the horn is no longer distinguishable from other instruments, it has officially lost it's timbre. It is no longer a horn. Tongue-Tied-n-Twisted-Texas-Outlaw: Reckon I better git my shackles ready straight up...I play an 8D. However, Geyer-wraps have their benefits, and some are even reputed to put an 8D to shame in terms of instrument quality and playability. -- message: 7 date: Sat, 28 Apr 2007 07:13:37 +0200 from: "hans" <[EMAIL PROTECTED]> subject: RE: [Hornlist] RE: The preferred tone/sound these days? Hello Jeffrey, I agree with you, but I would even go further. Too many players today produce just an acoustical event, but no tone, no special tone, no personal tone, not a beautiful tone, just a colorless more or less intonated & dynamically controlled NOISE, nobody would care about. What is a good horn tone ? A good horn tone is like a good "average" male human voice, a human higher baritonal voice. Imagine that, try to transfer this excperience to your horn playing & try to arrive with a similar result, no matter what horn (brand, bore, metal, technical type, mouthpiece, etc.) you use. Sing the horn or make it sing, but accept that there are millions of mini-variations possible. Stop playing the horn, if it sounds like a car-horn (sorry, this is not uncommon !) or a castrated alto-trombone. Be realistic & fair in your self-judgement. To achieve this goal, experiment in a multitude of ways: angle between leadpipe axis & front teeth axis, right hand function, mouth cavity, passive air support, impetus by the tongue, color imagination, MORE F-SIDE because of overtones, - equipment comes last: medium bore (average), larger bore mouthpiece, medium thick bell (average), etc. - and two things never cease: listening & practising (not mechanically & boring, but using the brain & oeconomically and allways but not everything & also tone studies & tone studies again !) -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Carter, Jeffrey Sent: Friday, April 27, 2007 11:57 PM To: The Horn List Subject: RE: [Hornlist] RE: The preferred tone/sound these days? I think that as long as the tone does not take away from the musical message that there should 'ideally' be no preferred tone. Above all, I think that flexibility of tone color is probably much more important than devotion to any one color (ie. cleveland sound, ny sound, london sound etc). Jeff Carter -Original Message- From: [EMAIL PROTECTED] on behalf of [EMAIL PROTECTED] Sent: Fri 4/27/2007 4:48 PM To: horn@music.memphis.edu Subject: [Hornlist] RE: The preferred tone/sound these days? Nobody cares about tone these days. The only thing that matters is to not miss notes. Actually, that's not such a bad thing in itself, I think it was Phil Farkas who said "after you miss a certain number of notes, it ceases to be espressivo". I do know of more than one top US orchestra which hired a player whose tone they didn't like, but that person played very accurately. Many of the "preferred" horns these days don't produce a very beautiful sound. - Steve Mumford ___ -- message: 8 date: Sat, 28 Apr 2007 01:52:06 EDT from: [EMAIL PROTECTED] subject: [Hornlist] Outlaw This (was The preferred tone/sound these days?) Repp Ripped and Rapped: << In fact, my understanding is that 8Ds are "banned" in some orchestras. >> Now, it is the mostestest of understoods by me, many, many, many times, that in certain parts of our vast US of A, that some people are always having some half vast ideas, conceptuals, impressions, perceptions, pictures, thoughts, thinkings, insights, interpretations, interpolations, mental pictures, observations, variations, peramifications, and apperceptions and so that in the states of St. Frank and Taxachusetts and Empires and community service for child molesters that Conn 8D's are outlawed but little wimpy brown horns with the thumb valve next to the pinky finger and not the thumb, where it has it's true belongings, which makes no freakin' sense at all, IMHO,are revelated in, on, beside, over, under, etc., but please have the rememberings that when 8D's are outlawed, only outlaws will have 8D's. Kindestest of Greetonings and Mostestest of Repercussionings, Prof. I. M. Gestopftmitscheist Principal 8th horn and Principal 4th Wagner Tuber, Schplittenotendorf am Oedland Staatsoper und Philharmoniker, (ret.) Solo Horn, Bad Corner Brass Quintet Hornist, Broken Winds WW Quintet Solo 4th Horn (Leader, call me for bookings), Smirnoff Horn Quartet Assistant Associate Principal Mellophone, NJ Turnpike Authority
[Hornlist] RE: Horn Digest, Vol 52, Issue 30
Perhaps I should clarify "measure". One can over/under interpret, and that is why I say measure. Top-flight players have to have a good sense of measure...IMHO. Point I am getting at is what folks out there like when the tone is "uncoaxed". Tone is indeed individual, and influenced by embouchure as well as what one has "in-mind" as a goal. We can control some of the embouchure, but there are way too many muscles for us to explicitly control...but imagination and having a goal help greatly! My question is more about style preference. And on the question from the other member about more details on "banned" 8Ds...I don't know any more specifics...just a passing comment. If it is true, I am sure there is a good reason. Steve There should be more than "a measure of interpretation in the music." One of the joys of listening to most top-flight players is the wide range of tone they produce. I recall a Canadian Brass concert a few years ago when the first trumpet player, performing Klezmer music, sounded like a clarinet. And just a couple of weeks ago, I heard the first chair brass quintet from the NY Philharmonic; both Joe Alessio (trombone) and Phil Meyers (horn) coaxed a wide range of tone colors from their instruments - indeed, there were some beautiful passages in which they took over a music line from one another and used very similar instrumental colors while doing so. > I'll start the opinions by sharing mine first. > > I like to play with a very dark and noble sound...but clarity > is a must. I do not like it when I put in a shallow cup > mouthpiece and my tone takes on a Bariton-esque tone..."I > play a horn, not a baritone!!" is what crosses my mind at > those moments. > > Suffice it to say that I am from the Horner school of tone... I spent a long time as a voice student, with teachers trying to get me to produce a certain kind of sound. In the end, the voice teacher who did me the most good was the one who looked as his job as getting me out of my own way and letting me produce the sound my voice wanted to produce, without unnecessary artifice, tension, or thought about a particular tone in the abstract. Such thinking extends to choral conductors - some insist on "blend" but I never did. I did my best to insist only on freely produced, tension free singing and found that the results blended well all by themselves 99% of the time. And the same concepts apply, I'm sure, to a horn section, although I confess little enough experience in playing the horn with others that I'm not sure how this manifests itself. I don't mean to rant at you, but I feel this is an important issue. Certainly there is a line that needs be tread carefully - if a student is producing a positively terrible tone, the teacher must intervene - not all students have good ears, and even those with good ears don't always have the experience necessary to know what sounds good and what doesn't. But for a professional or even a conservatory or university level player, one ought not be too enamored of any particular tone. Just my opinion. -S- * ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] The preferred tone/sound these days?
Just wondering what some of your opinions are regarding your preference in how a horn should sound in general. I had a great conversation with another horn player in Denver yesterday and it was offered up that the traditional "8D" sound (see "typical Hollywood sound") is loosing popularity fast. In fact, my understanding is that 8Ds are "banned" in some orchestras...that might just be a Patterson conversion need though :) Granted, there is a measure of interpretation in the music you are playing that needs to be accounted for when playing. I am talking about "non-interpreted" sound. I'll start the opinions by sharing mine first. I like to play with a very dark and noble sound...but clarity is a must. I do not like it when I put in a shallow cup mouthpiece and my tone takes on a Bariton-esque tone..."I play a horn, not a baritone!!" is what crosses my mind at those moments. Suffice it to say that I am from the Horner school of tone... Steve ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Reynolds Contempora
Hi all, I am strongly considering picking up a Reynolds Contempora double (Brass). (Right now, I am on a 6D and need something beefier for my playing style...) Wondering if anyone has any experience with these horns and can offer opinions. Best, Steve ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Meinl Flare: Good, Bad or Ugly?
Has anyone used one of these flares? Are they of good quality? There is a horn shop online that has one for sale; not that they reply to email inquiries...LOL; and I am wondering how these bells stack up to others. Looking to replace the bell flare on my 6d... Thanks for any opinions! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: Women in Brass Sections
Given the title of the topic, it was a little vague! Thanks for the clarification. And, to the end of thread lube, wouldn¹t the lube help prevent wear over time? date: Sat, 29 Apr 2006 07:18:13 -0500 from: "Bill Gross" <[EMAIL PROTECTED]> subject: RE: [Hornlist] RE: Women in Brass Sections Exactly so! -Original Message- If you thought I was poking fun at Elizabeth, then you totally misunderstood my post. I was poking fun at the controversy over bell thread lubrication! I think most folks understood that. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: Women in Brass Sections
LOL! What a wonderfully stupid typo! date: Thu, 27 Apr 2006 23:21:19 -0400 from: Martin Bender <[EMAIL PROTECTED]> subject: Re: [Hornlist] Women In Brass Sections L.O.L.!! Best regards, Martin Bender On 27-Apr-06, at 11:10 PM, Jerry Houston wrote: > matthew scheffelman wrote: >> Another great player, Elizabeth Freimuth, just won >> Principal Horn of the Cincinnati Symphony Orchestra. >> Heard from a friend. > > Yeahbut... don't keep us in suspense. What's she lube her bell > threads with? > ___ > post: horn@music.memphis.edu > unsubscribe or set options at http://music2.memphis.edu/mailman/ > options/horn/embee%40magma.ca ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] RE: Women in Brass Sections
Alright guys! Personal fowl here! Seriously, Elizabeth worked very hard to get where she is at, just like all women (and men) do when they win such a position. Let¹s not degrade her accomplishment with innuendoes and misguided humor! message: 3 date: Thu, 27 Apr 2006 23:21:19 -0400 from: Martin Bender <[EMAIL PROTECTED]> subject: Re: [Hornlist] Women In Brass Sections L.O.L.!! Best regards, Martin Bender On 27-Apr-06, at 11:10 PM, Jerry Houston wrote: > matthew scheffelman wrote: >> Another great player, Elizabeth Freimuth, just won >> Principal Horn of the Cincinnati Symphony Orchestra. >> Heard from a friend. > > Yeahbut... don't keep us in suspense. What's she lube her bell > threads with? > ___ > post: horn@music.memphis.edu > unsubscribe or set options at http://music2.memphis.edu/mailman/ > options/horn/embee%40magma.ca ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Mouthpiece to Pair with Conn 6D
Hi all, I am looking for opinions on mouthpieces that work well with a horn like a Conn6D. The 6D in question is a really nice 300k series from Elkhart that plays even and secure in all registers. The horn is new to me, and shipped with a Ghirardelli S 14. While I like the security in the higher register with the S 14, I tend to think it think is brightens the tone a bit too much for my taste. If I put a Blessing 7 mouthpiece on the horn, I can hit the low register quite nicely...but the upper register becomes very insecure. Anyone have any opinions about this? Best, Steve Repp ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
