Re: [Hornlist] Looking for a piece
Yes, it was at the 2003 IHS conference in Indiana - an incredible performance too! I have no idea where you get it from though. Steve On Sat, Apr 12, 2008 at 6:19 PM, John Baumgart [EMAIL PROTECTED] wrote: If memory serves me correctly, Frank Lloyd performed this at either the 2001 or 2003 IHS conference. Can anyone corroborate? John Baumgart -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Greg Campbell Sent: Saturday, April 12, 2008 1:25 PM To: The Horn List Subject: Re: [Hornlist] Looking for a piece Mathew James wrote: I was wondering if anyone knows where to get the music for a piece called happy blues. I don't remember the composers name. Zsolt Nagy. www.rmwpublishing.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/john.baumgart%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/sslaff%40gmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Corno in Ut
*Goes searching through my horn etudes* There is a book published by Alphonse Leduc and by Lucien Thevet that is perfect for this. It is called Cinquante Exercices a Changement de Ton pour Cor (20 Exercises for horn with change of keys). Basically, this book is made of etudes that change keys every 2 or 4 bars. They start out fairly simply, but quickly get complicated and each one is full of common pitfalls (like written Cb in D horn)! Unfortunately I have no idea where to find it - the one I am using is borrowed from my teacher. Steven Slaff On Dec 3, 2007 9:10 AM, [EMAIL PROTECTED] wrote: What happens to horn in A, Ab, B, and Bb? Arn't they referred to as La? Our orchestra recently did an opera with a vocal group. I did so much transposing, I almost forgot how to read Horn in F at one place. Any tricks in transposing when the keys change so ofen? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/sslaff%40gmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Another You Tube....Schumann's Konzertstuck
Fascinating, thank you for this link! They play extremely well together! I hope this video isn't infringing in copyright too :) Does anyone know the makes of the horns they each are playing on in this video? Steven Slaff On 3/14/07, Rob Kathner [EMAIL PROTECTED] wrote: Just found this one on YouTube. http://www.youtube.com/watch?v=C4dtVsYoNjY Enjoy! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/sslaff%40gmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: RE: WOW!
Valerie, Like some others have said, it is great that you have found a method that works for your playing, and since people are unique, methods must often be adapted to work with each individual. Personally, I also used to have worlds of trouble while attempting the Farkas warmup, especially because of my weakness in the high register. However, after years of practice, I have progressed to a point where this type of playing is MUCH easier and more fun, and I no longer dread going above the staff up to a c3. To test myself today in a way that you have described so far I added a few extra 3 and 4 octave scales/argeggios/harmonic glissandos to my warmup to see how my current embouchure would handle them. For ME, what worked was years of practice using what is fundamentally the Farkas method and correcting my numerous faults in embouchure day by day until my technique was close to as he described. More specifically, I made sure that my corners were firm and never smiling and that my chin was down to enable my aperture to be open enough to vibrate freely, and that any pressure I applied to the mouthpiece was primarily on my bottom lip. Also, I worked on letting my air speed do much more of the work than my lip muscles. Careful and dedicated attention to technique like this is what now enables me to comfortably slur a 3 octave F or G major scale/arpeggio (etc) on a daily basis with an even tone throughout each register. I am not telling you, Valerie, that the method you have discovered is incorrect. I may in fact read about it further because it sounds very interesting at the very least from a pedagogical standpoint and it obviously works for some people! It is easy to understand the skepticism surrounding Smiley's work, however, as it can appear (as another lister stated earlier) to be a get rich quick scheme for brass players. I believe that it is very important as both a student and a teacher to be able to examine different points of view and select those that work, and even if this discussion has gotten heated, I (as a usually silent hornlister) am still glad to read it. Steven Slaff On 3/13/07, Valerie WELLS [EMAIL PROTECTED] wrote: [Oooops! Sorry I posted on the wrong program a few minutes ago. This should read easier.] Val: I use his warm up nearly every day [meaning Farkas]. Hans asked: Could you do the Farkas warmups before your Smiley experience? If you do this, you are better than the average amateur anyway. Thank you for asking, Hans. No, I couldn't do the Farkas warm up before my Smiley exp. I had faithfully worked at it for two years in college for 6 months after coming back to horn a little over a year ago. (That's why I say I was stuck in range limbo for 2 1/2 years.) I could only sometimes reach the high Ab with a pitiful little squeak, but rarely anything above that. Within a short time, may be a couple months (sorry I can't remember for sure) after starting Smiley's stuff, I could do the whole Farkas warm up. (I've been doing the Smiley stuff for about 9 months now.) I don't have perfect tone intonation all the way up down, but heck, I'm grateful for what I've got! [Lately I've been working on the Dufranse routine/warm up. It's wonderful for improving flexibility tone and helping me hear intervals.] I love being an amateur horn player. I found out at orchestra rehearsal this past weekend what amateur means: someone who is doing something only because they LOVE it. That's me. But, Hans, you might be surprised to hear what lots of amateur horn players can do. I play with some REALLY good amateurs. ~Valerie ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/sslaff%40gmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Bach Cello Suites; was Dead horn list?
I performed the prelude to the 5th suite at a recital last year. It was great fun and one of the most musically challenging things I've worked on in years! I also did it in the original key though, not a P4 higher like some arrangements. Steve On 10/23/06, Angela Gonzales [EMAIL PROTECTED] wrote: Well, I have no idea what type of answer you want, but I'll answer. I haven't performed them in public, yet, but I'm currently working on the prelude and courante movements of the first suite, from the actual cello piece (Pierre Fournier edition). Would like to get the rest of the first suite performance ready, eventually. The suites are really fun, especially if you want something challenging for the low register. Angela Gonzales Steve Freides [EMAIL PROTECTED] wrote: Has anyone performed Bach cello suites on the horn? -S- - How low will we go? Check out Yahoo! Messenger's low PC-to-Phone call rates. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/sslaff%40gmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Air Support
Since the list is so quiet recently, maybe a discussion of air support will liven things up a bit: In the last few years I have been taught a number of different ways of supporting air by a number of different teachers (all were employed or retired from full time professional orchestras). The interesting (and confusing) thing is that some of their methods are completely opposing! Some say that you should have a tightness or firmness in your gut. Others say to have almost no tension whatsoever in your abdominal muscles. Obviously the different methods work for different players, and I've been experimenting around with them recently. What I've discovered so far is that if my stomach is too tight, it inhibits the air flow out and forces me to squeeze, but if I have no tension in my stomach then my air stream is not quite strong enough for a good sound and high register playing. So the question to you hornlisters: How do you support your air and why? Steve ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Braces
All, My experience years ago with braces was quite painful - they always cut my lips badly, and by the time I got them off, I had developed very bad embouchure habits. It took me a very long time to get back to comfortable high range playing, but if I had known what I know now I would've been able to 1. prevent the incorrect and harmful embouchure changes, and 2. fix any remaining bads habits after the braces came off by practicing in front of a mirror and doing simple etudes with a mind focused towards correct embouchure. I believe that the reason some people with braces have few problems with them is because they keep a good embouchure setup and use their air effeciently, whether they realize it or not (often depending on their age). If I could turn back time, I would definitely have never tried to do funny things with my embouchure to help my playing with braces! Steve On 8/28/06, Ben Reidhead [EMAIL PROTECTED] wrote: Mr. Reece - I got braces after a year of playing, and I didn't notice a huge difference of playing. However, I don't think that I was experienced (or serious) enough to notice any major difference. During my time with braces, I didn't experience any difficulties with the high range - I could still get up to about a high A. During my two years with braces, I used a product called brace guard during that time, which was a sort of two-part epoxy that you mixed and formed over your braces to prevent them from cutting into your lips. I don't know if that is necessarily the best road, because I think that it may have caused me greater trouble in the long run. There was a trumpet player who had braces at the same time as I did, and she did not use brace guard, and had no issues. The biggest difference I have noticed, in retrospect, was that I found that I had to play with _more_ pressure with braces, to be able to get a good seal around my lips. Along that line, I would highly recommend using a wider rimmed mouthpiece. The extra pressure was problem that I think that I have only just completely fixed now, two years later. After I got my braces off two years later, it took me about a month to get my high range back. If you have any more questions, I would be glad to answer them. Ben --- Doug Reece [EMAIL PROTECTED] wrote: My son got braces a half a year ago and it affected his playing significantly--he lost about a fifth (interval) off his high range. He has worked on getting this back, but without much success. Meanwhile, my other son who plays trumpet also got braces and it didn't affect him much at all. (I realize the mouthpieces are different, but...) There isn't a problem with the braces hurting, just loss of high range. I am wondering what experience teachers and students have with braces. Is it common to have this much effect? (I see in the archives that there is often some effect, but I haven't found much detail.) Should the range come back at some point with practice? For players who have had this problem with braces, does the problem go away after the braces come off (eventually)? Thanks-- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/corno42%40yahoo.com __ 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/sslaff%40gmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] High Range
Someone on this list actually mentioned avoiding overtightness in the high register just recently (I believe it was Matthew Scheffelman). Their advice (which echoes the advice of many good teachers), is something I've done for a couple of years to improve my own high register - to learn to stay more relaxed even as you play up to C3. I'm sure others can explain it more clearly than I can, but what teachers usually advocate doing is to play scales and arpeggios starting in the low range and slur directly into the high range. Also, it helps me to slur up the harmonic series starting say on a low c and going straight up to a high C (all while staying fairly relaxed and letting your air do most of the work). Hopefully this will help you, it has definitely improved my high register over the past year or two. Steven Slaff On 8/6/06, Nicholas Hartman Hartman [EMAIL PROTECTED] wrote: Recently, I have been worrying about my high range, or lack thereof. I can make a C3 sound almost 100% of the time, but I have to work very hard, my face turns red and scrunches up, and I can feel it for about ten minutes after. Having studied with professional players all my life, I know that all of these are not supposed to happen, but when I try to use less pressure, try to be less tense, and try to let the air do all of the work, my lips won't even vibrate. I feel like I'm chronically missing some key piece of advice because none of my peers seem to have this problem. Please, any advice would be invaluable as nothing seems to be working for me now. Thank you. Nick - Talk is cheap. Use Yahoo! Messenger to make PC-to-Phone calls. Great rates starting at 1¢/min. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/sslaff%40gmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Recovering after Break
Hi Dave, For what it's worth, and as a fellow college student, whenever I have been forced to take off 1-2 weeks of playing I always restart again slowly for the first few days. I do drills, simple etudes (Kopprasch #1!) a lot of buzzing, and pieces like Mozart concertos (depending on how I feel), but for no more than 1-1.5 hours each day. I also make sure to check my embouchure mechanics in a mirror, especially during my warmup, to ensure that I won't develop any bad habits and to check that my embouchure looks the same as it did before I took the time off from playing. Usually after a few days of that I begin working on whatever repertoire I was doing before, and increasing my practice sessions to whatever feels comfortable - I work my chops each day until they are tired, but not beaten up. Of course, as the usual disclaimer goes, this may not work for everyone (and I am not yet a professional nor do I have the full experience of one) but it has been very helpful for me. It can even be a great time to start over and eliminate any bad habits that you may have had (if you had any!) before the time off. I hope you are back in shape soon! Steve On 6/4/06, [EMAIL PROTECTED] [EMAIL PROTECTED] wrote: hello everyone- I write to you seeking some advice. I recently fell ill to Strep Throat and an infection with a wisdom tooth and have been unable to play Horn at all for a week and a half. I am feeling better now and tried to play again today. It was a disaster and I couldn't play anything. Actually I cannot remember taking off this long from playing in many years. I am used to playing 7 days a week as a full time student. I hate taking days off and always try to practice, or at least play through a warm-up and fundamentals routine every day. I know some people say taking a day off here and there is good; it never worked for me. My question is what do I do now? I had been preparing for a bunch of lengthy end of year concerts and a half-recital, thankfully they were before I got sick. I was making a lot of progress with endurance and both high and low range from the intense –at least compared to what I've done before- preparation I was doing. In the last few months my endurance and range were much, much better than they ever were. (due in some part to members of this list) I am curious if I will loose all that work and have to start over. Have others out there been able to jump back in after a few days, or will I need another several months of slowly building back endurance and range??? Any advice or past expertise about this would be appreciated. Any advise on how I should start playing again would help too. Should I take it real easy, or try (without hurting myself) to jump back into it after a day or two??? I have some playing and gig opportunities for this summer, but I have no idea how long it will take to get back into it, so I don't want to make any commitments. How long should it take? Thanks in advance, Dave Meichle Lawrence University Try Juno Platinum for Free! Then, only $9.95/month! Unlimited Internet Access with 1GB of Email Storage. Visit http://www.juno.com/value to sign up today! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/sslaff%40gmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Chapstick
Hi all, I was searching the web and came across a couple interesting and seemingly unique types of chapstick. The websites for two of the most interesting ones are as follows: http://www.zajamusic.com/chopstic.htm http://www.chopsaver.com/ Since I am always on the look out for chapstick (I haven't yet found one brand that satisfies me), these caught my eye, especially the Chop Saver, which was made by a professional trumpet player and contains all natural ingredients. It also reminds me of a few questions about chapstick that I've had for a long time which I will now post to this list to gather input. First, has anyone had any experiences with these above chapsticks? Alternatively, what chapstick do you all use (if any)? Also, what chapstick ingredients do you think are good to stay away from? I have heard so many differing opinions about chapstick additives. Someone even told me once that chapsticks with Beeswax actually STOP your lips from healing because lips can't break down the wax! Finally, what do you all think about using chapsticks every day (even multiple times a day). I wonder if it's bad to expose one's lips to the same substances every day, even if they are supposedly healthy/natural such as Arnica. Hopefully this will start an interesting discussion! Steven Slaff ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: RE: [Hornlist] Open Throat
The syllables most commonly taught are ah, oh, or ooh for an open and less restricted airway. Translated into articulation, this means attacking a note with tah, toh, or too. I was just thumbing through the book on Arnold Jacobs by Brian Frederikson and this is what Jacobs (among others) recommended. Steven Slaff - Original Message - From: Steve Freides [EMAIL PROTECTED] Date: Saturday, April 9, 2005 8:55 pm Subject: RE: [Hornlist] Open Throat Short a, as in father. When singing, ideally the throat is open for all vowels. For ah the mouth is also wide open and the tongue flat. Gradually raising the tongue causes ah to become a as it cat, then eh, a sound which doesn't really exist in English and is instead usually mangled into what's known as a vanishing diphthong, followed by i as in hit and finallyending in ee as in feet. Closing the mouth changes ah into aw, then oh, another sound not really present in spoken English, then finally oo as in boot. In languages other than American English, some combinations of a raisedtongue and a closed mouth may be found, e.g., Goethe (properly written with an umlaut 'o' which I don't know how to do on my American keyboard), u with an umlaut as in the German word for brother, most famously rememberedby me as part of Goethe's text in Beethoven's Ninth Symphony's final movement. Lest the most important concept be lost in the diction soliloquy above, let me repeat: When singing, ideally the throat is open for all vowels. -S- -Original Message- From: [EMAIL PROTECTED] [EMAIL PROTECTED] du] On Behalf Of [EMAIL PROTECTED] Sent: Saturday, April 09, 2005 7:35 PM To: horn@music.memphis.edu Subject: [Hornlist] Open Throat What is is good vowel to say to open the throat? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/steve%40fridaysc omputer.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/steven.slaff%40oberlin.edu ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Recycled Music...
The line from Mozart 3 is half of the phrase from the piano concerto and all the clever horn players put it in their cadenzas. Chris I just found this out the other day, and it makes perfect sense now. The interesting thing (if I remember correctly) is that in the pno concerto, the phrase doesn't begin as a pickup, it begins on the downbeat but otherwise is identical! Steve ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: RE: [Hornlist] Re: Schumann Konzertstuck - newer arrangement
Greetings, A bit to add to the discussion on the use of arrangements of Konzertstuck -- I was able to hear the Cleveland Orchestra and their normal horn players perform the Konzertsuck tonight, and while I am not familiar with the various arrangements of the piece, it seemed to follow what has been described as the original orchestration (with most melodic material in the first horn, etc). Did anyone else see/hear this performance? The horns played excellently and seemingly with ease. Steven Slaff - Original Message - From: David B. Thompson [EMAIL PROTECTED] Date: Saturday, February 26, 2005 8:12 pm Subject: RE: [Hornlist] Re: Schumann Konzertstuck - newer arrangement Graeme Evans wrote: You can be assured that everyone who plays this piece re-arranges it somewhat so that (usually) the 2nd horn gets some of the melodic material. I rarely find myself in the position of disagreeing with something thatGraeme has written, but I could not let this assertion slip by unchallenged. Although I would not consider myself an expert on this work, as our colleagues in the AHQ might rightly be considered, I have had occasion to perform it publicly around a dozen times over the last 20 years, always on first horn (just by dint of circumstances, not out of any contempt for the other parts), always playing all the notes of the part as originally written (simply because I do not see the grave problem which to me would need to be present before I could justify mucking around with the composer's orchestration) and always playing the part on whatever regular double horn I used primarily at the time (even though I might have had my Paxman descantcollecting dust in the locker downstairs - because I find the sound quality and especially the blend and balance with my colleagues to be better when I stay on the double). Some of those performances have been more triumphant than others, but I don't believe any were tragic. I have had the opportunity to hear Richard Burdick perform on several occasions, know him to be a very accomplished hornist, and have no doubtthat he is likewise up to the challenges the work presents in its original orchestration. Nor do I believe that we are alone. In fact, I suspect it may be somethingof a recent trend to rearrange the parts; up until relatively recently I was not aware of many players doing so. In my school days, it was something of a point of honor to play the part as written - if one chose to play it at all. We would no more have considered leaving out selected bits of the Konzertstück than we would have considered actually taking the high B in the duet with the flute in Shostakovich 5 down an octave (even though Shostakovich, unlike Schumann does explicitly provide that option) There are some very taxing solo concerti in the repertoire, which many of the players who are rearranging these Konzertstücks perform without batting an eye - and they certainly would never consider having an assistant standing by or redistributing some of the solo part to the orchestral horns. Finally, I would hate to sacrifice playing the body of the second movementfor what I consider to be two good reasons: 1) It is the movement which I find musically the most interesting to perform and 2) I find it to be just what the doctor ordered at that point in the performance - a bit of playing in comfortable and mid-low registers - precisely what many of us would choose to do if given the opportunity to loosen up before the third movement. Do not get me wrong - I know that many fine performers DO rearrange the parts to very good effect, and it can be argued that that is their prerogative. It is not my intention to question their judgment or qualifications in any way. However, the generalization that everyone does it is simply false. David B. Thompson Solo Horn, Barcelona Symphony Orchestra ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/steven.slaff%40oberlin.edu ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Horns-a-Plenty
Hello All, I finally clicked on the Horns-a-Plenty (hornsaplenty.com) link on hornplayer.net, and am extremely impressed with their offers. They seem like they are an excellent place to buy a horn, yet I don't recall them ever being discussed on the list in my time here (and nobody has discussed them in the archives either). Has anyone on the list ever used them before to buy a new horn? I'd be interested in hearing about your experiences with them. Reply off-list (unless others of you are interested in this as well) so as to not crowd the already crowded hornlist! Thanks! Steven Slaff ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Good Non-Conns
william bamberg [EMAIL PROTECTED] asked: Are you saying that the Alex takes twice as much effort as the 8D? No, that's not what I'm saying! Sorry I wasn't clear about that! What I meant was exactly the opposite, that the 8D takes twice as much effort as the Alex, especially in the high range because it has remarkably little resistance. Steven Slaff - Original Message - From: william bamberg [EMAIL PROTECTED] Date: Wednesday, September 8, 2004 3:16 am Subject: Re: [Hornlist] Good Non-Conns Are you saying that the Alex takes twice as much effort as the 8D? Normally I would recommend the Reynolds Chambers clone of the 8D because of its great tone and especially for its high efficiency. If you're leaning towards an Alex, there is a very rare, and mostly unknown, Holton model 77 presently on eBay that might well go for less than $500. This is the original Farkas model from the sixties. This horn would fit into a Geyer section and be very effective for ensemble playing. Hang on to the 8D in case you have to play in a 'big' horn section. The trick to easily switching horns is to spend a lot of time tuning all the valve combinations so the lipping requirements are as close as possible on the two horns. Don't be surprised if you suddenly find your accuracy greatly improved on the horn you've been playing for years. You might be surprised how out of tune you've learned to accommodate through years of practice. Do it with an electronic tuner sensitive enough to tell you exactly how far you're lipping each note to be in tune. Center each note with your eyes closed so you can see exactly where the horn wants to play it. This is especially important for matching a Bb horn or descant horn to your main instrument. For the Bb or descant, an F attachment is more important than a stopping valve. Have a crook made However, a stopping valve is a legitimate 2nd valve when using the F attachment. Steven Slaff wrote on 9/7/2004, 5:40 PM: Hello, Partially with the advice of my teacher, I am considering purchasing a new horn -- My current Conn 8D really isn't cutting it. What horns do you all recommend that have a big and mellow, yet clear sound, but play well -- I'm looking for something with a bit more resistance than my current Conn, I've tried playing my teacher's Alex, and when I blow into that it takes half the effort to make the same sound on my Conn!!! Any recommendations are appreciated! Thanks very much!!! Steven Slaff - Original Message - From: [EMAIL PROTECTED] Date: Tuesday, September 7, 2004 6:30 pm Subject: [Hornlist] Elkhart Conn 8d or Yamaha 667V or Alexander 103 I'm trying to decide on which horn I'll be purchasing in the near future and was wondering what all of your opinions are on these particular horns. I know they are about as opposite as you can get, but I've played on newer Conn 8Ds and a Yamaha 867(similar to 667V), and liked how they both played. The Yamaha was a free-blowing horn that played very nicely I thought. The Conns played well, but I'm interested in trying an older Elkhart model to see if there is a bigger difference in the playing characteristics. If any of you have had any experience with playing the newer and older 8Ds and what their differences are, please write in. I've never played an Alexander 103, but I do know that they are a reputable horn in Europe and the sound that the European horn sections produce using them, is quite satisfactory.To give you a little bit of background info on where I currently stand as a horn player, here ya go: I'm a senior in high school, and will be attending one of the major southeastern universities next year to most likely major in music. I do play principal horn in the local youth orchestra and principal horn in the wind symphony at Sebastian River High School in Sebastian, FL. So this horn will need to last me through my college years and hopefully into my amateur/professional career. Any advice on any horn would be greatly appreciated. Thanks. Jason ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/steven.slaff%40oberlin.edu ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/billbamberg%40aol.com ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/steven.slaff%40oberlin.edu ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Good Non-Conns
Hello, Partially with the advice of my teacher, I am considering purchasing a new horn -- My current Conn 8D really isn't cutting it. What horns do you all recommend that have a big and mellow, yet clear sound, but play well -- I'm looking for something with a bit more resistance than my current Conn, I've tried playing my teacher's Alex, and when I blow into that it takes half the effort to make the same sound on my Conn!!! Any recommendations are appreciated! Thanks very much!!! Steven Slaff - Original Message - From: [EMAIL PROTECTED] Date: Tuesday, September 7, 2004 6:30 pm Subject: [Hornlist] Elkhart Conn 8d or Yamaha 667V or Alexander 103 I'm trying to decide on which horn I'll be purchasing in the near future and was wondering what all of your opinions are on these particular horns. I know they are about as opposite as you can get, but I've played on newer Conn 8Ds and a Yamaha 867(similar to 667V), and liked how they both played. The Yamaha was a free-blowing horn that played very nicely I thought. The Conns played well, but I'm interested in trying an older Elkhart model to see if there is a bigger difference in the playing characteristics. If any of you have had any experience with playing the newer and older 8Ds and what their differences are, please write in. I've never played an Alexander 103, but I do know that they are a reputable horn in Europe and the sound that the European horn sections produce using them, is quite satisfactory.To give you a little bit of background info on where I currently stand as a horn player, here ya go: I'm a senior in high school, and will be attending one of the major southeastern universities next year to most likely major in music. I do play principal horn in the local youth orchestra and principal horn in the wind symphony at Sebastian River High School in Sebastian, FL. So this horn will need to last me through my college years and hopefully into my amateur/professional career. Any advice on any horn would be greatly appreciated. Thanks. Jason ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/steven.slaff%40oberlin.edu ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: RE: [Hornlist] New invention
I remember when the trombone one came out, I wondered if they'd ever make something
like it for horn. It does SEEM like a good idea, to help prevent injury from the
weight of heavier horns, but it looks ridiculous, and seems impractical with the
design shown on that website!
Steven Slaff
- Original Message -
From: David Goldberg [EMAIL PROTECTED]
Date: Thursday, April 15, 2004 7:53 am
Subject: RE: [Hornlist] New invention
On Thu, 15 Apr 2004, Hans Pizka wrote:
Hello Lawrence, I second that request, but regarding ErgoHorn I
might ask, how about those who swivel around on their seat or
dance-swing with
their horn, as so often noted in auditions ? Big trouble then in the
orchestra.
Easily solved - this invention is just a support stick with a
connectingplate. Instead connecting each horn to the floor, you
connect the entire
horn section together, so they have to swivel swing together. First
horn sets the rhythm, of course. And they have to empty together.
Pray
that no one sneezes.
Seriously, is this invention of any value except for unfortunate
playerswith arthritis or other disability that makes holding the
horn difficult?
It looks like a joke, especially the price. The trombone version
looksdangerous.
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
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Re: RE: [Hornlist] Re: Going over to the dark side.....horn to cello
Hans and list, Do you know where Vogelsang's performance of the Brahms trio may be purchased? I did a search on Amazon.com and on Google but wasn't able to find it anywhere. Thanks, Steven Slaff - Original Message - From: [EMAIL PROTECTED] (Hans) Date: Saturday, April 10, 2004 1:52 am Subject: RE: [Hornlist] Re: Going over to the dark side.horn to cello His name was Vogelsang and the recording is excellent. He played all three parts very good. = Gretchen's post reminded me, has anyone else heard a recording of the Brahms trio played by (wish I could remember his name). He was a fine piano player and played violin in the Philadelphia Orchestra but always wantedto play the horn. So later in life, he took up the horn and got a job playing horn in the Denver Symphony. On the recording he plays all 3 parts on the Brahms. It's been many years since I heard it (only once) but I remember it being darn good! - Steve Mumford ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/steven.slaff%40oberlin.edu ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Attacking Low Notes
Hey All, I was practicing some low scales the other day, when I noticed that I have difficulty getting a crisp attack on a good amount of low notes, specifically the region from low C (2 octaves below 3rd space C) to the F a P4 above it. What I realized is that I actually attack those notes by sticking my tongue sort of between my teeth, rather than at the back of my top teeth...very odd, and seems wrong as it gives them less of a definite start. When I tried tonguing them with my tongue in the more proper position, they wouldn't speak! So I'm kind of curious, where do you all put your tongue when you attack low notes? What works best for you/what (if anything) is proper? Thanks for your input! Steven Slaff ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
