RE: [Hornlist] Using a Mirror
Donald - As someone who went through some brutal embouchure issues over the past 2 and a half years (focal dystonia), I can tell you that using the mirror did help me. I did have many people advise the use of a mirror, but no one advised me to use it for the purposes of matching another person's embouchure. The primary reasons were to make sure: 1 - That my corners were working correctly (not too tight, not too loose, not moving all over the place) 2 - That my chin was working correctly (staying put for the most part with the obvious exceptions of significant range changes) 3 - That the overall placement was in the ball park. I've definitely found that I can make my embouchure look identical 3 times in a row in the mirror but all 3 times it feels dramatically different (both vertical and horizontal placement, pressure, corners, etc.) The mirror doesn't solve these issues, it only gives visual feedback to make sure that you're on the right track. I will tell you one giant piece of the puzzle that helped for me. A LOT of people advised me to either place the mouthpiece as high on the top lip as possible or showed me places to put it that were simply too high. In the mouthpiece visualizer and in the mirror, it looked correct. However, ultimately, it was way too high. I found getting the mouthpiece lower (at the advice of Marty Hackleman) made all of my problems nearly disappear! I still keep my upper lip out of the red, but now much more bottom lip is engaged. In the mouthpiece visualizer, I still get a majority of top lip. Is it 2/3-1/3? Maybe, maybe not. It's close. But a combination of extreme relaxation techniques (in my case, hypnosis and acupuncture), proper placement and extreme patience are ultimately what did the job. The mirror was just one of the tools to keep me on track. I hope this helps. Cheers- Jeremy -Original Message- From: Donald Huang [mailto:don@gmail.com] Sent: Wednesday, August 26, 2009 5:59 PM To: horn@music.memphis.edu Subject: [Hornlist] Using a Mirror Hello all, Over the past two years, I've been plagued with some embouchure issues and I've read and heard a lot of different view points on lip placement and everything. I'm not asking for any suggestions right now, but I was wondering about one thing that somebody told me. Out of all of the suggestions I've gotten, the most unhelpful was simply to look in the mirror and fix what's wrong and to try to copy the embouchures of Stefan Dohr and the Berlin Phil's horns. Now I've used the mirror before just to try to keep the top of the mouthpiece out of the red of my lip and to try to center the mouthpiece, but I don't think that's what the well-wishing suggester meant. Also, I don't see how anybody can copy anything more than mouthpiece placement and possibly which muscles to use from seeing some clips on YouTube. Has anybody here actually benefited from this kind of advice? Donald Huang ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] What I've learned in the past two days
Great information! That being said - I mentioned last week that I'd be visiting Boston next week and want to get together with someone and play some duets. 2 of the listers have replied - 1 will be out of town, the other would rather just grab the beer (no hard feelings in either case!) So, I'll request again and I'll answer your questions below in case it helps: 1 - I would bring some duets but we're welcome to try whatever you have on hand as well. 2 - I completely understand - but at least it's more fun 3 - Yup. If it's any consolation though, the duets that I'd be bringing I bought from Ken Pope at the last IHS workshop and haven't had a chance to touch them yet. They'd be new to both of us! 4 - Very true! William Gross wrote: 1) If an wandering horn player his your town and asks, anyone want to play duets an important question to ask is who is providing the music? 2) Sight reading duets (for me) is harder than sight reading a lot of other stuff. I don't know why, but it is. 3) If you think such an event may happen again, and you own some duets, spend some time practising them so you won't have to sight read the next time. 4) It is a lot of fun and a neat way to meet other horn players. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Going to Boston...
Hey guys and gals! I got the news that I'm going to be heading out to Boston for a business trip for a few days. I don't want to leave my horn at home and go 3-4 days without touching it. (She'll miss me and vice versa...) So, I'm flying in on Monday night, August 24th into Logan and will be staying in a hotel in Lexington and flying out on Thursday evening. The way I see it, I'll have Tuesday and Wednesday evenings free and on Thursday afternoon, I'm going to go check out Ken's shop and Osmun's shop. I'd love it if anyone here on the boards would either like to get together and play through some duets (or quartets if you can wrangle 3 players...) or if there's a community ensemble or a person missing from an orchestra rehearsal that I can sit in on. At the very least, I'll gladly treat to some of your favorite beers and/or Scotch at some of Boston's finest public houses (I think they have bars in Boston, right??) Cheers! Jeremy ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Conn 10D
A friend of mine asked me about the Conn 10D but I know nothing about them. Any thoughts about the horn, thumbs up, thumbs down?... Thanks! Jeremy _ Express your personality in color! Preview and select themes for Hotmail®. http://www.windowslive-hotmail.com/LearnMore/personalize.aspx?ocid=PID23391::T:WLMTAGL:ON:WL:en-US:WM_HYGN_express:082009___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mona Lisa and the horn...
I, for one, love it! But my humor has always been a bit off. For my money, the Hitchcock looks the best (it could almost pass for Mr. Farkas had he the opportunity to get a little older) followed by the Lincoln and then Whistler's Mother (if only her posture and angle weren't so bad...I'd terrorize my students for such!) Cheers- Jeremy Bill Gross wrote: Weak horn humor. . . But as the Roman's noted around 2,000 years ago it's futile to argue over taste. -Original Message- From: horn-bounces+bgross=airmail@music.memphis.edu [mailto:horn-bounces+bgross=airmail@music.memphis.edu] On Behalf Of bdigest Sent: Tuesday, August 04, 2009 12:09 AM To: horn@music.memphis.edu Subject: [Hornlist] Mona Lisa and the horn... If anything merits a double-post, it's horn humor... We just received three prints from an eBay store that Photoshops musical instruments into pictures. American Gothic, Einstein in white tie with horn, and ancient Egyptians with Rubank and practice stand were our quirky choices. But Hitchcock, the Mona Lisa, The Washington (Horn) Monument and Whistler's Mother were all vying for attention...I can see a gallery in our future! :-) As for quality, the 8x10's seem to be very nice color laser prints, and the 11x14 is black white. I'll put an eBay link in this message, but if it doesn't work, just search eBay for Einstein horn and then check out the horn gallery portion. I'm interested to see if you find them as amusing as we did... http://stores.shop.ebay.com/FletcherPix__W0QQ_armrsZ1QQ_fsubZ4672232 Regards, Mike L. Cincinnati, OH ___ 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/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Recording
Sadly, with time, the weight requirements haven't gone down... If I drag my standard digital multitrack rig on location, I'm typically pulling around 600-800 lbs of gear. If I drag out a console, add a couple hundred lbs. Oh, and that Telefunken that you used to use would fetch a pretty penny on the used market today. Used Telefunkens from the 40s and 50s era that are in good working order have gone for well over $20,000 a piece. Cheers- Jeremy Sent from my iPhone On Aug 1, 2009, at 6:19 PM, Glick, Ed gl...@unt.edu wrote: Howard, Your statement . . . try lugging around 150 lbs. of Ampex . . . brought back memories. From 1951-53, I worked for one of the two major recording studios in Boston. At that time we were the only one with Ampex recorders. The company bought the first of them before I started working there. It was an Ampex 300; the high speed for recording music was 30 ips with a slower speed of 15 ips for voice. By time I started working there, they had acquired a newer 300; the speed for recording music was now 15 ips, the voice speed 7.5 ips, If you'll remember, the Ampexes were about the size of a washing machine. We advertised that we had portable Ampex recorders. They were made portable by the addition of a large handle on two sides. You'll note that in the quote above, I left out your final words of that sentence, . . . by yourself. We always had two of us carrying it to remote locations. I always thought that the word portable was an abbreviation of the more correct term, transportable. The microphone we used for music recordings was usually a Telefunken condenser mike (made by Neumann and now carrying the Neumann name, I believe). It did an amazing job of picking up a full symphony orchestra by itself. (Remember, in those days, this was mono recording, not stereo.) Just some memories stirred up by your link to a discussion of the relatively new, amazing, miniature pocket size audio recorders. Ed -Original Message- From: horn-bounces+glick=unt@music.memphis.edu [mailto:horn- bounces+glick=unt@music.memphis.edu] On Behalf Of Howard Sanner Sent: Friday, July 31, 2009 4:44 PM To: horn@music.memphis.edu Subject: [Hornlist] Re: Recording Quoting Allen Smithson: Hello All,I'm currently shopping for a recording device so I can quickly listen to practice sessions, lessons, auditions, and so on. You can read my answer to this question at: http://www.ampexguy.com/horn/rectips/rectips.html You may have to copy and paste the URL into your browser for it to work. The bottom line is that we are living in a sort of golden age for what you want to do: IMHO, never before in history has it been possible to make recordings of the quality possible today for such a small strain on the budget and back. (If you don't understand the reference to back strain, try lugging around 150 lbs. of Ampex by yourself.) HTH. Howard Sanner hornl...@terrier.ampexguy.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/glick%40unt.edu ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Yamaha 667V in Nickel Silver?
Has anyone seen or heard of this? I was only ever under the impression that they were made in yellow brass. I recently saw that a few stores are offering this in Nickel Silver?! Is that right or are they just wrong? The pictures look like they could have been from the same source and they look like they could have been the yellow brass and the picture was then made into grayscale making it look nickel silver. The model number appears as: 667VSL To me, I always thought that the: V stood for their custom/symphony model S stood for Screwbell And L stood for Lacquer Finish. Insight? I went ahead and actually purchased the horn for a couple reasons - 1 - the price was stupidly cheap (just over $2K for a new but scratch and dent version from a reputable dealer) 2 - The unit has a 45 day return period with no restocking (only the cost to ship back) 3 - even if it doesn't float my boat, I could fix it up from scratch and dent and resell it for a bit more. Thoughts? Suggestions? Cheers! Jeremy ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: solo beginnings - the list so far
You aren't by chance thinking of the New England Triptych. It start with timpani solo then bassoon. On Jun 30, 2009, at 4:47 PM, Joel Lazar joella...@joellazar.com wrote: Definitely one of the very best trivia lists I've seen in many years. I hate to propose a deletion-did somebody suggest the Shostakovich 2nd Piano Concerto? It begins with TWO bassoons. I'd add an extremely close one: Richard Strauss: Salome, which begins with a solo clarinet scale before anybody else plays. Shorter than the timpani roll in Sibelius 1, about the same length as the timpani stroke in Sibelius 7. There's at least one mid-20th-century American symphonies which, I believe, begins with a timpani solo. Unfortunately, I can't recall which. Hanson #3? Keep it up! Best wishes-- Joel Lazar Bethesda MD ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] OT: solo beginnings
Well...allow me to redeem myself: Liszt's Orpheus Mahler Symphony No 7 Mvmnt 2 Hanson Fanfare for the Signal Corps Cheers- J On Jun 29, 2009, at 12:48 AM, Robert N. Ward rnw...@comcast.net wrote: Bzzzt - there is a harp note with the flute's first note. B On Jun 28, 2009, at 8:38 PM, Jeremy Cucco wrote: The Moldau? Or is there a triangle with the flute? On Jun 28, 2009, at 9:46 PM, Robert N. Ward rnw...@comcast.net wrote: Hello all, Now that we are moving into summer, how about a little game to test your knowledge: Name compositions for orchestra (including concerti) that begin with a one single, solo instrument. I'll get you started: Debussy: Afternoon of a Faun Stravinsky: Rite of Spring Brahms: Piano Concerto No. 2 Have at it! Bob ** Robert N. Ward Principal Horn San Francisco Symphony rnw...@comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/rnward%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] OT: solo beginnings
Let's not forget at least one movement of Symphonie Fantastique. On Jun 29, 2009, at 12:48 AM, Robert N. Ward rnw...@comcast.net wrote: Bzzzt - there is a harp note with the flute's first note. B On Jun 28, 2009, at 8:38 PM, Jeremy Cucco wrote: The Moldau? Or is there a triangle with the flute? On Jun 28, 2009, at 9:46 PM, Robert N. Ward rnw...@comcast.net wrote: Hello all, Now that we are moving into summer, how about a little game to test your knowledge: Name compositions for orchestra (including concerti) that begin with a one single, solo instrument. I'll get you started: Debussy: Afternoon of a Faun Stravinsky: Rite of Spring Brahms: Piano Concerto No. 2 Have at it! Bob ** Robert N. Ward Principal Horn San Francisco Symphony rnw...@comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/rnward%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: OT Solo Beginnings
Oh...what about Venus (Holst)? And the final movement of Mahler 5? On Jun 29, 2009, at 10:47 AM, John Schreckengost jgschr...@gmail.com wrote: I haven't seen this one: John Adams; Short Ride in a Fast Machine (wood block solo) John Schreckengost Chicago, IL ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] solo beginnings - the list so far
While we're on the subject of Bernstein, his second symphony (Age of Anxiety) starts with solo instruments on both the first and second movements (clarinet and piano respectively). Albeit, in both cases, very briefly. Robert N. Ward wrote: Ding Ding Ding! We have a winner! On Jun 29, 2009, at 10:12 AM, Debbie Schmidt wrote: Bernstein: On the Waterfront (great solo) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/rnward%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Hoyer 5802 CK
I'm curious... I tried a couple 5802s in Macomb - both were pretty well in tune and both were quite fine instruments. Granted, I did have the main slides pulled about an inch each, but I wouldn't want it any other way. (What if the orchestra tunes sharp or drifts sharp?) Are your main slides pulled more than an inch to get the horn in pitch? Cheers- Jeremy Tina Barkan wrote: Hi Laura, I have a 5801 PMAL that I bought in December 08. The horn has a lovely sound and great valves but it is significantly sharp. At IHS, all of the Hoyer horns of this model (I don't know if they checked their other models) were sharp. Hoyer is making new tuning slides for me but I would have rather had a horn that wasn't sharp to begin with. I would check the horn you get very carefully. Sincerely, Tina 4th Chair Shoreham Wading River Community Band 4th Chair Riverhead Monday Night Band www.newhornist.com On Jun 29, 2009, at 11:58 AM, Laura Briney wrote: I am looking at buying this model and I'm looking for any information from anyone who has had any experience with this horn. Any and all information would be helpful. Thank you. ~Laura B. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/tina.barkan%40gmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] two recommendations
Bob - Excellent suggestion - David's book is fantastic and has honestly made me re-evaluate how I play and practice. After having read his book, I can say that my practice time is more efficient and I am a far better player. I had the rare opportunity of doing the audio broadcasting for a master class that he did here in Washington DC for the website www.banddirector.com. In this series of master classes, he worked with a student ensemble (Middle School), a series of semi-professional and professional musicians in true solo/masterclass form and a high-quality wind ensemble made up of professional and advanced amateur players. In all cases, he explained his (and MT's) concepts of phrasing and how to apply them. The astounding part is, he was able to successfully make everyone from individuals to full ensembles of varying quality sound better. In each occasion, the music produced in the after segment sounded easier and more freely approachable. This book is an easy read and well worth the very low price to get it. Mr. McGill will be doing another masterclass for www.banddirector.com again in the Washington DC region in the near future and I'll again be doing the audio portion of the broadcast. When the time comes, I'll send out the information. One piece of advice - if the session starts at 2 PM, be logged on by 1:50. Last time, the server crashed because greater than the 17,000 person limit had been reached within the first 30 seconds of broadcast! Those already on though were able to hit refresh and load the page again with very little hiccup. Supposedly they're going to double their capacity for this next round. Cheers- Jeremy Robert N. Ward wrote: Hi again all, Hope you enjoyed the solo beginnings thread. Now, I have two things to recommend to everyone. The first is a book, written by David McGill, principal bassoon of the Chicago Symphony. It's called Sound in Motion - A Performer's Guide to Greater Musical Expression. Someone on one of the lists mentioned it obliquely and I recently finished reading it. McGill writes eloquently and deeply about all facets of music making and how we can increase our knowledge of the music and use that knowledge to play more expressively and meaningfully. Much of it has to do with Marcel Tabuteau and his influence on phrasing and expression - very interesting and challenging book, and I highly recommend it. The second is to note how useful using a flash recorder is in one's personal practice. I recommend every student of mine get one, and I thought I would pass on this page: http://www.transom.org/tools/recording_interviewing/200703_recorder_reviews/ ...which has a comparison of various units for you to look at. Take care everyone, and enjoy your summers! Bob ** Robert N. Ward Principal Horn San Francisco Symphony rnw...@comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] (Czech) recordings
This was released on CD as Supraphon 11 0106-2. If you can find it, get it. It's great. Jeremy Date: Sat, 27 Jun 2009 14:15:49 -0700 From: hornfe...@comcast.net To: horn@music.memphis.edu Subject: Re: [Hornlist] (Czech) recordings There's also a recording of the Jan Vaclav Stich (Punto) horn concerti (Nos.5,6,7,and 10) by a fabulous Czech woman hornist, Vladimíra Klánská, with the Prague Chamber Orchestra. She studied with Vladimir Kubát at the Prague Conservatory and won a competition sponsored by ARD (Bavarian Radio) in 1973. She attended the IHS symposia at Munich and also Kansas City. According to a recent bio posted by the Czech Nonet (of which she is a member), she is currently solo horn of the Prague Symphony Orchestra (not to be confused with the Philharmonic). The record I have was issued in 1988 as an LP by Supraphon (11 0106-031G). I imagine it was issued as a CD, since it was recorded late enough and the LP cover advertises it as a digital recording, but I've never seen the CD. Richard in Seattle Ralph Hall wrote: Hi Dave, At the age of only 61, Zdenek Tylsar died on August 18th 2006. I had the sad privilege of writing his obituary for 'The Horn Player', the organ of the British Horn Society. Up until his death, he was the Solo Horn of the Czech Philharmonic since 1968. It is safe to say that most of the 'Horny' recordings from the orchestral repertoire feature Tylsar on 1st Horn, including a complete Mahler cycle with Vaclav Neumann. No 3 is particularly good but, disappointingly, no 5 not so as the slow tempo in the Scherzo over emphasises the characteristic Czech staccato. One of my favourite orchestral recordings is of the two Brahms serenades with the CPO and Jiri Belohlavek (Supraphon 11 1992 - 2 o31). This is perfect playing from the whole orchestra without losing any of the characterisation for which they are famous. 2 solo/duet CDs were immediately issued by Supraphon in memoriam. Both Strauss concertos, the Franz Strauss Concerto and Mozart 2 on Supraphon su - 3892 - 2 and all the double horn recordings with his older brother, Bedrich on Su 3902 - 2. This includes the Haydn Double which has not been available for some time, featuring some quite exquisite work in the slow movement. On Naxos 8 - 550393 there is Telemann, Vivaldi and the Ludwig Mozart Sinfonia da Caccia. On Point Classics 2672392 Tylsar plays Haydn 1 in D and, again with Bedrich, a superb account of the Haydn Octet. I became acquainted with the Czech Horn tradition as a youngster in the 50's when an agent for Supraphon came into my father's music shop with one of their early LP efforts as a freebie - Rossler - Rossetti's double concerto no 5, played by the Tylsar brothers' predecessors, Miroslav Stefak and Vladimir Kubat. Absolutely amazing playing and I am just transferring it from LP to CD. Not for sale - sorry! Ralph R. Hall (brasshausmusic.com) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/koechel371%40hotmail.com _ Windows Live™ SkyDrive™: Get 25 GB of free online storage. http://windowslive.com/online/skydrive?ocid=TXT_TAGLM_WL_SD_25GB_062009___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] OT: solo beginnings
The Moldau? Or is there a triangle with the flute? On Jun 28, 2009, at 9:46 PM, Robert N. Ward rnw...@comcast.net wrote: Hello all, Now that we are moving into summer, how about a little game to test your knowledge: Name compositions for orchestra (including concerti) that begin with a one single, solo instrument. I'll get you started: Debussy: Afternoon of a Faun Stravinsky: Rite of Spring Brahms: Piano Concerto No. 2 Have at it! Bob ** Robert N. Ward Principal Horn San Francisco Symphony rnw...@comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Double post - After-trip report - IHS Symposium
trip!). For those of you who have made it this far in my HUGE e-mail - if you did go, I hope we had the chance to meet. If you didn't, I hope you get to go soon! Cheers and best wishes to all! Jeremy PS - Short synopsis - The concerts were fantastic even if there was some jazz and some bleep-bloop music (see above for description) and all of the performers were in top form. The masterclasses were absolutely valuable and should not be missed! Jeff Nelsen's a little crazy. My favorite horns at the show were the Otto 180K (com'on, you new I'd say that), the Finke Americus, the Kuhn 393x, the DeHaro and the Cantesanu (with some credit going to Dietmar Durk for the LDx7 and the double descant). Andeveryone should have an alligator Bonna case with a Horn Pimp logo on it! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] bumping section mates
Which is precisely why it's good to have a Marine horn player in the section with you! On Jun 1, 2009, at 9:05 AM, daniel.canaru...@unifi.it wrote: - Message from yateslawre...@googlemail.com - ... And don't forget, if you smack him in the mouth hard enough, there's a good chance that you won't see him again anyway! But there's also a good chance that he'll smack you in the mouth even harder... :-( Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ 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 78, Issue 1
Sorry - I derailed the conversation with my NHR reply... See, around my area, (Washington DC) there are a LOT of service bands men and women. A large portion of them are Marines (United States Marine Corps - either from Quantico or 8th and I/President's Own). Of course, the reason I made that comment - having a bona fide Marine in the section would certainly deter all but the densest of violists (is that redundant?) from striking back. Cheers! Jeremy Lawrence Yates wrote: What are these marine things you keep going on about? (I know about our Royal Marines here in England - they have red hats) Cheers, Lawrence ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Head Count - IHS Symposium
First - Congratulations! Second - Assure your son that there's nothing like a June wedding in Macomb. (I'm sure he could get some great fanfares for 300 horns played at his wedding!!) Third - blood is indeed thicker than light rotor oil which is precisely why, with Hetman's new lineup to introduced at the upcoming IHS, they're introducing the 'do it yourself' kit for Bearing and Linkage Blood. It's a honed needle oiler and a turnicate. You can choose either 'red' or 'blue' varieties depending upon what oxygen levels your rotors need. Paxmans and Alexanders clearly get Blue, while Holtons and Conns get Super Red. Cheers- J On May 26, 2009, at 8:41 AM, Brass Arts Unlimited i...@brassarts.com wrote: I wish I could be there, this year, but it's the one week I can't make it. My son's getting married. I know I have my priorities screwed up but what can I say? Blood is thicker than Hetman Light Rotor. -- Regards, Dave Weiner Brass Arts Unlimited\ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Head Count - IHS Symposium
Hi Friends! Sorry for the double post. I wanted to get a head count/roll call of those who will be attending the IHS Symposium in a couple weeks. I'll be coming out, but only for 2 days (Thursday and Friday). Will there be some gathering for us Internet nerds? Cheers- Jeremy ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Head Count - IHS Symposium
Here, here...we've heard from the king of the nerds!!! ;-) Now let's hear from all of his loyal subjects. -Original Message- From: Dan Phillips [mailto:d...@music.memphis.edu] Sent: Friday, May 22, 2009 11:21 PM To: The Horn List Subject: Re: [Hornlist] Head Count - IHS Symposium On May 22, 2009, at 10:17 PM, Jeremy Cucco wrote: I wanted to get a head count/roll call of those who will be attending the IHS Symposium in a couple weeks. I'll be coming out, but only for 2 days (Thursday and Friday). Will there be some gathering for us Internet nerds? I'll be there for the duration. Who's bringing the dots for the badges this year??? ;-) Dan Dan Phillips Website Manager International Horn Society mana...@hornsociety.org ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Head Count - IHS Symposium
Cool! I've been on the list since 1994 too - back when it was 'majordomo' or something similar. I had to go to the computer lab at the University and check the messages on my monochrome green and black screen. -Original Message- From: Leigh Alexander [mailto:sherpale...@mac.com] Sent: Friday, May 22, 2009 11:40 PM To: The Horn List Subject: Re: [Hornlist] Head Count - IHS Symposium I'll be there for the duration as well. Leigh Alexander list member since 1994 although lurking for the last few years. On May 22, 2009, at 11:35 PM, John Kowalchuk wrote: I'll be there, start to finish. John Kowalchuk Maker of mutes/horns/canoes/paddles/bikes Oshawa, Ontario http://kowalchukmutes.com Canadians don't surf the net, we paddle it. -Original Message- From: horn-bounces+hornontario=yahoo...@music.memphis.edu [mailto:horn- bounces+hornontario=yahoo...@music.memphis.edu] On Behalf Of Jeremy Cucco Sent: Friday, May 22, 2009 11:18 PM To: h...@yahoogroups.com; 'The Horn List' Subject: [Hornlist] Head Count - IHS Symposium Hi Friends! I wanted to get a head count/roll call of those who will be attending the IHS Symposium in a couple weeks. I'll be coming out, but only for 2 days (Thursday and Friday). Will there be some gathering for us Internet nerds? Cheers- Jeremy ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hornontario%40yahoo.ca ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/sherpaleigh%40mac.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Funny sales history, confirmation please!
Similarly, a colleague of mine plays on an Alex 200 with an ascending 3rd valve. On May 21, 2009, at 6:10 PM, David A. Jewell paxm...@yahoo.com wrote: If you read Mr. Yanchich's book he explains about the HeldenHorn. I do no recall the exact details but Alexander made the Geyer wrap horns only for Mr. Yancich to distribute in the US. It didn't last long, no more than a few years. Alexander has made some interesting one-offs as well - a lady I know plays a Geyer wrap Alex that resembles the Model 200 but only the tubing that enters the 1st F valve is at an angle. [the 200 has both 1st valve and change valve tubing curved or bent rather than straight in and out.] Paxmaha From: John Baumgart john.baumg...@comcast.net To: The Horn List horn@music.memphis.edu Sent: Thursday, May 21, 2009 4:08:51 PM Subject: RE: [Hornlist] Funny sales history, confirmation please! t's just a matter of time before you'll be seeing modern Chinese counterfeits of vintage horns and other instruments. That's what the description first made me think of. You'll see them on eBay first, though, initially sold by Chinese sellers using their finest Engrish and questionable facts about a horn being used by Manchester Yankovich, Dennis and the Brain, et al, in their descriptions, and then later from their proxies in their target markets so that people aren't instantly turned off by the item location. Why sell a Parrot for $200 when with a little retooling and artifical wear and tear you could sell it for $1800 as a bargain. Elkhart 8D, anyone? John Baumgart -Original Message- From: horn-bounces+john.baumgart=comcast@music.memphis.edu [mailto:horn-bounces+john.baumgart=comcast@music.memphis.edu] On Behalf Of Richard V. West Sent: Thursday, May 21, 2009 1:32 PM To: The Horn List Subject: Re: [Hornlist] Funny sales history, confirmation please! The seller also has the putative date of manufacture wrong. The phrase Made in W. Germany was used in the tears immediately following World War 2 to differentiate the Western zones of Germany---occupied by the Americans, French, and British---from East Germany---the Russian dominated part of divided Germany, but was phased out of use in the 1960s. My guess is that the horn was probably made in the 1950s. Richard in Seattle Bill Tyler wrote: from: Klaus Smedegaard Bjerre yorkmaster...@yahoo.com http://www.hornplayer.net/forsale/f8873.html I wonder about the history behind this Alexander model. The player referred to cannot be verified on the web. from: Sandra Clark sclar...@bex.net I'm betting the seller is simply butchering Milan Yancich's name... ___ 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/paxmaha%40yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Horn Solo in Beatles For No One
You'd be surprised Carl. While I agree - not only do I believe it's fake, I have no doubt in my mind and can come up with a couple dozen items of proof as to why it's fake (such as the lack of mics on Paul's guitar - and no, they aren't using pickupsor the very expensive Coles mics hanging out in the back of the studio not being used - if a flea farts in their general direction, the ribbon would blow - no one in their right mind would leave a pair of them sitting out, not being used where they can easily be damaged), the list below isn't really all that egregious. Arriving late is a subjective thing. Studio musicians get paid a pretty decent amount of money and it's based upon how long they're in studio, not how much they play. Depending upon the musician and the contract that we had, our studio musicians would either get paid by the song (usually lower-end musicians) or by a set amount of time. Most by the hour, some in 15 minute blocks. Granted, that's *pretty late* and it would raise an eyebrow or two. In general, one should be as quiet as possible during a recording session like the one you see on the YouTube clip, but the mics being used in that session are pretty directional. There's not going to be a lot of bleed from room noises as long as the noises aren't too loud. The magazine is not a problem - as long as he's ready to play when he needs to and doesn't screw up, he can bring in whatever magazine he wants (of course, he does flop it down pretty loudly - that might be one of those noises that shows up). The bell-screwing - that's a different story. If one thread caught a rough spot and made the traditional squawk we're used to, the session would be started over from the top. That would definitely make it into the mics. In any case - yes, it's fake, but it's certainly amusing. It's one of those legendary stories that can be passed on - only this time, we have a video to accompany the story. Cheers- Jeremy Carl Ek wrote: Haha! what recording studio is going to allow anybody, let alone a Hornist to: a) arrive that late (in the presence of Sir Paul) b) start fussing with a case and a jacket while the other musicians start playing. c) bring a magazine for reading material and plop it down by his stand. d) screw on his bell during recording only 30 seconds before his obligato solo. This has got to be staged. Although YouTube has some synch-problems, it certainly doesn't even look like he is playing. Anyone who believes this is a real recorded take, I double dog dare you to try any of the above. You're likely not going to be called back. You'll be playing in Oxtongue Lake Studio 3 for Moose Chips. Regards, Carl Ek MooseLip, Canada Sarah Hogan pax25horn at aol.com Sorry if this has already been posted... For No One - in the studio, on youtube. http://www.youtube.com/watch?v=w5gwd3FvPYMfeature=related Sarah Hogan ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Recording information - Was: Horn Solo in Beatles For No One
Probably not - The Coles 4038 is a bidirectional microphone - it's side lobes are aiming into the room, meaning the points that it picks up the least are the room. A pair of Coles in the middle of the room in a Blumlein configuration would have been a fantastic way to pick up the entire group and likely the way (or similar at least) that they actually did it for the real recording session. After all, that many tracks of tape would have been a commodity at that time. There'd be no reason to eat it all up with a mic on each instrument and a pair of room mics. Sorry for the quick hijack... :-) David A. Jewell wrote: folks, let's not forget the fact that Give My Regards to Broad Street is not intended as a documentary - it is in fact a fictionalized story that was filmed as entertainment cinema. Any accuracy in regards to the actual recording sessions,[of the Beatles] and or typical studio behavior is probably coincidental. As an aside, Jeremy Cucco pointed out the Coles mics agains the back gobos - any possibility they were being used as room mics for the strings? Paxmaha ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mendelssohn Nocturne
Why are you doing it in anger? I'd think for that piece, you'd want to be at peace with yourself and in your happy place. That being said, I think 63 is a tad slow. For most orchestral settings, I hear and usually play this at a comfortable Andante. Of course, most conductors let you set the tempo and this is accomplished within 1 beat of the beginning thanks to the clear rhythm at the beginning. So be careful that you practice your tempos well in advance and make sure that what you give the maestro is what you really mean to give him/her. Best of luck. J. Martin Grainger wrote: Hi folks, Looks like I have to play this soon, and it'll be the first time I've done it in anger. What's a typical tempo - I have 63-66 bpm in an excerpt book, does that seem about right? I remember in a ballet audition a few years back I got a tonguelashing for playing it too fast (typically they do it slower on stage)! Secondly, is there anywhere where you can get away with a bumper taking the weight off for a bar or so - I'm thinking of the second section, could do with a couple of beats off before the high G#s... ;) Cheers all, Martin. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Receiver size on Selman double horn
You can have whatever length of taper you'd like. It's the rate of taper that's important. If the rate of taper of both the leadpipe and the mouthpice are identical (which is an agreed upon standard), then your mouthpiece could go in .1 or 2 and it won't make any difference. That is of course as long as the end of the mouthpiece and the venturi line up (which, if the rate of taper is the same, they should). On Apr 30, 2009, at 7:13 AM, Tina Barkan tina.bar...@gmail.com wrote: Paul - You say, The end of the mouthpiece should ideally come right to the beginning of the ventura. If these line up, they provide a taper that expands from the bore of the mouthpiece to the cylindrical tubing of the horn without gaps or obstructions. If the negative taper can vary from 1/2 to 1 long is there anyway to know for sure that the end of the mouthpiece actually comes right to the beginning of the ventura? If one buys a custom leadpipe does it come with it's own custom mouthpiece? I'm guessing but it seems to me that the length of the negative taper may be one of the specs that custom leadpipe manufacturers change in order to make their great leadpipes. All of the stock mouthpiece manufacturers must be making some assumption about the length of the negative taper and this length may not correspond to the length of the negative taper of a custom leadpipe. Thanks, Tina On Apr 29, 2009, at 11:09 PM, corno...@aol.com wrote: HI Steve, Here is a very basic answer to your question. A lead pipe has three primary physical components that are important to its acoustical design. They are: A. the negative taper. This is the 1st section (aprox. 1/2 to 1 long) that the mouthpiece fits into. It is called the negative taper because, to accept the taper of the mouthpiece shank, the taper measures from large to smaller. This is in opposition to the main mouthpipe taper, which tapers from smaller to larger. B. The Ventura. This is the smallest cross section measurement of the mouthpipe, where the negative taper and the main taper meet. C. The main taper of the mouthpipe. This is the portion of the mouthpipe taper that goes from the ventura to the beginning of the cylindrical tubing. The end of the mouthpiece should ideally come right to the beginning of the ventura. If these line up, they provide a taper that expands from the bore of the mouthpiece to the cylindrical tubing of the horn without gaps or obstructions. If the mouthpiece goes past the ventura, or not far enough into the mouthpipe to meet it, response and intonation will generally be degraded. Paul Navarro Custom Horn ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/tina.barkan%40gmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Beethoven 4, B-flat alto or basso?
I vehemently disagree. ;-) phir...@nypl.org wrote: Yes. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] New Horn
Joel - I've been raving on the list here quite a bit about my recent purchase. After trying virtually every major brand and type available in the US, I purchased a Dieter Otto 180K (Yellow Brass, Unlacquered). It's a wonderful horn - very free blowing with just the right resistance when you push it louder. (Some free blowing horns just won't get loud and as you start to get tired, they offer no real assistance in that matter). As I've mentioned a few times though, it does have a German taper mouthpipe stock from the factory. If you don't use a German shanked mouthpiece, you'll either need to get yours modified, get a new mouthpiece with the proper shank or get a new leadpipe. As absurd as that last option sounds, it's actually not a bad plan. Not that Otto's leadpipes aren't good - they're fine - great even. However, given the price of the horn (I got mine fully loaded with an extra hand-hammered bell and it set me back around $7600), adding a leadpipe that's designed to suit you isn't such a bad idea - especially if you have a hard time finding a mouthpiece with a german shank that works well for you. I got mine from Scott Bacon at Siegfried's Call in New York. I believe that's the only place you can get them in the states (I'm not sure where you live). He had several other great but less common horns there as well. The Cornford C28 and the Durk D3 stick out as being great instruments as well. For what it's worth, I blend just fine with 8Ds, Paxmans, Lewis's and many other types. The sound I get on this horn is exactly what I would have hoped for after years of searching. Full, deep and supported in all registers with a slight zing when I push it. Best wishes - Jeremy Joel Gilbert wrote: I currently play a Paxman 23L, but am looking for a new horn. I have found the resistance to be a bit much, especially in the high register. Does anyone have some suggestions for horns to look at that are more free blowing (between Engelbert Schmid and a medium resistance horn) and are kind of standard horns which are easy to blend with an orchestra? Thanks, Joel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Rare horn piece to be performed
Also, both the NSO and the Marine Band are doing it in May here in DC. Should be great on both accounts! William Gross wrote: Well not sure how you categorize rare. It was done, rather well IMHO, by the DSO last spring. On 4/17/09, Natasha Stehr natasha.st...@oae.co.uk wrote: Dear all, Just thought you might be interested to hear about this concert coming up in London, featuring Schumann's Konzertstück for four horns and orchestra: Romantic connections Wednesday 20 May 2009, 7:00pm Queen Elizabeth Hall Bennett The Naiades Overture, Op.15 Schumann Konzertstück for four horns and orchestra, Op.86 Mendelssohn Symphony No.3 in A minor, Scottish Robin Ticciati conductor Horn soloists of the OAE TICKETS 0871 663 2597 www.southbankcentre.co.uk/oae Natasha Stehr Marketing Officer Orchestra of the Age of Enlightenment Kings Place 90 York Way London N1 9AG 020 7239 9374 www.oae.co.uk ___ 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/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Rare horn piece to be performed
Maybe I'm obtuse...or worse, dumb. But wasn't it written for valved instruments?? Lawrence Yates wrote: I think it's rare because, if I remember correctly, the Orchestra of the Age of Enlightenment use period instruments. Cheers, Lawrence Lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Mpc description on ebay
Well - don't forget, it has 9 tuning loops for perfect tune and intonation too! And a detachable bell that can be left on for a fixed bell type horn! I'll take 2! -Original Message- From: David Goldberg [mailto:goldb...@wccnet.org] Sent: Wednesday, April 15, 2009 12:44 AM To: The Horn List Subject: Re: [Hornlist] Mpc description on ebay Equally fascinating are the Vournelli French Horns from the same seller. All new silver F/Bb double horns, all priced less than $400; new, wonderful, etc. Have we ever heard this name before? The blurbs say that the valves are cut to 'high tolerance', at .005 inches. .005 inches seems clunky - but isn't that what 'high tolerance' means? 'Low tolerance' is more precise than 'high tolerance', isn't it? David Goldberg Steve Freides wrote: You have to wonder - this ebay seller has excellent feedback scores, but this is their description of a French Horn mouthpiece for sale: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItemitem=200325251435 !! This is a silver plated French Horn mouthpiece. It is cut to within .0005 tolerance !! for a perfect fit. The French Horn mouthpiece is modeled after the Bach only the taper !! is different. It has thinner walls which gives more cooling and that increases endurance. Increased cooling - that's the ticket! -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/goldberg%40wccnet.org ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Hornplayer.net survey
I have a few thoughts on the subject. First of which, there are many hand-built European horns that are just not that prevalent. Whether it's a case of I've never heard of that brand so it can't be any good or People in my section will laugh at me or disrespect me because I'm not playing a Brand X horn or simply a lack of experience or exposure to those particular horns. The lack of exposure is another issue. I'm willing to bet if you surveyed 100 horn players (random sample) greater than 75 of them would say they've never heard of Durk, Finke, Otto, Kalison, Cornford. I'd venture that greater than 30% would say they've never heard of Schmid, Lewis, Lawson, etc. Again, this is just conjecture. The vast majority of the horn players out there are quite content playing what they have (Alex's, Conns, Holtons, Paxmans - would it be safe to assume that these 4 horns occupy the top 4 positions as far as most common?) and don't go looking into things that they're not familiar with. Not all horn players are into the horn lists, hornplayer.net or the adverts in the Horn Call. Another thought is the actual instrument itself. While I think the wrap of the Finke is rather cool, I've owned one before and my experiences weren't 100% positive. Johannes is a great guy and I think he's doing the best he can, but I think the devotion to the alternate materials for valves may scare off some people. I had some serious problems with my valves and while the horn, on the whole, played quite well, the valves turned me off of the brand. I think a lot of people don't understand and don't care about the alternative materials used for the valves. Similarly, the horn I just recently purchased - Otto 180K - I look in the Horn Call and see that they run ads frequently and the wrap of the horn that they choose to put into the Horn Call ads are, by American's definition, an odd wrap. It's not a distinctive Geyer or Kruspe wrap. I think that many people look at that horn (again, perhaps more localized in America) and think it's just not going to fly in my section or that looks odd, I don't really care to try it. The horn may be a great fit, but it's how it looks that scares people off. Add to that, the leadpipe that they ship with is a German taper - even on those horns destined for the States. My final assumption is that, since no famous horn player is playing Finkes or many of the other off-brands, they are less popular. A lot of folks really won't even try a horn if so and so of the what's it called symphony isn't playing on this gear. It's an absurd truth. I'm curious to hear other's takes on the idea. Cheers- Jeremy Carlberg Jones wrote: At 2:17 PM -0400 4/2/09, scott...@msn.com wrote: 4. Getting to the crux of my purpose, in the US more Orchestras have a player whose only horn is a descant then play Finkes in any setup. There are almost as many players in the US that play a pumpenhorn exclusively as play Finkes. Any ideas why? What are your thoughts on this matter? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Hornplayer.net survey
True - In fact, he lived about 45 minutes from me when he was here in Richmond. He's the one that I bought my Finke from. Good guy! You know who you are... Cheers- J scott...@msn.com wrote: I know of at least two more people on this list that have played them (one of you was a Finke distributor) as their major axe. My friend is really interested in a Brendan triple. Respectfully Submitted, Scott Young ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Hornplayer.net survey
That is indeed the case. I believe mine was from 1999. I'm not one to hold grudges and of course Johannes is a great guy, so I'm always amenable to trying out his new creations. Of course, I'm more than happy with my own horn for the time being. Cheers- Jeremy scott...@msn.com wrote: Jeremy, That's the guy (I hope you chime in!). Does that mean you had an older (1990's) Finke? Johannes told me that they discovered the hard way that his old composite would break down under certain conditions, so in the early 2000s, when he found a more stable material, he retrofited any horn that needed to change (many of them for free). Has anyone had a problem with the valves on a horn that is less than 10 years old? Respectfully Submitted, Scott Young Date: Thu, 2 Apr 2009 15:30:35 -0400 From: jer...@sublymerecords.com To: horn@music.memphis.edu Subject: Re: [Hornlist] Hornplayer.net survey True - In fact, he lived about 45 minutes from me when he was here in Richmond. He's the one that I bought my Finke from. Good guy! You know who you are... Cheers- J scott...@msn.com wrote: I know of at least two more people on this list that have played them (one of you was a Finke distributor) as their major axe. My friend is really interested in a Brendan triple. Respectfully Submitted, Scott Young ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/scott44y%40msn.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Barrington Horns
Has anyone heard of these and in particular has anyone played one? I see them on WWBW as well as Music123. A friend and colleague of mine asked me about them - presumably, one of his students asked him. I don't want to jump to conclusions and assumptions but for $899, well, it seems like a no brainer to me. I'm personally assuming rebadged, Chinese manufactured, impossible to tune without the aid of a blow torch and jewelers saw, etc. I'm most interested in first hand experience rather than conjecture. As you can see, I've already jumped to those conclusions. Cheers- Jeremy ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Yamaha Alexander 103
I can echo your accounts of the 567. However, I wouldn't hang Yamaha on the merits of their crappiest instrument to date. The 667 is a perfectly viable (even good) mass-produced Geyer and the 668 is a good medium Kruspe. The 8xx series is simply fantastic as is the V series. I've owned an 891 as well as played extensively on an 862. Both were without rival at any where near their price point and features. Cheers- J lewho...@yahoo.com wrote: As a 103 driver (who has two, a good one and a great one) I for one am glad Yahama hasn't attempted to produce one. A few years ago I had a student with a Bach silver plated stencil of a 567. It literally could not be tuned. I am not a fan of their horns, as you can tell. Ironically, he sold the Yahama and replaced with a 103. I bought it from him when he entered the Military. That 103 is the great one and is my daily driver. Walt Lewis --Original Message-- From: Jeremy Cucco Sender: horn-bounces+lewhorn9=yahoo@music.memphis.edu To: The Horn List ReplyTo: The Horn List Subject: Re: [Hornlist] Yamaha Alexander 103 Sent: Mar 10, 2009 1:26 PM Durk has created a 103 clone which, IMO, is a truly great instrument. Had I not had my own personal biases against a 103 type instrument, this would have been a strong contender when I was shopping last fall. As I understand it, Durk is an Alex alumni who decided to take matters into his own hands. I've had the pleasure of playing a couple dozen 103s. The good ones are something to behold. The bad ones are ones that I wish someone else would behold - far away from me. Reicher, Tom wrote: ... There have been copies of the 103 from time to time from other makers (Boosey Hawkes, Paxman, and some German makers). ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/lewhorn9%40yahoo.com Sent from my Verizon Wireless BlackBerry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Slide Grease and valve oil
It is true (or should be at least, given the quality of the horn). However, there are a few other factors. Foreign contaminants can get into the instrument (cheeseburger, sugar, dust, dirt, hair, and other debris) and adhere to the valve surface. This often accounts for the scratching sound one hears when they depress the valves. Also, grease from slides can and will get down into the valve casings as well. All of this junk that gets in there can impact the motion of the valves. Using a light lubricant flushes the valves as well as keeps them slick so things don't stick to them in the first place. However, the moisture in the horn is often enough to assist this and one shouldn't need to place mass quantities of oil into their horns on a regular basis. The *main* reason to oil inside the horn is that the raw brass (both the valve and the insides of the slides) are very susceptible to corrosion. Keeping a thin coating of oil on these surfaces assists in keeping this corrosion away. If your valves are nickel plated (some are, most aren't), then this is less of a problem. As a general rule, I place several drops of thin oil in my leadpipe on a weekly basis. I also use a needle oiler and a thicker oil on the rear spindle (where the corks and strings are) and a thinner oil in a needle oiler on the top bearing plates. I also use a thicker oil on all springs/rods and on spit valve assemblies. For slides, I like both Fast Cat (or is it Fat Cat?? I can't remember - it's purple and thick and works great) and Hetman. Only rarely do I find myself placing a little light rotor oil down into the valves themselves. I can honestly say, I've *never* had a problem with any of my valves with the exception of a polycarbonate valve that gummed up on me all the time with the introduction of any oil whatsoever. Nor have I ever had any problems with my slides. If I did ever have a slide that was too polished, it wasn't hard to put a light scratch finish on them to better hold the slide grease in place. Cheers- Jeremy whitacreh...@aol.com wrote: Is?it really true that the rotor surfaces do not touch the sides of the valve casing, so it in not necessary to oil inside the valve? message: 8 date: Tue, 3 Mar 2009 12:55:49 -0500 from: Luke Zyla lz...@suddenlink.net subject: Re: [Hornlist] Slide Grease and valve oil ? Check out the wikipedia entry on lanolin: http://en.wikipedia.org/wiki/Lanolin ? I find the lanolin combines with the condensation inside the horn and creates an emulsion that make the horn gurgle and is difficult to remove without cleaning the horn with a good solvent (soap) and brush. ? About oiling the valves. There are only two bearings on rotor valves.? The rotor surfaces do not touch the sides of the valve casing, so it in not necessary to oil inside the valve.? Adding oil inside the valve only creates a mess that must be cleaned out or diluted by adding more and more oil.? Start by removing the valves and clean them well.? Oil only the bearings upon reassembly.? Your valves will work quickly and need only very occasional oiling on the top and bottom bearings.? Heed Hans' advice and stop over oiling your valves. ? CORdially, Luke Zyla ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Cording
Just a short note from the iPhone... If an engineer places 15 - 20 mics for a traditional orchestra, he's a bona fide idiot. For something like Beethoven 7 or Brahms 1, 4-6 mics should be all that is required in a good hall. This is diiferent if it's an outdoor concert and they need amplification. However, minimal mic'ing is typically what the 'audiophiles' are after. Sadly, many people 'claim' to be recording engineers that really aren't. There's a LOT of science and art that go into recording and it's something that must be practiced and studied. Cheers- Jeremy On Mar 3, 2009, at 11:19 PM, kendallbe...@aol.com wrote: Jeremy wrote: In Kendall's example, he was doing it for a jingle. I suppose the recording engineer could be spared his life for the travesty of auto-tuning a horn player, but only this once. Actually, he auto-tuned everybody that day. Even the trombones were in tune! I still wonder if woodwinds had been around if that would have stopped him cold, though. Most of the commercial recording engineers, writers, producers, etc. I worked for over 40 years, have been spared their lives many times. In fact, they do very well, thank you very much, when it comes to making a living. Some of the classical ones, engineers and producers, alike, are the ones who should not be spared. Amazing how a great orchestra in a great hall playing the way it's supposed to play with tons of talent and years of experience can come out on disk sounding like a DCI group with 15 mics on the percussion, 12 on the trumpets and none on everyone else. I once confronted a grammy award winning genius why that was so, and he told me That's what audiophiles want. So much for what musicians want in their work. One producer even edited out a six bar bassoon solo. I don't know why but perhaps his score reading skills were sub-par. I know for a fact that the conductor never listened to the final edit as he was already fed up with that crew's inability to make the orchestra sound realistic in the hall. That recording was nominated and won a grammy that year for Best Engineering. The Prof's new gizmo works great. He's added the Auto- Transposition Foot Pedal and the Virtual Psycho-Acoustic Practice Simulator, which is designed to lessen guilt by non-association. He's now working on the Hand-Stopped-Stop-Mute-Fibre-Board-Carbon-Fibre-Stone-Lined-Wooden- Echo-Tone-Omni-Mute Differentiationator. I keep telling him that no one will know the difference, but he insists on being true to the score. It also will take the guesswork out of being confused. He's hoping to get it on the market before football season so that many serious horn students will stay home doing French Horn Hero instead of playing mellophone and ruing what little chops they have in the first place. He just got a heck of a marketing deal from Circuit City, to boot! KB **Need a job? Find employment help in your area. (http://yellowpages.aol.com/search?query=employment_agenciesncid=emlcntusyelp0005 ) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Recording debate
Hi William! I did enjoy the conversation that was tossed around, though I should say, I really intended to (and probably will) reply to Kendall a little more but have been on location recording gigs for about the past 2 weeks straight so haven't had the time (or at least not the patience to try and type a full-length reply on my iPhone.) I wouldn't really say it got into being a wrangle - just a healthy discussion. I think it's always interesting to hear a couple different sides of the recording story - from both sides of the microphone. Cheers- Jeremy PS - If anyone has a great deal more interest in recording, particularly that which pertains to location recording for symphonic works, choral, wind ensemble, etc I co-moderate a forum at www.recording.org known as the Acoustic Music Forum. This forum is truly focused on precisely this kind of recording. My co-moderators are orchestral recording engineers from L.A., Philly, and Sydney AU and we've got regular contributions from many of the big wigs including many Grammy winning engineers, etc. Most of the guys/gals that run around that forum are professional musicians as well and truly know their craft. It's a treasure trove of knowledge. -Original Message- From: William Botte [mailto:wab4...@hotmail.com] Sent: Sunday, March 01, 2009 6:02 PM To: horn-requests Subject: [Hornlist] Recording debate Good afternoon, Last weeks' recording discussion quickly turned into a wrangle and a primer on recording studio techniques. I think Kendall was decrying the none too subtle affect that the recording industry was/is having on individualism of tone production and musical interpretation by musicians and orchestras. Several years ago during a rehearsal with cast of a production the 'King and I', the conductor was informed that all tempi were to follow exactly the tempi on the VHS recording. The recorded template was the director and conductors' objective. The cast had to follow suit also. I don't know if this approach is prevalent in schools and horn studios, I hope not. But relying on digital recordings as objects of perfection will stifle intellectual and musical curiosity. On another note, I bought a used Pizka mouthpiece last week. My mistakes clams and bleeeahs are much better sounding now. Thanks Hans Carpe Kopprash _ Windows LiveT Contacts: Organize your contact list. http://windowslive.com/connect/post/marcusatmicrosoft.spaces.live.com-Blog-c ns!503D1D86EBB2B53C!2285.entry?ocid=TXT_TAGLM_WL_UGC_Contacts_032009 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Studio Recording magick
Hi Carl - I've had the opportunity to play around with the (yet to be released) version of Celemony that works on complex chords. It does a fantastic job on *some* material. Particularly, it works on a mix where there a few voices. When you get to even a chamber orchestra or small ensemble sized group, the complexity gets to be a little much for it. I have a few of these tools including Autotune (the original voice fixer) and a few others. The most advanced and most capable I've seen is the one that comes with Magix Sequoia (the Digital Audio Workstation I use.) Sadly, Sequoia alone is $3,000, but this auto-tuner works great in that you can literally draw the correct pitch in (I do this with a tablet and pen like many graphic artists use.) Many of the other programs either do it automatically or the resolution at which you draw isn't very hot. I can honestly say that I would NEVER (for emphasis...not anger) use an auto-tuner on an acoustic instrument. First, simply put, I can always hear when this has been done. Regardless of what the software does to the sound (which, btw, it accomplishes this by changing the digital sampling rate in opposition to its reference), most of the time, the slight pitch variance that is normal on a real instrument is just zapped out or poorly drawn back in. In Kendall's example, he was doing it for a jingle. I suppose the recording engineer could be spared his life for the travesty of auto-tuning a horn player, but only this once. One thing you'll find amongst any of the top symphonic audio engineers is that all of them (and I do mean *all*) HATE (again, emphasis, not anger) the phrase We'll fix it in the mix. What we do is as much an art, science and passion as playing the horn. It's extremely difficult but that's why we like to do it. Moving a pair of microphones 1 in a hall can make the difference between a fantastic sound going to tape or a crappy sound going to tape (and yes, I mean hard drive for those digital guys out there, but to tape is still the expression :-)) Fixing it in the mix is a horrible cop-out and the sign of a true amateur recording engineer. We strive to make the recording sound perfect in the same way that us as horn players strive to make the performance perfect. Of course, perfection, in the ears of the musician, is always subjective. Cheers! Jeremy -Original Message- From: Carl Ek [mailto:car...@hotmail.com] Sent: Wednesday, February 25, 2009 1:29 PM To: Hornlist memphis Subject: [Hornlist] Studio Recording magick Dear Hornlisters Regarding studio recordings and tweaking sounds, there are some amazing tools out there for manipulating tones and isolating individual notes from recorded multiphonics. Add to the mix some drag and drop plugins for your horns/strings/voice and you too can HACK together a movie score. http://www.celemony.com http://www.celemony.com/cms/index.php?id=demoaudiodemo soundbytes Regards, Carl Ek Oxtongue Lake, Canada ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Paxman 25A
Is this purchase sight-unseen or are you able to try it for a few weeks? I would personally never buy any horn without being able to compare it to a couple others at the same time. That being said, the Paxman 25s are generally good horns although I personally preset the 20M by a wide margin. Also, all horns are tuned higher than 440 by their nature. That way you can pull it out and get it in pitch and still have room to push in if you're flat. It's not uncommon to see horns (most of them for that matter) tuned to 444 or 445. Best of luck with your pending purchase. Jeremy Ps- If you get a chance, try an Otto. I just picked mine up recently and it's simply amazing. If more people in the States new of them, they'd sell like hot cakes. If you decide to try one, contact me - I'll gladly pass on info and experiences. Cheers- On Mar 1, 2009, at 3:13 PM, Roxanne Haskill maestra...@mac.com wrote: I am about to purchase a Paxman 25A from Alan Wiltshire at Horns-a- Plenty. Does anyone have any opinions regarding this type of horn? I am interested in the tuning difference; this model in tuned to/made to A442. Has anyone heard of intonation problems playing one of these in the US? I want to make sure that the tuning slide(s) can be comfortably adjusted to A440. Also, how is the grip on this horn; I have small hands and if the grip is large or wide I'd need to have an adjustable hook put on it. I tried and liked Paxmans many years ago and I liked them a lot, but it's been a while. Thank you! Roxanne Haskill ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Recording Techniques, Was: RE: Mason Jones Passes
- Jeremy Kendall Betts wrote: ~~ Recordings were a cut and paste affair in the days of analog tape. You'd play until a clam, stop, back up and continue. There might be a few patches after the piece or movement was finished. Rarely did you play straight through without a clam stop. Since the late 80's with the advent of digital recording you generally play through the piece several times. If the producer/conductor/engineer feel that they don't have everything they need at that point, a few patches might be done or another whole run through. They generally pick the best overall performance and edit it from the other takes. Once in a while, something goes great and needs no editing. This happened in MN when we recorded Don Juan with Eiji Oue. We ran it down, everyone was happy, and the release is truly live and unedited. The plus side now is cleaner technical product. The negative side is that in the old days, you needed a damn fine group of musicians to make decent recordings. Now, any bunch of hacks can get a great recording given enough time (and money). What this has done, along with other changes in the business (most notably the lack of full time music directors with any kind of vision beyond their own jet-set careers) is to destroy the individuality of orchestras, worldwide. Personally, I mourn the loss of regional and international sounds and lament the generic results attained in the recording industry today. It's all about product now, not music, IMHO. I definitely miss performers such as Lucien Thevet, Gottfried von Freiberg, Domenico Ceccarossi, Georges Barbeteau, Aubrey and Dennis Brain, Alan Civil, Vitaly Buyanovsky, and of course, Mason Jones! It is a continuing delight (and education) for me, though, to hear Hermann Baumann perform when he comes to KBHC! I encourage all serious horn players to get old recordings of both soloists and orchestras and study these styles and learn why they played the way they did. I feel that there is now a certain emotional element missing from most new recordings and you can't be sure of the performers' technical skills, either, sue to the editing capabilities in our digital age. It's not quite sampled midi yet but it seems to get closer to that all the time. When is the last time you heard live musicians on a jingle? I will say, though, that the Vienna Philharmonic has retained it's individuality better than any other, for some very obvious reasons such as the Vienna horns and oboes. The most obvious, though, is the dogged determination of its musicians to maintain their traditions of playing. What other orchestra places the snare drummer in the clarinet section and then the guy plays his part like he's in a chamber group in regard to balance? NO ONE! Ah, don't get me started! When I want to listen to symphonic music, I listen to re-issues of 78's and LP's of the likes of Stokowski, Bruno Walter, Bernstein, Toscanini, Klemperer, von Karajan, Cluytens, etc. When I want to listen to horn soloists from a student perspective these days, I dig out my recordings of Hermann, Dennis and Mason, first. I do like this idea now that the LSO and Berlin are doing in offering recordings of live performances both in the hall and on line. It is difficult to tell them apart on recordings, though, these days. I always liked, despite the obvious stress, that in MN we went out live on MPR every Friday night though I think there was some editing done for the national re-broadcasts on NPR by using tapes of the other performances of the week. I would hope that serious students who perhaps can't attend live orchestra concerts on a regular basis would avail themselves the opportunity to hear recorded live performances, though. There really is no substitute for hearing an orchestra live, though, especially in its home venue. But, then again, I may be just another Ol' Faht at this point and youngins know best. I report, you decide! KB In a message dated 2/20/2009 1:00:59 P.M. Eastern Standard Time, horn-requ...@music.memphis.edu writes: date: Thu, 19 Feb 2009 13:07:12 -0500 from: Joe Scarpelli joescarpe...@earthlink.net subject: RE: [Hornlist] Mason Jones Passes I would like to relay a story I heard from Fred Hinger who was a percussionist in Philly during Mr. Jones' tenure. I met Fred when he was at the Met circa 1968 while he was residing in an apartment building where I worked just after High School. Here it goes: When they were recording, if Mason heard something he didn't like in the Horn section, he would kick over his stand which would of course force them to start over. It wasn't clear if this was a onetime occurrence or multiple. Kendall perhaps you validate this story. I hope it is true. I loved it as it you can see it stayed with me for 40 years. Joe **Need a job? Find an employment
Re: [Hornlist] horn equipment question
I've had positive experiences with compensating horns as well. In fact, I was lured to a retailer in the midwest on the promise of a perfect Alex 103. After driving 17 hours one way and renting a hotel on a poor college-kid's budget, I found that the perfect 103 played like a dog and looked as though it had been rebuilt 20 times over. Rather than waste the trip, I found that they had several Paxmans in stock, several used horns and a few other used/new Alexes. The best horn I tried that day was an Alex compensating horn (don't recall the model #). It was affordable, in great condition, played well in tune, and had a beautiful sound. In my young naivety, I didn't purchase the horn (they asked $2100 at the time - in 1996). That experience has left me with an overall positive disposition towards compensating horns. Cheers- Jeremy daniel.canaru...@unifi.it wrote: I have a nice Hans Hoyer compensating double with five valves (bought for my daughter). It plays well, has a nice sound. The main drawback is that most valved positions in F are not well in-tune. It stands in Bb, it's thought to be played mostly in Bb. So it's not the right instrument for you if you play a lot on the F side. The fifth valve is for gestopf: the bell is easily closed even with a non-big hand, and you play with the regular Bb positions. In fact I plan to use it (rather than my Rauch) in an upcoming performance of Peer Gynt, where I have several stopped notes. Daniel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Doubling instruments
Did you take the time to explain to them that they do not need to worry about wearing the white gloves and that the tarnish induced is an layer of gases that actually protects the finish of the bell? Then, did you show them your gloriously unlacquered horn as proof? Carlisle Landel wrote: So there I was, subbing on 4th for the local community orchestra. (I got the plea for me to sub with two rehearsals to go, including dress.) One piece was a premiere of an orchestral arrangement of a piece that included handbells. It was dress rehearsal and it turned out that there weren't enough handbell players to cover the parts. The percussionists were otherwise occupied. The third and fourth horns were sitting out for this piece, so I volunteered to play the handbell in G. Yep. It's official. I am now a ringer! Carlisle ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Notations on sheet music
I don't recall the piece of music, but one summer, I was attending a music camp and a colleague of mine and I noticed that the publisher had placed the word Smile in the text below the notes. While we're certain that it meant Simile, we did indeed take it literally. During all rehearsals and the concert, we proceeded to take our horns away from our mouths long enough to give a enormous smile to the stick waver. At the end of the camp, he commented on our pleasant demeanor during all of the rehearsals. On another note, in the Concone book, there are several instances (at least 2 that I know of) where at the end of the piece, it's noted: D.C. al Segno (It uses the sign, but I don't have that on my keyboard). Sadly, the first measure of the piece contains only 1 note and the 2nd measure of the piece contains the segno. It's apparently a short repeat?? Cheers- Jeremy -Original Message- From: Bill Gross [mailto:william.s.gr...@gmail.com] Sent: Sunday, February 01, 2009 9:38 AM To: 'The Horn List' Subject: [Hornlist] Notations on sheet music The comments added by editors to sheet music are sometimes useful sometimes, amusing and sometimes you wonder why they wrote that. We just finished a program that included Ashokan Farewell (from the PBS Series on the War of Northern Aggression). At the end of a repeated 32 measure of rests there is a note, 2nd time to next strain above the repeat sign. The most unusual is from Delius' In A Summer Garden, poco rit, more respectfully muted then a little later, take of mutes. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Dent bags
Lawrence - Maybe I'm missing something, but I believe he's made his objection quite clear numerous times in every e-mail he's sent. Weight and form factor are the objections. Frankly, if I had a fixed bell horn, I would object to hard cases for the same reasons. However, I've used some gig bags in the past on my detachable bell horns and have almost always had bad luck regarding dents. The one notable exception is the Reunion Blues leather gig bag, which, in my opinion, offers better protection than many fixed bell cases. Cheers- Jeremy -Original Message- From: Lawrence Yates [mailto:yateslawre...@googlemail.com] Sent: Sunday, February 01, 2009 4:06 PM To: The Horn List Subject: Re: [Hornlist] Dent bags Yes, so what's your objection to it? (Sorry, reading through my posts to you they sound very confrontational - they're not meant to - I'm just curious) Cheers, Lawrence Lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Dent bags
Do you mean you've walked 5 to 6 miles with the fixed bell Bonna case? Or do you mean the cut bell case? I'll agree that my MB5 is a breeze to carry, but I've tried many fixed bell hard cases (including the Bonna) and found them to be uncomfortable. I would actually suggest that a gig bag has a greater potential to provide protection than a hard case (notice, I said potential, not that they do in practice). In a gig bag, if the horn is jarred significantly, it has the room to move and thus disperse the energy throughout the case itself. Whereas, in a hard case, if the horn is jarred, it has no room to move and thus the energy is dispersed through the metal causing all sorts of problems (dents occasionally being the least of the problems). The difficulty with gig bags is designing on that will provide enough rigidity as to not allow a quick, pointed attack to the case without causing that initial damage yet still the flexibility to allow the horn to work itself into the padding when hit. I will say, I've played some outdoor concerts in some areas of DC where I wished I had a Kevlar gig bag... :-O -Original Message- From: Lawrence Yates [mailto:yateslawre...@googlemail.com] Sent: Sunday, February 01, 2009 4:18 PM To: The Horn List Subject: Re: [Hornlist] Dent bags Hi, No, I thnk we're talking at cross purposes. When someone says gig bag I think of the soft fabric BAG. I think of the Marcus Bonna as a gig bag type CASE - it's hard, it protects the instrument, it's light and it's portable. The gig BAG is light and portable but it doesn't protect. If even the Marcus Bonna case is too heavy (I've regularly walked 5 or 6 miles with mine) then maybe a bag is the only answer. Cheers, Lawrence 2009/2/1 Jeremy Cucco jer...@sublymerecords.com Lawrence - Maybe I'm missing something, but I believe he's made his objection quite clear numerous times in every e-mail he's sent. Weight and form factor are the objections. Frankly, if I had a fixed bell horn, I would object to hard cases for the same reasons. However, I've used some gig bags in the past on my detachable bell horns and have almost always had bad luck regarding dents. The one notable exception is the Reunion Blues leather gig bag, which, in my opinion, offers better protection than many fixed bell cases. Cheers- Jeremy Lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Dent bags
Snuggly enough is the problem. Unless the horn is directly coupled at all points within the case than this information is sadly not true. The horn must be truly coupled - all points receiving equal contact and pressure. I'm sure you're familiar with the principle of physics which states that energy cannot be created nor destroyed. It is merely transferred or transformed. If the padding and the case are coupled (by means of glue/stitching/whatever), then the single point of failure is the horn. If the bell is held loosely but the body is firm, then there is a point of weakness. An impact will allow the bell to move and not the body possibly causing soldering joint breaks or other stresses. I've seen this to be true in fact. On a college road trip to a concert on the road, the truck carrying the instruments had to stop short for a dear in the road. Needless to say, many of the cases came sliding forward rather quickly. Of the instruments damaged were 2 saxes (both in hard cases) and handful of trumpets and 1 of the horns. All of these were in hard cases and all showed signs of impact with the case. All of the instruments that were in gig bags were fine with not even a scratch. Of course, the converse is true as well - in a gig bag, to be most effective, the padding must be quite thick and dense but pliable. Sadly, there is no perfect case, that is for sure. Kindly, Jeremy -Original Message- From: jerryol...@aol.com [mailto:jerryol...@aol.com] Sent: Sunday, February 01, 2009 5:55 PM To: horn@music.memphis.edu Subject: Re: [Hornlist] Dent bags In a message dated 2/1/2009 3:29:29 P.M. Central Standard Time, jer...@sublymerecords.com writes: The difficulty with gig bags is designing on that will provide enough rigidity as to not allow a quick, pointed attack to the case without causing that initial damage yet still the flexibility to allow the horn to work itself into the padding when hit. Hi Jeremy, This is contrary to information that has been posted in the past on this subject. If the horn and case are moving and the case stops, the horn will stop with the case if it is held snuggly in the case. Otherwise, the horn will keep going until it hits something with the weight of the horn pushing against whatever hits first bell rim, bell tail, leadpipe receiver, or ?? . been there, done that, paid the repair person and bought the T-shirt. IMHO, the most protection a horn can get is in a hard case that firmly holds the corpus of the horn by the valve cluster with plenty of clearance around the flare. If the valve cluster is clamped between firm foam pads it will be less likely to move and put pressure on the weaker bits and pieces as mentioned above. That being said . I have a good quality Reunion Blues dent bag that I use to haul around a Holton natural horn. The horn is light and shifts very little in the bag. I keep a close eye on it. Anyone agree/disagree?? Regards, Jerry in Kansas City **Know Your Numbers: Get tips and tools to help you improve your credit score. (http://www.walletpop.com/credit/credit-reports?ncid=emlcntuswall0002) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Regaining Accuracy (and the lower register)
A couple things - First, it's important to understand that no embouchure issues can be fixed over an email list. Finding a *good* teacher will me key for you. That being said, I've been undergoing a major chop change over the past year and a half and have found that far fewer people know what's going on in their mouth than let on. Also, you must understand that an embouchure change can not be taken on as anything but a full and complete change. If you think a couple incremental changes will make everything better, you're info a sad realization and years of frustration. Hard work and diligence are the only real solutions. Settle for nothing less than correct. (bear in mind not everyone's correct is not the same but at least similar). One interesting approach I've been subjected to while working with Marty Hackelman is the cause and effect concept. He's constantly reminding me that many of the things I'm trying to fix are in reality the effects of a proper embouchure and fixing the cause is more important than focusing on the effects. But again, a good teacher is the most important step you can take at this point. Cheers- Jeremy On Jan 28, 2009, at 2:14 PM, Donald Huang don@gmail.com wrote: Hello all, I've only posted here once or twice before on some embouchure problems, which still plague me. My old embouchure (which I used since I started playing around 7 years ago) involved not using any corner muscles and having the top lip overlap the bottom lip and the mouthpiece stuck in the middle of the top lip (inside the red). I could play nearly anything fast or slow, tongued or slurred. My main (technical) problems were playing securely below A below the staff, lip trills (of course), and playing things where I had to play a phrase ranging over an octave without taking changing my mouthpiece setting a little (I only noticed this when I was assigned Kopprasch No. 42). I was advised to try to move my mouthpiece above the red of the lip, but even with a Laskey 85G (18.5mm), I couldn't really move it up that far. Overall, I was pretty happy with my playing, considering I could usually play up to and above high C. Around November 2007, I started to try to get serious about horn playing and try to practice around an hour every day, but I eventually found that on the tougher studies, I could only play the high stuff a few times. Then, when I had to play first for my school's Beauty and the Beast, I found that I just couldn't play above top space E for that long. After forcing my mouthpiece above the red of my upper lip and finding that this didn't help anything at all, I decided that I should try an embouchure change and eliminate the overlap. I've gotten that to work to a certain degree now, though I can't control part of my bottom lip that I put in the mouthpiece at all, so it just pops out when I play (there's a pic showing my mouth setting before putting on the mouthpiece at: http://don.hcd.googlepages.com/DSC00032.JPG ). Now, I can play any notes between a 2nd line G and D above high C pretty easily, but I can't easily go below 2nd line G or tongue notes quickly and accurately; when I repeatedly tongue a 4th line D, for example, I usually end up playing a tongued trill of sorts. Does anyone have any suggestions on fixing these two problems? Thanks a lot! Donald Huang ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] mouthpiece
Just to reiterate Milton's point and give it a +1... I recently bought a new horn (Dieter Otto 180K - I love it by the way!!! If you're in the market for a custom German horn but don't want to blow all of your money - try the Otto. IMHO, it blows the doors off of other German custom horns costing many thousands more... It's a lot like the Kuhn only a tad lighter and more smooth than notchy). When I was in Scott Bacon's shop, I noticed a couple peculiar notes on the horn. Particularly, middle C felt *different* (not bad, not good, just wildly different) than on any horn I'd ever played. Also, high G (at the top of the staff) slotted completely differently than any horn I'd ever tried. I considered this to be a slight negative as it slotted amazingly high. I assumed I'd have to get used to that. Sure enough, the mouthpieces that I had were all American taper and the mouthpipe on the Otto was a German taper (sorry, I don't know the correct terms for the various tapers). When I tried the horn with a few various German taper mouthpieces, those problems simply went away. The rest of the horn played as fine as it did when I made the decision to purchase it, but those two notes were back to normal. I've since done a LOT of experimenting with different mouthpieces and leadpipes on that horn and ultimately decided to replace the pipe with a Kuhn pipe with an American taper. Since the pipe only cost me a few hundred dollars, versus the time, excess of money and effort it would have taken to convert all of my existing mouthpieces over to the other taper (and being stuck with them in that taper...), I decided the pipe was the way to go. I guess I should explain the all of my mouthpieces bit - I only have 4 mouthpieces - all are identical or darn near it. The rim on all of them is the same - the cup on one as well as its backbore are a tiny bit smaller to work better on my single Bb and the others are in various stages of plating (or decay of plating). I've found one mouthpiece I'm happy with and have stuck with it for a LONG time. The spares are for when one needs to go into the shop for replating. I don't make changes in my mouthpiece lightly - I've used the same rim since 1993 and the same cup almost as long. It wasn't until about 2 years ago, I got a cup from Tom at Moosewood that I've made my primary cup (although it's amazingly similar to my other cups, just a tiny bit larger cup with a slightly smaller bore). When I was in high school though, I owned or planned to own almost every mouthpiece under the sun. I would swap them in concerts for things like this mouthpiece works on higher stuff - I'll use it on this piece... etc. I can't tell you how much time was spent/wasted for my lips to adjust from one mouthpiece to the next. Just some thoughts - Happy new year! Jeremy -Original Message- From: Milton Kicklighter [mailto:kicklighg...@yahoo.com] Sent: Thursday, January 01, 2009 7:54 PM To: horn@music.memphis.edu Subject: [Hornlist] mouthpiece Joe, Just a quick one from me. I have been away from my computer for some time and didn't have time to read all the mouthpiece replies to you. BUT: How the shaft of the mouthpiece fits into the lead-pipe is critical I have two Alexanders, and I use the exact same mouthpiece for both horns: rim. bore etc. However the two lead pipes are totally different diam and even though both mouthpiece's will fit both horns, the sound, response, register, etc. is awful if I don't use the correct mouthpiece shaft with its horn. Meaning: if the shaft doesn't fit, then the mouthpiece won't work as it should. If someone else already said this forgive. As I said I didn't have time to read all of the other responses. Happy New Year All Milton Milton Kicklighter 4th horn Buffalo Phil ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mouthpiece problem - the Day after
That's one vice I'm giving up for new years! Not the drugs or thieving but the J. Strauss!!! On Jan 1, 2009, at 11:03 AM, yateslawre...@aol.com wrote: It's probably thieving or taking drugs or playing Johann Strauss. lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Mouthpiece problem - the Day after
I've found that if I place my lips against a full but opened bottle of wine about 10 minutes before playing and really stay self-disciplined about removing it's contents, I'm a much better player in the ensuing session. Or at least **I** tend to think so. I do so enjoy the sessions more - that's for sure! Who worries about a**hole conductors when everything they say makes me giggle til I pee? On Jan 1, 2009, at 4:08 PM, Luke Zyla lz...@suddenlink.net wrote: Maybe you need a new mouthpiece! Anyone have any recommendations for Lawrence? Luke - Original Message - From: yateslawre...@aol.com To: horn@music.memphis.edu Sent: Thursday, January 01, 2009 2:03 PM Subject: Re: [Hornlist] Mouthpiece problem - the Day after I've used the same mouthpiece for over thirty years now - still can't play the bl**dy instrument! Cheers, Lawrence lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/lzyla%40suddenlink.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Ensemble call time practices
I don't know... I've never been paid by the hour but by the service. If I'm not in the seat by the time requested, the union rep WILL hear about it. On Dec 22, 2008, at 6:23 PM, Larry Jellison lajelli...@yahoo.com wrote: [Debbie Schmidt wrote:] The call time is when the service starts and you start getting paid. Debbie, then call time could be seen as a plus for a professional because it adds to your pay. For an amateur, it is a burden that makes for a longer day; a church service or a concert becomes a bigger demand on one's time. The term call time is used by amateur groups to mean the time to show up. Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE: embouchure
Hans - I either find your post to be either extremely arrogant and misinformed or simply ignorant. The reality is, many foods and other edible chemicals elicit a specific response from the body. Some cause wide-spread problems (common amongst many to most people - such as caffeine causing jitters and alcohol causing dehydration). Others cause medical conditions or specific responses in a small collection of people. One such example is Phenylalanine - the common ingredient in many to most artificial sweeteners. This chemical (though common) causes some reactions in some nerves and alters the level of dopamine regulation and inhibit serotonin production in the brain. And the fact that you assume that individuals' experiences aren't or can't be used by others on the list suggests that everyone on the list thinks only the way you do. Discipline has nothing to do with overcoming medical issues. Though some medical issues can be overcome or affected positively by discipline and all sorts of physical exercises (including playing the horn), some medical issues directly impact the face and chemical reactions to food and beverage are indeed medical issues. For you to imply that they are psychosomatic (as is indicated by the constant use of the word hypochondriac) is simply insulting. Either you don't know the meaning of that word or you are being quite flagrant in your disregard for others' problems. I had a legitimate question for the entire list - does anyone have any issues with certain foods/beverages and know the cause(s)? Your insulting answer is the kind of response that keeps participation on the list minimal as people are afraid to ask or answer questions for fear that they'll be insulted. Sorry for the rant (directed to the members of the list), but if you really have nothing to contribute but insults and judgment, please consider not hitting send. Thank you- Jeremy -Original Message- From: hans.pi...@t-online.de [mailto:hans.pi...@t-online.de] Sent: Sunday, December 21, 2008 5:22 PM To: The Horn List Subject: Re: [Hornlist] RE: embouchure Sorry, sorry, Valerie, but my ranting was not directed to you, but to the community. And, isn´t it much better, not to speak about ones own very very particular problem, which cannot be places upon the entire community ? We can learn nothing from it. It is more important, than outing oneself, to report on problems which influence a greater number of people ??? players ??? And there we find a lot of hypochondriac people. As you mastered your very particular more the inherited problem with great discipline, you could be an example how discipline can help mastering such problems. But as I said, you mastered it well, but how about many others ... And believe me, I have witnessed a lot of the problems described in this thread. I have encountered a lot of hypochondriac colleagues of all ranks. As a pro you have to keep extreme discipline. Why should it be difficult for semi-pros lay musicians. Merry Christmas a Happy New Year. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Embouchure
I beg to differ Hans. The first time I experienced this issue was about 20 years ago - I was doing some afternoon playing at a convention and walked around the convention floor with a cup of MFG coffee (the brand). Later, when I went to play I literally could not get out any notes above forth line D. I've had this problem with this brand of coffee since then - it was served to me without knowing what kind it was and then I'd go to play layer in the day and I had the same problem only to find out it was the same coffee. I know it's hard to believe but every other horn player in the world isn't just trying to make excuses for why they can't play when they identify a bonafide problem. Jeremy. On Dec 20, 2008, at 7:36 AM, hans.pi...@t-online.de hans.pi...@t-online.de wrote: Well, all these theories about the influence of food or medication on the embouchure SERVE WELL as a most welcome EXCUSE. The only thing to be avoided would be strong coffee, as it might result in shaking (nerves) but not on the embouchure. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Embouchure
I'm actually curious to know kind if the opposite - are there things folks are aware of that adversely affect the embouchure? For example, certain coffee ruins my chops for days - it makes them sluggish and non-responsive. Also, artificial sweeteners have a similar effect. Does anyone find similarly or have some reasoning as to why? Thanks- Jeremy. On Dec 16, 2008, at 9:38 PM, marksue...@aol.com wrote: This is going to sound strange. But does anyone know if there are any dietetic things that promote a healthier embouchure - more strength, less fatigue, that kind of thing. Ron **Make your life easier with all your friends, email, and favorite sites in one place. Try it now. (http://www.aol.com/?optin=new-dpicid=aolcom40vanityncid=emlcntaolcom0010 ) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Holiday duets
Greetings all: Does any one have any recommendations for fun (not necessarily easy) holiday duets? I'd like a colleague of mine and myself to play at a few of the local child care facilities (early recruiting?) and want something that really showcases some of the uniqueness of the horn. Thanks! Jeremy ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] two horns and strings?
Beethoven Sextet. Nuff said. :) On Oct 23, 2008, at 4:30 PM, [EMAIL PROTECTED] wrote: I've been asked by a conductor to find?a piece for 2 horns and strings (no woodwinds, no other brass, no chorus) to open up a holiday choral concert in December.? Percussion and keyboard?are available if needed.? Preferably 10 minutes or under and maybe somewhat overture-ish/festive in character.? Anyone have any suggestions?? Thanks in advance. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Haydn 31 multiple choice
I would guess option C. Although, I would not choose to do of that way personally. In fact, the few times I've played 31 the conductors have asked for more attack. It is, afterall, a horn call, not a sweeping melody. One other hint... On the C#s later on, try trigger 12 versus T23. The pitch is generally better and the note pops out much easier. Cheers- Jeremy On Oct 13, 2008, at 7:45 AM, Todd Sheldrick [EMAIL PROTECTED] wrote: Greetings! In the octave leaps in the first movement of Haydn Symphony 31, there is no slur marked in my part however on the recording that I have the horn players slur the octave every time. Is this: A. a misprint in my part B. a tradition I know nothing aboutC. the conductor/horn player's choice on the recording orD. none of the above. Thank you in advance for the input Todd ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Horns
I would strongly urge you to consider Dieter Otto horns. I just recently purchased their 180k in yellow brass (traditional Knopf-Geyer wrap) and love it. It is quite similar in sound and build quality to the Kuhns and actually a little less expensive - still a hand made horn though. My experiences so far have been beyond excellent. The horn is capable of a very broad range of colors, the weight is perfect and it blends well with everything (oh yeah, it buries 8Ds with ease.). I tried no less than 20 new custom horns in one month (none at workshops - all in private settings at various shops) and found both the yellow and gold brass varieties of the Otto 180k to be superior or at least equal to everything else I tried. Make sure you have a mouthpiece with a German shank though as the standard morse taper mouthpiece doesn't quite fit right and can make a few notes funky. Modifying your existing mouthpiece should be easy and cheap if it's not setup that way currently. Cheers, Jeremy On Oct 11, 2008, at 2:50 PM, Mathew James [EMAIL PROTECTED] wrote: Hey list, I'm currently in the market for a new horn. Here is what I am considering so far. Schmidt Ricco Kuhn Any advice between these horns? -- Mathew James ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Judge Judy
I was wondering if there were any private teachers out there that had to drop a student due to non-payment and have had to take the matter to small claims court. What was your experience with that? What are the pros and cons of taking that sort of action? Thanks. Jeremy R. _ See how Windows connects the people, information, and fun that are part of your life. http://clk.atdmt.com/MRT/go/msnnkwxp1020093175mrt/direct/01/___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Green goo stain removal
I've had VERY good luck with the stain remover included with Dryel (the do-it-yourself dry-cleaning package). The stuff is fantastic. I've gotten stuff out that came back from the cleaners stuck in. It always takes out grease stains. Cheers- Jeremy -Original Message- From: CI [mailto:[EMAIL PROTECTED] Sent: Sunday, September 28, 2008 10:19 PM To: 'The Horn List' Subject: RE: [Hornlist] Green goo stain removal I'd like to know also. The only solution I've found is to get a new shirt and relegate the old shirt for painting chores. Loren [EMAIL PROTECTED] 001 (520) 289-0700 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Carlisle Landel Sent: Sunday, September 28, 2008 2:29 PM To: The Horn List Subject: [Hornlist] Green goo stain removal Hornfolk, I played a couple of concerts a while ago where the concert attire was the usual white shirt and black pants. I hadn't cleaned my horn for a while, so the slides were a bit, well, messy. You know, that little bit of black gunk on the slides, the combination of slide grease and a little bit of metal oxide. I managed to get that on onto shirts I was wearing. The question is: How do you get rid of the stain that stuff leaves? Thanks, Carlisle -whose horn is now clean ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/loren%40mayhews.us ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] K407 - some advice
I don't think Hans' statement implies any of what you stated, only that this is the way that the Viennese do it. It certainly can be their method and/or tradition without being exclusive to only them. On Sep 1, 2008, at 8:43 PM, Steve Haflich [EMAIL PROTECTED] wrote: From: hans [EMAIL PROTECTED] K407 advice: why dont you use the Viennese trick (tradition) to slur thefirst two sixteenth tongue a bit the othzer two ? Hans: Why do you call this articulation specifically a Viennese tradition? Do you have specific evidence that it arose or was popularized in Vienna? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Delightfully BRASSY!
I actually just recorded a brass quintet doing this recently and their album is coming out in the very near future. The album is called: Quintessential Brass Repertoire and it includes this fanfare (with timpani) as well as an arrangement of Brandenburg 2, the posthorn solo from Mahler 3 and several other classics arranged for brass quintet (some with timpani, most without). We haven't worked out the distribution channels yet, but the CD will be available from either the arranger's website (www.trumpettunes.com) or mine as well. The purpose of this disc is more to showcase the arrangements than the performance. For what it's worth, the album was recorded in high-resolution DSD and only bounced down to PCM at the final premastering phase. (Of course, if anyone wants to geek-out about the gear used, etc., you may feel free to contact me off-list as well.) Sorry if it sounds like blatant advertisingthey are good brass quintet arrangements though and the arranger (with whom I have no financial ties) sells his arrangements at a very affordable rate. I don't make any money if he sells the arrangements...I swear! Cheers- Jeremy [EMAIL PROTECTED] wrote: Has anyone ever noticed how the beginning of the Rocky fanfare is the same as the anonymous fanfare on that old Nonesuch LP The Art of the Baroque Trumpet? http://www.youtube.com/watch?v=gNsGOu_W-KE Only about 2 1/2 minutes. Listen to those horns at the end. Holy cow! Valerie___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/pmjilka%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Delightfully BRASSY!
I don't know if I'd go that far. Many of the synths available today (higher end ones) are sampled directly from actual instruments offering many different articulation types, different amplitudes, etc. In fact, many of the movie soundtracks that so many people enjoy use a combination of real brass and synth brass and most people aren't the wiser. Personally, I think it's a shame and anyone who plays for the benefit of being sampled should have their IHS membership revoked... ;-) However, high-quality synthesizers are in fact a very useful tool for composers and arrangers. Just a thought. Jeremy [EMAIL PROTECTED] wrote: Must be your speakers. Rocky was first shown in 1976.? I don't think there was a synth back then that could even come close to imitating brass.? They still don't these days either. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Samplers and Synthesizers (was Delightfully Brassy)
As a proud owner of Garritan and a few other sample libraries, I can tell you that it is in fact a very powerful tool when used correctly. When used incorrectly, it's a monumental waste of time and only a moderate waste of money. The package is designed specifically with the capability of building an entire ensemble, not just sampling a single instrument. It works very well with Sibelius and Finale and can be very useful in other similar notation or sequencing applications. I've heard people try to use it as a software instrument (say for example you're playing a piece requiring piano but you only have a keyboard). The problem is, the individual instruments by themselves don't sound that great without a decent amount of processor power being used for things like short reverb tails or use of multiple patches to create a stereo instrument. All of this adds up to latency so when your pianist pushes a key, the instrument responds 50 ms later. While the audience usually can't tell, your pianist will freak out and probably make a lot of mistakes because of it. Another misuse I've heard from these was where a fellow orchestral recording engineer used Garritan to sample-replace some missed pitches from a live performance. No matter how much you try to masquerade this as a real instrument, you will not be successful. I can hear when someone has added EQ to a track much less reverb or artificial instruments. If I can and my hearing isn't even as good as a few other peoples' in the business, that's saying something. Moral of the story - For real music, synths just don't cut it (and hopefully never will). For basic composition tools they're great. As Dan puts it though (only a little differently), nothing beats good ol' instrumentation education. Tom Spillman wrote: I know little about the current capabilities of synthesizers, but I would not be at all surprised if software can help. I am familiar with one system that I've been tempted to buy which is certainly used by a number of composers for movies scores, among others, who use it for initial run through's for the director. Here is one such package I've been tempted to buy but haven't for a number of reasons: http://www.garritan.com/ There are some amazing (to me!) sample performances on this site. Who knows? I may breakdown and buy a copy. It is compatible with the notation program I use to facilitate my horn practice. Regards... Tom ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Pitch Perfect
This was somewhat discussed recently on one of the lists and I figure I'll add my 2 cents here. While I don't have perfect pitch, I can recognize most if not all pitches whether it be something I played or something I heard live or on a recording. Sadly, I can't do it all the time and more often than not, it's based on the instrument or voice playing/singing rather than the pitch or the range. For example, I can plainly hear piano, clarinet, flute, trumpet and many string pitches. However, I cannot easily discern percussion pitches (xylophone, vibraphone, timpani, etc.) nor can I identify many sung pitches. That being said, I can think a horn pitch and then whistle it. However, I cannot easily sing the pitch every time. Sometimes, I say to my students Play this... and then sing a line cold (not hearing the pitch prior to singing) and I'm dead on. Often, I'm exactly a perfect 5th off. All of this being said, I think it is related to the development of your vocal instrument. Since I've done very little singing and even less to cultivate the capabilities of my voice (sight-singing and Sinfonia were the extent of my singing experiences in college), I cannot control it to any confident degree. Furthermore, I think we as horn players may be thinking rather naively if we believe that we should be able to sing everything. After all, I know several professional singers who would contend that they've spent their entire lives learning to sing properly. For us to naturally assume that we should be able to sing a line if we can play it sort of negates their hard work and efforts. (I know that much of what they practice is inflection, diction, and numerous other facets, but they also practice pitch accuracy as well.) To your final question, I'm certain that there are such studies, but I couldn't put my hands on them even if forced to. I will say that my pitch accuracy (hearing and repeating) has increased in accuracy with age. My son, on the other hand, at age 3 has great pitch. He has a great basic embouchure too. Color me jealous. Cheers- Jeremy -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Monday, August 18, 2008 1:44 PM To: horn@music.memphis.edu Subject: [Hornlist] Pitch Perfect I would warrant to say. If such a study has not yet ben done for a thesis etc. That accuracy while can be learned through programming, pattern recognition and etudes, is still greatly influences by our inner ear. Horn players with perfect pitch or very well set relative pitch will have obvious advantages in the accuracy department over our technically proficient counter parts with a less developed ear. I have always been a firm believer that a horn player should be able to vocalize any horn part. If you can not sing the notes you can not play the notes. I have always felt that any advantage I had in my youth came from the over development of my ear, but then I was that child wandering off in la la land (not the Solfège la) mimicking bird calls in my youth. =) If it had perceivable sound, I would try to recreate said sound. so inquiring mind want to know if any such studies do exist? **Looking for a car that's sporty, fun and fits in your budget? Read reviews on AOL Autos. (http://autos.aol.com/cars-Volkswagen-Jetta-2009/expert-review?ncid=aolaut00 0307 ) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Recording orchestras in multiple takes
Much of what's been said so far is pretty accurate. It's very common for me to splice in sections from dress rehearsals and multiple night's performances. However, I'll also add that sometimes this can be incredibly difficult. Having 800 warm bodies in a concert hall sounds a lot different than having an empty hall. Also, changes in temperature and humidity can have a dramatic effect on the sound as well. Add to that the complexity if someone bumps or moves a mic stand even a much as a few inches. I've spent 4 hours before repairing the horn solo in Beethoven 6 before. It's a challenge but always a fun one. J On Aug 16, 2008, at 8:14 PM, [EMAIL PROTECTED] wrote: Quoting Ed Glick: I agree with what you say here, but I want to make a comment about one poin= t you make, regarding recordings of live performances. It's my understandin= g that in many live concert recordings, sections from recordings from dif= ferent nights (when an orchestra does perform the same program over several= nights) are spliced in where necessary. This is practically universal. There can also be splicing in of material from rehearsals (as happened on a recent recording I made because a violist--it's always a violist, isn't it? g--took out the power in the control room right before the concert started). Also, sometimes this happens not because of mistakes in the performance, but owing to equipment (or engineer!) failure, again as during a certain recording of the Nelson Mass. (I put the word splice in quot= es, because tape - if tape is even used - is no longer spliced physically n= ow, but by a computer.) I'm told that sometimes the orchestra is even calle= d back to record sections specifically for the recording. I'm sure this is true on higher budget recordings than what I do. g I'd also like to add, for all those professionals or non- professionals making audition recordings, that I've never had anyone nail a single piece or excerpt in one take. Some *have* played note- perfect first takes, but even then the performers have been dissatisfied with them in some other way. I've been doing this since 1968 (started *real* young g). So, even if you're a major figure, don't be dismayed if it takes several takes to get the piece to your satisfaction. Also, like Jeremy, I've heard some real indiscreet stuff come over the phones, particularly at rehearsals! Howard Sanner [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] ?Practice mutes...
From a recording engineer's perspective, I would advise *NOT* to do this. I promise you, my mics will pick up even a tiny, barely audible note through a practice mute. I can't tell you how many expletives I've heard during recordings that were muttered under breaths, or little airy burps revealing the trombone player's affinity for Taco Bell prior to the concert, or slides being pulled and lightly clanking against the instrument, or spit being violently emptied through a spit valve, etc... Sure, the audience won't hear it, but if it's being recorded for posterity or for commercial sale, every person listening carefully in their living room will. Cheers- Jeremy -Original Message- From: Ben Reidhead [mailto:[EMAIL PROTECTED] Sent: Thursday, August 14, 2008 10:53 AM To: The Horn List Subject: RE: [Hornlist] ?Practice mutes... I haven't tried that (I'm not that brave and I've not come up across any situations where that might be needed) but I could see the potential for doing so. I guess that if I were to find that necessary, I would only do so during loud orchestral tuttis, or only warmup in the lower register. Ben --- On Thu, 8/14/08, Steve Freides [EMAIL PROTECTED] wrote: From: Steve Freides [EMAIL PROTECTED] Subject: RE: [Hornlist] ?Practice mutes... To: 'The Horn List' horn@music.memphis.edu Date: Thursday, August 14, 2008, 8:22 AM -Original Message- From: Ben Reidhead [mailto:[EMAIL PROTECTED] Sent: Thursday, August 14, 2008 12:50 AM To: The Horn List Subject: Re: [Hornlist] ?Practice mutes... I would add the Ion Balu practice mute to your list. Its available at http://www.ionbalu.com/more_products.html. I've been playing with one quite a bit recently due to some extended time in a hotel room, and not noticed many ill effects from it. I'm quite happy. I took a look at this web site - they mention using this practice mute _during_ a performance to warmup for what might otherwise be a cold entrance. Is it really _that_ quiet? -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/corno42%40yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] NY Times horn feature
Well, if I had known it was that easy ;-) That actually kind of reminds me - I had been involved until very recently with a mediocre community chamber ensemble (didn't start out that way but drifted that way quickly - hence why I *had been* involved, not *am* involved). The president of the board of directors also happened to be the concert mistress (one, that I might add, couldn't play very well and positioned herself by saying - if I leave the concert master position, than you lose me from the board as well). Anyway, she would make a pitch prior to concerts with paid admission that it was the orchestra members' responsibility to fill the seats. I told her straight out that many of the wind players were in fact pro musicians and didn't feel it was our job to play the concerts AND pack the seats (that's what a board is for afterall). She advised me that any musician that wasn't willing to help put butts in seats should simply go and join a professional orchestra. I looked all over for the signup sheet to get into the horn section of the National Symphony, but low and behold, no luck... ;-) -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Wednesday, August 13, 2008 2:41 PM To: horn@music.memphis.edu Subject: Re: [Hornlist] NY Times horn feature I'm going to open myself to a ton of criticism but I can think of one solution for horn players everywhere and it can be summed up into two words: Don't miss. -William In a message dated 8/13/2008 5:40:54 A.M. Eastern Daylight Time, [EMAIL PROTECTED] writes: There should be some sort of prize for the first person who gets their response in to the paper's letters page. **Looking for a car that's sporty, fun and fits in your budget? Read reviews on AOL Autos. (http://autos.aol.com/cars-BMW-128-2008/expert-review?ncid=aolaut0005000 017 ) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Horn Shops in Berlin
That makes me curious - How then can those same makers keep horns in stock in stores here in the US? Just a quick survey of popular US websites and known vendors puts the number of Hoyers in the hundreds, Alexanders in the 10-20 range, Otto and Durk have a handful of horns in various shops around (or maybe just Scott's...) There is a shop here in Washington DC which stocks no less than 30 horns at a time ranging from Hoyer, Conn, Yamaha, Holton, Alexander (not sure if they're a dealer or if they just have a couple used ones...) and they'll provide you quiet places to sit and try the horns if you'd like. This is actually a common practice here in the states. (The store I'm referring to is Chuck Levin's Washington Music. Though I recall Bean Music in Little Rock, Arkansas had a similar situation as does Wichita Band Instrument, Osmun, and many others.) In fact, I'd hate to purchase a horn from a place where I didn't have the luxury and ability to play a few side-by-side for direct comparison. Just some thoughts- Jeremy -Original Message- From: hans [mailto:[EMAIL PROTECTED] Sent: Wednesday, August 06, 2008 10:00 AM To: 'The Horn List' Subject: [Hornlist] Horn Shops in Berlin I doubt, if you will find shops carrying horns of different brands in Berlin. Most players here order from the makers Alexander, Otto, Mönnig, Hoyer, Dürk others directly. As the market is that volatile, no shop can afford to keep different brans of horns with all possible different models in stock. Horn would cost 40-50% more, if being kept in stock. Manufacturer would not leave their horns in the shops on commission. They would starve. The craftsmen have to be paid every month. These times are over forever. They are just an illusion. And studios to play around on the horns ? Who would pay the rent ? It would be a dream-situation, but is impossible. Well, you might find Yamahas Chinese horns or horns from Bazil or Pakistan or Indonesia, which are made as a side business of big business conglomerates as some kind of a hobby of the CEO. But do not give up hope ! Never ! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Horns at IHS Denver - What did you like, what didn't you like?
Double post (Memphis and Yahoo.) So, now that IHS is over and you've all had a chance to rest a little, please share with the group what horns, accessories and gadgets that you tried. Tell us what you liked or disliked about them. This is for morbid curiosity more than anything else since it will likely result in me spending more money. Cheers- Jeremy ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Dangers of Playing Loud (Hans)
I don't know the European health system Hans, but I don't know that it is free or at no charge there. The problem is, here in the US, many students are pushed well past the point of poverty just trying to put themselves through school. With tuition being $30,000 to $40,000 for many of the nicer schools and ~$15,000-$20,000 for state/local schools, paying an additional $200 a month for health insurance is a *luxury* that many young students find themselves living without. Is this smart? No. Is it universal? Yes. I'm certain that there are many European youngsters who arrogantly defy the system thinking they'll never find themselves in the Emergency Room. The concept of a student being mandated to purchase healthcare is a novel one, but sadly an approach that would not work here in the US given that healthcare is completely privatized. However, most universities do provide an infirmary of sorts. I recall in my school age years, I got a violent stomach virus (as did over 75% of the campus) which dehydrated me to the point of hallucination (unless my dog really WAS talking to me...) The school's nurses helped me back to health and I never recall seeing a bill or an increase in my tuition. I don't know if this is normal or not since I'm quite blissfully ignorant to matters of public/private healthcare systems. On the other hand, after I was married and on my own and out of college (no longer covered by my parents' health care plan), I was too poor to afford healthcare. In fact, my wife and I lived on her wages of $4.25 an hour and my commission only wages (about $100 a week) with a rent of $325. Health Insurance was quoted to us at $700 a month. We were living on chicken drumsticks, corn dogs and top ramen. We certainly couldn't afford $700 a month! Health care is a major concern and in my opinion a very relevant issue to this list (considering there are so many young people on this list who probably could care less about health insurance until they need it.) Another topic related to this would be dental care and dental insurance. Not everyone's system of insurance is the same and despite (or more likely because of) how much American's pay for insurance and healthcare, it is amazing the consistent level of quality care that is available at even the farthest reaches of the country. Students should (where possible) take advantage of this but that doesn't mean they will or can. Cheers- Jeremy -Original Message- From: hans [mailto:[EMAIL PROTECTED] Sent: Sunday, August 03, 2008 12:58 PM To: 'The Horn List' Subject: RE: [Hornlist] Dangers of Playing Loud (Hans) So my question: Why did he lament that he had to work so many hours as he had to recover from doctor bills from his study time when he had not an insurance This provoked my question. If the system works as good as we have here in Europe, no reason to oppose. Just say: o.k. we have a similar system here. Roger ! To compare our European fee in EUR with yours in USD is insane, as dollar remains dollar for you and EUR remains EUR here, but if you come to Europe it is horrible expensive for you for a factor of 60% while it is nearly half for us if we study there. Also: playing loudly with open windows with the neighbourhood quite distant in rather suburban areas cannot be compared with the situation in appartments or condos in the cities. One must not see ones own circumstances alone but also get informations about others. And this has to do with hornplaying as horn playing makes noise even by a perfect player. And I repeat, practising LOUDS passages over over - just TO BE HEARD in the concert - is insane, unhealthy waste of energy destroys every feeling for music besides destroying every feeling for the fine nuances of the embouchure. This energy is better put into practising piano pianissimo passages which come rather as forte or mezzoforte my many players. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Bill Gross Sent: Sunday, August 03, 2008 3:56 PM To: 'The Horn List' Subject: RE: [Hornlist] Dangers of Playing Loud (Hans) Many universities do offer low cost Student Health insurance. The student must take the modest effort to enroll and pay what to me in the 1970s when I was in Graduate school were very reasonable fees. We also had an on campus clinic with 24 hour health care and physicians on staff during the day. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of hans Sent: Friday, August 01, 2008 12:06 AM To: 'The Horn List' Subject: RE: [Hornlist] Dangers of Playing Loud (Hans) Question. Why dont students not have any health insurance in your country ? Here in Germany Austria all students have to join a given health care system, paying a very, very just nominal fee, otherwise they will not be enrolled as a student. So the situation for (ex- or still) patients like you is very different. Does it come from the profit
RE: [Hornlist] Customizing horn for short person
The guys from Osmun chimed in and obviously they'd be a good choice. However, if you're needing it done while in the Washington DC area, without a doubt you should go to Aaron Beck. He's one of a handful of people that I'd let touch my horn and thankfully he's just up the road. -Original Message- From: Priscilla Douglas [mailto:[EMAIL PROTECTED] Sent: Wednesday, July 30, 2008 7:32 AM To: horn@music.memphis.edu Subject: [Hornlist] Customizing horn for short person Hi - Anyone have experience or advice on customizing a horn (8D) for a short person? I'd like to be able to comfortably play on the leg without extending my neck to reach the mouthpiece! Who would you recommend? I'm close to Boston but also travel to the DC area. Priscilla ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Ralph Pyle Jim London Pictures
Nancy, Is this Jim London who used to play with the Dallas Symphony? Jeremy Date: Sat, 19 Jul 2008 08:18:02 -0600 From: [EMAIL PROTECTED] To: horn@music.memphis.edu Subject: [Hornlist] Ralph Pyle Jim London Pictures Dear List, I am presenting a tribute in Denver to our colleagues that have passed and I need some help. I have searched the Internet for pictures of Ralph Pyle and Jim London, but to no avail. Can anyone send me a jpg of either of these men? Thank You So Much!! Nancy Joy -- Ms. Nancy Joy Assistant Professor of Horn New Mexico State University Office Phone: 505-646-1390 email: [EMAIL PROTECTED] website:http://www.nmsu.edu/~music ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/koechel371%40hotmail.com _ Time for vacation? WIN what you need- enter now! http://www.gowindowslive.com/summergiveaway/?ocid=tag_jlyhm___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE: wasted year
That is abysmal. Our teachers in this area start closer to $40K per year and higher with different certifications, etc. Many of the teachers in this area are required or strongly encouraged to obtain higher degrees and many surpass $65K within about 10 years or so. I don't know of too many teachers in this area (one of the highest cost-of-living areas in the country) that make $100K per year without being an administrator though. I did just see an advertisement for Principal in this area paying $128K. -Original Message- From: Dana and Lori Twiss [mailto:[EMAIL PROTECTED] Sent: Saturday, July 19, 2008 2:06 PM To: horn@music.memphis.edu Subject: [Hornlist] RE: wasted year John Baumgart wrote: Aap. My kids have had a few crap teachers making between $80-$100K per year just marking time until they could retire at age 58 with a multi-million dollar pension. Please, tell us where this school system is as I would like to apply. In our state, if you were in the system by 1983, you will retire with a pension of $18,500. If you joined the system any time after that, the pension is $12,500. That is if you retire with 30 years at age 55. If you work until age 62, then you make a little more, something like 24K and 18K respectively. The average teacher salary in Maine is $37,900. Not going to get rich there. To add insult to injury, the first 13 years of my teaching experience were in Florida. Though I'm vested in the Florida system, a substantial part of the Florida retirement includes social security. In Maine, any retirement I collect, the retirement contributions in Maine, by the way are self paid, meaning they came out of my salary, is reduced by any social security I collect. Talk about an archaic system. Bottom line is, I see no golden parachutes in any of the states in which I worked-Maine, New Hampshire, or Florida. At least not for public school teachers. Are there bad ones out there? Yup! I made my career following bad teachers and cleaning up their messes. A lot of work, and very satisfying, but led to my burning out and leaving teaching at age 42. Had the compensation been better, maybe I would have lasted longer. Dana Twiss Litchfield, Maine ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Microphone location near bell
Hey Larry - That's a (sort of) tough question to answer. First thing to consider - how do you sound without being amplified? If it's *almost* there but just needs a little boost, that's one thing. If you're completely inaudible or darn near it, that's another. I'll work off of the assumption that you just need a little boost. Also, it entirely depends on the type of microphone (both pick up pattern and mechanical operating properties). Again, we'll work off of assumptions here. The assumption being that, since it's the standard sized vocal mics from the church, you're probably talking about a Shure SM 58 or similar (at the very least, a dynamic mic versus a condenser though there are a handful of standard sized handheld mics that are condensers.) That being said, another assumption is that the pick up pattern is a pretty tight cardioid or in other words, pretty directional. With all of these assumptions out of the way, let's get rolling with a solution. Under no circumstances should you place the mic in or just outside of the bell. The sound won't get warmer and fuller as it propagates into the hall. My advice would be to place the mic in front of you. For assistance with picking up a little more attack, place it on or about on the plane of the bell but roughly 3 feet or so in front of you aiming towards the bell. If you aim it up towards the body of the horn, you'll get a more resonant tone but one that will likely result in a quick feedback. If you want the more resonant tone (probably not, but play around and see) you'll want to come from about your eye level and aim the mic down to the body of the instrument, again about 3 feet or so out. Much further than this with a dynamic mic (a la Shure SM58) and you really start to lose the sound and start to risk major feedback. Your sound board operator is going to need to cut a little at 300-400 Hz to avoid feedback anyway, but you don't want the guy to have to work too hard, right? Cheers- Jeremy Larry Jellison wrote: Where do you think the microphone should be placed for soloing in a large sanctuary (accompaniment is amplified). One of the church standard size vocal mics on a stand will be used. I'm using an 8d. Based on my trials at home using a microphone, it seems that a few feet in front and to the side of the bell would work. If the mic is moved backwards toward the rear of the bell, all the undesirable sounds (any buzz, valve sounds) get picked up and the tone gets bright yet has clarity. I won't have time to experiment in the church. If the mic location is toward the rear of the bell, does the sound coming out of the house speakers mellow and darken as it travels toward the audience? Thanks in advance for your comments. Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Is there a universal flight case?
If you fly a lot with your horn (an awful lot), you might just want to get a flight case. Something along the lines of the Anvil (extremely heavy and extremely expensive) or a Pelican (not as heavy, not near as expensive) will do well and the untrained airport monkeys can throw your horn around as much as they'd like (if, in the case of the anvil, they have the physical strength to do so) and nothing will happen to it. It may cost $25 to $50 extra to drag it along, but it sure beats shipping it or gambling with the chances of having to check a small case. This is the case I have for my recording monitors to go on flights: http://www.bhphotovideo.com/c/product/330278-REG/Pelican_PC0370_0370_Cub e_Case_Black_.html It's big, but it's safe and very well built. If you don't like the idea of putting your horn in with all of that pick-and-pluck foam (I wouldn't), enclose the horn in a plastic or cloth bag. Or if you're REALLY in the mood for a sweet case, go to www.casecad.com and have them custom make a case insert for you that fits your horn to the 1/1000 of an inch. I have them make all of the case interiors for my microphones (many of which are more valuable than my Lawson) and they do phenomenal work. It's a tad extreme for the average hornist, but for those who find themselves on planes every other week or so, it's a worthwhile investment. Cheers- Jeremy No virus found in this outgoing message. Checked by AVG. Version: 7.5.524 / Virus Database: 270.4.3/1525 - Release Date: 6/29/2008 3:09 PM ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Air Stream
And to compound that, some players aim towards the top of the mouthpieces for some notes and the bottoms for others. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Sent: Tuesday, July 01, 2008 1:41 PM To: horn@music.memphis.edu Subject: [Hornlist] Air Stream I once asked a similar question of a bunch of trumpet players. The consenses of opinion in that group is that the direction of the air stream doesn't really matter. Some fine players are down streamers others are up streamers and all can play well regardless of the air stream direction. Hope this helps. Valerie Click to generate a targeted mailing list to grow your business. http://thirdpartyoffers.juno.com/TGL2131/fc/Ioyw6iifmc7X0QEWc90mZrvY0CfM EUKr48u0OtnU64TaGR25GCOf4I/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.c om No virus found in this incoming message. Checked by AVG. Version: 7.5.524 / Virus Database: 270.4.3/1528 - Release Date: 7/1/2008 7:26 AM No virus found in this outgoing message. Checked by AVG. Version: 7.5.524 / Virus Database: 270.4.3/1528 - Release Date: 7/1/2008 7:26 AM ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Accoustics
This is pretty good advice - A normal bed room has quite a few hard surfaces (walls, desk, dresser, nightstand) - all of these reflect sound. In a small environment such as a bedroom, this can give you the false impression that you're playing out, when you're really just barely putting out sound. However, making the room too dead (using nothing but absorption) can make you work WAY too hard and make it so you're always playing loud and tiring out quickly. A good mixture of diffuse and absorbed sound is the way to go for smaller rooms. For super small rooms (say 10x12 feet or 3x4 meters) more absorption than diffusion or reflection is good - but avoid total absorption. A great tool that won't cost much at all is a few large book shelves filled with books. Pick up the book shelves at a yard sale and then go to your local library or used book store. Either of these places will get rid of handfuls of unwanteds for very little money. The books themselves will do a very good job at deflecting high frequencies back into the room at random patterns (due to the differently-sized books) and absorbing the absolute lowest frequencies (which you're not likely to produce with the horn.) If you're willing to spend a little more money, there are great products which will do absorption for you from companies such as: Auralex GIK Acoustics (great prices) Ready Acoustics (also great prices) RPG Acoustics Real Traps Here's a few words of caution - 1 - do not use egg-cartons. They won't work. They don't work. 2 - don't just buy any old sound foam. Not all sound foams are made equally. If you think it's dramatically cheaper than any of the brands I listed above, be suspect. 3 - NEVER, EVER, EVER, EVER, EVER, EVER, EVER, EVER, EVER, EVER, EVER, EVER, EVER, EVER, EVER use egg-crate, bedding, or sofa foam. All of these foams are actually quite flammable (some worse than others) and they don't do a great job anyway at acoustical treatment. One errant spark though, and your whole house will go up in smoke. I have several treated rooms ranging in treatment amount, quality and purpose. My most basic, but probably deadest room is also my cheapest outfitted room. It probably set me back about $200. I used Auralex tiles (1'x1') glued to acoustic ceiling tiles which I had attached to the wall using dry wall screws. This makes it very easy to remove the product if I move without leaving a gluey mess all over the walls. Also, with the stiff backer board, I was able to mount some 1x2 strips and some 2x2 strips on the backs of them so that some of the pieces were staggered off the wall a bit (increasing their effectiveness). This is a very dead room and works well for its relatively small size. My biggest, most expensive room was built for sound with floating walls, specialized insulation and has a generous mix of diffusion and absorption. The room sounds fantastic but cost me a little over $13,000 to design, build and treat. Either of these rooms though, work quite well for practicing. There are quite a few resources available to you on the Internet as well. Auralex offers a free service where you send them a diagram of your room, your needs and your budget and they'll design a treatment package for you. Additionally, one of the recording Internet BBS services where I'm a moderator offers a room for Acoustics specifically and it's moderated by a world-renowned and published acoustics expert. That site can be found at www.recording.org. Cheers! Jeremy Cucco -Original Message- From: Steve Freides [mailto:[EMAIL PROTECTED] Sent: Sunday, June 22, 2008 11:42 PM To: 'The Horn List' Subject: RE: [Hornlist] Accoustics Hello. I am a student player and I have a problem. I usually practice in my room, which is not too big, but not too small. I outgrew it 5 years ago. But the response on the horn is good and I am trying not to overblow. But when I go back up to the band hall, the response sucks because of the huge room. How do I make it better for practicing in my room? Google phrases like sound deadening materials and put up some in your room. Generally speaking, soft surfaces will tend to soak up the sound. If you want to make it like a concert hall, put the deadening materials towards one side, and you play from the other side. -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.c om No virus found in this incoming message. Checked by AVG. Version: 7.5.524 / Virus Database: 270.4.1/1511 - Release Date: 6/20/2008 11:52 AM No virus found in this outgoing message. Checked by AVG. Version: 7.5.524 / Virus Database: 270.4.1/1511 - Release Date: 6/20/2008 11:52 AM ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Quintet Music
I've been recording a brass quintet for the past couple months with the primary purpose being that the lead trumpet player recording his arrangements for brass quintet. The arrangements have been quite good. They range in difficulty from moderate to fairly difficult but overall are leaps and bounds above the average quintet writing. (and the prices are reasonable too..) The arranger's site is: http://www.trumpetunes.com/publications.html FYI - I have no affiliation with this site or the arranger. I've just been doing his recordings. I'm sure if he approves it, I can release some mp3 samples. Cheers- Jeremy Quoting Ashley Grothe [EMAIL PROTECTED]: A friend of mine is leading a brass quintet in our school. We are looking for some music and don't really know where to head. I really want to do a jazzy piece. Also, if anyone knows where to get Rakes of Mallow that would be exciting (especially if it comes in quintet form!) If anyone has any recommendations of where to look or of pieces to try I'd really appreciate it. _ Enjoy 5 GB of free, password-protected online storage. http://www.windowslive.com/skydrive/overview.html?ocid=TXT_TAGLM_WL_Refresh_skydrive_062008___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Peter the Wolf
4 Quoting [EMAIL PROTECTED] [EMAIL PROTECTED]: Can anyone please tell me how many horns Peter the Wolf is scored for? Valerie in Tacoma Click here to choose from a huge selection of shipping supplies! http://thirdpartyoffers.juno.com/TGL2131/fc/Ioyw6iigT3djyhtS1ugLYW0ThIFVWoCL9ld8nscVE6VYzMEeRrz8w8/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Peter the Wolf
My mistake. 3 is correct. -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: 6/10/08 3:34 PM Subject: Re: [Hornlist] Peter the Wolf three lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Peter the Wolf
Yep. That's what happens when you have too much caffeine and Nyquil at the same time. I just got done doing a run of Peter before the holidays...should have remembered better... -Original Message- From: [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: 6/10/08 3:36 PM Subject: Re: [Hornlist] Peter the Wolf Sorry Jeremy I've played it a thousand times - only ever seen three horns there. lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Peter the Wolf
Geez... I only need spankings from one person, not the whole list! I've already retracted my momentary lapse of recall... -Original Message- From: Tim Costen [EMAIL PROTECTED] To: 'The Horn List' horn@music.memphis.edu Sent: 6/10/08 3:36 PM Subject: RE: [Hornlist] Peter the Wolf 3 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: 10 June 2008 20:33 To: horn@music.memphis.edu Subject: Re: [Hornlist] Peter the Wolf 4 Quoting [EMAIL PROTECTED] [EMAIL PROTECTED]: Can anyone please tell me how many horns Peter the Wolf is scored for? Valerie in Tacoma Click here to choose from a huge selection of shipping supplies! http://thirdpartyoffers.juno.com/TGL2131/fc/Ioyw6iigT3djyhtS1ugLYW0ThI FVWoCL9ld8nscVE6VYzMEeRrz8w8/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/tim.costen%40isode.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Alan Civil
It, or at least portions of it, were indeed overdubbed. Notice the way Paul moves around the vocal microphone. If that were a real recording, you would have heard him sound dramatically different as he moved. Especially with that microphone. The sync issues *could* be due to a mis-sync between audio and video frame rates, but it doesn't seem consistent like that. Also, there are microphones aimed completely wrong within the studio. Some might say well, they're probably just extra mics... In a studio that small, people don't typically leave extra mics out. Not only is it a safety issue, it would be an issue of a danger to the mics. (I see some Coles ribbon mics - VERY sensitive and VERY fragile and VERY expensive. You wouldn't just leave those out. A sneeze or a door opening too quickly could destroy them). It is thoroughly enjoyable though. Quoting Carlisle Landel [EMAIL PROTECTED]: I think the music was indeed dubbed in. Look at the failure to sync sound and music at the very end; more importantly note that at the start, the string track comes in *before* anyone starts playing. Still, you've got to love the image, illusory or not, of Jeff Bryant* showing up and putting his horn together as the music starts, *without* any background noise (!!) and then nailing the part! Carlisle *as identified by other list members--I have no expertise here. On Jun 2, 2008, at 3:37 PM, Wendell Rider wrote: On Jun 2, 2008, at 10:00 AM, [EMAIL PROTECTED] wrote: ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] horn position
Quoting William Botte [EMAIL PROTECTED]: If the horn is to heavy for the inevitable whiners, lift weights to develop strength or the piccolo. Bill I tried lifting the piccolo to build strength. It did very little to help. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Vegetable Mouthpieces
Well, if we're making soup out of the instruments, please let me be the first to provide the clams for the chowder. -Original Message- From: Steven Mumford [EMAIL PROTECTED] To: horn@music.memphis.edu Sent: 5/30/08 9:10 PM Subject: [Hornlist] Vegetable Mouthpieces It could be expected that there would be some who would not let themselves be limited to only potato or pasta mouthpieces. It is rumored that this is the true traditional Viennese sound. We tried making soup out of our instruments after a brass quintet concert once, but I'm sure the results were not nearly so tasty. Be sure not to miss the inspiring cabbage solo! http://www.youtube.com/watch?v=INI3M3Z2IMA - Steve Mumford ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] horn position and music stand height
Lawrence writes... (snip) .. I don't understand why they insist on using these things. lawrenceyates.co.uk .. Which things? Stands or conductors? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Lohengrin Parts
Hello friends! Just a quick query - Does anyone have the 2nd horn part to Prelude to Act III of Lohengrin that they could scan and e-mail or fax? I got called to sub for an orchestra and just want to see the parts before going. I know, I should have this memorized by now, but for the life of me, I don't think I've ever played 2nd on it. I do promise not to copy, distribute or sell the parts so as not to violate any copyright laws, I only wish to examine it before rehearsal so I can be prepared - at which time I'll get the official copy and use it. Cheers! Jeremy ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Lohengrin Parts
Quoting hans [EMAIL PROTECTED]: If you have played the stuff on another horn chair than 2nd, there should be not any problem playing it even prima vista. The loud passages are quite identical. You are familiar with horn in A horn in D, right Yes - I'm perfectly fine with the transpositions. However, it's been at least 10 years since I've played Lohengrin and don't remember it that well. I'm not concerned with my ability to play it upon first sight, but like the ability to mark passages (cues, measure numbers, etc.) prior to rehearsals. I have access to the CD ROM library of horn parts and use it for these purposes all the time, but Lohengrin is not included in my set. Thanks - J. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Recent updates to hornplayer.net (19th May 2008)
I found this advert most interesting as there are quite a few facts wrong. First, it's stated that it was played in the NY Phil for 25 years. I don't know that any of the NY Phil played Holtons (not that they didn't, I'm just not aware - I could be WAY wrong.) Also, the Holton 105 hasn't been made for 25 years. I tried the prototype of the 104 (its predecessor) in 1993. The 104 preceded the 105 by quite a few years. Also, the bell is quoted as having a large bore. I'd sure hate to have a bell-tail with a conical bore. I'm assuming the poster means large throat... In any case, the price is good for a 105, but it looks a bit like a Franken-horn. It's a shame there's no chance for trial...only buy with a check and returns only for damage. Just some thoughts... :- [Photo] Holton 105 - Full Double - 2500 US $ http://www.hornplayer.net/advert.asp?id=7739 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Recorder lists?
Do you mean the long, wooden instrument with holes drilled in them, or recorder as in microphones, etc.?? For the latter, check out the original home of acoustic music recording forums at www.recording.org (no bias...I'm only one of the moderators there...) or www.gearslutz.com. (This last one also has an acoustic or remote recording forum, but they're much crankier over there and much more snooty. I stop by there from time to time only to be reminded how much I dislike it...) Cheers- Jeremy -Original Message- From: John Roberts-James [mailto:[EMAIL PROTECTED] Sent: Friday, May 16, 2008 2:26 PM To: horn@music.memphis.edu Subject: [Hornlist] Recorder lists? Can anyone please point me to Recorder lists? I used to subscribe but have lost touch with them. Much Thanx John Roberts-James Horn Student http://www.johnroberts-james.co.uk http://www.alternativetherapyclinic.co.uk http://www.musicsolo.com http://www.musicforsolohorn.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.c om No virus found in this incoming message. Checked by AVG. Version: 7.5.524 / Virus Database: 269.23.16/1448 - Release Date: 5/16/2008 7:42 PM No virus found in this outgoing message. Checked by AVG. Version: 7.5.524 / Virus Database: 269.23.16/1448 - Release Date: 5/16/2008 7:42 PM ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Chinese instruments
John- No offense intended, but that is a rather myopic view on the subject and quite biggoted against the Chinese to boot. In general, it is Westerners behind the counterfeit products coming out of China. The Chinese get paid the same to do their work regardless of what name gets stamped on the final product or whose product theirs visually imitates. There are typically two (gross generalizations follow) types of products coming from China - those designed and manufactured by the Chinese and then sold to Westerners and rebranded for their own purposes (such as entry-level pro audio gear - eg. KEL microphones and SM Pro Audio gear) and then gear which is designed and labeled by Western companies and then manufactered by the Chinese. This is often where the trouble comes in - such as again in the case of pro audio Behringer - a company world renowned for ripping off others' designs and having cheaper, poor quality versions made by the Chinese for little money and even less quality. (However, on the flip side of the coin, some companies have outsourced to China with great results - such as Quad Loudspeakers and Mojave Audio.) In this case, I would comfortably assume that the Chinese companies are simply being told build this horn to this specification and then some western company (the one that is responsible for the design and sale to Westerners) slaps a similar appearing name and serial number on it. This is so common in the European and American marketplace, it's not even funny. I recently had an opportunity to speak via e-mail with a person who was inadvertently behind the creation (or build that is) of a fake/fraudulent replica of the venerable Shure SM57 microphone. He was not aware of the original 57 and since he doesn't have access to many Western websites, he wasn't aware that he was creating a fraud copy. Just some food for thought. Cheers, Jeremy -Original Message- From: John Baumgart [EMAIL PROTECTED] To: 'The Horn List' horn@music.memphis.edu Sent: 5/2/08 6:41 PM Subject: RE: [Hornlist] Chinese instruments For the record, I'm not optimistic about this situation. That was someone else. Yes, Chinese manufacturers may soon turn out acceptable school horns, but some will also turn out counterfeit name-brand horns, much as they do with other items. A seller on eBay will list what looks like an older 8D, complete with a legitimate serial number and Conn engravings, as well as some simulated wear. A well-intentioned buyer knowing not to buy a Selman or other well-known crap horn will buy this thinking it's an Elkhart 8D. Heck, even the forged serial number checks out. The buyer gets the horn and it plays sort of OK, and many will be none the wiser until it's time to get a repair done and it's nothing more than a high end Selman, Schmort, Corn, Alexnerdan, Yummyhan or what have you. Chinese counterfeiters know no bounds when it comes to screwing people. John Baumgart -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Tom Warner Sent: Friday, May 02, 2008 3:40 AM To: The Horn List Subject: Re: [Hornlist] Chinese instruments On 1 May 2008, at 11:20 pm, John Baumgart wrote: Speaking of Chinese made horns, Kit wrote: A couple of years in the future when the manufacturers learn what they're doing, these instruments may start to become quite acceptable. I agree. I'm one who's actually optimistic about the future of Chinese instruments. It's already happening with other brass instruments. Importers are demanding a high level of quality and instruments based on proven designs. One brand is advertising that they've had their lead pipes designed by a well known and respected custom instrument maker. The prices are rising with the quality but I've been told that it's still possible to get, for example, a trumpet that's _very_ similar to a Yamaha Xeno for approximately half the price. In the Brass Band world, Virtuosi in England are selling what to all intents and purposes are professional quality instruments at student prices. It's a growing area and there's no reason it can't happen with horns. I'd almost be willing to bet that right now, somewhere out there there is a very well built and good playing Han 8D or 103. All the best, Tom ___ 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/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] NHR
Hey Joe - I sent an e-mail. If you would like, feel free to call me at 1-877-SUBLYME or 540-429-2335. Regards, Jeremy -Original Message- From: Joe Scarpelli [EMAIL PROTECTED] To: 'The Horn List' horn@music.memphis.edu Sent: 4/26/08 3:07 PM Subject: [Hornlist] NHR Jeremy Cucco, Could you contact me off list. Joe ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Brahms Trio...mit euphonium??????
A real euphonium player would know better than to do it at all. any real eupher player would it in horn range -Original Message- From: [EMAIL PROTECTED] on behalf of joey horn guy Sent: Wed 4/16/2008 12:37 AM To: The Horn List Subject: [Hornlist] Brahms Trio...mit euphonium?? I never thought it could be possible: http://br.youtube.com/watch?v=xP9gguw7OB4feature=related - Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/huntt%40waldorf.edu ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/jeremy%40sublymerecords.com -- Jeremy Cucco Sublyme Records, LLC 2715 McKenzie Lane Fredericksburg, VA 22408 1-877-SUBLYME 540-429-2335 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] My killer lick page.
-Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Monday, April 07, 2008 10:53 PM To: horn@music.memphis.edu Subject: [Hornlist] My killer lick page. I posted last year about my frustration feeling overwhelmed w/ trying to manage everything I want to squeeze into my practice schedule. I've come up w/ a helpful little solution which is a combination of the recommendations of Wendell Rider Matthew Scheffleman (sorry about the spelling, Matthew). I've made a killer lick page. Whenever I stumble upon a particularly tough lick in a piece I'm working on, I write out the few measures that really need wood shedding on staff paper, cut it out tape it to my killer lick sheet. I slip this sheet in the warm up section of Wendell's book. So every day after I'm totally warmed up loose, I take a few minutes to run through all the licks. That way, if I don't have time later in the day to work on ALL the pieces I'm studying, at least I've hit the hardest spots. When I get to rehearsal, I'm better prepared than I would be otherwise. It's a real time saver for me. If any of you have additional suggestions or refinements to add, I'm all ears. Thanks. Valerie, come back horn playing granny in Tacoma Valerie - Great approach. Here's another thing that I do along with a similar approach. When working on those killer licks, I try to vary up what the actual lick is. For example, I may play dotted-eigth/sixteenths versus straight eigths (the running eigth note passage in Til is a good example of where this helps). Another example is something such as the Tchaik 5 excerpt - subdividing while playing - in other words, play all eigth notes - such as in the first couple measures it would go: a,g#,f#,a--,g#-- I instead do: a,g#,f#,aaa,g#g#g# Just some thoughts - Cheers- Jeremy ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Lessons
Dear folks, I am going away Wednesday, Thursday, and Friday. I have posted a sheet with slots for half-hour lessons tomorrow. Please try to find a slot that will work for you. ~JCH ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
