Re: [Hornlist] Plumped...CHOPS!
I had the same experience with the new 'effusion' chap stick, and it didn't go away quickly. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Mon, 14 May 2007 12:34 PM Subject: [Hornlist] Plumped...CHOPS! I.had.a.little.accident.yesterdaymy.chops.blew.up.before.a.concert... .there.was.no.apparent.reason.at.first;then.I found.it.was.due.to.a.new.lipgloss that,unbeknownst.to.me,.had.that.lip.plumper.stuff.in.it.//this.is.why.Pa ris.Hilton.does.not.play.corno. I.had.no.buzz.hWhatsoever.for.2.hrs. had.to.ice.the.chops.before.concert.after.which.I.was.able to.play.somewhat...the.only.thing.that.cacked.out.was.a.high.C.in.Wizard. of.Oz.Medley. how.exciting!!! so.if.you.are.thinking.of.using.LIP.PLUMPERS.to.get.that.pouty.expression s-think.again.unless you.just.want.a.good.excuse.to.get.out.of.orchestra.rehearsal. (reason.for.the.periods.this.keyboard's.space.bar.is.broken) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com AOL now offers free email to everyone. Find out more about what's free from AOL at AOL.com. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Spit valve problem: Ideas?
If this is a middle school horn, it's more likely the cork was long
gone. All that's needed is a fresh piece of black electricians tape to
replace the old one that just fell off because the kid kept fooling
with it.
-Original Message-
From: [EMAIL PROTECTED]
To: horn@music.memphis.edu
Sent: Wed, 9 May 2007 4:10 AM
Subject: RE: [Hornlist] Spit valve problem: Ideas?
Question, are not all these tasks so simple to solve, that
they dont need any further explanation ? How deep should we
sink in all this Internet-Googelitis, that we need help for
all & everything Next we have to explain what a glue
means, what digits to use when holding a piece of a pencil,
to mark a wrong note. Have we become so insecure about basic
things in life ? Are we so much depending on repair persons
? For most simple things ?
I have not studied the trade, but if something is wrong with
e.g. an instrument, I have a close look & try to understand
the mechanics. In the example of a spitvalve, there is a
holding mechanism (plate) equipped with a cushion (soft)
like small piece to close a hole in a tube. This mechanism
is held on place by a spring. So if the small soft cushion
is lost, the hole cannot be closed properly. There is no
replacement in reach. Just taking a soft small disk (easily
self made of any flat, firm but also soft material like
cork, rubber, plastic or whatever, no other tools to involve
than a sharp knife or scissor or razor) & attaching it to
the closing mechanism will help for longer than a moment. If
no glue (plastic glue, instant glue or similar) is in reach,
keep the mechanism blocked by a rubber band, tape,
insulation tape - all be found in a household, or does the
modern household just consist of four walls & a roof, a bed,
a microwave oven, garbage can (if at all) & the Sears
catalogue ??? In the worst case, if nothing properly be
found, take a small piece of toilet paper, warp it
several-fold & place it between mechanism & spit hole,
blocking the whole arm.
We all have a built-in PC, named brain, - but we should use
it. Things are not THAT complicated. Most things are very
simple. Most problems can be solved in a very simple manner
with a minimum of effort.
But too many are victims of our buy & throw away society or
anti-culture.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of David Goldberg
Sent: Wednesday, May 09, 2007 6:25 AM
To: The Horn List
Subject: Re: [Hornlist] Spit valve problem: Ideas?
A slight problem is cutting a nice circle of whatever
flexible material you decide to use; but it doesn't really
need to be nice, just functional.
A related approach to what has already been suggested would
be to use some silicone glue - aquarium sealer is one
incarnation - as the pad.
Lay a thick blob into the space that used to be occupied by
the original pad. After it dries, you can slice a straight
surface with a sharp blade so that it seals the hole
perfectly, but it might be more efficient to let the blob
half-dry while keeping the valve open, and then let the
valve close sufficiently so that the blob gets squeezed
enough for it to conform to the correct shape. I never
tried this, but it seems simple and can't-miss.
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
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Re: [Hornlist] Mozart 1st is the 4th?
Wikipedia is an encyclopedia based on contributions from knowledgeable scholars. Your post to this site contains the valuable information Wikipedia is compiling. You might consider offering your post, and others like it, for inclusion. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Thu, 3 May 2007 10:53 PM Subject: RE: [Hornlist] Mozart 1st is the 4th? This is mere nonsense. Yes, these two movements of horn concertos in D were written later than the other three concertos. Wikipedia is not "the 100% truth". All hornconcertos , complete or fragments, were written between 1781 (Rondo in E-flat) and 1786 (K.495). The E-flat Rondo came first (1781, dated by Mozart 21 Marzo 1781). It was for Leutgeb not as Bill Tyler repeats again after the millions of wrong spellers : Leitgeb. His name was LEUTGEB, whichj was pronounced as "Leitgeb" in our local dialect, because of Mozarts own wrong spelling in his own hand written catalogue (concert for "Leitgeb") or in his K.447 concerto (last movement, two entries as "Leitgeb"). But his name was "L E U T G E B" and not "Ignatz" or "Ignaz", but "J O S E P H". Ignatz was a nickname, a very popular nickname then. The first Allegro in D-major has been composed & full instrumentated in 1782. How about this assumption, Mozart had made some compromises due to "Leitgebs fading abilities on the horn" ? Yes, the required hand horn technique, special in the 2nd theme, is a bit less ideal than in K.447, K.417 & K.495. It is similar to the technique required in the Rondo K.371. Why do these scholars assume, that Joseph Leutgebs abilities had faded then ? Is not K.495 more demanding than the earlier pieces ? And what is the difference at all ? Written "a" above the staff or written "c" above the staff, does it matter much on the natural horn ? No, it does not. And Leutgeb was a high grade professional player. These scholars base their assumptions on mere amateur experiences with the horn, where most think higher notes requiring more power, which is wrong absolutely. It may count for the music by Wagner, R.Strauss or Mahler but never for Mozart, where everything is played light & without pressure. The same scholars once assumed that the duets could never been intended as horn duets due to the stratospheric writings for the first horn. So they attributed them to "English Horns". They merely could not believe, that hand horn players or horn players in general could play as high up to the written g, one octave higher than the g sitting on the first line. But they could do it well & they can do it well now again. They had overseen that at the one left lower cormer of the autograph, Mozart had written the series of natural notes possible on the horn Do you know a better evidence ? And the dating of the D-major fragments is not from the 2nd Allegro written much later than the first Allegro. And the 2nd Allegro is very easy anyway. So, Leutgeb was still on his peak time when the first Allegro was written. He was just 50 then. And he survived Mozart for more than 19 years. The order of the concerts 3, 2, 4 , as numbered by Andre op.86, op.105, op.106. The D-major fragments are being put together much later even the first movement been written ? 1782 & the second allegro been written much later. And it is not said at all, that the first D-major fragment was for Leutgeb, as there were many excellent players in Vienna that time. The 2nd Allegro in D-major was intended for Leutgeb, off course, as Mozart used it to make some fun with Leutgeb. Here the ailing factor may have played a role, but not for the first Allegro. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Bill Hollin Sent: Friday, May 04, 2007 2:51 AM To: horn@music.memphis.edu Subject: [Hornlist] Mozart 1st is the 4th? Anyone care to comment on this? I always found the 1st Concerto to be demanding in many ways, and it seems to me the hand-stopping technique required is greater in the 1st mvt. of K.412 than in some of the others.. Recent scholarship dates the horn concerti in the order 2, 3, 4, 1, with no. 1 (K. 412) being the last composed. This piece is less demanding than the others, and this is believed to reflect the decline of Leitgeb's prowess either with age or with his music being increasingly relegated to a sideline. - Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ______
Re: [Hornlist] RE: The preferred tone/sound these days?
I predict it would sound 'flat'. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Sun, 29 Apr 2007 10:49 AM Subject: RE: [Hornlist] RE: The preferred tone/sound these days? If a tree falls on an 8D in the forest, and no horn jocks are around to hear it, does it's sound have more 'core' than a Geyer? hans <[EMAIL PROTECTED]> wrote: Paul, there comes another sentence to my mind, when reading your letter: "Is everything real or just imagination ? But of whom ?" This psycho-hornplayer probably constructed an excuse for himself why not playing in public, means for listeners. Indeed, the goal is different for amateur musicians, who often play just for themselves. But as soon as they play in an even very small group, they will play for listeners each other. The professional musician is different, as he or she has to reproduce, what has been created by the composers, reproduce it to entertain an audience. But that is musical business, while the solo player plays alone, unattended by listeners. But wait a moment: the lonely player listens to himself. Or not ? If he or she does not listen to himself or herself, I can understand the first mentioned sentence. And this person should better not treat anybody with his or her playing. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of LOTP Sent: Sunday, April 29, 2007 3:08 PM To: The Horn List Subject: Re: [Hornlist] RE: The preferred tone/sound these days? Corno911 wrote: "The goal of any artist musician is to convey emotional images in sound. To convey a message to the listener." I ask "Who is the listener?" I once had a discussion with a Hornist/psychologist (and former member of this list) in which we came to the conclusion that unlike an actor who MUST have an audience in order to practice his/her art, a musician is still making music when playing with no one else listening. A musician and an entertainer (who is playing an instrument) are really doing two different things while doing exactly the same thing! Paul T. - Original Message - From: To: Sent: Sunday, April 29, 2007 12:41 AM Subject: Re: [Hornlist] RE: The preferred tone/sound these days? > This entire discussion is getting pretty boring. > > The goal of any artist musician is to convey emotional images in sound. > To convey a message to the listener. > > To effectively accomplish this one has to know much about the musical > intentions of the composer and then do their best to bring these > intentions to life > in an effective way. > > This requires that the performer use all aspects of the sound--dynamics, > weight, intensity and color > in a flexible and imaginative way. > In other words, the performer needs to be flexible enough to be able to > change their sound to create an effective rendering of what is being > performed. > > And so must the instrument be sonically flexible enough to aid the > performer > in accomplishing this. > > Would you enjoy looking at an artists paintings who only used one color of > paint? > > Artist performers choose instruments that help enable them to be flexible > and > fulfill these goals, not just because the instrument has a certain built > in > "sound." > > The concept that artists choose a horn because it has a certain sound, and > that the brand is more important than the creativity and imagination of > the > performer, is patently sophomoric and totally misses the point of musical > interpretation and performance. > > Paul Navarro > Custom Horn > Lyric Opera of Chicago (ret.) > > > ** > See > what's free at http://www.aol.com. > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/lotp%40comcas t.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/golfduder%40yahoo.com - Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com AOL now offers free email to everyone. Find out more about what's free from AOL at AOL.com. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] eBay: Horn Mouth pipes Brass Instrument Uncut 11/32"(item 220106548410 end time May-05-07 10:54:22 PDT)
Reminds me of the terrorist French horn player who tried to blow up a school bus, but third degree burns ruined his embouchure. Should have done the short call. -Original Message- From: [EMAIL PROTECTED] To: [EMAIL PROTECTED]; horn@music.memphis.edu Sent: Thu, 26 Apr 2007 10:49 AM Subject: RE: [Hornlist] eBay: Horn Mouth pipes Brass Instrument Uncut 11/32"(item 220106548410 end time May-05-07 10:54:22 PDT) A very old invention to get more effect from your horn, but dont try it for Mozart but for Justaf Malheur perhaps === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Leonard & Peggy Brown Sent: Thursday, April 26, 2007 6:08 PM To: horn list memphis Subject: [Hornlist] eBay: Horn Mouth pipes Brass Instrument Uncut 11/32"(item 220106548410 end time May-05-07 10:54:22 PDT) Really... what are these anyway... look like they belong on a motorcycle. LLB http://cgi.ebay.com/Horn-Mouth-pipes-Brass-Instrument-Uncut- 11-32_W0QQitemZ220106548410QQihZ012QQcategoryZ16215QQrdZ1QQc mdZViewItem ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com AOL now offers free email to everyone. Find out more about what's free from AOL at AOL.com. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: 8D from a non-Conn artist
A very good friend of mine, a successful Conn Artist, was originally taught "There is more than one way to skin a cat." After years of experience, he has modified the age old adage to, "You can fleece the same sheep over and over, but you can only skin it once." -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Wed, 25 Apr 2007 10:28 AM Subject: [Hornlist] RE: 8D from a non-Conn artist Bill H offered this: Many ways to skin a cat, and for our section, the 8D does just fine. *** I hope you you will fill us in on how to skin a cat with an 8D, Bill. This is an aspect of horn technique which seems to be missing from Farkas's book. Alas, I have lost my copy of Dauprat's Méthode d'écorcher un chat. Besides, it was never updated for the modern valve horn. gotta go, Cabbage ** See what's free at http://www.aol.com. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com AOL now offers free email to everyone. Find out more about what's free from AOL at AOL.com. =0 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] The Instrument Encyclopedia Database
The only person who can play it survived the accident about as well as the horn did. -Original Message- From: [EMAIL PROTECTED] To: [EMAIL PROTECTED]; horn@music.memphis.edu Sent: Sun, 15 Apr 2007 3:07 PM Subject: Re: [Hornlist] The Instrument Encyclopedia Database From: "Leonard & Peggy Brown" <[EMAIL PROTECTED]> You play this how? Badly. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com AOL now offers free email to everyone. Find out more about what's free from AOL at AOL.com. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Cleaning a horn yourself
You definitely don't want to use soap. Have you ever washed your hair with soap? If the water has any hardness, you end up with gummy hair. The same thing will happen to your horn. Dish washing soap is actually detergent, and so is shampoo. Detergent rinses out easily because it breaks down the oily gunk and rinses out clean. I suspect a good test for horn cleaning is whether you can wash your hair with it. Dish washing cleaner or laundry detergent both do a good job on hair and rinse out clean. What you are looking to do to your horn is to remove all the grease and rinse it clean. Good quality detergent is the inexpensive stuff with the least expensive additives and should be inexpensive to buy. Inexpensive dish washing detergent, like Dawn, is pretty safe. One advantage to foamy detergents is you can see when they are all rinsed away. Applying full strength detergent through the valves and slides and using a snake brush to scrub the horn in a warm tub is easy. I like to rinse with a shower spray so I can see when the rinse water doesn't still have detergent. A little heat from a hair dryer will better get the water out of the rotors. I drop a little oil right into the rotor before the slides are greased. It doesn't take much oil, and a slightly thicker oil can be used on the bearings. Most any lubricant you have good experience with will work, but I usually try to stick to Hetman products because they have a wide range of products that are all compatible with each other, and I like to buy oil in the eight ounce size and load my own dispensers. I buy half ounce, needle tip bottles from Small Parts, Inc, on line. They sell Teflon capillary tubing that fits the needles, and allows placing very small drops right into the rotor casing. -Original Message- From: [EMAIL PROTECTED] To: [EMAIL PROTECTED] Sent: Fri, 13 Apr 2007 12:03 PM Subject: [Hornlist] Cleaning a horn yourself Hello all, In a similar topic, how should one clean the horn? I take mine to a professional about twice a year to get it chemically cleaned, dismantled, etc. In the meanwhile, I have put it in the bathtub. Is this still a common practice? My father, who was a trumpet player, has had me do this since I was ten - take the slides out, the caps off, and put it in lukewarm water with mild dish soap. I didn't think anything of it for years, but now I'm concerned about the soap. How do you get it all out? Is there anything in the soap that's not good for the brass? Are there special instrument-cleaning soaps that should be used instead? I'm pretty sure that just the soaking does me more good than anything. I've not done this with my new horn, because of these concerns. What are some suggestions for keeping the instrument clean inbetween professional cleanings? Thanks, Anna - Ahhh...imagining that irresistible "new car" smell? Check outnew cars at Yahoo! Autos. ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com AOL now offers free email to everyone. Find out more about what's free from AOL at AOL.com. ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Reynolds Contempora
The Contempora leadpipes are designed to allow lipping the horn in
tune, but that also allows lipping out of tune if your professional
'ear' is not well developed. One of the reasons 8D leadpipes are often
changed is because their notching characteristics don't allow a lot of
lipping latitude. This is fine for a student who is going to be playing
in groups that don't have a secure center of intonation. Just set the
tuning slide and let the horn center on the harmonics. For higher level
playing, the musician is expected to overcome the inherent harmonic
problems of the compromises in the instrument design, and lip the
instrument into perfect intonation using his trained ear. In string
instruments, it's akin to whether you have frets or not.
-Original Message-
From: [EMAIL PROTECTED]
To: horn@music.memphis.edu
Sent: Fri, 30 Mar 2007 2:01 AM
Subject: Re: [Hornlist] Re: Reynolds Contempora
I have a Pottag model Reynolds, and if you follow the instructions
that came with it for tuning, the intonation is excellent.
Carl Bangs
Howard Sanner wrote:
> Steve Repp says:
> >
>
>> 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...)
>
>
>
> Does the engraving just say "Contempora" or is "Pottag Model" or >
"Chambers Model" part of it?
>
>
>
>> Wondering if anyone has any experience with these horns and can
offer >> opinions.
>
>
>
> I have a Pottag Model that you can see pictures of at:
>
> http://www.ampexguy.com/horn/pottag/reynolds.html
>
> The big problem with this, as far as I'm concerned, is the >
intonation. Though I have no illusion that my intonation--or any other
> aspect of my playing--is like Tuckwell's, bad intonation is the kiss
> of death for me with a horn. Otherwise I just love the horn. ("Other
than that, Mrs. Lincoln, how was the play?")
>
> When I was in school, a lot of kids had Reynolds Contemporas, >
model FE-0x, where x was a small integer. These did not play nearly as
well as my Pottag, and not even remotely as well as a good 6D.
>
> I think you'd be better off with any of the other "usual suspects" >
if you want something beefier. I doubt if a Pottag would be any >
better--and probably a good bit worse--than a 6D in decent shape.
>
> Howard Sanner
> [EMAIL PROTECTED]
>
> ___
> post: horn@music.memphis.edu
> unsubscribe or set options at >
http://music2.memphis.edu/mailman/options/horn/bangs%40cet.com
>
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Re: [Hornlist] Reynolds Contempora
I've been a champion of the contempora for many years. There are basically two models, both excellent and usually for sale at a price that allows a high quality rotor rebuild included in a budget of less than $1000. If you're considering the brass version, the smaller Pottag model (large leadpipe with a medium bell throat) is suitable for any orchestral use, especially with the 8D sound being supplanted in recent years with Geyer wrapped horns. It has a beautiful singing tone and is ideal for solo and ensemble work. A very similar horn is the very rare Holton 77. The larger Chambers model was specifically designed to replace the famous 8D James Chambers played in the New York Philharmonic. He played it for three seasons until politics of Reynolds ownership forced him to withdraw the endorsement. The Osmun Brass web site has an interview where Chambers talks a bit about the horn. He really liked the horn, but is less than happy with the new Reynolds company. The horn apperently was designed to match the best 8Ds, and then modified slightly until Chambers liked it well enough to replace his 8D. The two most apparent modifications were to double the thickness of the bell from .009" to .018", and the leadpipe was shortened and retapered. The heavy bell is far more efficient, so the horn is much less fatiguing to play. The modified leadpipe doesn't lock in like the 8D pipe. Not only is the horn more expressive, the player has more latitude to play it absolutely in tune. From a marketing point of view, the Conn pipe is more forgiving to less advanced players, probably 90% of the market the instrument is aimed at. I've been told that many of the Hollywood players in the '60s put the Chambers pipe on their 8Ds. The Chambers pipe is long gone, but there is a huge selection of after market pipes to be had. When Reynolds moved to Texas, the pottag and Chambers endorsements were left behind. There was a design change to the Chambers model, but there is little consensus exactly what was changed. The bell thickness was reduced to about .012" inch. This took away the awesome power potential of the heavy bell, but made the horn a little more forgiving to play in smaller ensembles. I was a believer that the new design was more of a student instrument until I did a restoration of one for my wife. I discovered that a universal problem with all the FE01s and FE03s (Chambers in NS and Brass) was solder rings left in the interior tubing. Reaming the bore to a uniform .0468" made the Texas horn play every bit as well as the Cleveland models. My wife prefers the Texas model over the Cleveland. She really can't play hard enough to take advantage of the heavy bell. She also has an H series 8D with both a stock and a Lawson pipe, and much prefers the Texas Reynolds to the 8D. The Lawson pipe makes it closer, but the Reynolds takes much less effort, and the extra effort is quite audible. I own several Contemporas and have fixed up several for students. I bought a Cleveland horn, new, in 1962, and have played it since. I was about to get a valve rebuild, but I bought an identical horn that was bought and never played, and was for sale for $450. The rotors were never even broken in. My wife's Texas horn was only $210 on ebay because the bell had been crushed like a ball of tin foil. It also has rotors that show no wear. I was going to put a screw bell on it, but the old bell straightened with practically no scarring. The horn plays so well, now the the bore is restored to uniform size, there's no reason to do the bell. Unless you get as lucky as I did, most of these horns have been in school programs and maintained by techs who end up dissolving the rotors in acid over the years. Figure a valve rebuild into the price you bid, or get the seller to allow an inspection period. If you get the return allowance in writing in an email, ebay will use their leverage to enforce it. Make sure the seller has a seller rating worth protecting. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Wed, 28 Mar 2007 9:54 AM Subject: [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/billbamberg%40aol.com AOL now offers free email to everyone. Find out more about what's free from AOL at AOL.com. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Yamaha mouthpieces
Normal fractional drill bits often are sized every 1/32". Bore sizes correspond to numbered drill bits, and the difference between numbers is usually only a couple of thousandths. A number 3 bore is 0.213", and number 12 bore is 0.196". There are ten number drills covering a range that, at best, includes only two fractional drills. If you go to Harborfreight.com, you can buy a complete set of numbered drill bits, on sale, for $12.99. The bits are M-2 steel and are TiN coated. Only change the bore one number size at a time. At the very least, use a drill press. If possible, set it up so the mouthpiece spins, and the drill bit is clamped and stationary. Remember, you can easily drill it bigger, but you can't drill it smaller. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Thu, 22 Mar 2007 8:54 AM Subject: Re: [Hornlist] Yamaha mouthpieces I've had a couple horn professors tell me to drill a mouthpiece to a larger bore myself. I even did it to a $100 mouthpiece on a suggestion by a well respected horn professor ( you all know him ). Just fit the drill bits through the bore until you find the one with the tightest fit. Then go one bigger and drill away. Don't worry about centering too much it kind of self centers as long as you make an effort to drill straight. Since the yamaha mouthpiece is cheap and easy to come buy, it might be worth a shot. -James - Original Message From: Steve Freides <[EMAIL PROTECTED]> To: The Horn List Sent: Thursday, March 22, 2007 8:44:16 AM Subject: [Hornlist] Yamaha mouthpieces My son has been playing a Yamaha 30C4 mouthpiece for years. To me, it feels like a pea-shooter, very narrow. In the interest of changing just one variable, I'd like to stick with Yamaha and find the next larger bore mouthpiece and hope it otherwise feels the same at the rim, etc. If someone could tell me which model that is, or point me to a web site that shows this sort of information, that would be most helpful. The idea here is to make a small change, not a big one. Thanks in advance. -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/ndspmustang%40yahoo.com _ ___ 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/billbamberg%40aol.com AOL now offers free email to everyone. Find out more about what's free from AOL at AOL.com. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Bernhard Heiden
tical orientation of any > kind. > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/steve%40frida ys computer.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com AOL now offers free email to everyone. Find out more about what's free from AOL at AOL.com. =0 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] NHR but Music Related - The Mathematical Percision ofBach
I thought close only counts in horseshoes and hand grenades. I wish I'd had you as a professor, or are you disagreeing you're a 'mathemathician' sic. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Sat, 3 Mar 2007 1:01 PM Subject: Re: [Hornlist] NHR but Music Related - The Mathematical Percision ofBach >The description 'mathematical' implies that if one knows, and >applies the rule, the outcome will always be duplicated. Thus, if >you know Bach, you can duplicate Bach, a feat yet to be accomplished. I am a mathemathician, and disagree completely. -- Daniel Canarutto mathematical physicist & dedicated amateur hornist http://www.dma.unifi.it/~canarutto/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com AOL now offers free email to everyone. Find out more about what's free from AOL at AOL.com. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] NHR but Music Related - The Mathematical Percision ofBach
The description 'mathematical' implies that if one knows, and applies the rule, the outcome will always be duplicated. Thus, if you know Bach, you can duplicate Bach, a feat yet to be accomplished. Interesting how this compares to a commonly accepted definition of insanity as "doing the same thing over and over, and expecting a different outcome". Just as the same people describing Bach as 'mathematical' do so over and over. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Fri, 2 Mar 2007 1:03 PM Subject: RE: [Hornlist] NHR but Music Related - The Mathematical Percision ofBach It sounds like a phrase tossed out by some nescient talking head type, and I assume that even if its roots are substantiated in a demonstrated "mathematical precision," most that use it would have no idea what they meant, anyway. I suppose for a specific type of precision to need to be characterized as mathematical, there would have to exist a type of precision that is not mathematical, or be unable to be measured in such a way that would require mathematics. Absent that type of precision, I suppose one could prove that the phrase is meaningless or superfluous. Perhaps what is meant is something more like "mathematical rigorousness," which could be described as the strict adherence to a set of rules upon which the music is built. John Baumgart -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Bill Gross Sent: Friday, March 02, 2007 2:22 PM To: 'The Horn List' Subject: [Hornlist] NHR but Music Related - The Mathematical Percision ofBach One of the phrases tossed about when discussing Bach is the "mathematical precision" of his music. Just what exactly does that mean? Is it the rhythm or something else, or perhaps is it just a phrase that someone used once and has become a toss off line with no real meaning? ___ 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/billbamberg%40aol.com AOL now offers free email to everyone. Find out more about what's free from AOL at AOL.com. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Synesthesia
I didn't inhale. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Thu, 22 Feb 2007 7:46 PM Subject: Re: [Hornlist] Re: Synesthesia Hello- For more info about "synaesthesia" look at the Wikipedia article at: http://en.wikipedia.org/wiki/Synesthesia I know that this can vary greatly in severity. The wonderful Russian painter Wassily Kandinsky (1866-1944) also had this. This quite obvious from his very brilliant colors. Apparently he painted some of his masterpieces when listening to Gershwin. I remember reading that he experienced music as an ocean of colors in his mind. I know a few students in my ear-training class who can tell (quite reliably) what key something is in by its "color." I don't mean color as in sound timbre, I mean actual visual color. F major is blue, A major is Yellow, like that. Certain psychedelic drugs can induce this affect - though I will not comment on whether I know of this from first hand experience... - and it can be quite vivid. Happy Practicing Everyone, Dave Meichle Lawrence University FREE Reminder Service - NEW from AmericanGreetings.com Click HERE and never forget a Birthday or Anniversary again! http://track.juno.com/s/lc?s=197335&u=http://www.americangreetings.com/products/online_calendar.pd?c=uol5752 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Conn 8D valve taper
If you're a machinist, winding a set of springs is a simple task. Many horns require that the springs be wound in place. I mount the key on an axle on my lathe. The trick is to keep steady tension while winding. During an engineering development of the Sylvania Magciube spring years ago, I discovered that the music wire sold in three foot lengths in most hobby shops represents the best spring wire ever developed. It releases the stored energy more quickly than the commonly used stainless. To take advantage of this, I wind the springs to limit contact to the ends and friction between coils or with the shaft are avoided. Usually I wind over a removable tubular spacer to provide a little extra spacing, and stretch the coils to maintain a lttle space between them. It doesn't take any longer to do it this way, just an awareness of the result you want when you are first setting up the fixturing. You'll also discover that springs wound slightly larger than the axle can be tightened by grabbing the straight end with a vise grip and pulling straight out. You can probably use this proceedure to slightly tighten the existing springs, if getting the ultimate 'snap' in the keys doesn't interest you -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Sat, 3 Feb 2007 6:18 PM Subject: Re: [Hornlist] Conn 8D valve taper Instead milling them, you'd be better served to lap them in with lapping compound. And before I did that I'd literally flood the valve with blue juice or a similar valve oil. You can also use stronger springs to speed up the action. Those may be old and tired. -James - Original Message From: Scott Avenell <[EMAIL PROTECTED]> To: horn@music.memphis.edu Sent: Saturday, February 3, 2007 6:45:08 PM Subject: [Hornlist] Conn 8D valve taper I am looking at an N series Conn 8D which a friend wants to sell. I've been playing it for a few weeks and am happy with most everything except the valve action, which I find a little slow. The valves were reworked a few years ago and the horn did not see much action afterwards. They are currently clean and well lubricated. I would like to measure the valve taper, partly to determine the quality of the valve job, but don't know how much taper to expect: .005", .010", etc? I am also a machinist and so have calipers and other means to make the fine measurements, just wondering how much of a taper I should see with the Elkhart valves. Scott ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/ndspmustang%40yahoo.com _ ___ 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/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Audacity
Musical notes move from somewhere, to somewhere. Only rarely is strict rhythm appropriate. Musical notation is only intended to indicate the closest fraction of a single beat. The interpretation, accelleration or decelleration, etc., is how the performer demonstrates his artistry. This is the reason computer generated music is so obvious, and why millions are being spent to study the nuances of artistically performed music. In a pop music rhythm section, the kick drum usually sets the tempo, but the actual beat is determined by the play between the bass player and kick drum. The other artists then place their respective parts, pushing ahead or pulling behind, according to proper interpretation. If everyone gets in sync perfectly, it is called 'in the groove'. Classical players are now expected to master this, especially if they expect to do studio recording. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Tue, 23 Jan 2007 7:43 PM Subject: [Hornlist] Audacity Someone mentioned recording oneself to check ones sound. I have used the (free) software "Audacity" and found it useful for checking rhythm: are my triplets all equal, etc. Does anyone know how to use it to analyse tone and pitch? The software allows one to zoom in on a sound and see how the volume grows from the start, and fades away. There are also alternative display options to show the "spectra". What these really mean I don't quite understand; my physics doesn't go that far. I'd be much obliged for some guidance on how to use these to see what my sound is made up of and what it lacks (or could do without). I understand the point of using ones own ears, but that is totally subjective and depends on surroundings a great deal: everyone sings beautifully in the bath. There is the feedback through the skull to consider, and also my hearing is not as good as it once was. I'd like a more objective evaluation of my sound. Then I can start to work on improving it. Any ideas, please? (BTW Horn-players are few and far between around here (Japan, but not Tokyo), and those few I know wouldn't dream of commenting on a senior player's sound, so colleagues' opinions are not an option.) Thanks, Simon ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: transposing
Scientific? If you haven't already done so, check out the site for The Catgut Society. Bill -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Tue, 23 Jan 2007 1:09 PM Subject: RE: [Hornlist] Re: transposing Another note(sorry about the pun...)on transposed vs. non-transposed parts as it ties to horn writing in the classical genre: If you work in the original keys, even (gasp) using some hand horn technique, you may discover some incredible genius in the part writing becomes apparent. Try the Beethoven 3 excerpt (in F) that finishes with the crescendo to the subito piano high Ab (do, mi, do, sol, do, mi, sol, sol, sol, sol, sol, La(b)) on the modern horn w/normal fingering. A little dangerous? Now try it all on horn in F and gently stop the Ab with a nice legato tongue. Absolutely perfect writing, and it would be so in ANY natural horn key. This one just happens to be in F. If you want absolute security during the performance, using your normal fingerings, but switch to the F side during the g's, use the hand horn technique to finish. If you live and die by transposed parts you can never pick up that bit of information. CORdially, Charles "Andy" Harris ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Anybody able to help with a translation from Russian?
My brother teaches at Harvard and translates Russian technical articles, as well as being a brass player. You can try an email to Paul Bamberg: [EMAIL PROTECTED] Bill Bamberg -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Sun, 14 Jan 2007 11:42 PM Subject: [Hornlist] Anybody able to help with a translation from Russian? During my hunting for photos for my brass instruments' galleries I came across a quite special Russian helicon pitched in Db. However I cannot read the maker's shield: http://tinyurl.com/yetbuv Will somebody be able to provide me a translation in Latin letters? Thank you! Klaus Smedegaard Bjerre _ ___ 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/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Stiff lips
I had a similar problem with the new Blistex Lip Infusion. I suspect the chemicals they use were originally used to give old, floppy leather lots of body. Since it is absorbed into the lips, it takes a long time before playing sensitivity returns. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Fri, 12 Jan 2007 7:56 AM Subject: [Hornlist] Stiff lips Hi all! Almost everything was said in this matter. But let me tell what happened to me a few years ago. I had a problem similar as described by Ron. The lips were just stiff, didn't vibrate at all. They were like paralized. I coud not buzz without the mouthpiece. Before a concert I had to do a lot of warmup and after a little break it was stiff again. Until I found the reason. I have had a blister on my lip some time before, which happens very rarely to me. So I tried a natural medicine. I put "Propolis", some kind of stuff which bees produce to keep their homes clean. You get it in shops where they sell honey, beewax, etc. Maybe it was just the alcohol in this propolis or propolis itself, I don't know. I found out about it because I tried to put it on my lips later on, and bang, the stiff lip problem was there again. This is a good medicine when used in small doses with lot of water, but never put it on the lips as it is. So just think about what you have done before you got the stiff lips. It must not necessarily be overdoing the lips. It can be a chemical reason. Best wishes to you and hope you find out what it was. Liebe Gruesse/Best regards, Hans Illich Ing. Johann Illich, Ortmayrstr.37, A-4060 Leonding, Austria +43-732-995275 priv. +43-6888333895 mobil ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] stopped -stumped
NOT putting a snake down the horn is even more effective. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Thu, 11 Jan 2007 10:55 AM Subject: [Hornlist] stopped -stumped Greetings, As a horn teacher, I have taken the same approach as my teachers when it comes to trills on the horn: do it over and over slowly until one finds it. I learned trills fast so I am not the best teacher of trills. I have had students who can do the B- C natural trill on F horn 13, which for me is the real test of trilling ability. Yes, it's trilling! But I just made them work hard at it. THE QUESTION: I have found it is easier to get a smooth slow back and forth with the practice mute in the horn. My students who have tried it can do it with the practice mute, but not without! IS this because of the increased back pressure caused by a practice mute? IF so, does anyone have suggestions on how to increase back pressure in the horn other than putting in my pet rat or snake. Richard Burdick ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Homeland security
I carried my horn into a superior court house rather than leave it on the seat in a convertible. The guards knew exactly what it was when it went through the X-ray, and didn't even open the case. Meanwhile, I have a titanium prosthetic in my left femur almost half a meter long and 16 cm in diameter. I've been through numerous metal detectors, and all that metal has never sounded an alarm. There's plenty of metal in it to make a very effective hand gun. Homeland security is very effective detaining innocent people, but terrorists are smart enough to get around any measure they put in place. The guy with the bomb in his shoe didn't hurt anyone, but the disruption caused by making every passenger remove his shoes is the result he really wanted. That kind of silliness adds up to a lot of animosity towards the government. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Thu, 4 Jan 2007 1:59 PM Subject: [Hornlist] Homeland security Now they are going crazy, these folks from Homeland Security. They hold one of my horns sent to a customer in the USA and want more informations, what it should be used for. It is a piece of metal in a metal case - some wires on it, some tubes That´s it. Will this idioty never end ? - O.k. the country is on war ... ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Playing on a single Bb
I have been an advocate of using two horns to best cover all the demands that arise. One horn for majestic playing and one with a good closeup sound and agility. I got a King Bb years ago, the Schmit copy, and found myself using more than my big horn. Since then, I've gotten a Paxman 42, which adds F alto horn and an F attachment. Although a Bb can be played without an F attachment if you never play in a section, I find the F attachment allows playing C,E, and G open F, if I then finger F as 2/3, I can easily match the sectional F horn sound and intonation through that very critical range. I don't use the F attachment much for fast moving parts, but I use it always when when it makes any difference, and it firmly ties the Bb horn to a true F horn sound. Also, having an F attachment and a stopping valve allows me to set one valve combination to work on the F attachment. If a Bb horn only has four valves, I advocate having an F crook made and used for most playing. Only set up for stopping if the piece calls for it, but first, explore the horn carefully and you'll probably find fingerings that allow stopping without the use of the stopping valve, especially with the F crook. Increasing the weight of the horn always seems to me to improve tone quality and intonation. Pull all the F slides on a good double, and you probably won't find the sound or intonation acceptable. I can certainly relate to getting older. I never realized how much effort an 8D takes. My wife put her H series in storage in favor of a much more efficient Chambers. Since I suffered a stroke that paralyzed my left arm, I've recovered enough to play the Paxman reasonably well, but now I have to use it for everything. The ergonomics of other horns takes more away from my playing than I can afford to give up. Now I'm playing the Paxman in the UC Irvine Symphony with three 8Ds. Not only is it acceptable, there is a big advantage to having the F alto in the section. Also, the F alto is very useful for playing very low parts with power and clarity. I think of the 42M as a full double Bb horn. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Thu, 4 Jan 2007 10:41 AM Subject: [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/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] garland
Acoustically, the garland reflects a lot of the high frequencies back toward the player. The same role as the bell ring, but more so. Conn, years ago, made Vocabell instruments with Deco styling. They had a heavy bell and no bell ring. In a comparison it is easy to hear the 'sizzle' produced by a straight flare. The actual overall effect of a garland will depend on the rest of the horn design. It would be good design to design a horn a bright horn and add a garland to darken the overall sound. in this instance, the primary function of the garland would be to add higher dynamic range by making it harder to over blow the instrument. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Sat, 30 Dec 2006 1:52 PM Subject: [Hornlist] garland Hi all , I would like to ask - what does a garland do physically and how does it amply on the way a horn player feels the instrument ? thanks, Alon ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Looking to get a new horn - Reynolds Contempoaa
collector and restorer has convinced me that the > best buy in a used horn is a Reynolds Contempora. If you favor an 8D, > an FE01 (Chambers model) was specifically designed to fit the 8D sound > of the NY Phil. The Pottag model is less majestic, but with a singing, > lyrical sound and feel. Reynolds, who also designed all the famous Olds > trumpets, designed each of the Contempora instruments with outstanding, > professional, sound quality potential, if the player chooses to develop > it. I've come across the report of a blind tone comparison of the > outstanding horns at a horn convention, and the Chambers model won. > > Although, like Conn, Reynolds moved to Texas, the design and parts > fabrication stayed at a high level. Texas horns are very often bothered > by solder rings inside the bore. Opening all the tuning slide solder > joints with a .468" reamer is apt to remove a considerable amount of > burnt solder. If you can run a .468 ball through the bore, the horn > will sound terrific. Reynolds rotors are very well made, and on old > horns, just tightening the bearings is usually sufficient. The price > range for Reynolds on eBay is usually between $200-$600. > > I've found that stripping the lacquer, straightening the bell, > removing play impeding dents and fully opening the bore will result in > a horn that will hold its own in any section. Even if it needs a rotor > rebuild, it should cost you less than $1000. > > > ___ > post: horn@music.memphis.edu > http://music2.memphis.edu/mailman/listinfo/horn > > End of Horn Digest, Vol 48, Issue 29 > ******** > > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Looking to get a new horn
My experience as a collector and restorer has convinced me that the best buy in a used horn is a Reynolds Contempora. If you favor an 8D, an FE01 (Chambers model) was specifically designed to fit the 8D sound of the NY Phil. The Pottag model is less majestic, but with a singing, lyrical sound and feel. Reynolds, who also designed all the famous Olds trumpets, designed each of the Contempora instruments with outstanding, professional, sound quality potential, if the player chooses to develop it. I've come across the report of a blind tone comparison of the outstanding horns at a horn convention, and the Chambers model won. Although, like Conn, Reynolds moved to Texas, the design and parts fabrication stayed at a high level. Texas horns are very often bothered by solder rings inside the bore. Opening all the tuning slide solder joints with a .468" reamer is apt to remove a considerable amount of burnt solder. If you can run a .468 ball through the bore, the horn will sound terrific. Reynolds rotors are very well made, and on old horns, just tightening the bearings is usually sufficient. The price range for Reynolds on eBay is usually between $200-$600. I've found that stripping the lacquer, straightening the bell, removing play impeding dents and fully opening the bore will result in a horn that will hold its own in any section. Even if it needs a rotor rebuild, it should cost you less than $1000. -Original Message- From: [EMAIL PROTECTED] To: Horn@music.memphis.edu Sent: Tue, 26 Dec 2006 6:17 PM Subject: [Hornlist] Looking to get a new horn I'm a junior in HS, and i need to get a horn preferably before next school year starts and i begin to audition for colleges. However i have always played on an Conn 8D, and have had a lot of problems with the valves. Does anyone have any good suggestions for a new horn? I'm looking for a good horn but not that expensive. I plan on majoring in music in college and want a horn that will last a long time. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Respect Thy Elders (was old age embochure problems)
_____ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] How to value a horn I'm donating to a school
A middle school will thrash it in short time. I've found it better to give the horn to a really deserving student with instructions to pass it on when he moves to a better instrument. I tell them it's a permanent loan, and not permissible to sell it. I have four or five out right now, and it keeps me in touch with the local youth groups. Wouldn't have been nice if someone had loaned you the 567 until your son became a candidate for a high level horn? -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Mon, 13 Nov 2006 8:25 PM Subject: [Hornlist] How to value a horn I'm donating to a school I'd like guidance as to how to value a horn I'm donating to my son's school. My son switched to a much better horn but his old one is still much better than the others at his middle school, and we have decided to donate it to the middle school rather than sell it. Suffice it to say we think his middle school has an excellent music program and we wish to support it; we would have no trouble selling the horn used. The horn is a Yamaha 567 that's a few years old and has normal wear - a few scratches, one or two small dents but no major ones, and is 100% mechanically sound. The case will be included, and a mouthpiece as well although not the one that came with the horn as my son uses that one still. My guess is that an 'optimistic' used sale price is what people normally do in this situation. I guess I'm looking for suggestions as either a percentage of the list price or a percentage of what the big mail-order places sell for. Thanks in advance, private replies or on-list are both fine for this. -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: Deklamation
Why not get your instructor to declaim, and include Han's opinion in the program notes. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Tue, 7 Nov 2006 10:48 AM Subject: [Hornlist] RE: Deklamation Neuro wondered who could recite the poem in Hindemith's horn concerto during a forthcoming recital: ** 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.) ** and Hans P told him to decline to declame: And it is our (German) language, our (German) culture, which must not be "verhunzt" (foozled) by the hyperambitious & not understanding teacher. Reading the poem as part of the performance is destroying the whole piece. It will take away all the tension built up during the recitativo. I performed the concerto severaltimes with different orchestras & there was not even the idea of reading the poem. Well, Neuro, you're in luck. Even though Hans has denied you permission to use the poem, I can offer my own special translation, which your audience is sure to enjoy. You may use this without paying me any royalties; but I do hope you will send me a copy of the program. http://ourworld.compuserve.com/homepages/MSHANEMCL/elfpoem.htm gotta go, Cabbage ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: Horn Digest, Vol 47, Issue 5
If all you have to play on is one decent horn, chances are it will be more suited to playing either Strauss tone poems OR woodwind quintet. If it's a good playing horn for one, you'll likely ruin it by changing it to play the other. For probably less than the price of the modifications, you can buy a used horn to cover the other side of the spectrum. You should have some idea what you're missing, so you'll recognize it when it comes available. Several years ago I bought a King Bb for $200, tightened the bearings to get it to play well, and found it covered certain parts much better, and with more potential for 'style', than my big horn. Now when I consider modifications it's only to improve one of my horns, not to turn one into the other. Since then, I've found a much better horn to take over for the single Bb. It's only worth having if I have a separate horn just for really big stuff, but I find I use the smaller, agile horn most often. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Mon, 6 Nov 2006 3:14 AM Subject: [Hornlist] RE: Horn Digest, Vol 47, Issue 5 >> I'm just curious, from all of the vast experience on this list, what improved playing characteristics could I expect from installing a custom leadpipe on my early Texas 8D? It plays well now, so what would change? I asked a couple of weeks ago for suggestions on a new horn, and many suggested that I just change the leadpipe. Give me some good reasons. Jim McDermott<< Hi Jim: With due respect to the many leadpipe makers out there (of which I am also one) - I don't really think this is an answerable question. The only way to know which (if any) pipe will be the right one for your horn is for you to try it and see if it works for you. There are simply too many variables for any maker to claim that their pipe is THE pipe for you and that it will fix all the specific problems you have. My suggestion - try pipes until you find the right one - or try a different horn. Sincerely Ken Pope "Just Put Your Lips Together And Blow" http://www.poperepair.com US Dealer: Kuhn Horns & Bonna Cases Pope Instrument Repair 80 Wenham Street Jamaica Plain, MA 02130 617-522-0532 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: French Besson Trumpets
How do you remove a mandrel that has hills and dips? What you describe sounds like the result of someone trying to learn mandrel turning. You can be reasonably assured there was a detail drawing and probably a template preserving the exact shape. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Fri, 3 Nov 2006 6:44 AM Subject: [Hornlist] Re: French Besson Trumpets I heard the following story from a US Army soldier, and trumpet player, who was there when the French Besson factory was liberated from the Germans in World War II. He was a close friend of mine, and played trumpet in the local symphony for some thirty years. His son plays trumpet in St. Louis, I'm told. His name was Harold Smitheman, and he passed away a couple of years ago. It seems that after the Besson factory was liberated, one of the US engineers came across the leadpipe mandrels that were used in pre war instrument producion. He noticed that the mandrels did not have an even taper, but had both hills and dips in them. Thinking them to be totally usless, the engineer put the mandrels in a lathe, smoothed them down to an even taper, and used them for some type of project. Thus the French Besson sound was lost to the world. Harold, who happened to own a French Besson protested, but rank has its privileges, and Harold lost the battle. Wilbert in SC ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: The Pope Effect
In Rhode Island they have the biggest, juiciest clams called Quahogs. Cryogenics works fine on them as long as you don't let them get warm for very long. -Original Message- From: [EMAIL PROTECTED] To: [EMAIL PROTECTED]; horn@music.memphis.edu Sent: Thu, 2 Nov 2006 6:04 AM Subject: RE: [Hornlist] RE: The Pope Effect I bought one of Ken's clam filters. (I was careful to drive up in a 1995 Ford Escort). Although it worked fairly well, I found the results to be far superior after I had it cryogenically enhanced! Orlando -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Thursday, November 02, 2006 8:57 AM To: horn@music.memphis.edu Subject: [Hornlist] RE: The Pope Effect >>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>> Hi Larry: I can always install a 'clam filter'... the costs depend on what kind of car you drive up in. :) Sincerely Ken Pope "Just Put Your Lips Together And Blow" http://www.poperepair.com US Dealer: Kuhn Horns & ORIGINAL Bonna Cases Pope Instrument Repair 80 Wenham Street Jamaica Plain, MA 02130 617-522-0532 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/pandolfi%40deerfield.edu ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Valve question
n/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Cryogenics
If the parts are made using modern CNC and forming, the precision fit will easily equal the best that can be done by a master craftsman. The entire horn can be assembled and held together with only a fixture to support the shape under the influence of gravity. Under these conditions, the joints can be cleaned and fluxed with a small solder ring located at the outside of the joint. If the whole structure is then raised above the solder melting point, capillary action will automatically draw the melted solder into the crevice, resulting in a perfect joint. Once the solder has flowed into the joint, it won't run out even if re-melted. There should be no problem going up through the annealing temperature if the horn is properly supported-unless the builder has forced parts into a fit and is using the solder to hold them in place. I suspect Yamaha is mastering this technology and has resulted in the quality of their student instrument which often are better than the hand assembled professional instruments. There is a myth that cheap labor is the success of the Asian horns, but smart investment in modern technology is allowing them to steal a march on doomed traditionalists. I design modern equipment to duplicate the results of very high skilled artisans, and most of the machinery is for delivery in Taiwan, Korea, and China. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Mon, 30 Oct 2006 9:34 AM Subject: Re: [Hornlist] Cryogenics It would seem that cryo doesn't affect the brass structure. Now, there's the issue of residual stresses left by the assembly and soldering. This could affect the horn's playing. Could cryo relieve that? Or, alternatively, is there a high temperature at which to relieve stresses and that doesn't anneal the brass or soften the solder? Herb Foster --- [EMAIL PROTECTED] wrote: > ... > I have done some reading on copper and its alloys. Extensive > work has been done (generally not by people concerned with > musical instruments) on how brass is affected by temperature. > > The issue with brass is not the molecules, but rather the > microcrystalline regions in the metal. The flexibility of > brass depends on the size of the microcrystals. When you > anneal brass, for example, the microcrystals expand, causing > the metal to become more flexible. When you work the metal > (by pounding it with a hammer, for example), the microcrystals > become smaller, and the metal becomes stiffer. > > Studies in which brass is cycled to low temperatures and back > from room temperature show no effect on the microcrystals, and > therefore no affect on the flexibility of the metal. > > In some metals, particularly iron, the hardness is greatly affected > by how rapidly you cool the metal from a higher temperature. > (The opera Siegfried displays a certain amount of metalurgical > savvy, doesn't it, Hans?) But this is not the case with brass. > > A horn is built of different metals, so cooling must result in > differential thermal contraction; I would guess that the solder > and the brass parts contract at different rates. How this would > result in "relieving the stresses" in the instrument once it > returns to room temperature, I don't know. I haven't seen any > scientific studies of this point. > > Gotta go, > Cabbage > > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/herb_foster%40yahoo.com > _ _ Check out the New Yahoo! Mail - Fire up a more powerful email and get things done faster. (http://advision.webevents.yahoo.com/mailbeta) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: cry, oh horn
s of tubing together, the metal came back to its original shape. (If I recall this correctly - he relayed this story to me on a recent visit to his shop.) There is one other issue at play here. Metal ALWAYS wants to return to its natural shape and state (molecularly and otherwise.) Left for millions of years, a horn may actually end up looking much like it did when it was merely a pile of ore. Therefore, any of the changes made by cryo-ing a horn will invariably revert back to its previous state. The question is, how long will this take to answer. The effects of cryogenically treating metal are not mystery, nor are they voodoo. Many high-end audio cable manufacturers cryogenically treat their cables for their improved (measurable and audible) ability to carry electrons. Electric conductivity and sound transmission share many similar characteristics, much of which are affected in a similar manner by altering the molecular structure. The funny thing is, no one wants to test this in a rather scientific method - everyone seems to focus on the subjective. The reality is: 1 - you could easily examine a piece of metal prior to cryo and after cryo and visibly see the effects of the cold (using an electron microscope). 2 - you could take that same piece of metal, before and after, and pass sound waves through them and measure the output of those waves. Doing so would give you a very objective presentation of the change in the sound. Would there be greater amplitude, a more accurate (or less accurate) signal at the output of one or the other? Personally, I believe there is merit in the use of cryogenic treatment. However, I haven't found it necessary to pony up the dough for it. I figure, my chops could use far more improvement than my horn. If I ever get good enough that a subtle change makes all the difference in the world for me, than I might drop the cash. Either that, or if I happen to have $300 and nothing better to do with it, I might give it a go. Sorry for the excessively long message... -Jeremy -- message: 7 date: Sat, 28 Oct 2006 16:16:51 +0200 from: "hans" <[EMAIL PROTECTED]> subject: RE: [Hornlist] cry, oh horn Hello again, Wendell, I have some problems with the cryo- or whatever-genics, as I am missing the scientific explanation. I understand, if metall is deep frozen, very deep, the molecules sort themselves in one direction (so the cryogenicer folks say, perhaps.). But what about if the horns get thawed up again ? Aren=B4t the molecules switching back to the old direction ? And, has any blind parallel experiment been made yet, telling people that their horn was cryogeniced, but was not, but cleaned inside & outside instead & the valve alignement adjusted to perfection. Wouldn=B4t folks swearing to cryogenics eat the message "that their horn improved a lot by the cryo" (which the horn had not undergone yet) ? Wouldn=B4t they double swear that cryo did it & wouldn=B4t they break if they knew the truth ? But I must admit, it is a clever business idea. Scientists, please come forward with the rationale of cryogenics. I say it does not change anything for the metal as does e.g. heating it up for several hundred degrees, let it cool down & repeat this process to get tension out of the bent metal, as in the normal construction process. I also say it does not change anything of the soldering as these became part of the metal - if done right. Tension in the instrument can be catastrophical for the valve action, as valves are built with nearly zero tolerances today & the lightest tension could affect the valve action. Tension occurs, if the single parts are not built to perfection & have to be forced (even a bit) to stay in place before soldering & the soldering will keep them in place, but light impact might make them break easily. Any deep freezing would not solve this problem. Just very skilled & learned technicians can (nearly) eliminate this problem. Cheap labourers, not properly learned through, will contribute to these problems. But many want cheap instruments _______ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: New designs for the Horn
ide a row of >pinched 90 degree turns. Aside from the Veneklasen horn , which appears >to >of still used the standard rotary valves, has anyone tried to incorporate >these new valve technologies into the horn and if so are there any links >or >pictures of them. Maybe even reviews of how the sounded or played. I'm || >this close to calling Haggman and seeing if they can make their valve in >the >12.1mm variety and >trying to do it myself. It would have to be a single horn with these >valves, but I have an idea as to how one could make double valves with the >same approach. >Anybody know of something? >-James ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Tomb?ck's Auf dem Strom
I thought 'long lid' meant the same as 'weight ounce'. Now it makes a little more sense, especially when factoring in all the different climates the music reaches. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Mon, 16 Oct 2006 9:47 PM Subject: RE: [Hornlist] Tomb?ck's Auf dem Strom "lied" not "lid", please. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Alon reuven Sent: Monday, October 16, 2006 11:07 PM To: horn@music.memphis.edu Subject: Re: [Hornlist] Tomb?ck's Auf dem Strom Hi all , had the pleasure to play " Auf dem strom " both in original key and in Eb.The funny thing was that the tenor's preference was the original key and the soprano preferred it in Eb . It sounded to me much calmer in Eb , and not only because of the horn part . I do not think that I should Analise weather it was or wasn't at the right key , but if he managed to maintain interest through this very long lid. Alon ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mike Placement for cd
If you really don't know what you're doing, do anything just to generate a new data point. By the time people around you figure out you don't know what you're doing, you WILL know what you're doing, unless, of course, you're just naturally stupid. Intuition is a very powerful tool as long as you've got some real experience to back it up. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Mon, 16 Oct 2006 9:09 PM Subject: Re: [Hornlist] Mike Placement for cd From: [EMAIL PROTECTED] Does anyone know the best place to put the mike when making a cd in a studio. The room is probably 15 X 20 with very good acoustics. No, no one knows, except that the mike should probably be at the end of a cable with the other end plugged into the recording equipment. The person best able to answer your question is you yourself. Set up the equipment and make test recordings in a variety of configurations. You probably want the mike in front of the horn, the normal angle for listening, and you probably want it as far away as possible so long as the horn does not sound distant -- technically, that the ratio of direct to reverberated sound remains sufficiently large. Usually this is not a problem in any room size found in a normal residence. Choose what sounds correct and good to you -- don't take the opinion of people who can't hear the room. By the way, the answer doesn't much depend on whether you are recording to CD, audio tape, or computer disk. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] New Horn Recommendations
If you have an 8D you like, you're certainly set for the band gig. What you need to do is find a horn more suited for pit work. As long as you have the 8D to cover symphonic works, you should look for light, agile horn, that can produce a full range of tonalities without becoming too loud to balance the pit. A single Bb, with an F attachment, is often used. A high quality compensating horn, like a Wendler Kruspe, will do quite well. There are many medium bell Geyer type horns around. Whatever you decide, don't hesitate to change the leadpipe to make the horn distinctly optimized to do what the 8D doesn't do well. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Thu, 12 Oct 2006 8:57 AM Subject: [Hornlist] New Horn Recommendations Fellow listers, I am in the market for a new horn after playing a great 8D I bought from Alex Ozolins several years ago. I know that each horn is a little different, but what recommendations can you all make. I play in a 55 piece community band, and in pit orchestras for community theater or chorale groups. I've thought about some possibilities: Hans Hoyer 6802, Holton 188, or 189. Any other ideas? Jim McDermott Lake of the Ozarks, Missouri ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Recital
A piece with a Russian/Polish character I've gotten good response to is Miniatury, for horn and piano, by Czeslaw Grudzinski, in six short movements. The horn part is quite low, with the piano pulling a lot of the weight, so it gives you a break between the fireworks. With the right accompanist, it can add a lot of color to a recital, but extract a very small price. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Mon, 9 Oct 2006 1:29 PM Subject: [Hornlist] Recital Hey list, looking for a little feedback. I am doing a recital this year and have put together this so far as my rep *From Russia with horn (or somtheign cool and witty me thinks!)* ** *Four Pieces for Horn and Piano. - Gliere* * *1. Romance 2. Valse Triste 3. Intermezzo 4. Nocturne *(Need to put an adaptation here to fill either ensemble or unaccompanied by a russian composer... ideas?)* ** *-Intermission-* ** *Concerto for horn and orchestra in B flat op.91 - Gliere* ** *(if encore needed the usual. Long Call)* ** *-End* ** as you can see its is russian based... one in paticular... so any thoughs on filling that one spot.??? And feedback as well would be awesome Mathew James -- Mathew James ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Conductors etc
low-fast, > loud-soft, hard-soft, short-long. But this could be done by a > programmed machine also. Just think about an electric > programmable jumping jack. I might names this way of > conducting "the bi-dimensional-music-commanding". > > But there is more, like bringing the tempos into a certain > mathematical relation (plain numbers, no fractions), work out > the phrases set by the composer, balance the dynamics within > the sections & between the different instrument groups to > form a unified sound. This relates to all kind of music. Keep > single members or sections from exaggerating their dynamic. > Keep sections or the whole at lower dynamic, so the different > solos can shine. All this can be learned or acquired by > listening to many performances conducted by well acknowledged > maestros. Together with the first paragraph requirements we > could name this now "three-dimensional-music-commanding". > > But there is one dimension still left, the dimension which is > the most necessary at all levels: expression, expression that > does not just make an audience excited, but more, make it > moved. There could come excitement in the audience & within > the orchestra because of the technical brilliance & the > perfection of sound & execution. But still there´s nobody > moved besides the conductor himself perhaps. > > How to achieve that most important goal ? The fourth > dimension. Using the right vocables during the rehearsals, > preconditioned everything else is right. The richer the > vocabulary of the conductor, the richer the colours of the > orchestra and the richer the performance. Vocables as > "lovely, blooming, heroic, thundering, not audible but > noticeable, fanatic, fantastic, full of love, glooming like > rock coal, poisonous, destructing, like clouds before > hailstorms, radiating sunny, heating up like a hord of huns, > icy, sound of glass, static, desperately sad, full of > heavenly joy, etc." - these would be the words we musicians > would understand & interpret the right way. But this requires > conductors, human conductors, musical & super sensitive > characters, which are too rare today within the list of > travelling stars. It seems too often, that the only teaching > they received was counting $$$. But there are some gems > left, fortunately, but most of them will never get any chance > to explore his or her potentials with an orchestra of high > class. This is the reason, why some provincial orchestras can > do a superb performance once a while, which would blame the > superstars. > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/steve%40fridays > computer.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] mystery Conns
In my collection, I have a 6D with the Buescher name on it. I know there are a lot of 6D copies, but this one has the Conn trademark Deco braces. The horn differs from the 6D in that the lead pipe is tapered through the main tuning slide, all the way to the valves. The legs of the main tuning slide are different diameters. The horn is less powerful than a standard 6D, but the overall playing quality and sound quality are vastly improved. Stagliano is credited with the 6D design, but his huge mouthpiece on the normal 6D pipe would sound atrocious. On this horn, the combination would be right at home in Boston. Is the 6D the original Stagliano design, or was it modified to provide more power using a more conventional mouthpiece? -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Sun, 8 Oct 2006 5:55 PM Subject: [Hornlist] mystery Conns Looking at a Conn model list I saw the Schmidt Model 6D made from 1919-1934, and the Current 6D made from 1934 but there was also another 6D made with the same dates as the Schmidt. Here is the blurb from the model list: "#2 Bore Double Rotary Valve ( Government Model) With or Without Stop Valve" Would you think the goverment model was a normal Schmidt model in silverplate? Also I REALLY want to see a picture of the original 8D (1919-1929). The blurb on it is: "Double Combination Single Piston Valves with Rotary Change Valve" So Conn made a piston valve double with a rotor change valve AND a rotor valve horn with a piston stop at the same time? Are there any pictures of the piston 8D out there? LLB ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Horn Digest, Vol 45, Issue 30
It always saddens me to hear such bitterness from a player who has finally lost all pleasure from music and only does it for the almighty dollar, as if being paid to perform has any relevance. Without union protection, I suppose most 'professional' musicians would starve. Still, gifted musicians seem never to lose their love of music, and their reputations are based on how they transfer these feelings to listeners. Never criticize the musical taste of others until you can tell a good song from a bad song. Furthermore, the difference between 'good' and 'bad' is exactly what is determined by the truly gifted musician. From the opinions you put forth, I certainly would hesitate to spend money to hear you express in music what you have already expressed in words. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Wed, 27 Sep 2006 8:41 PM Subject: Re: [Hornlist] Re: Horn Digest, Vol 45, Issue 30 Well, I guess if you live in the small world of competitions then I guess the Gliere is gem of a work, for those who have moved on to gigs that pay biweekly, instead of by which color ribbon you get, then we know the truth. Does it bother me that most people would rather listen the a Rachminoff concerto than a Mozart Horn concerto? no, I take pride in the fact that I could learn the opening of the Rachminoff 2nd concerto in a few days, while it would take maybe 15 years for a pianist to learn how to play the opening phrase of the Mozart 2nd on horn. I could also master the high range of a piano in less than 30 seconds, while it would take a pianist 30 years to master the horn in the high range, and maybe that is an underestimation. You can't do anything about bonehead judges, but I can assure you that only conductors and horn players will make the crucial calls at auditions, and in most cases, the former only without advise from the latter. I guess I misunderstood your post, but wouldn't the worst thing Tchaikovsky ever wrote still be better than the best thing Gliere ever wrote? Why even utter their names in the same breath? LT ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Video - Siegfried Horn Call
That's because they stopped selling asbestos strings. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Wed, 27 Sep 2006 5:01 AM Subject: Re: [Hornlist] Video - Siegfried Horn Call On 25 Sep 2006, at 9:08 am, Graham Jarvis wrote: > I just came across this video on the Swedish Royal Opera House > homepage and thought it might be of interest. The text gives some > background to the Long Call in its context. The hornplayer is > Annamia Eriksson. I heard her give a recital of music for Horn and > harp during the summer and was very impressed. > > http://www.hovkapellet.com/sv/artiklar/visa_artikel.do?original_id=34 It can't be any good... she's using mechanical valves. Tom ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Pros and Cons of Fully Mechanical Main Valves?
For the past couple of years, I've strung my rotors with Spectra high performance fishing line. Spectra is half the diameter of comparable strength string, which makes it thread through small holes effortlessly. I double it over before I knot it, and then wrap both strands instead of just one. I have yet to have a strand break, but I've purposely cut one strand to see how it fails. In every case the second strand ran the rotor just fine, but with a slightly looser feel. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Fri, 22 Sep 2006 12:48 PM Subject: RE: [Hornlist] Pros and Cons of Fully Mechanical Main Valves? To add to this. Since the angle of the push/pull with the mechanical linkage isn't 90 degrees at all times it puts more of a side load on the bearings causing them to wear more quickly than an instrument with string linkages. Robert Osmun <[EMAIL PROTECTED]> wrote: Hi Justin, Modern mechanical linkages, whether ball-and-socket or Mini-bal, are quick, quiet, and virtually trouble free. The same can be said for a properly set up string action. The big issue with mechanical linkages is the geometry. When the valve is halfway open the angle between the lever and the linkage hinge is 90 degrees and the mechanical advantage is greatest. As the rotor approaches the end of its stroke the angle increases and the distance between the center line of the rotor and that of the link decreases, decreasing with it the mechanical advantage. (See Engelbert Schmid's article at http://www.osmun.com/reference/string.html on this.) The result is an initial resistance as the force of the finger has to overcome the lesser mechanical advantage. The string linkage always pulls from 90 degrees so the stroke is even. That having been said, many horns are built with mechanical linkage and many players prefer it. Bob Osmun www.osmun.com -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Justin Higgins Sent: Friday, September 22, 2006 1:14 PM To: horn@music.memphis.edu Subject: [Hornlist] Pros and Cons of Fully Mechanical Main Valves? I am considering buying a Conn horn (probably some type of 10D or 11D), since I'm interested in the Geyer wrap. One of the options I've noticed is for fully mechanical main valves. I was curious about what the pros and cons were of this; the idea sort of appeals to me if I understand it correctly (I remember it being kind of annoying when the string would come loose on my Holton H179), and apparently there isn't an additional cost for this. Can anyone tell me what downside, if any, there would be to choosing this option (other than the horn taking longer to be customized)? -Justin ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/rosmun%40osmun.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/ndspmustang%40yahoo.com - Stay in the know. Pulse on the new Yahoo.com. Check it out. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Baroque horn wanted
Good point. If I attempt the project, I suppose I should cut the lead at .438" and graft the removed piece to the first branch. That way I can make the cylindrical tubing the right bore. Are there any sources of dimensions for different genuine hand horns? I remember MFA in Boston having several they would let me play in the late sixties. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Fri, 15 Sep 2006 7:51 PM Subject: [Hornlist] Re: Baroque horn wanted Hi Bill & all "How well would a good valvectomy do for you? I . . . . using stock 0.468" tubing. " No, I have had a few valvectomy horns including a very nice Courtois from 1888 with a small bell and Eb & F terminal crooks but alas, the bore is too big & it has a tuning slide. A baroque horn has smaller tubing overall, averaging about .438, terminal crooks, tuning bits and no slides. Some of the modern copies have ventle holes thanks for the offer Richard Burdick Greetings, I am in need of a Baroque horn (or copy) by the end of this season. If anybody has one for sale please contact me off list. Thanks Richard Burdick [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Baroque horn wanted
How well would a good valvectomy do for you? I have bought several Reynolds Contempora single F horns on eBay (the older ones, made in Cleveland, ser.# below 60,000), for $1-$50, with a plan to make a hand horn and a new 5 valve set for my King Bb. These are such good, professional quality F horns, I always end up giving them to young students. I also make it a point to learn all my parts on the one I keep. It does amazing things for improving accuracy. However, this horn is constructed with two main tuning slides. The way the horn is wrapped, nearly five feet of cylindrical tubing could be removed by connecting the first branch directly to the third valve. Reusing the removed hardware, it should be possible to shorten the horn to C alto and make a crook set using stock 0.468" tubing. I suppose this could be done without removing the rotors permanently to keep the single F capability intact. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Wed, 13 Sep 2006 2:36 PM Subject: [Hornlist] Baroque horn wanted Greetings, I am in need of a Baroque horn (or copy) by the end of this season. If anybody has one for sale please contact me off list. Thanks Richard Burdick [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Unwarranted attack onf Prof. Pizka
I seriously doubt any of your posts have gone over anyone's head. From the part of your anatomy that apparently you use to collect your thoughts, I'm more concerned whether it ends up on the bottom of my shoe. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Sun, 10 Sep 2006 8:42 PM Subject: Re: [Hornlist] Unwarranted attack onf Prof. Pizka Hans Your English fails you. Sarcasm is also a mystery to you. Unless you were the person(s) who sent me the offending emails, then you have nothing to worry about. You have shown coolness under attack (either that or some of my posts go over your head), this is much more impressive than the people on here who said nothing but a few 4 letter words. Are these people really your friends? Oh and nice mention of the Saudi's. We kill them just like German's killed Poles back in the day huh? "Basta" are you sure about that? LT ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out the new AOL. Most comprehensive set of free safety and security tools, free access to millions of high-quality videos from across the web, free AOL Mail and more. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Changing crooks
Richard Nixon died of late, And when he reached the Pearly Gate, He stood without, and would not knock, Because he meant to pick the lock. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Thu, 7 Sep 2006 10:32 AM Subject: Re: [Hornlist] Changing crooks But you forget, he is "not a crook." > > I think of Nixon every time I play on this crook. > > Gotta go, > Cabbage > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Changing crooks
he epitaph on Nixon's head stone reads: Richard Nixon died of late, And when he reached the Pearly Gate, He stood without, and would not knock, Because he meant to pick the lock. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Thu, 7 Sep 2006 11:48 AM Subject: Re: [Hornlist] Changing crooks At least he isn’t A crook any longer! Klaus --- [EMAIL PROTECTED] wrote: > But you forget, he is "not a crook." > > > > > I think of Nixon every time I play on this crook. > > > > Gotta go, > > Cabbage __ 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/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Max Enders
Your Langwill may be newer than mine. I have been seeking information about Enders for several years. I played a gig a few years ago where one of the players was German and was excited by my Enders horn. He seemed knowledgeable, but that would be subject to verification. He had seen Enders horns through the twenties, but he belived by that time Max wasn't very active but the shop name persisted. However, from the level of ornate, intricate detail on my horn, and the fact that the rotors were all different sizes, he concluded this horn likely was made by Max, possibly to cover Kruspes introduction of their double in the 1890's. John Erikson's web site article implies that the double horn may have existed earlier. I'll try to get some pictures of it so you can see how ancient the design appears. I would imagine there would be more information available. Do you know of any Enders catalog that might identify the model, or even identify other horns Enders made for comparison? -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Tue, 5 Sep 2006 10:40 AM Subject: [Hornlist] Re: Max Enders > I'm guessing at the age, but the horn was made by Max Enders, who was > not building much after the first decade of the 1900's. (Bill Bamberg) As I own a tenor horn that has - M. Enders Mainz 1934 Nr.1 - engraved on the garland, and the Langwill Index 6th Edition cites Enders advertising his trombones in Die Musikwoche in 1935, I'd be interested to know your source for the above. Bill Melton Hauset (B) / Sinfonie Orchester Aachen (D) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] A valve oil question
s supplied just > enough oil from the > > bearings. > > > > > > If that is what ideally goes on, then an individuals hygiene > > > becomes an important factor. If the saliva is contaminated, you > may > end up needing lots of oil to clean away poor quality > emulsion. > > > > > > -Original Message- > > > From: [EMAIL PROTECTED] > > > To: horn@music.memphis.edu > > > Sent: Wed, 30 Aug 2006 2:33 PM > > > Subject: Re: [Hornlist] A valve oil question > > > > > > > > > In a message dated 8/29/2006 10:50:39 PM Eastern Standard Time, > > > [EMAIL PROTECTED] writes: > > > > > > I recently purchased a brand new Alex 301. The manufacturer > > recommends not > > > oiling the valve surface unless you plan on not playing the > horn > >> for a while. > > > Oil the bearings yes but not the face of the rotor. Yikes. This >> seems crazy > > > to me. I would think regular oiling would protect the surface > of > >> the rotor? > > > Are there people out there in horn land that don't oil their > > valve > faceings? > > > Although I recently saw a C series 8D come in from a middle > > school, I hooked > > > it up to a mag machine and the rotors were air tight, I am sure >> this horn > > > has never been oiled with any regularity. > > > > > > > > > > > > -- > > > I don't get this. Alexander used J. Meinlschmidt valves, and J.M. > > > recommends using Hetman oil on both the bearings (Light > Bearing) > >> and rotor > > > facings > > > (Light Rotor) on their new valves. In fact, the valve sets are > > delivered with > > > these lubricants. Why would Alexander recommend not oiling the > > rotor facings, > > > while Meinlschmidt is apparently recommending that you do? > > > > > > Oil on the rotor facings does two very important things: it > > protects the > > > metal from corrosion and build up, and it makes a seal between > the > rotor and > > > the casing. I don't see why you would not do this. > > > > > > Englebert Schmid has an interesting and slightly similar take > on > >> it on his > > > web site (if I'm reading it correctly). He posts a rotor > > cleaning > procedure > > > which recommends that you clean the rotor of the green build > up, > >> but leave the > > > brown oxidized surface underneath it alone. An interesting > take > on it, > > > which is somewhat contrary to the standard practice of using > > acids or > > > ultrasonics > > > to clean the rotors. So, here you have another horn maker > > > basically saying > > > leave the face of the rotor alone. > > > > > > I'd like to know the thinking behind this. I know that there > are > >> several > > > professionals who play every day and never oil their valves at > > all, or only oil > > > > > > the bearings. There seems to be a salubrious effect to playing > the > horn > > > constantly, but I still don't see why one would not use proper > > lubricants on > > > the > > > valves. > > > > > > Dave Weiner > > > Brass Arts Unlimited > > > ___ > > > post: horn@music.memphis.edu > > > unsubscribe or set options at http://music2.memphis.edu/mailman/> >> options/horn/billbamberg%40aol.com > > > > > > > > > > > ______> >> __ > > > Check out AOL.com today. Breaking news, video search, pictures, >> email and IM. All on demand. Always Free. > > > > > > ___ > > > 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/billbamberg%40aol.com > > > > > > > __> __ > > Check out AOL.com today. Breaking news, video search, pictures, > email and IM. All on demand. Always Free. > > > > ___ > > 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/billbamberg%40aol.com > > > __> __ > Check out AOL.com today. Breaking news, video search, pictures, > email and IM. All on demand. Always Free. > > ___ > 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/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] A valve oil question
ar take on > it on his > > web site (if I'm reading it correctly). He posts a rotor > cleaning > procedure > > which recommends that you clean the rotor of the green build up, > but leave the > > brown oxidized surface underneath it alone. An interesting take > on it, > > which is somewhat contrary to the standard practice of using > acids or > > ultrasonics > > to clean the rotors. So, here you have another horn maker > > basically saying > > leave the face of the rotor alone. > > > > I'd like to know the thinking behind this. I know that there are > several > > professionals who play every day and never oil their valves at > > all, or only oil > > > > the bearings. There seems to be a salubrious effect to playing > the > horn > > constantly, but I still don't see why one would not use proper > > lubricants on > > the > > valves. > > > > Dave Weiner > > Brass Arts Unlimited > > ___ > > post: horn@music.memphis.edu > > unsubscribe or set options at http://music2.memphis.edu/mailman/> options/horn/billbamberg%40aol.com > > > > > > > __> __ > > Check out AOL.com today. Breaking news, video search, pictures, > email and IM. All on demand. Always Free. > > > > ___ > > 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/billbamberg%40aol.com > > > __> __ > Check out AOL.com today. Breaking news, video search, pictures, > email and IM. All on demand. Always Free. > > ___ > 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/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] A valve oil question
nk regular oiling would protect the surface of > the rotor? > Are there people out there in horn land that don't oil their valve > faceings? > Although I recently saw a C series 8D come in from a middle > school, I hooked > it up to a mag machine and the rotors were air tight, I am sure > this horn > has never been oiled with any regularity. > > > > -- > I don't get this. Alexander used J. Meinlschmidt valves, and J.M. > recommends using Hetman oil on both the bearings (Light Bearing) > and rotor > facings > (Light Rotor) on their new valves. In fact, the valve sets are > delivered with > these lubricants. Why would Alexander recommend not oiling the > rotor facings, > while Meinlschmidt is apparently recommending that you do? > > Oil on the rotor facings does two very important things: it > protects the > metal from corrosion and build up, and it makes a seal between the > rotor and > the casing. I don't see why you would not do this. > > Englebert Schmid has an interesting and slightly similar take on > it on his > web site (if I'm reading it correctly). He posts a rotor cleaning > procedure > which recommends that you clean the rotor of the green build up, > but leave the > brown oxidized surface underneath it alone. An interesting take on it, > which is somewhat contrary to the standard practice of using acids or > ultrasonics > to clean the rotors. So, here you have another horn maker > basically saying > leave the face of the rotor alone. > > I'd like to know the thinking behind this. I know that there are > several > professionals who play every day and never oil their valves at > all, or only oil > > the bearings. There seems to be a salubrious effect to playing the > horn > constantly, but I still don't see why one would not use proper > lubricants on > the > valves. > > Dave Weiner > Brass Arts Unlimited > ___ > post: horn@music.memphis.edu > unsubscribe or set options at http://music2.memphis.edu/mailman/> options/horn/billbamberg%40aol.com > > > __> __ > Check out AOL.com today. Breaking news, video search, pictures, > email and IM. All on demand. Always Free. > > ___ > 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/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] A valve oil question
My understanding of the oiling process on the sealing faces is that the effectiveness is dependent on forming an emulsion of oil and saliva which has better gap sealing properties than either alone. If you are playing regularly and oil the upper and lower bearings almost daily, oiling the rotor faces will disrupt a well established emulsion which is supplied just enough oil from the bearings. If that is what ideally goes on, then an individuals hygiene becomes an important factor. If the saliva is contaminated, you may end up needing lots of oil to clean away poor quality emulsion. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Wed, 30 Aug 2006 2:33 PM Subject: Re: [Hornlist] A valve oil question In a message dated 8/29/2006 10:50:39 PM Eastern Standard Time, [EMAIL PROTECTED] writes: I recently purchased a brand new Alex 301. The manufacturer recommends not oiling the valve surface unless you plan on not playing the horn for a while. Oil the bearings yes but not the face of the rotor. Yikes. This seems crazy to me. I would think regular oiling would protect the surface of the rotor? Are there people out there in horn land that don't oil their valve faceings? Although I recently saw a C series 8D come in from a middle school, I hooked it up to a mag machine and the rotors were air tight, I am sure this horn has never been oiled with any regularity. -- I don't get this. Alexander used J. Meinlschmidt valves, and J.M. recommends using Hetman oil on both the bearings (Light Bearing) and rotor facings (Light Rotor) on their new valves. In fact, the valve sets are delivered with these lubricants. Why would Alexander recommend not oiling the rotor facings, while Meinlschmidt is apparently recommending that you do? Oil on the rotor facings does two very important things: it protects the metal from corrosion and build up, and it makes a seal between the rotor and the casing. I don't see why you would not do this. Englebert Schmid has an interesting and slightly similar take on it on his web site (if I'm reading it correctly). He posts a rotor cleaning procedure which recommends that you clean the rotor of the green build up, but leave the brown oxidized surface underneath it alone. An interesting take on it, which is somewhat contrary to the standard practice of using acids or ultrasonics to clean the rotors. So, here you have another horn maker basically saying leave the face of the rotor alone. I'd like to know the thinking behind this. I know that there are several professionals who play every day and never oil their valves at all, or only oil the bearings. There seems to be a salubrious effect to playing the horn constantly, but I still don't see why one would not use proper lubricants on the valves. Dave Weiner Brass Arts Unlimited ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Brahms 2
To be honest, I didn't even read your original post, but I was able to find out your claim to fame by entering your name into Google. Now I'm curious to hear your playing so I can judge it for myself. I'm prepared to be impressed. I apologize for the misspelling of your name, but my post was in reaction to the way my suggestion was characterized, and. I did get a very nice note from Christine thanking me for reminding her of the technique I suggested. I don't think of my Aspergers as a handicap, it does force me to develop alternative methods for solving problems, often to huge advantage. Many of my posts point out different insight for looking at common problems. My suggestions aren't for everyone, but it is pure arrogance to dismiss them publicly, as was done. My initial reaction to the post was that you were going to be, rightfully, upset about being represented as holding such an arrogant position. From your comments in this post, I don't see any points where we disagree. You made one suggestion that works for you and I pointed out another that works for me. My suggestion was in response to a request for methods to help get the mind around the H transposition. If you continue to have a lot of difficulty with certain transpositions, memorization is certainly a way around the problem, but what happens when you have to sight read? -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Tue, 29 Aug 2006 3:07 PM Subject: Re: [Hornlist] Re: Brahms 2 Well, for a stat my name is Francis Pressland, but I don't expect you to learn that off by heart. I DO however expect you to put your brain into gear before you press the "send" key. My original post said LEARN IT BY HEART. Of course you have to learn it by heart. The 2nd movement of Brahms 2 is a piece of chamber music and the 1st horn part is often a solo. I certainly wouldn't play a Mozart Horn concerto in a concert without having practiced it until it was second nature and would learn it by heart even if I had the music in front of me. Ask any professional horn player to play the big solo from a repertoire piece and she or he will do so without hesitation. So YES Bill does know a very large number of solos by heart. Maybe you could learn something by carefully considering what folks write on this list. As for using your disability as an argument against learning something by heart, This I see as a non sequitur. I sympathize with you - if thats what you are looking for, but the fact is that for many others, learning difficult solo passages by heart is a very successful exercise. I know of no Teacher who would suggest otherwise. Francis Pressland On Aug 28, 2006, at 12:25 AM, [EMAIL PROTECTED] wrote: > I assume you are one who memorized that part and are looking for > an excuse to crow about it - or have you memorized it? How many > other parts have you memorized? I envy you. I suffer from > Aspergers Syndrome in a form that makes it very difficult for me to > memorize. The advice Francis Pressman gave would be as useless to > me as you seem to feel the advice I gave to Christine. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Braces
There's usually much more going on than just braces. Just how ugly are his teeth? If he had that much to lose in his playing, his teeth couldn't have been much of an impediment. I recall very high level players, professional level in high school, who had braces to correct their embouchure, and they played through the interference. Their parents also found specialists who could get the job done, taking a little longer, maybe, without ruining the playing. For the majority with braces, the results you describe are common. Many of their parents treated their child's head as a hood ornament depicting the status value of the vehicle it adorns. Often, the real wishes of the parents were to discourage the child from considering a serious career playing professionally. Sometimes the child welcomed the braces as an excuse to back out of the fast lane. As parents, we end up with the task of sorting out all the possible subtle ulterior motives, both our own, and the youngster's. This topic has been covered endlessly. Your best, first approach is to search out the acknowledged specialist in your area, preferably one your son respects from experience of his fellow musicians, and setup a program designed to improve his playing. Be prepared to postpone the procedure to optimize timing and eliminate setbacks. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Sun, 27 Aug 2006 7:46 PM Subject: [Hornlist] Braces 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/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Brahms 2
I assume you are one who memorized that part and are looking for an excuse to crow about it - or have you memorized it? How many other parts have you memorized? I envy you. I suffer from Aspergers Syndrome in a form that makes it very difficult for me to memorize. The advice Francis Pressman gave would be as useless to me as you seem to feel the advice I gave to Christine. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Sun, 27 Aug 2006 2:42 PM Subject: [Hornlist] Re: Brahms 2 Christine, I've noticed that you've had some rather unhelpful advice about B natural transposition -- "If you are great with tritones then it won't be a problem." Indeed. Luckily, you've also had some advice from a professional solo hornist who's sat on the hot seat for the last 25 years. So when Francis Pressland writes, "It's really quite simple. Learn it by heart," you'd be wise to pay close attention. Bill Melton Hauset (B) / Sinfonie Orchester Aachen (D) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] buying a Conn 8 D from the years 1990-2000
The best way to tell is to remove a rotor and check for taper. I've never worked with an un tapered 8D, but if the rotors are tapered, inserted upside down, they won't go into the casing (as you'd expect). If you're unsure how to take a rotor apart, find a repairman and have him check the taper and evaluate how tight the rotors are. My personal feelings are that if you're wanting an 8D, get a good Elkhart horn that will hold or gain value. For a really good value in an 8D clone, look for a used Reynolds FE01 (Chambers). The Cleveland made horns have a heavy bell that makes them unbelievable for symphonic work. The Abilene models have no design flows, but often were assembled with excess solder. Cleaning the bore of all the slide joints with a 15/32 inch reamer develops the full potential of the horn. Put your big bucks into a smaller bell horn that has extraordinary close up tone coupled with extreme agility, I use a Paxman 42M, and between the two, you are armed for any situation. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Sun, 27 Aug 2006 1:41 PM Subject: [Hornlist] buying a Conn 8 D from the years 1990-2000 Three questions for you. thanks for your help I am looking at a Conn 8d with a serial number starting with 42-399???. I have the horn for a week to try it out. it sounds from the serial number that the horn is made in 1992. Where it was made I am not sure. One website said "Older Conns with 'USA' stamped on the bell are from the Abilene, TX plant. There were significant shortcuts made in the manufacture of these instruments. Most telling is that as a cost cutting measure; the rotary valves were made cylindrical instead of tapered. This design change significantly increased valve wear. Also, instruments at this time are very inconsistent in quality. Another way of distinguishing an Abilene 8D is the serial number. Most had double letter prefixes, (e.g. 'GH'). When Conn moved to the East Lake plant and retooled, tapered valves were once again a feature of these instruments. Look for a serial number starting with 442000 or higher to make sure that you are purchasing an instrument with tapered valves. " 1. Does that mean that the 42-399??? I am looking at definitely does not have tapered valves? The links on Ron's website are not very good for the newer horns. They do say however that the horns made in Eastlake are superior to Abilene TX. Is it possible that Conn still made crappy horns at Eastlake from 1986-1992 (1993/94). After this date it looks like the ??-442000 Horns would have had the tapered valves. 2. How can I test to see if the values are leaking? ...Other than this the horn is in pristine condition cosmetically. I found some info on another website to use to help me trial the horn. 3. Can someone explain what the following phrase means ? "Get the instrument in tune with itself! " Do I tune each note with a tuner? Any help in helping me make my decision would be appreciated. Robert Hamilton Ontario Canada ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Brahms 2.
Try practicing playing your horn as a Bb instrument. This will get you used to both the range and slight fingering changes. I find many transpositions are easier on the brain when I transpose for a Bb horn rather than an F horn, especially sight reading. You'll also discover the advantage of the Bb horn for fast moving, articulated parts, in the low register. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Sat, 26 Aug 2006 6:38 PM Subject: [Hornlist] Brahms 2. I managed to avoid this throughout my rep exams in my degree, but now it's a requested piece of rep for a rather important audition which is very soon. I CANNOT get my head around B natural! Does anybody have any tips to go about sight the initial sight reading of it? (Bar the obvious listening to it/learning it by heart?) Every time I look at it I get frightened & look at the other rep instead! HELP! Chrissie _ Be one of the first to try Windows Live Mail. http://ideas.live.com/programpage.aspx?versionId=5d21c51a-b161-4314-9b0e- 4911fb2b2e6d___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Beta Blockers -
There's a new drug for anxiety that works every time. It's called Damital. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Fri, 25 Aug 2006 1:12 AM Subject: [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/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] FW: CNN Breaking News - NHR reply.
Here in LA, the only stars visible are cemented into a sidewalk, and you don't want to be walking around that neighborhood looking for them after dark. If the Mars story is true, there'll probably be a drive-by shooting. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Thu, 24 Aug 2006 10:27 AM Subject: Re: [Hornlist] FW: CNN Breaking News - NHR reply. I got that message, too - but my brother (an amateur stargazing buff) said it's bunk - the same message makes the rounds every year. I'll make no claim one way or the other - on a good night, I can find the big dipper (hmmm - I think I may have set up some potential Cabbaging...) KJellrun On 24-Aug-06, at 1:12 PM, <[EMAIL PROTECTED]> wrote: > Just as an aside here, I have read that Mars will be the closest to Earth in > recorded history on Sunday the 27th. > - Original Message - > From: <[EMAIL PROTECTED]> > To: > Sent: Thursday, August 24, 2006 11:14 AM > Subject: Re: [Hornlist] FW: CNN Breaking News - NHR reply. > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Performance anxiety
Get real! It would be absurd to link drugs with musicians. Surely there would be some rumors by now. In a more serious vein, athletes should learn from musicians. If you can get the audience to take the illegal drugs, a much lower level of performance is quite acceptable. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Wed, 23 Aug 2006 10:49 AM Subject: [Hornlist] Performance anxiety Has anyone paid any attention to the last Tour de France and the drug scandals prior to during and after? Do we want the same scrutiny and humiliation (druf testing etc.)? I don't. Yet someone suggested using a beta blocker to control perfomance anxiety. The drug suggested for experimentation isn't licensed for helping folks with panic attacks. Sooner or later some governing body will discover a "problem" and draconian scrutiny and onerous drug tests will fall on us like the sports community now endures. These irresponsible suggestions for drug use should be reputiated by all responsible muscians. I don't want to have to depend on a drug dependent colleage that can't control his/her nerves. And let's keep the 'big brother" out of our concerts. --wabotte ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Performance Anxiety
The anxiety demon rears its head when our mind is not prepared properly. As the 'moment of exposure' becomes imminent, the mind questions whether preparation is sufficient, and focuses on other possible preparations that weren't made. This brings on panic and can lead to the usually disastrous decision to ignore all our careful preparation and attempt something totally unprepared. Since you are obviously aware this is likely to happen, prepare with that in mind. Do the last second frantic thinking while you are not panicked and can adopt the conclusions into your preparation, or reject them. The goal is to reach the moment of truth feeling completely prepared for the mission you're on. In any situation, things can take an unexpected turn and your preparation should include those possibilities. If you prepare well enough that the other players and conductor should be able to get you through, you are not prepared well enough. Proper preparation should enable you to salvage most any problem that might arise, for any reason. Once you adopt this mode of thinking, you'll probably find yourself occasionally including the conductor and other musicians in your preparations. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Sun, 20 Aug 2006 2:58 AM Subject: [Hornlist] Performance Anxiety Dear All, I know that this is a commonly discussed subject, and I have read a fair bit about it (including visualisation etc). However, although all of this helps, the problem remains a persistent one for me. What is not discussed is what to do during a performance, once the anxiety demon rears its head. When this happens for me, I get tight in the chest, and my heart rate increases - as a result, my air flow etc ibecomes limited, and performance gets worse (for something I can play perfectly well during rehearsal). As a result, anxiety levels only increase, and the problem gets worse. What I am keen on getting help with, is whether anyone has any strategies for controlling the problem ONCE IT HAS OCCURRED, as despite all my best efforts at slowing my breathing and telling myself that it is just the anxiety, and not my horn playing per se; the problem will then persist for the rest of the performance. Any suggestions? Thanks, Adam Black (Adelaide, Australia) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] High Range
My old standby for getting a comfortable high C back after a layoff is to make the Galay 'Etudes Brillantes' the core of my daily practicing. It's complete in the red book, so you probably have the music. Concentrate on playing the etudes musically and with no stops, until fatigue distorts the embouchure. The context of the high playing, combined with shifts to the low register, requires developing and strengthening a good, natural, embouchure. Don't over do. You'll find a daily improvement that will encourage you and give a clear measure of your progress. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Mon, 7 Aug 2006 9:58 AM Subject: Re: [Hornlist] High Range The other day while I was practicing, I took some of the advice from this group, and my high range and endurance improved. Specifically: Mouthpiece buzzing. I worked on getting a very "buzzy" buzz and using that setting for the note in question. Low range to improve the high: I was practicing the Schantl studies. These start in the octave below the staff (that's where the MP buzzing helped) and go up at least 2 octaves. Well, I'm not ready for the Konzertstueck, but things were improved, and my chops felt good. Herb Foster --- 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/herb_foster%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/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Wagner Long Call
You definitely don't want to 'wake the dragon', that's how the short call came to be, and Hans uses it to eliminate inferior students. It happens quite frequently, especially in Ireland. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Sat, 5 Aug 2006 10:39 PM Subject: Re: [Hornlist] Wagner Long Call So what happens if you don't play the horn call loud enough and you don't vake the dragon? Do you play it again? I can picture a lesson with Hans on this excerpt.. Vake the Dragon VAKE THE DRAGON Your comments are as usual, great to have here Hans, thanks! LT ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: Horn Digest, Vol 43, Issue 22
Valves haven't become too popular in Iowa yet. I've worked with MUSCO Mobile lighting in Oskaloosa, and tease them that their idea of a central location is the middle of nowhere. If anyone wants to get a really good F horn, cheap, Reynolds Contempora French Horn with mp & case Item number: 220006913848 is going off on eBay in the next day, now at $29, with an Eb crook. This is a full range F horn by design and produces the outstanding tonal quality that all Reynolds Contempora instruments share. This particular model has very robust rotors that will play like new, especially if the bearings are tightened. This is not the oversized F side of a double horn, and will feel a bit small at first. I have put several students on these horns and find they can usually handle a Schilke 31B, or at least a Bach 7. If you're worried about the valves, this horn is the ideal candidate for a valvectomy. Since the horn has multiple tuning slides, the Eb slide can be pulled to D. Still, the F horn tone quality is what sets this model apart. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Wed, 19 Jul 2006 3:30 AM Subject: RE: [Hornlist] RE: Horn Digest, Vol 43, Issue 22 I'm not certain about the Omaha side of the state, but the eastern side of Iowa has a true craftsman available for more than reasonable rates. I highly recommend Merlin Grady, Grady Instrument Service, in Waterloo, IA. Merlin is not a horn specialist, but is probably one of the top trombone repair techs in the world. He is a real hidden treasure. Like any of our top line horn repair people, however, he will not let an instrument out of the shop until he has everything working the way it should. Merlin uses an ultrasonic cleaning machine, (16 transducers operating at 60K cycles, I've seen clouds of red rouge come out of brand new, supposedly clean instruments), all slides, rotors, etc. will be cleaned and trued as needed. He doesn't run the cleaner everyday, so you should call him before you take the instrument up. Normally it will be same day or two day service, depending on the workload at the shop. Cost will be around $100, depending on the amount of other repair/dent work to be done. I've had Merlin work on my vintage Kruspe for over 11 years now, and have had superior service from him. Contact info is: Merlin Grady, Grady Instrument Service, Waterloo, IA. Phone-(319) 232-6297 Andy Harris, Principal Horn, Cedar Rapids Symphony, Kruspe Driver with a paper thin bell that dents when the wind blows over 5 mph... -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Joni Rice Sent: Wednesday, July 19, 2006 12:16 AM To: The Horn List Subject: RE: [Hornlist] RE: Horn Digest, Vol 43, Issue 22 Along these lines...does anyone have a recomendation for a repair person in Iowa? I do not need any major work, just a cleaning and possibly some work on a slow valve. Thanks. -Joni -Original Message- From: [EMAIL PROTECTED] on behalf of [EMAIL PROTECTED] Sent: Tue 7/18/2006 11:50 PM To: horn@music.memphis.edu Subject: Re: [Hornlist] RE: Horn Digest, Vol 43, Issue 22 I guess I'd have to agree with that. I've gone through a lot of eBay horns and I always get a money back agreement if the horn is wrecked. Home handymen usually limit themselves to applying a pound of plumbers lead to fix a loose brace. The worst damage, by far, is done by people who are operating as repairmen. I can understand the reasoning behind warning people to refrain from working on their own instruments, but it is the same horror story the incompetent repairmen repeat. Every chance I get, I instruct players how to take their rotors apart for cleaning out a valve sticker. For some reason, that bit of knowledge seems to give them better judgment about finding good repair techs. It also may help that I leave them with the names. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Tue, 18 Jul 2006 2:43 PM Subject: [Hornlist] RE: Horn Digest, Vol 43, Issue 22 of course the problem is that the biggest damage-doers (wow, sounds like W there) never recognize themselves. My comments are based on 30 years of undoing bad repairs done by "experts". - Steve Mumford Bill writes: 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. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___
Re: [Hornlist] RE: Horn Digest, Vol 43, Issue 22
Interestingly, by far the most horrible damage I've seen comes from cleaning. I suspect it is the work of a greedy person who manages to get a contract to clean all the brasses of a school district in preparation for the new year. Seeing this as easy money, they use chemicals that literally dissolve the brass. A quick dip does the job. Longer than a quick dip dissolves the metal. Then you're faced with the problem of neutralizing the residue. Even if the procedure works as planned, doing this every year soon ruins the instrument for any kind of restoration. Now, here I am spreading horror stories, but the person doing it can easily convince you that he has 'special' equipment and expertise. I certainly don't intend to demean any of the technicians contributing to the list. One of the major advantages to subscribing to the list is for locating trustworthy repair techs. You're doing the right thing. However, learning how to take your horn apart to thoroughly clean it out with brushes and cheap detergent once a year will add greatly to your confidence and piece of mind. Perhaps the repair people who are contributors here and are represented at shows and conventions could arrange a $20 seminar at the shows where players can take their own horn apart under supervision, clean it, and learn how to assess what additional work might be a good idea next time shop services are needed. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Tue, 18 Jul 2006 10:16 PM Subject: RE: [Hornlist] RE: Horn Digest, Vol 43, Issue 22 Along these lines...does anyone have a recomendation for a repair person in Iowa? I do not need any major work, just a cleaning and possibly some work on a slow valve. Thanks. -Joni -Original Message- From: [EMAIL PROTECTED] on behalf of [EMAIL PROTECTED] Sent: Tue 7/18/2006 11:50 PM To: horn@music.memphis.edu Subject: Re: [Hornlist] RE: Horn Digest, Vol 43, Issue 22 I guess I'd have to agree with that. I've gone through a lot of eBay horns and I always get a money back agreement if the horn is wrecked. Home handymen usually limit themselves to applying a pound of plumbers lead to fix a loose brace. The worst damage, by far, is done by people who are operating as repairmen. I can understand the reasoning behind warning people to refrain from working on their own instruments, but it is the same horror story the incompetent repairmen repeat. Every chance I get, I instruct players how to take their rotors apart for cleaning out a valve sticker. For some reason, that bit of knowledge seems to give them better judgment about finding good repair techs. It also may help that I leave them with the names. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Tue, 18 Jul 2006 2:43 PM Subject: [Hornlist] RE: Horn Digest, Vol 43, Issue 22 of course the problem is that the biggest damage-doers (wow, sounds like W there) never recognize themselves. My comments are based on 30 years of undoing bad repairs done by "experts". - Steve Mumford Bill writes: 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. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/j-rice%40cornellcollege.ed u ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: Horn Digest, Vol 43, Issue 22
I guess I'd have to agree with that. I've gone through a lot of eBay horns and I always get a money back agreement if the horn is wrecked. Home handymen usually limit themselves to applying a pound of plumbers lead to fix a loose brace. The worst damage, by far, is done by people who are operating as repairmen. I can understand the reasoning behind warning people to refrain from working on their own instruments, but it is the same horror story the incompetent repairmen repeat. Every chance I get, I instruct players how to take their rotors apart for cleaning out a valve sticker. For some reason, that bit of knowledge seems to give them better judgment about finding good repair techs. It also may help that I leave them with the names. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Tue, 18 Jul 2006 2:43 PM Subject: [Hornlist] RE: Horn Digest, Vol 43, Issue 22 of course the problem is that the biggest damage-doers (wow, sounds like W there) never recognize themselves. My comments are based on 30 years of undoing bad repairs done by "experts". - Steve Mumford Bill writes: 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. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Pliers
I went back and reviewed Steve's post. I can't tell if this is an attempt at humor, but I still don't see the surcharges relating to anything but his derogatory stereotyping of people he obviously portrays as far less competent than himself. Don't you wonder what surcharge your level of competence would qualify you for in his shop. I realize there is some attempt at humor. I also realize from my experience with the list that Steve, among other regular technician contributors, is most certainly someone quite competent to do high level repairs on any horn. My earlier comments about recording technicians, although intended in a facetious way, was taken quite literally by several listers and reacted to. I won't apologize. The respondents provided me, and I assume others, with some useful information, exactly what I hope to get Both these areas are well within my area of technical expertise, and my own perception of the people who consider themselves professional in these areas is that about 70 percent are incompetent and survive mostly as fast talkers. We, here on the list, are only exposed to the truly competent and we can laugh about it from our own secure position. I don't see where I implied anyone was an idiot-I did try to illustrate that is a tactic of the 'fast talkers', and I consider it an area of humor that confidently professional techs should avoid. I also pointed out that one should have a list of maintenance issues to make an unavoidable trip to the shop worthwhile for both the customer and the shop. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Tue, 18 Jul 2006 12:45 PM Subject: [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/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: Pliers? NO NO NO
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. I've been teaching people how to take rotors apart for cleaning for many years. Almost anyone can do a good job and the truly incompetent invariably recognize their own weakness. The key to success is to have the right tool at hand. The right screw driver and some cleaning brushes can disassemble most dirty, sticky rotors in minutes. If it won't free up, it will allow determining how serious the problem is and put you on to a repairman trying to run up the bill by telling horror stories. On the other hand, as long as the horn is going into the shop, take the opportunity to get all the routine work done at the same time so the repairman can put the horn into a condition that will be stable for time to come. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Mon, 17 Jul 2006 4:14 PM Subject: [Hornlist] RE: Pliers? NO NO NO As you can see from my somewhat overexcited title, one should restrain oneself from using pliers for any purpose, real or imagined, anywhere on a french horn. If you (think you) have to use pliers to move the valve, it has probably frozen up with corrosion and there's nothing you'll be able to do at home to make it work well enough. Soap? - nope, kerosene?- no dice, valve oil? - forget it, soaking? - useless, pliers? - permanent irrevocable damage. Take it to someone who will do it right and for much less than it will cost to repair the damage you'll do to it at home. In my shop the easiest (thus cheapest) repairs are the ones that nobody else has tried to fix. Customer tried to fix it - add 100% to undo customer damage. Bad repairman fixed it wrong way - add 150% to undo. Dad fixed it with vise and power tools - Would cost way to much to ever get it right again. - Steve Mumford ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: recording level
I don't recall that short coming on my Sony Mini disc, but mine is so old, one of the very first and much bigger, I've been told they they only made a few of them and that it is more of a prototype. I use a fairly good stereo condenser mic mounted on a golf ball retriever that lets me stick it 18 feet above the audience. I was going to upgrade to a newer, smaller unit, but the recording quality wasn't close. Does anyone know if these very early models were different? -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Mon, 17 Jul 2006 10:49 AM Subject: [Hornlist] Re: recording level Howard Sanner wrote: > Now for the important question: Can you adjust the recording level >on your Sony minidisc machine without putting it in pause? Mine, >several years old now, I like quite a lot, with the glaring >exception of that. Which is why I bought a Sharp. Well, for the moment I can't answer beacuse I really had no time enough to explore the various device' possibilities (and I'm a lazy instructions reader). I'll try and see, and tell you. In fact I did remember, from older posts, about that Sharp/Sony difference, and asked the shop: but they told me that the Sharp was out of production (maybe they just didn't have it). Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Recording
You just don't understand a thing about sound recording. Without a separate channel for each instrument, how can an engineer possibly make them sound like they're supposed to? All recordings would sound the same. Who'd by it if it isn't 'special'? -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Sun, 16 Jul 2006 1:11 AM Subject: [Hornlist] Recording I bought a Sony minidisk recorder (the sole cheap recording device I found at a local shop) and I'm quite satisfied. I recorded a concert of my wind octet and the sound is nice, the balance between the different instruments excellent. I could even issue a CD, were it not for a few mistakes ;-). Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Alex 103 - history?
Once again, more evidence that horns are picked over before they filter down to the 'unconnected' buyer, yet dealers all claim this isn't true, usually with a straight face. Since the design of a given model is fixed and parts are standardized, all examples should be equally good. From my experience, degradation of a horns quality is usually from numerous small imperfections, usually easily corrected. I've found a little work with reamers, scrapers, and files to get the bore uniformly to spec often makes an immense improvement. I believe Osmun, and possibly others, offer a set-up service for new horns. I'd be interested in hearing how effective this service is. My guess is that it can make a big difference. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Thu, 13 Jul 2006 1:25 AM Subject: RE: [Hornlist] Alex 103 - history? I bought an Alexander 103 in 1980 with money I saved from my gap-year job between school & university. I've never regretted the purchase and I still use the same horn. I talked through the choice of instrument with my teacher Douglas Moore. Once we established that my budget ran to an Alex, he said that he would pick one out for me next time a batch came in to Paxman's. I believe that Alexander did have some quality control issues at that time. When a batch came in to Paxman, Douglas Moore used to test each horn for them and tell them which ones should be returned as being substandard. When I went in to try out the one he had put to one side for me, it played so beautifully that I didn't even bother to try any others - I trusted Douglas Moore's judgement. I just paid and walked out with it, trading in the Paxman Studenti that I had used up until then. Regards Jonathan West ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Repair
Don't limit yourself to local. UPS or USPS can get the horn to a top repair shop. Call ahead and find out where you'll be on their schedule. You'll find they likely have the needed parts, or can locate them at another high level shop. Take the opportunity to have other work done like removing dents or tightening the bearings. Since postage goes by weight, don't send the case. Double boxing or packing with peanuts and several plastic bags in layers will immobilize the horn in the center of the box and add very little weight. Over stuff the box a bit to prevent the possibility of shifting. -Original Message- From: [EMAIL PROTECTED] To: [EMAIL PROTECTED]; horn@music.memphis.edu Sent: Mon, 10 Jul 2006 12:40 PM Subject: [Hornlist] Repair Dear Hornfolk, Please excuse my double post, but I have a student who has a fairly new Conn 8D in need of repair. A screw broke in her thumb valve mechanism as her father was holding it with a screw driver while trying to straighten the screw in the adjustable arm of the valve. They took the horn to Amro Music here in Memphis, after the repair department assured the parents that they made this repair regularly. Now it is over 3 weeks later, and the horn still isn¹t fixed. The parents were told that the repair couldn¹t be done and that an entire new part had to be ordered. At first the repair shop said they received the incorrect part, but today the parents were told that no part had been sent to the repair shop because Conn had been bought out. If anyone is in this area knows of a reputable and competent repair person for horns, please let me know. This student is very conscientious and has been practicing regularly. I have lent her my back-up horn, but I have another conscientious student who needs to have her Yamaha serviced and she is afraid to take her horn in to Amro, which has the only repair shop since mid-South Music (Joe Sellmansberger) is no longer repairing instruments. She will also have to use my back-up horn. A good horn service person would be wonderful to have in Memphis. Your advice will be greatly appreciated. Sincerely, Ellen Manthe ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Haydn Symphony No. 46
I'd have to search for the site again, but they didn't give a lot of detail. My guess would be that the loose definition of 'chromatic' would entail playing all the written notes in a given piece. Being able to tune a half step would allow two valves to do this. The horn was designed with one thing in mind, but players quickly learned how to use it beyond the designers expectations. A major development would have been the fabrication of tight valves that could be changed quickly and reliably. I own an E.G. Wright contrabass Saxhorn from the 1850s with three standard rotary valves as well as on original 4th valve to switch the horn to BBb. This is the earliest 'fully chromatic' brass I've come across. A three valve instrument isn't really much more 'fully chromatic' than a two valve, except y son routinely plays an Eb tuba down to the pedals using non existent harmonics. He contends that valves to play in that range are so notoriously out of tune, not having them allows for perfect intonation. -Original Message- From: Steve Freides <[EMAIL PROTECTED]> To: 'The Horn List' Sent: Sun, 9 Jul 2006 13:55:56 -0400 Subject: RE: [Hornlist] Haydn Symphony No. 46 Bill Bamberg wrote: > With very little search, I found historic accounts of fully > chromatic brass, possibly only using two valves, in the > 1810s. Hans' date of the early 1850s probably represents when > acceptance was universal, and the purpose for valves was was > to make the instrument chromatic. -snip- How would this be possible with only two valves? -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Haydn Symphony No. 46
With very little search, I found historic accounts of fully chromatic brass, possibly only using two valves, in the 1810s. Hans' date of the early 1850s probably represents when acceptance was universal, and the purpose for valves was was to make the instrument chromatic. The more modern development of the modern duplex bass trombone is well documented, and clearly shows how designers concepts are based on simple theory, but the actual design evolves from how the theoretical modifications are actually used by progressive musicians trying to squeeze maximum performance from the instrument. Imagine the composers frustration through this. The Lohengren parts are a result of trying to cover all basses. -Original Message- From: Hans.Pizka <[EMAIL PROTECTED]> To: 'The Horn List' Sent: Sun, 9 Jul 2006 18:33:27 +0200 Subject: RE: [Hornlist] Haydn Symphony No. 46 Simon, when they invented the valves, they were intended as a replacement of the various crooks. There were many attempts to invent such a device. But as soon as they had found the solution to there problems, they added two valves first, but the third valve (1 1/2 steps) was added soon. The valves could be used for additional tube lengths to be added OR - if the air column was calculated for the combined length of main tube plus the additional length of one or two valves - to eliminate certain parts of the overall length. In the beginning of the valve aera, they really used the valves for a quick change from one tonality to the other, as can be seen in the Lohengrin score, where the horns change transposition every measure. So the hornplayer had to know, the difference they had to add to the main tube, but continued to treat the horn like a hand horn - well, it is possible, to play most of the RING in handhorn manner, using the modern horn, but a handhorn would be the wrong instrument here because of the thinner & weak sound within the big orchestra masses -. It became more complicate, as they used different terminal crooks also (crooks put between mouthpiece and horn, like the F-crook on the Viennese Horn). Here the big problem began, as the valve lengths had to be adjusted according to the added length by the terminal crooks. It was a big desaster then intonationwise. The real "chromatic use" of the valves might have occurred not earlier than n the early 1850ies, right after Lohengrin. The progress was gradually & also different in the timing according to the regions & the orchestras tradition. Leipzig was adopting the valved horn very late, as we know from Hector Berlioz, some French orchestras were even more conservative. Vienna seems to have adopted the full chromatic use of the horn very quickly, but remained very conservative since, even the playing technique has improved unbelievable (listen to Wolfgang Tomboeck or Thomas Joebstl). Munich was very progressively adopting the use of the Bb-horn, since Franz Strauss was a strong advocate for the Bb-horn, while his successors Hoyer & Suttner preferred the F-horn. Hope, this information will help. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Simon Varnam Sent: Sunday, July 09, 2006 4:52 PM To: horn@music.memphis.edu Subject: RE: [Hornlist] Haydn Symphony No. 46 Hans Pizka wrote: RE: [Hornlist] Haydn Symphony No. 46 > The horn had > valves since some time & players had acquired the skill to play > "chromatic" instead of just "valve-switch the pitch (tonality)". Does this mean there was a period when there were horns with only one or two valves, and these, intended, not to enable particular notes outside the harmonic set, but merely as a quick way to change crooks? Did the present system of 3 valves for 2,1 & 3 half-tones develop gradually on the horn or was it "grafted on" from another instrument such as the trumpet? I imagine some guy turning up at rehearsal one day with his latest "improvement"; a one valve horn and a set of slides so he can switch from say G to D at a moment's notice, and a different pair of keys in the next piece. Excuse my ignorance, and please tell me where to find out more! Simple Simon ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Silver horn - now NHR
I've done this kind of casting using an RF generator. A microwave oven can be modified as a cheap enclosure, but the standard microwave generator doesn't work very well unless it's all you have. With the RF, graphite can be used as a mold/susceptor. Union Carbide ATJ graphite has the properties you need. Vitreous carbon is a better material, but ATJ is much easier to machine. Making the enclosure gas tight allows working in inert gas or vacuum. Since the molding is done at high temperature, molding to exact size requires correction for expansion. Usually a blank is molded to near size and final dimensions achieved by machining to shape. -Original Message- From: Hans.Pizka <[EMAIL PROTECTED]> To: 'The Horn List' Sent: Sun, 2 Jul 2006 15:20:45 +0200 Subject: RE: [Hornlist] Silver horn - now NHR Can you imagine, casting mouthpieces precisely as for these bunch of super curious horn players who even see a difference in the bore of 0,1 mms or less as a catastrophe - or better said as a welcome excuse fortheir own failure ? Or, how to "home bake" new rotors, where even professional drillers have difficulties making a fitting replacement ? - no way, absolutely no way for the layman, as it is a matter of fractions of mms & degrees. But it could be fun ruining valuable horns by using home baked rotors or pistons. Surely this kind of technique is used for casting of raw forms which have to be brought to precisision later by the same process as normally. But how about porosity without casting under pressure ? === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Carlberg Jones Sent: Sunday, July 02, 2006 12:54 PM To: The Horn List Subject: Re: [Hornlist] Silver horn - now NHR It seems to me that this sort of experimentation can lead to technological advancements in an area of little economic interest, such as mouthpiece and rotor/piston design and construction. At 6:34 AM -0400 7/2/06, David Goldberg wrote: >Inspired by this thought and Hans's response that included the melting >point of sterling silver, I stumbled on this remarkable website. DON'T >TRY THIS AT HOME: > >http://home.c2i.net/metaphor/mvpage.html -- Carlberg Jones Guanajuato, Gto. MEXICO mailto:[EMAIL PROTECTED] Skype: carlbergbmug - http://skype.com/ My ISP feels that some of my e-mails are not worthy of deliverance. If you do not receive something you expect, please ask me to resend. I apologize for my ISP's evaluation of my e-mail's worthiness. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Web Resources (was Norma - 2)
Chromatic trumpet parts in 1831 should be no surprise. The Stoelzel valve was documented in 1814. Early brasswinds used two, but the claim was that the instrument was fully chromatic over the entire range, but I have found no details of how it was accomplished. Keyed brasswinds were also popular in the early 1800s. My oldest horn is a contrabass Saxhorn from the 1850s by EG Wright. This horn is very rare, having been factory built with a modern configuration 4th valve that takes it to BBb. Although it would be considered small to medium these days, for tone, range, and intonation, no modern horn comes close. -Original Message- From: Klaus Bjerre <[EMAIL PROTECTED]> To: The Horn List Sent: Sat, 1 Jul 2006 18:12:43 -0700 (PDT) Subject: Re: [Hornlist] Web Resources (was Norma - 2) I am eternally grateful towards people making resources available on the web, and I am no less grateful towards those helping me finding these resources. I have read the overture and the second act, because the score tells me a whole lot about period scoring practises in Italy. I did not find the odd notation mentioned by Hans. It still may be there in the score, but I rather suspect an error by the guy, who engraved the parts. Bellini has been said to score lightly. Bizet has been said to try to re-orchestrate Norma for a fatter version, but he gave up upon that project. So I was somewhat surprised, when I found an ff opening chord with 3 trombones and a cimbasso. The Italians must have had instruments with 3 valves in 1831, as the 1st trumpet in D has a prominent written Ab in the overture. What I have seen from the horn parts could be done with advanced hand horn techniques, but the transpositions are all over the place with fast changes, so I, like Hans, assume valve horns. Everything could be done on a single F with 3 valves. Hans also is right about the light playing. From my other brass areas I know, that the Italians used very small bore instruments. In the 2nd act Bellini comes up with a quartet of the clarinets and the 1st pair of horns. "Norma"-lly one would expect the clarinets taking the 2 top parts, but Bellini juxtaposes the instruments in a way, which will kill the important 2nd clarinet harmony notes, if the first horn does not play with the outmost discretion. If I were asked to play any of the horn parts of this opera (which will not happen, even if they are not really difficult from a technical point of view), then I rather would bring my 5 valve small bell single Bb Hoyer rather than my Conn 28D double. I could go on ranting about instrumentation issues of this score, but I would go beyond horn relevancy. Klaus Smedegaard Bjerre --- William Melton <[EMAIL PROTECTED]> wrote: > > Is there any edition of the "Norma"-score available on the > > web? I have problems reading off paper, but I have some well > > lit large computer screens. > > Klaus, try http://www.dlib.indiana.edu/variations/scores/bah4585/ > large/index.html > > For those who don't know this resource, the friendly library sprites > at Indiana U. have given us quite a few opera and symphonic full > scores, all scrollable online. Highlights include Strauss' "Ariadne," > Wagner's "Lohengrin," "Tristan" and "Parsifal," " Weber's > "Freischuetz," seven Bruckner symphonies, Beethoven, Brahms and quite > a bit more that's horn oriented (as well as plenty of other good music). > > Afterwards I recommend a stop at UC Santa Barbara's http:// > cylinders.library.ucsb.edu/ > Bill Melton > Hauset (B) / Sinfonie Orchester Aachen (D __ 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/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Sticky Valves?
If you use the rotor cap to seat the bearing with a tight tapered fit the bearing will stay flat until it captures the rotor. Back off the cap a fraction of a turn and strike the rotor spindle to seat the bearing against the inside of the cap. This opens up the smallest gap that will allow free rotation. A little lathe work might be required to get the components fitting properly. Most top bearings don't leave much room to swage, so I find it's just as easy to machine a new set lapped to the rotor and with a tight taper fit to allow height adjustment. -Original Message- From: Paul Mansur <[EMAIL PROTECTED]> To: The Horn List Sent: Sat, 1 Jul 2006 12:11:28 -0400 Subject: Re: [Hornlist] Sticky Valves? On Saturday, July 1, 2006, at 08:08 AM, Herbert Foster wrote: > A thread spool works. > Yes, if you can find a wooden one. The industry quit using them many years ago. Spools nowadays are spongy plastic and quite brittle. [My wife sews a lot!] Mansur's answers ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Sticky Valves?
I prefer a bell rim clamp that locks onto the edge of the bell and allows 360 degree rotation. I attach this to a low cost, heavy duty, pivoting vise attached to a drill press table. This allows me to work at any height or angle and works for any instrument I care to make a fixture to hold. If you can't figure out how to make your own version, you're probably best leaving the work to someone else -Original Message- From: Jerry Houston <[EMAIL PROTECTED]> To: The Horn List Sent: Fri, 30 Jun 2006 20:03:35 -0700 Subject: Re: [Hornlist] Sticky Valves? [EMAIL PROTECTED] wrote: > In a message dated 6/30/06 1:20:59 PM, [EMAIL PROTECTED] writes: > >> Place the horn on one's lap or in a vise with the slides pointing >> straight up. A repair person on this list will have the >> best way to do this . >> > Rachael, > Are you serious??? > Never, I repeat, never, put your horn in a vise. When I need a horn held steady for something I'm about to do to it, I place in the vise a wood block out of which extend two parallel wood dowels, spaced to fit into two sides of a valve slide or tuning slide. That holds the horn safely and securely, while I clean it, solder a brace, or whatever needs done. Maybe that's what Rachel meant by putting a horn "in a vise." Surely she wouldn't suggest tightening the jaws of a vise on the horn itself. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Sticky Valves?
A leather pool cue tip glued onto a toy hammer is my weapon of choice. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Fri, 30 Jun 2006 18:36:55 EDT Subject: Re: [Hornlist] Sticky Valves? In a message dated 6/30/2006 5:04:22 PM Eastern Daylight Time, [EMAIL PROTECTED] writes: Or it could be a barrel of plastic also. But not any metal as it could damage the plate or scratch at least. One quick-fix type of tool to set a bearing plate is a bottle cap such as the one that comes on a bottle of Al Cass Fast valve oil. Usually works well, and won't mar your horn. Dave Weiner Brass Arts Unlimited ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: Norma - horns
If you're playing this with only two horns and the scoring calls for two two horn sections. It would be proper to cover parts one and three so you aren't missing the entire horn presence, only the second part harmony. The notation would then alert the two players to sections requiring the harmony to be covered rather than just covering the principal part of each two horn section. -Original Message- From: Hans.Pizka <[EMAIL PROTECTED]> To: 'The Horn List' Sent: Fri, 30 Jun 2006 22:56:39 +0200 Subject: RE: [Hornlist] RE: Norma - horns They are not, be sure. If the orchestra would be a small orchestra, they would have horn 1 & 2 but not horn 3 & 4. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Michael Henry Sent: Friday, June 30, 2006 7:44 PM To: horn@music.memphis.edu Subject: [Hornlist] RE: Norma - horns Hans -- This is just a guess, but perhaps this notation is for when the particular aria is performed as a "bleeding chunk" on a concert program? Assuming that horns 3 and 4 are the primary parts for this aria, it could then be performed by a smaller orchestra (2 horns)? Regards, -Michael Henry -- message: 11 date: Fri, 30 Jun 2006 14:54:56 +0200 from: "Hans.Pizka" <[EMAIL PROTECTED]> subject: [Hornlist] Norma - horns I played third horn last night for the opera "Norma" (same name as a very successful supermarket chain). Horns 1 & 2 and 3 & 4 are set as pairs in the parts, but there is a spot near the Finale of the 2nd act, where horn 1 & 2 are inserted into the parts 3 & 4, just half notes & full 4/4 held, a phrase of 4 measures in the middle range, but repeated a second time. The curious thing is it that there is a printed note : "in macanza die Corno Imo & Iido". Very curious, as it means "only be played if missing horn 1 & 2". How should this happen ? Sneaked out for pee, perhaps or more severe ? Could understand that in hot southern Italy, but normally ? How brainless can publishers be ? Off course, there are cases where it is appropriate to inscribe: "in macanza di Corno 3 & 4" or "in macanza di tromboni", as to be found in Beethovens Leonore 3 ouverture, so it can be played by a smaller orchestra with less winds. But "in macanza die Corno primo & secondo" ??? Very crazy !! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Concert Bands
As far as style goes, it's related to the level of enjoyment presented
as well as how many pieces must be sliced from the pie. 'Drop outs', as
you seem to be describing them (certainly not failures if they are
making more than a professor), are usually those who are spending
inordinate amounts of time developing their musical talents and
experience. The correct terminology is 'quitting one's day job'. I'm
also familiar with the old saw, 'If you can't do, teach', so I see no
irony in the situation. So what do you do if you can't even teach?
-Original Message-
From: David Goldberg <[EMAIL PROTECTED]>
To: The Horn List
Sent: Fri, 30 Jun 2006 08:50:05 -0400
Subject: Re: [Hornlist] Concert Bands
Walter E. Lewis wrote:
> ... It's ironic to me that a dropout can make more money with his >
style of music than a college professor and a retired school >
teacher...what does that say for our society?
That the big bucks are with the teen crowd?
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
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Re: [Hornlist] Mutes
Horn sound being so all important, I try out every mute I come across, always looking for an improvement. I have mutes specific to each of my major horns. For my Paxman 42M, I always use a Jo-ral solid copper mute, and for my heavy bell Chambers, I always use a Jenco aluminum mute which has a wooden end plate. The Jenco dates back to the sixties. I suspect the wooden end gives it the liveliness that complements the 'flat' sound of the aluminum. If I ever have to replace it, I'll cut the end off a standard aluminum mute and experiment with different species of woods. Redwood could be an interesting tone wood because of its absolutely unique sonic quality. Tulipwood would be very different, sonically. A series of different materials would probably allow adjusting the sound to match particular instruments. Another possibility would be to design the end with a head tensioner for a 4" tom-tom. The capability to adjust the tube length, the chamber length, and tuning of the end plate would make the thing really universal. -Original Message- From: Steve Burian <[EMAIL PROTECTED]> To: horn@music.memphis.edu Sent: Wed, 28 Jun 2006 16:38:37 -0400 Subject: [Hornlist] Mutes Hi, It is time to find a new straight mute. While working in the low register with my old Aulos, I discovered a bad note that just didn't sound. Trying a similarly shaped Trumcor yielded a similar result. I can guess that a full cone Rittich style Trumcor or other make would not have the same issue. I have tried a mute by Dick Lang and was impressed but have not found a web presence yet. I will also consider other makers, including Kowalchuk, Balu, Engemann, Denis Wick, etc. So... Any advice on: If I tried one mute by a maker and liked it, is that good enough to just trust mail-order for my own, or do I need to try the specific mute before purchase? Are there makers who will let you try before you buy? Where can I find a Dick Lang mute? Thanks, Steve _ Don’t just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Bumper Cork/Neoprene
If you call up mcmastercarr.com you will be using the same hardware store Wiley Coyote uses in the Road Runner cartoons. They have a provision where you can create an order over time of any hardware you need. The stuff arrives UPS the next day, and postage is far cheaper than gas. For horn bumpers, they have neoprene and silicone rubber in both round and square shapes, most any size. The easiest way to compress it into the holders is to squeeze it in flat plier jaws until you have a compressed protrusion that will expand into the holder. An Exacto #11 will trim it to any shape. Rubber stoppers are available at OSH in the nuts and bolts section. It takes a little practice to cut rubber to size. Tandy Leather sells individual die punches that easily cut round or square cores. You can make your own punches using hobby shop stainless steel tubing and squaring one or more sides in a vise. I've discovered I can use AutoCAD to design a perfect bumper shape that is sized sized to just fit a standard tubing I.D. Once the tubing is shaped around the pin I grind and the edge sharpened, making perfect bumpers is like cutting cookies, the tool will last forever, and it also cuts cork -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Tue, 27 Jun 2006 09:41:39 + Subject: [Hornlist] Bumper Cork/Neoprene I am looking for those little cylinders used for horn 'bumper stops', made up of either cork, neoprene, or the cork-neoprene compressed compound. Pls private mail me if you know where I can get some of these. Thank you. Rachel Harvey ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Demise of the Concert Band?
Anything worthwhile in the arts requires funding from somewhere. Unfortunately, politics plays a big role. The big payoff always ends up in the hands of those who spend all their time collecting money rather than those doing good art. Within a short time, the steady funding gets allocated to 'administrative' fees of a 'non-profit' organization. There have been some really savvy ideas, particularly making funds available to higher level artistic endeavors to provide small scholarships for legitimate arts students to perform. A scholarship is tax free, provides a way around necessary union restrictions, and the money is then paid to the schools as tuition. Still, we never learn not to leave the fox watching the hen house, and dead chickens tell no tales. -Original Message- From: Bill Gross <[EMAIL PROTECTED]> To: 'The Horn List' Sent: Mon, 26 Jun 2006 19:19:56 -0500 Subject: RE: [Hornlist] Demise of the Concert Band? This does beg the question, if Concert Bands will only survive if they rely on tax dollars should this be a priority of spending? If musicians enjoy getting together as a group and performing do they need a tax subsidy or should how about if they just funded themselves? -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Monday, June 26, 2006 10:00 AM To: [EMAIL PROTECTED]; The Horn List Subject: [Hornlist] Demise of the Concert Band? The discussion of smaller bands,smaller audiences,etc. has been on my mind for quite some time. One vital way we can all take part in keeping good music available to young and old is to support PBS and NPR. There is really no other source of any consequence. Last year the politicians tried to severely cut back on supporting the arts but enough of the informed public protested and they failed. Yet now this is coming up again and it is our duty as serious ( and not-so-serious) musicians to speak up for keeping the best of the musical spectrum operating. Please do your part! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Interchangeable F/Eb alto triples
A simple creed for product development. The really difficult, we do in the shortest time. The impossible, we do immediately. I've also discovered businesses, no matter how large and complex, never have more than two departments, the 'Promise' department and the 'Excuse' department. -Original Message- From: Stuart A. de Haro <[EMAIL PROTECTED]> To: horn@music.memphis.edu Sent: Sun, 25 Jun 2006 09:30:40 -0700 (PDT) Subject: [Hornlist] Interchangeable F/Eb alto triples Alon Reuven wrote: "I will not be amazed if, in the near future, an interchangeable Hi F - Hi Eb triple horn will appear.As a matter a fact , at least two manufacturers are working on this Idea now ." Hi Alon, The challenge of doing this is that between F alto and Eb alto, you've got a difference of 10 inches, and if you want to make it interchangeable you've got to add that length in someplace where it is not going to be in the shared tubing between the three sides so it doesn't affect the F and Bb sides. There's just not that much room there to do that. It could be easily done by just sticking in an extension to the F alto tuning slide and then pulling the valve slides. That tubing is going to be cylindrical though and that negates the big advantage to the Eb Alto Horn, longer tapers and therefore a more Horn-like tone. If you did interchangeable leadpipes that would be better, but it will be a challenge arranging the bend of the pipes. The distance between the alto side change valve and the valve section would have to be short enough to allow the F alto to reach between them, have room enough for the Eb Alto to fit between them, and have the ports on the valves arranged such that either pipe could be removed easily without flexing the leadpipe and risk kinking it. If you get all that worked out, you have the issue of the first branch. It is really best to split the extra taper between the tapered parts to balance out their respective rates of growth, so it would either have to be interchangeable as well, in which case all of the above also applies to it, or it would have to be fixed in place and geared towards the F alto side (the shorter of the two), which would make it misbehave a little in conjunction with the longer, and therefore slower, taper of the Eb alto pipe. All of this is certainly possible, but the logistics of it are pretty rough. I for one would not be amazed in the slightest to see a Horn like this in the near future, but I WOULD be amazed to see it work properly and/or practically. Take care, Stuart de Haro Stuart A. de Haro, Custom Horns, Leadpipes, Brass Repair and Modification (217) 377-1462 [EMAIL PROTECTED] http://www.deharohorns.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/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Triple horn
This is the first post to specify the bell size of the instrument. People who try my Paxman 42M are amazed at how well the Bb and F alt blend, but I suspect the original good deal I got on my horn was because people didn't even bother to try out an M bell horn, especially ten-twenty years ago in the US. Is the switch to Eb tuning an adaptation to improve the the blending of the two horns? Also, I've found with my M bell horn, the effort needed to play either side is not very different, but accuracy is much better on the F alt. Once I've practiced the part to familiarity, it no longer matters which horn I use, so I go with the Bb unless the entrance proves precariously subtle. For Brandenburg style playing, though, th F alt horn gives the clear, ligh sound I want, so I use it extensively, and balance the Bb sound to it. Perhaps a designer, or several, can set forth some of the reasoning they've used designing descants and triples, so their potential customers can develop correct expectations. -Original Message- From: Jerry J <[EMAIL PROTECTED]> To: horn@music.memphis.edu Sent: Sat, 24 Jun 2006 16:14:33 -0700 Subject: Re: [Hornlist] Triple horn > from: "Nelson R. Lawson" <[EMAIL PROTECTED]> > > I have recently decided to purchase a triple horn and would like to ask > the list what are the decided advantages of either the F alto as > opposed to the Eb alto. I have a Paxman 40L descant which had an extender made for the hi-F tuning slide that puts the high side in Eb. The former owner had that made while waiting for his E.Schmid so he could get used to the Eb fingerings before his new horn arrived. The bottom line is that it really helps this particular horn to be in Eb instead of F. Its really quite amazing how much it changes things. The timbre of the Eb side is much closer to the Bb side. When set up for hi-F, I would only use the high side as sort of an emergency curiousity stuck onto a fine Bb horn. When set for Eb, its much more usable. The fingerings can be challenging at first, but its not too hard to get over with a little practice. I'm primarily using an Alex 104 at the moment, but if I ever go back to the descant it'll be with the Eb slide. Good luck, Jerry in the Woods ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Fingerings in the key of B and A
I deal with this all the time because I use my Paxman #42 descant as a full range horn to take advantage of its agility and projecting 'lightness'. I think of it more as a full double Bb, with an F attachment. Many players appreciate the advantages of the Bb horn. They are very agile, and mine, at least, loves jumping odd intervals found in modern music. The problem with the Bb horn is in the low middle register, C below the staff up to G, and the problem is exactly what you are experiencing. Sometimes the horn just sounds too short and hard, especially when playing slow harmony parts with F horns. The solution is to add tubing so you are playing as much tubing as you need to get a good horn sound. If you use the F attachment, and, on Bb horn, finger F 2/3 and Eb 1/2/3, you can play through that range with a full, rich sound. Now, back to your playing. I have to award you an 'Atta Boy' because your comments demonstrate that you put more weight on what you sound like than on being strictly by the book. What sets true French horn players apart is the understanding that a hornist lives, or dies, by his sound. What other horn players say about your' sound' often conveys a bit of technical information, but the opinions of non horn players is often more valuable concerning whether your overall sound is developing magnificence for every occasion. Learn to listen to yourself, and especially, learn to hear your reflected sound -Original Message- From: Steve Freides <[EMAIL PROTECTED]> To: 'The Horn List' Sent: Sat, 24 Jun 2006 14:46:08 -0400 Subject: [Hornlist] Fingerings in the key of B and A I have a fingering decision question for you - I suspect most of you will tell me the choice below doesn't matter, but if you think it does, I'd like your opinion. (I've been practicing the tenor aria "Every Valley" from Handel's "Messiah" - just for fun, and entirely on the F side of the horn, not a big deal as it only goes up to written fourth line D#. It's a piece I've sung many, many times, and it's good practice for me as I get used to fingerings in sharp keys. I'm doing it at concert pitch and without music in front of me, but if it was written, it would be written in the key of B major for the horn as it's in concert E. My question, however, is general in nature - no need to know this piece of music in particular.) Consider the first five notes of a written B major scale. I use the beginner's fingerings I was taught, the fingerings are: B - 2 C# - 12 D# - 2 E - 0 F# - 2 but if you did this with an E crook in the horn, you'd play it as 0, 1, 0, 1, 0, which means if you think of transposing the C-major fingerings down a half step, effectively making holding down 2 as your crook, you should play: B - 2 C# - 12 D# - 2 E - 12 F# - 2 I find the E-0 sounds flat, and I like the E-12 better. I'm not sure if I like E-12 because it's more "in tune" or simply because it sounds more like the same relationship of pitches as one hears in written F, but I do like the E-12 better, and I find that if I play it E-0, I need to lip it up to what sounds right. Just curious to know, if you can divorce yourself for a moment from the "I'm used to it so that's just the way I do it," if any of you find my approach especially right- or wrong-minded and why, and thanks for your opinions in advance. Part of the reason I'm asking is because I've been assigned the first Mozart horn concerto by my teacher, and there are similar issues with the written pitch E (concert A) for me - I often find, in the key of concert D, I like this note better as 12 than as 0. -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Triple horn
I'm sort of fascinated how one can decide to spend such major money on an instrument without a clear idea of what their expectations might be. Your question implies resources available that make price no object. For some reason, most horns you'll encounter in the US that have an F alt tuning are large bell instruments. An F alt section on a medium bell instrument allows seamless switching between Bb and F alt. A large throated F alt is really a mellophone. If you've been trained to use the Bb horn for 'agile' playing in the low register, an F attachment combined with a few 'long' fingerings add the true F horn sound without excessive weight. I suspect the use of an Eb descant is an attempt to improve the blended sound of a large throat descant. -Original Message- From: Nelson R. Lawson <[EMAIL PROTECTED]> To: horn@music.memphis.edu Sent: Sat, 24 Jun 2006 11:40:32 -0400 Subject: [Hornlist] Triple horn I have recently decided to purchase a triple horn and would like to ask the list what are the decided advantages of either the F alto as opposed to the Eb alto. Thanks, Nelson R. Lawson ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Clarification
I use a rubber mouthpiece. The more pressure I apply, the shallower the cup gets, while the rim flattens out. However, if I suddenly jump to the low register, it's apt to suck some fillings out, and they sound dreadful going through the horn. -Original Message- From: WIlliam Botte <[EMAIL PROTECTED]> To: horn@music.memphis.edu Sent: Fri, 23 Jun 2006 11:33:38 -0700 Subject: [Hornlist] Clarification Oops. The genleman withe three horns would switch from one to the other on the same piece of music. Each horn had a different mouthpiece. Mea culpa. I shall try to be more careful in future. --wabotte ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Interesting article on www.50plushealth.co.uk
This is a copy of an article found on www.50plushealth.co.uk It has been sent to you at the request of [EMAIL PROTECTED] = This article covers a lot in an optimistic way. I've been told that decongestants containing ephedrine can be effective. Not only does it get to the root problem, it also lifts the depression and lethargy often associated with the dis-order. The ban on ephedrine has been lifted most places. My wife swears by Clariten, now non-prescription, and I've gotten good results from Robotussen severe cough and cold, which combines both pseudoephedrene and dextromorthorphan, when I work around sawdust from exotic hardwoods, such as cocobolo. = Article: 50+Health/Health Topics/Allergies/Further information Date: 06-Dec-01 ALLERGIES - FURTHER INFORMATION British Allergy Foundation Deepdene House 30 Bellegrove Road Welling Kent DA16 3PY Tel: 020 8303 8583 www.allergyfoundation.com Anaphylaxis Campaign PO Box 149 Fleet Hampshire GU13 0FA Tel: 01252 542029 www.anaphylaxis.org.uk References Immunology and Allergy Clinics of North America: Treatment of Asthma and Allergic Disease in the Elderly. Vol 17, Number 4, November 1997. Montanaro, A and Bardana, JR. W.B.Saunders Company 1997 Life: the science of Biology, 4th Edition, Purves, Orians and Heller. Sinauer Associates, Inc. 1995 Instant Allergy, Mygind, Dahl, Pedersen, Thestrup-Pedersen, Blackwell Science Ltd. 1997 Immunology and Clinical Practice, 1984;6:123 M.E. Post viral-fatigue syndrome and How to Live with it. Dr. Anne Macintyre, Unwin Hyman, 1992 LEGAL NOTICE © 50plusHealth Ltd 2000-2006. Whilst every care has been taken in the preparation of this website the publisher, 50plusHealth Ltd, cannot be held responsible for the accuracy of the information contained in the website, nor for any consequence arising from such information. The articles included and the views expressed on this website are those of the writers and do not necessarily reflect the views of 50plusHealth Ltd or its employees or officers. Always consult a specialist or your GP before undertaking any course of medical treatment. Terms and conditions for using this website are detailed in the Privacy section. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Intonation-How does this sound
Perhaps someone can enlighten me on an aspect of tuning that must have some effect. A piano, by its nature is tempered to make it consistent with itself. String players point out the necessity of refining the tuning to specific chords and keys being played. A brass instrument, however, is based around a geometrical harmonic progression. Simple harmonic resonance plays a part in the player feeling in tune with another brass player. We all deal with this unconsciously, but what is the mechanism going on? I've played with elementary school honor bands, and find myself missing half the notes because my instincts to be in tune have me trying to play outside the slot, and I fall of the edge -Original Message- From: Wendell Rider <[EMAIL PROTECTED]> To: horn@music.memphis.edu Sent: Wed, 21 Jun 2006 10:44:53 -0700 Subject: [Hornlist] Intonation-How does this sound On Jun 21, 2006, at 10:00 AM, [EMAIL PROTECTED] wrote: > message: 13 > date: Wed, 21 Jun 2006 10:16:20 -0400 > from: "Steve Freides" <[EMAIL PROTECTED]> > subject: [Hornlist] Intonation - how does this recording sound to you? > > Since we were talking about perfect pitch and temperament, I > thought I'd see > what everyone thinks about a specific instance. While looking at > Steve > Ovitsky's site, I decided to listen to this fragment: > > http://www.sotone.com/samples/vienna1_serenade11.mp3 > > Mozart, Eb major. Several nice major chords to listen to right at the > beginning. > > To me, someone with a long history with tempered tuning and a short history > on the horn, the intonation is weird - it sounds right but wrong, I don't > know how else to put it. The distance between Eb and G sounds too > small to > my ears. My initial reaction was to want the Eb's to be lower and > not the > G's higher, although I couldn't tell you why. > > Anyway, I thought it would be nice to add a concrete example to the > discussion, and I am curious to hear what the experienced ensemble > players > among us have to say. > > Steve "trying not to think about it too much, just to listen" Freides Hi, I didn't have time to listen to this a lot of times but I was wondering what it is an example of in terms of the discussion. It doesn't say that they were using period instruments or what. Actually, I'm pretty sure that they aren't but the instruments that they do (and did) use in that group are often different than what we are used to, and are rather "historical" at times. This is "just" a 50's recording of some great artists from the Vienna Phil. and despite the great re-mastering of it, it may be that the recording technique itself got in the way of some of the finer detail too. As far as the intonation goes, it is not a good example of just or equal temperament and so i don't know what it adds to the mix on this thread. There is some definite out of tune playing there, especially in (but not limited to) the clarinet, and it doesn't seem that there was agreement on how to tune some of the more obvious chords in terms of the thirds, etc.. A lot of it just doesn't lock in when it should, even in the octaves. This is an example, however, of music that should be played with an eye toward "just" temperament. It is very tonal and there are no pianos present. Having played this piece many times with some great players, it is a fantastic "orchestration" in terms of the use of wind instruments, as Mozart was wont to do. The chords will ring if tuned properly and it is a thrill to be in the middle of it. I love the musicianship of these people and their orchestra (I have many recordings) but, in this case, the intonation is, as my young students would say, rather "random" (at least in this excerpt). Sincerely, Wendell Rider For information about my book, "Real World Horn Playing", the Summer Seminar, and Internet Horn Lessons go to my website: www.wendellworld.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] NHR Scut/Scup/Keel NHR
'Keel hauling' is a punishment involving fastening ropes to a sailor to keep him centered under the boat. He is then thrown off the bow to make his way the length of the keel. Words are important. A young man had to go to several doctors before he found one willing to cast rate him. As he was waking up in the recovery room he struck up a conversation with his neighbor and asked what he had had done. His neighbor said," I was circumcised", to which he replied, "that's the word." -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Wed, 21 Jun 2006 18:54:10 + Subject: [Hornlist] NHR Scut/Scup/Keel NHR Lookup done in Wiki: SCUPPERS-Cabbage, you were right; it's indeed a word. SCUTTLE-sorry, what should have been said: "SCUTTLEBUTT". Definition: ___ The nautical term Scuttlebutt originally (and still) means a water fountain or water cask on a ship. However, it is now more commonly used as slang for "information" or "gossip". KEELHAUL-thanks, Paul :} http://en.wikipedia.org/wiki/etymology ___ SCUPPER- a drainage waterway at the edge of a deck, is drained by a pipe or, on the weather deck, a small opening in the bulwarks, leading overboard. It is called a scupper which is distinct from larger openings with hinged covers on the bulwarks, designed for relieving the ship of large quantities of water in a seaway. These are called freeing ports or wash ports.. SCUTTLE: A shaving scuttle is a shaving tool developed in late 19th century.shaped similarly to a tea pot with a very wide sprout: hot water is poured in there, and the entire scuttle is brought to the bathroom. At the top of the scuttle is a soap holder, which unlike shaving mug, have holes at the bottom, allowing water to be drained. KEELHAUL v.t. haul under keel of ship as punishment. >From: Paul Mansur <[EMAIL PROTECTED]> >Subject: Re: [Hornlist] ARRRHH Matey! NHR No, to keelhaul some one is to drag a sailor, who is bound hand and foot , by means of a rope from one side of the ship under the ship, to the other side. If often resulted in drowning the sailor if done too slowly. The sailor is literally hauled under the keel of the ship. If he survived that he would be lacerated by barnacles, nails, rivets, or whatever most severely. Keelhauling was a most dire punishment in those olden days. Paul Mansur, or Mansur's Answers. (Yup, I was in the navy back in the big war.) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] ARRRHH Matey! NHR
'Keel hauling' is a punishment involving fastening ropes to a sailor to keep him centered under the boat. He is then thrown off the bow to make his way the length of the keel. Words are important. A young man had to go to several doctors before he found one willing to castrate him. As he was waking up in the recovery room he struck up a conversation with his neighbor and asked what he had had done. His neighbor said," I was circumcised", to which he replied, "that's the word." -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Wed, 21 Jun 2006 12:19:08 + Subject: [Hornlist] ARRRHH Matey! NHR Doesn't 'keelhaul' mean: toss a drunken or incapacitated sailor into the brig? Kjellrun: >scuppers-throw drunken sailor >SCUTTLES-pirates sink boat Cabbge: >scuppers-is it a word? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Shallow-bowled mpcs
When Scott Laskey designed the modifications to my mouthpiece a few years ago, he set my thinking to be conscious of aspect ratios rather than thinking in absolutes. A shorter horn requires a shallower mouthpiece to get the same harmonic effect, but the length of the bore and back bore have to be coordinated to compliment the components of the horn It's still very complicated, but I can better imagine the results and mentally add windage to understand comparisons as they really confront me. Also, for the longest time I heard knowledgeable people making what appeared to me to be very conflicting descriptions of mouthpiece effects. I finally realized there are two schools of thought. Many players, particularly who only own one horn, choose a mouthpiece to get a different sound from the horn. They often favor very deep cups because they want to get a 'dark' sound out of a bright horn. I, too, often favor the 'dark' sound, but I choose a 'dark' sounding horn from my collection, but then use a shallower mouthpiece to enhance the upper partials. -Original Message- From: Larry Jellison <[EMAIL PROTECTED]> To: horn@music.memphis.edu Sent: Mon, 19 Jun 2006 13:55:04 -0700 (PDT) Subject: [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/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] For Hans/Brandenburg/Environment
racy/etc. and others. 10) jet aircraft going overhead, barking dogs, dogs running INTO the group, crying babies, children running past the stage, cell phones, pagers, flash photography and video cams, other musicians falling backward off improperly braced risers, stage light blackouts, broken or poorly adjusted lever strings, you name it. The worst issue: Phil is terribly right about that chair. I do not know how many hornists are aware of how much one's future and career can hang on this until I explain a particular incident: The worst interference in an audition, apart from all the other factors, is the chair they give a hornist when playing for the judges. This chair is nearly always too tall , too short, or its back is set at a slant, or it wobbles. The hornist ends up nearly always perched on the end of such a chair just to get the feet on the ground. Some hornists like playing this way, whereas others prefer to stand and that's fine (for them). But not for me. For those of us who use a chair, Phil always recommended that this have a solid back against which a hornist could flatten his/her own back. The hornist would need to keep the torso straight in order to facilitate a full breath-air production and support being one of Myers' main teaching specialties. The hornist should also be able to plant both feet flat on the ground. Phil did not approve of the 'perch on the edge of the seat' method, although many hornists do teach this. Yes it is good for a lot of things-but if I had a choice between doing that and standing, I would prefer to stand. In fact, standing to play horn is the best position of all-and those who do so benefit greatly from this. The Incident: One of the last auditions I took had a 'tall' chair out in the judging arena. I was very concerned about my own performance and therefore declined when the proctor offered to replace the chair. All I could think of, while seated, was how uncomfortable it was with my feet dangling in mid air; therefore I messed up very badly, due to lack of focus. This was at a time when I was completely confident, my chops were working perfectly in full range, I had the music learned twice over, and I still messed up. This was 100% my own fault for not taking 'control'. I should have asked for another chair, but did not wish to take up 'their' time, and was worried about the audition. Here's where it gets 'worse': This 'mistake' had the potential to influence any reputation I may have had amongst any local contractors. One may be the greatest player who ever graced his/her little town, but if one allows the focus to become compromised; particularly by the wrong chair at the wrong time, one risks paying the same price that I am paying. For years after that incident, I carried my own well-fitting chair wherever I played-and it was worth it. Or, I would carry 2 small blocks of wood to put under my feet. Where the items OUT of control are concerned-the hornist would need to ignore these if possible, or, laugh it off. Are we now understanding one another? >from: "Hans.Pizka" <[EMAIL PROTECTED]> >No, this is not the method. It should better read "Adjust to >your environment !" Best wishes Rachel Harvey *** Disclaimer: What I post is taken from true experience, taken from education, is my own personal/hypothetical opinion, or is just an attempt at dry humour. It is never to be assumed that I ever know what I am doing-at least in someone else's point of view. I am still in a learning process, even after 40+ years horn experience. I also enjoy assisting when someone asks for assistance. For me, the focus, even in a pro gig is not how much money I make but rather that I have fun. When I have fun, then the rest will fall into place. Please feel free to mail me offlist if you need to discuss or dispute anything I say here. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] For Cabbage: Perf Pitch/Overtones
As I recall, it's where you throw a drunken sailor, with the hose pipe on him, early in the morning. -Original Message- From: Kjellrun Hestekin <[EMAIL PROTECTED]> To: The Horn List Sent: Mon, 19 Jun 2006 12:52:38 -0230 Subject: Re: [Hornlist] For Cabbage: Perf Pitch/Overtones Rachel: > >SCUPPERS am not certain if this is even a word-have to look it up. The closest I could come to is some part of a boat?? > > >I'm not sure whether this scuppers my theory or not. Scuppers are where the water runs out off the deck of a ship. Kjellrun -- Kjellrun K. Hestekin School of Music, MUN St. John's, NFLD. CANADA A1C 5S7 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] At least it isn't Rap
I've been following the Raoux horn being auctioned on eBay, French horn antique Item number: 7422480986, which has now topped $5000. In an effort to learn a little about the high bidder, I went to their profile section and looked up what they've bought recently to go with this horn. I've come to the conclusion that a most unusual pop group is being formed. Considering an investment of five 'big ones' for a hand horn and only $18 for the keyboard, I have to suspect Cabbage is the producer/writer. While a Raoux and a Casio keyboard are earths contribution to the sound, my Aldebaran is rusty since the sixties, so the descriptions of the other instruments aren't as clear as I'd like, and even Google can't 'translate this page'. Perhaps some worldly, or otherworldly, listers follow the fanzines and can build our anticipation of the auspicious upcoming debut CD. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: Sun, 18 Jun 2006 10:22:17 EDT Subject: [Hornlist] Brahms symphony no. 4 with Wiener Phil./Kleiber Does anyone have the recording of Brahms 4th symphony with Carlos Kleiber and the Wiener Philharmoniker on the DGG label ? 44 bars (measures) before the end of the first movement,the first horn plays a high B natural (or so it sounds to my ears),which is an octave higher than Brahms wrote.Looking at the score it is musically logical.Is it actually there,or is it an audio illusion ? I'm trying to settle an argument. Thanks ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com Check out AOL.com today. Breaking news, video search, pictures, email and IM. All on demand. Always Free. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
