RE: [Hornlist] Etudes
Hello David,
This "multi-giga-tera-super- ..." words are created by these
stupid fuzzies from the advertising industry, when they try
to imitate some foreign language superlatives. They use
these non-words, even they cannot understand them
themselves. Our language is so degraded now that even public
figures use a foreign (mostly english term) & do hard to
explain it with the right german word, just said behind.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of David Goldberg
Sent: Sunday, April 15, 2007 6:01 PM
To: The Horn List
Subject: Re: [Hornlist] Etudes
Hans and others - I have uploaded four sample etudes from
Wohlfahrt which will convince you that these violin etudes
are not all machine-gun staccato scale exercises or
"multi-giga-note-pieces" (very funny!).
They are real lyrical etudes that fit perfectly on horn
(played in C at least), and they are the equal of horn
etudes meant to achieve the same
goals: slow, soft, controlled, etc. Of course there are
etudes in these books of the scale-whacking variety. That's
just as true in Kopprasch and others, and just as necessary
a part of our repertoire. The Peters edition of all 60
Wohlfahrt etudes is about half as expensive as the
two-volume Kopprasch 60-etudes books.
Please check these samples out - click on the URL below; the
samples are the last four entries ("wohl ...").
http://orchard.wccnet.org/~goldberg/music/
hans wrote:
> David, my principle is "as few notes per dollar (EURO)
played as
> possible". These multi-giga-note-pieces will never help
improving a
> good tone. But they might help for staccato technique. But
isn´t
> slower playing & soft but very controlled playing more
demanding than
> loud & multi note ??
> Technique is a prerequisite, necessary absolutely, but
without a
> beautiful sound it is worth nothing. Do the etudes build
up style or
> feeling for a certain style ...
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
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de
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Re: [Hornlist] Etudes
Hans and others - I have uploaded four sample etudes from Wohlfahrt
which will convince you that these violin etudes are not all machine-gun
staccato scale exercises or "multi-giga-note-pieces" (very funny!).
They are real lyrical etudes that fit perfectly on horn (played in C at
least), and they are the equal of horn etudes meant to achieve the same
goals: slow, soft, controlled, etc. Of course there are etudes in these
books of the scale-whacking variety. That's just as true in Kopprasch
and others, and just as necessary a part of our repertoire. The Peters
edition of all 60 Wohlfahrt etudes is about half as expensive as the
two-volume Kopprasch 60-etudes books.
Please check these samples out - click on the URL below; the samples are
the last four entries ("wohl ...").
http://orchard.wccnet.org/~goldberg/music/
hans wrote:
David, my principle is "as few notes per dollar (EURO)
played as possible". These multi-giga-note-pieces will never
help improving a good tone. But they might help for staccato
technique. But isn´t slower playing & soft but very
controlled playing more demanding than loud & multi note ??
Technique is a prerequisite, necessary absolutely, but
without a beautiful sound it is worth nothing. Do the etudes
build up style or feeling for a certain style ...
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
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unsubscribe or set options at
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Re: [Hornlist] Etudes
I would suggest the rochut trombone etudes. They helped me get comfortable with reading bass clef and my middle-low range improved. They're fun etudes also. -Jay On 4/14/07, Mathew James <[EMAIL PROTECTED]> wrote: Hey list. I am getting ready to order some new etudes.. Any suggestions on what to get? I have alot of the "standards" the Maxime-Alphonse, Kopprasch op.5 and op.6a fair amount of the Galley. I also have the Oscar Franz book and a few others. I'm just looking for suggestions since I'm not completely familiar with what is out there, and what is good. -- Mathew James ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/horndude77%40gmail.com ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Etudes
David, my principle is "as few notes per dollar (EURO) played as possible". These multi-giga-note-pieces will never help improving a good tone. But they might help for staccato technique. But isn´t slower playing & soft but very controlled playing more demanding than loud & multi note ?? Technique is a prerequisite, necessary absolutely, but without a beautiful sound it is worth nothing. Do the etudes build up style or feeling for a certain style ? How, if people even forget the name of a symphony or opera they played not longer ago than two years ? It is not joking, but reality. You tell´m to play writen top line f on the Bb side with 1 for better intonation. Yes, they say & do, but go for the next f the same way as before. Helpless. And they strictly avoid (!!!) going upwards step by step. Have bnot played a single note since April 5th 10:30 P.M. (my last Parsifal as Farewell to retirement) & enjoy a beautiful spring break. Will get to play tomorrow night with my "muppet show" (guess why) hunting horn players (myself also part of the muppets now !), but will begin a daily 30 min. to keep embouchure working. Best regards from sunny Munich Hans == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of David Goldberg Sent: Sunday, April 15, 2007 3:41 PM To: The Horn List Subject: Re: [Hornlist] Etudes No no, Hans, not "seem to be" maniac. I really am. As I like to point out here from time to time, there is a great deal of OPM (other peoples' music) that for some reason, hornists don't ever think to enjoy, except when some lone arranger changes a few notes and publishes this literature with the word 'horn' on the cover. Such as for instance, the Bach Cello Suites and the Kreutzer Violin Etudes. Or have these been around for so long now that we just accept them as staples of horn literature? I get the impression that many hornists need to be given official permission to play OPM or they won't consider it. Like, if your teacher doesn't say it's ok, then it is not ok - Everything Not Required Is Forbidden. Between the Wohlfahrt books and other instrumental etude books, vocal collections with CD piano or orchestral accompaniment and mainstream chamber works such as trio sonatas - string quartets even - we have a lifetime of beautiful music waiting for us to learn from, to play with other instrumentalists and to just plain enjoy. Your list of horn etude composers is just the beginning - if I felt that I had to practice the whole list before ever experimenting, then I would never get to the other stuff. But, as impressive as are names like Nowak, de Grave, Blume, et al., so are names like Vivaldi, Handel, Telemann, Quantz, Stamitz, Tartini, Mozart, Wohlfahrt, Bach, ... I know that you agree with all of the above, so under the circumstances the question is not why I am maniac about hornists playing other instruments books, but why aren't you? Please give our list members permission to enjoy Wohlfahrt, and then give them permission to play whatever they want to without permission. Cheers in the key of C, David G - who wound down last night by turning on Enya's CD "Shepherd Moons", lowering the lights and playing along. hans wrote: > Hello David, you seem to be maniac with using other > instruments books. > > But there are plenty of original horn books: Ranieri, > Belloli (!!!), Nowak, Brahms, de Grave, Righini, Neuling, > Vouillermoz, Ernst Paul, , Bozza, Barboteu, Ceccarossi, > Albin Frehse, Oscar Blume ... > > > = > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On > Behalf Of David Goldberg > Sent: Sunday, April 15, 2007 4:19 AM > To: The Horn List > Subject: Re: [Hornlist] Etudes > > Mathew James wrote: > >> Hey list. >> I am getting ready to order some new etudes.. Any >> > suggestions on what > >> to get? I have alot of the "standards" the >> > Maxime-Alphonse, Kopprasch > >> op.5 and >> op.6a fair amount of the Galley. I also have the Oscar >> > Franz book and > >> a few others. I'm just looking for suggestions since I'm >> > not > >> completely familiar with what is out there, and what is >> > good. > > Franz Wohlfahrt 60 Etudes, op.45 for violin. Very > Kopprasch-like, only more exciting. Transpose down to C or > as you wish. > > http://www.sheetmusicplus.com/store/smp_inside.html?cart=338 > 558081020303074&item=976992&page=01 > > and c
Re: [Hornlist] Etudes
No no, Hans, not "seem to be" maniac. I really am. As I like to point
out here from time to time, there is a great deal of OPM (other peoples'
music) that for some reason, hornists don't ever think to enjoy, except
when some lone arranger changes a few notes and publishes this
literature with the word 'horn' on the cover. Such as for instance, the
Bach Cello Suites and the Kreutzer Violin Etudes. Or have these been
around for so long now that we just accept them as staples of horn
literature? I get the impression that many hornists need to be given
official permission to play OPM or they won't consider it. Like, if
your teacher doesn't say it's ok, then it is not ok - Everything Not
Required Is Forbidden.
Between the Wohlfahrt books and other instrumental etude books, vocal
collections with CD piano or orchestral accompaniment and mainstream
chamber works such as trio sonatas - string quartets even - we have a
lifetime of beautiful music waiting for us to learn from, to play with
other instrumentalists and to just plain enjoy. Your list of horn etude
composers is just the beginning - if I felt that I had to practice the
whole list before ever experimenting, then I would never get to the
other stuff. But, as impressive as are names like Nowak, de Grave,
Blume, et al., so are names like Vivaldi, Handel, Telemann, Quantz,
Stamitz, Tartini, Mozart, Wohlfahrt, Bach, ...
I know that you agree with all of the above, so under the circumstances
the question is not why I am maniac about hornists playing other
instruments books, but why aren't you? Please give our list members
permission to enjoy Wohlfahrt, and then give them permission to play
whatever they want to without permission.
Cheers in the key of C,
David G - who wound down last night by turning on Enya's CD "Shepherd
Moons", lowering the lights and playing along.
hans wrote:
Hello David, you seem to be maniac with using other
instruments books.
But there are plenty of original horn books: Ranieri,
Belloli (!!!), Nowak, Brahms, de Grave, Righini, Neuling,
Vouillermoz, Ernst Paul, , Bozza, Barboteu, Ceccarossi,
Albin Frehse, Oscar Blume ...
=
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of David Goldberg
Sent: Sunday, April 15, 2007 4:19 AM
To: The Horn List
Subject: Re: [Hornlist] Etudes
Mathew James wrote:
Hey list.
I am getting ready to order some new etudes.. Any
suggestions on what
to get? I have alot of the "standards" the
Maxime-Alphonse, Kopprasch
op.5 and
op.6a fair amount of the Galley. I also have the Oscar
Franz book and
a few others. I'm just looking for suggestions since I'm
not
completely familiar with what is out there, and what is
good.
Franz Wohlfahrt 60 Etudes, op.45 for violin. Very
Kopprasch-like, only more exciting. Transpose down to C or
as you wish.
http://www.sheetmusicplus.com/store/smp_inside.html?cart=338
558081020303074&item=976992&page=01
and choose 'Look inside 2' to see the 1st etude.
also see:
http://www.violinonline.com/etudes.htm
Also, Franz Wohlfahrt etudes op.54 and op.74 are just as
stunning.
--
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
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post: [EMAIL PROTECTED]
unsubscribe or set options at
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RE: [Hornlist] Etudes
Hello David, you seem to be maniac with using other
instruments books.
But there are plenty of original horn books: Ranieri,
Belloli (!!!), Nowak, Brahms, de Grave, Righini, Neuling,
Vouillermoz, Ernst Paul, , Bozza, Barboteu, Ceccarossi,
Albin Frehse, Oscar Blume ...
=
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of David Goldberg
Sent: Sunday, April 15, 2007 4:19 AM
To: The Horn List
Subject: Re: [Hornlist] Etudes
Mathew James wrote:
> Hey list.
> I am getting ready to order some new etudes.. Any
suggestions on what
> to get? I have alot of the "standards" the
Maxime-Alphonse, Kopprasch
> op.5 and
> op.6a fair amount of the Galley. I also have the Oscar
Franz book and
> a few others. I'm just looking for suggestions since I'm
not
> completely familiar with what is out there, and what is
good.
>
Franz Wohlfahrt 60 Etudes, op.45 for violin. Very
Kopprasch-like, only more exciting. Transpose down to C or
as you wish.
http://www.sheetmusicplus.com/store/smp_inside.html?cart=338
558081020303074&item=976992&page=01
and choose 'Look inside 2' to see the 1st etude.
also see:
http://www.violinonline.com/etudes.htm
Also, Franz Wohlfahrt etudes op.54 and op.74 are just as
stunning.
--
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
___
post: [EMAIL PROTECTED]
unsubscribe or set options at
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de
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RE: [Hornlist] Etudes
Gallay not Galley Please ! Was it the spell ckecker or was it intentionally , - coul be -, as hornplayers might feel like "galley slaves" when playing ballet . === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Mathew James Sent: Saturday, April 14, 2007 10:38 PM To: horn list Subject: [Hornlist] Etudes Hey list. I am getting ready to order some new etudes.. Any suggestions on what to get? I have alot of the "standards" the Maxime-Alphonse, Kopprasch op.5 and op.6a fair amount of the Galley. I also have the Oscar Franz book and a few others. I'm just looking for suggestions since I'm not completely familiar with what is out there, and what is good. -- Mathew James ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Etudes
Mathew James wrote:
Hey list.
I am getting ready to order some new etudes.. Any suggestions on what to
get? I have alot of the "standards" the Maxime-Alphonse, Kopprasch
op.5 and
op.6a fair amount of the Galley. I also have the Oscar Franz book and
a few others. I'm just looking for suggestions since I'm not
completely familiar
with what is out there, and what is good.
Franz Wohlfahrt 60 Etudes, op.45 for violin. Very Kopprasch-like, only
more exciting. Transpose down to C or as you wish.
http://www.sheetmusicplus.com/store/smp_inside.html?cart=338558081020303074&item=976992&page=01
and choose 'Look inside 2' to see the 1st etude.
also see:
http://www.violinonline.com/etudes.htm
Also, Franz Wohlfahrt etudes op.54 and op.74 are just as stunning.
--
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
___
post: [EMAIL PROTECTED]
unsubscribe or set options at
http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Etudes
"I am getting ready to order some new etudes.. Any suggestions on what to get?" http://www.mayhews.us/CI/Music/Sheetmusic.htm has a list of some of the ones requested by horn students hereabouts. Loren Mayhew \@() [EMAIL PROTECTED] 011 1 (520) 289-0700 ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Etudes
Hey list. I am getting ready to order some new etudes.. Any suggestions on what to get? I have alot of the "standards" the Maxime-Alphonse, Kopprasch op.5 and op.6a fair amount of the Galley. I also have the Oscar Franz book and a few others. I'm just looking for suggestions since I'm not completely familiar with what is out there, and what is good. -- Mathew James ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Etudes for beginners [was: start off on an F
scottito disagreed but, I was easily able to fill up a single F horn at 8 or 9 as were any of my friends. ... Playing horn IS a physical activity though some would have it otherwise. The Jack Attack! Before I got my hands on a real horn at the age of 9, I spent a couple of weeks in the garden (not quite continuously) playing a garden hose that must have been about 10 yards long. All the notes in the scale were there, but I had to keep one end near my ear to hear the result. But the soft rubber "mouthpiece" and huge resistance must have built up both agility and power without causing any damage. I suspect this maybe why, as a child, I never understood why people always talked about the horn being one of the most difficult instruments. (Pity I didn't follow through! ) Maybe the garden hose would be a good way to start all brass players at that age. When they change to a real instrument it's easy! Simon ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Etudes for beginners [was: start off on an F horn?]
Hi Jack Attack, I don't think there is anything wrong with the way kids are raised today, especially compared to kids in my parents age. Whether you could have filled up an F horn at age 9 isn't my issue - it's that for the vast, vast majority of young players it doesn't matter in the long run if start out on a single F or Bb. There are advantages to both, but these advantages fade as your body matures. scottito ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Etudes for beginners [was: start off on an F horn?]
I very rarely take on a student, but I have one who is persistent enough that I'm helping him along. He was playing an entry level Yamaha single F that had seen much abuse and was completely out of adjustment. I replaced it with a Reynolds Contempora (similar quality to the 4D) with the bearings tightened, the rotors centered, and checked for leaks and obstructions. This horn plays as an F horn should, nowhere near the size of my Contempora double, but built with the same quality design and craftsmanship. It cost $15 plus shipping. Even paying a good shop to do what I did, this horn could be had, playing like new, for under $300. Since the horn is a full range F, it is a bit smaller, but plays very well in the high register. I think one of the reasons Hans is such a fan of the F horn is because he uses the Vienna bore, which is going to result in full range capability. Most listers are probably only familiar with modern F horns, which are invariably the F side of a double. I doubt a serious single F has been designed since the fifties. Because this single F is a little smaller, I change him to a Schilke 31B, prepared to move to a Bach 7 if it was too big. He was a fifth grader, had started late, and wanted to catch up. In the first week, the band director took him aside to find how his playing and sound had matured so rapidly. This year he's moved to first chair in the 8th grade group, and has joined a youth orchestra. I've loaned him a Cronlein double, small, like a prewar Alex 103, and kept him away from the beater 8Ds that are now available. I still have him learning Mozart 3 on the single. Movement two is perform able. One point that should be made is that there are all levels of beginners. I always stress to parents that the first concern is the student really like, and fit into all the social aspects of belonging to a group. At that level, good players should be steered towards elite groups where they are going to get their butt kicked, but in an encouraging way. Does that ever change? -Original Message- From: John Dutton <[EMAIL PROTECTED]> To: horn@music.memphis.edu Sent: Tue, 7 Mar 2006 16:28:53 -0700 Subject: [Hornlist] Etudes for beginners [was: start off on an F horn?] Quoted text: Once they have grown to a more adult size and can pump some air into their abdomen, they can make a good F horn kind of sound. ___ I think this is a product of how kids are raised today-potato chips and nintendo. I was easily able to fill up a single F horn at 8 or 9 as were any of my friends. I also played outside and ran around and baled hay. None of my child students do any physical activity until nearly high school which is way too late. I have even instructed high school and college students to start a fitness regimen (and occasionally guided there too) in order to be able to fill the horn. What a shame. Playing horn IS a physical activity though some would have it otherwise. The Jack Attack! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/billbamberg%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Etudes for beginners [was: start off on an F horn?]
Quoted text: Once they have grown to a more adult size and can pump some air into their abdomen, they can make a good F horn kind of sound. ___ I think this is a product of how kids are raised today-potato chips and nintendo. I was easily able to fill up a single F horn at 8 or 9 as were any of my friends. I also played outside and ran around and baled hay. None of my child students do any physical activity until nearly high school which is way too late. I have even instructed high school and college students to start a fitness regimen (and occasionally guided there too) in order to be able to fill the horn. What a shame. Playing horn IS a physical activity though some would have it otherwise. The Jack Attack! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Etudes for beginners [was: start off on an F horn?]
Hiya, Out from my lurkings I have an opinion to voice, and to my surprise it's a rare disagreement with Prof. P. The Bb side of the horn doesn't have the characteristic horn sound of an F, but show me a 70 lb. 6th grader who can make a characteristic F horn sound and I'll show you a phenomenon. Give that kid a single F, put him into a carpeted band room and it will be a long, long time before anything characteristic comes out of the bell. It's easier for kids to hit the right notes on a single Bb and they are lighter and easier to handle. Kids do fine with them. Once they have grown to a more adult size and can pump some air into their abdomen, they can make a good F horn kind of sound. By that time they should be using a double horn anyway. I'm not making the case to start kids on either F or Bb. At a very young age it hardly matters. By the time it really matters they should have a double horn. scottito ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Etudes, F Horn, Transposing etc.
Corno wrote: Postings from Hans and many others have awakened some very early memories. My first real horn teacher, George Yaeger, started me out (probably in the 3rd or 4th grade) with two books of French singing exercises. I still have them, Volumes 1B and 2A of: "SOLFEGE DES SOLFEGES - THIRTY-FOUR VOLUMES - Containing a great number of lessons by CLASSICAL AND MODERN COMPOSERS - Selected and Graduated by A.DANHAUSER and L. LEMOINE - New edition with numerous additional lessons - Composed or Selected by ALBERT LAVIGNAC, Professor at the Conservatoire, Paris"; Published by Henry Lemoine & Co. Paris, Bruxelles. I remember being entranced with this music. The exercises were like short songs without words, three or more to a page in the first book. And with great variety, and increasing challenge. I note that George had me transpose some of the exercises to Eb practically from the beginning. Toward the end of the first volume there is a substantial section of exercises in bass clef. Somehow, with the aid of these exercises, George managed to convey to me the idea that I should be playing the horn as if I were singing. Unfortunately he left Rochester after a year or so. My new teacher promptly ditched the Solfege, much to my disappointment. Looking back at these books, I realize how remarkable they were, and mourn the lost opportunity with George's departure. Incidentally, I started with a single F horn, an ancient school instrument (with piston valves!). At that stage, I don't remember being unhappy with my instrument. I was thrilled to be playing what I had. Old-timers on the list may remember George Yaeger, another Eastman/Yegudkin product. For many years he was principal horn and associate conductor of the San Antonio Symphony Orchestra. He also was virtually the founder and for 27 years the much-loved conductor of the Abilene, Texas, Symphony Orchestra. Charles Valenza ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/tspillman%40austin.rr.com My Horn teacher, David Parker, in Austin, TX also studied with Yaeger while he was at San Antonio. He has told me a few interesting stories about Yaeger, as well. One of the exercises I do almost daily was suggested to him by Yaeger. I don't know if this is from Yaeger or not, but David is a big believer in singing the horn part. David, BTW, played for the Austin Symphony and is currently Horn Professor at Austin Community College. I returned to the horn a little over 15 months ago after a lay off of about 50 years(!). I am now playing with a community band and having a ball. It reminds me of why I took up the horn so many years ago... Regards... Tom -- Thomas M. Spillman, Jr. Asst. Professor (retired) Information Technology MBA Program School of Management St. Edward's University Austin, TX ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Etudes, F Horn, Transposing etc.
Danhauser is a mainstay of the ear-training program at Mannes. Lovely things for ear-training exercises, I agree completely. Highly recommended. -S- > -Original Message- > From: > [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] > du] On Behalf Of Corno > Sent: Tuesday, March 07, 2006 4:37 PM > To: Hornlist > Subject: [Hornlist] Etudes, F Horn, Transposing etc. > > Postings from Hans and many others have awakened some very > early memories. > > My first real horn teacher, George Yaeger, started me out > (probably in the 3rd or 4th grade) with two books of French > singing exercises. I still have them, Volumes 1B and 2A of: > "SOLFEGE DES SOLFEGES - THIRTY-FOUR VOLUMES - Containing a > great number of lessons by CLASSICAL AND MODERN COMPOSERS - > Selected and Graduated by A.DANHAUSER and L. LEMOINE - New > edition with numerous additional lessons - Composed or > Selected by ALBERT LAVIGNAC, Professor at the Conservatoire, > Paris"; Published by Henry Lemoine & Co. Paris, Bruxelles. > > I remember being entranced with this music. The exercises > were like short songs without words, three or more to a page > in the first book. And with great variety, and increasing > challenge. I note that George had me transpose some of the > exercises to Eb practically from the beginning. Toward the > end of the first volume there is a substantial section of > exercises in bass clef. Somehow, with the aid of these > exercises, George managed to convey to me the idea that I > should be playing the horn as if I were singing. > Unfortunately he left Rochester after a year or so. My new > teacher promptly ditched the Solfege, much to my > disappointment. Looking back at these books, I realize how > remarkable they were, and mourn the lost opportunity with > George's departure. > > Incidentally, I started with a single F horn, an ancient > school instrument (with piston valves!). At that stage, I > don't remember being unhappy with my instrument. I was > thrilled to be playing what I had. > > Old-timers on the list may remember George Yaeger, another > Eastman/Yegudkin product. For many years he was principal > horn and associate conductor of the San Antonio Symphony > Orchestra. He also was virtually the founder and for 27 years > the much-loved conductor of the Abilene, Texas, Symphony Orchestra. > > Charles Valenza > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/steve%40fridays > computer.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Etudes, F Horn, Transposing etc.
Postings from Hans and many others have awakened some very early memories. My first real horn teacher, George Yaeger, started me out (probably in the 3rd or 4th grade) with two books of French singing exercises. I still have them, Volumes 1B and 2A of: "SOLFEGE DES SOLFEGES - THIRTY-FOUR VOLUMES - Containing a great number of lessons by CLASSICAL AND MODERN COMPOSERS - Selected and Graduated by A.DANHAUSER and L. LEMOINE - New edition with numerous additional lessons - Composed or Selected by ALBERT LAVIGNAC, Professor at the Conservatoire, Paris"; Published by Henry Lemoine & Co. Paris, Bruxelles. I remember being entranced with this music. The exercises were like short songs without words, three or more to a page in the first book. And with great variety, and increasing challenge. I note that George had me transpose some of the exercises to Eb practically from the beginning. Toward the end of the first volume there is a substantial section of exercises in bass clef. Somehow, with the aid of these exercises, George managed to convey to me the idea that I should be playing the horn as if I were singing. Unfortunately he left Rochester after a year or so. My new teacher promptly ditched the Solfege, much to my disappointment. Looking back at these books, I realize how remarkable they were, and mourn the lost opportunity with George's departure. Incidentally, I started with a single F horn, an ancient school instrument (with piston valves!). At that stage, I don't remember being unhappy with my instrument. I was thrilled to be playing what I had. Old-timers on the list may remember George Yaeger, another Eastman/Yegudkin product. For many years he was principal horn and associate conductor of the San Antonio Symphony Orchestra. He also was virtually the founder and for 27 years the much-loved conductor of the Abilene, Texas, Symphony Orchestra. Charles Valenza ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Etudes for beginners [was: start off on an F horn?]
Josef Schantl 92 etudes for beginners, Sawart-Wottawa: 40 short etudes for beginners w/piano accompaniment & others. Highest note written g2 on top of the staff. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Greg Campbell Sent: Friday, March 03, 2006 8:16 PM To: The Horn List Subject: Re: [Hornlist] Etudes for beginners [was: start off on an F horn?] Hans.Pizka wrote: > ...instead of giving the e.g. Sawart-Wottawa etudes for beginners, > accompanied with piano (very simple). These are two to four liner > etudes really for beginners. So they can experience some easy music. > And these short songs of all kind, again accompanied by (easy) piano. > These things together with other goddies for solo horn (Eichborn > e.g.) and together with progressive etudes will develop the skill of > these youngsters even fast on the F-Horn & keep them interested. I didn't have the luxury of private lessons until my third year of playing, when I was started on Kopprasch and Maxime-Alphonse. I have since been asked to give lessons to students in their first two years of playing the horn and I've never really been satisfied with any of the literature I've found. What etudes do list members recommend for teaching beginning horn players in the first two years of playing? Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Etudes for beginners [was: start off on an F horn?]
But this is quite a long time for one single book. We had
1500 etudes plus at least 90 different pieces with piano
accompaniment plus the concerti by Strauss, Hindemith,
Mozart, Haydn & others (Gallay, Tomasi, Weber, e.g.) plus
the better knownb sonatas (Beethoven, Hindemith, Camillo
Horn, Danzi, etc.) within a span of five years plus two
preliminary years. Not more than three weeks for one
concerto, one week or two for a sonata, ten studies plus one
solo piece like (Villanelle, just to name one) from one
lesson to the other a week later. We called it
"Notenfressen" ("eating the music"), plus we had orchestra
excerpts from the very beginning.
Quite different to your courses, perhaps. But , off course,
this is not necessary for the school boys & girls. But even
here step by step.
If the youngsters are not exposed to the F-horn at the very
beginning they will never know how nice they could sound
with the F-sound preference. Most of them will sound like
air blown through an oven exhaustor pipe, if better, still
like a castrated alto trombone, but never like a horn. But
most of them will not have any distinguished sound, but just
well in tune & well in rhythm & well set in dynamic SOUND,
neutral SOUND, like from a computer. Nothing else. No
colours in the sound. I call that two dimensional playing,
but should be three dimensional & if feeling is counted
another dimension, we would have four dimensions. But they
(mostly) produce just two dimensions & black & white instead
of 24 mill. colours. But those, who never experienced the
"sunlight of music" refuse stubbornly to listen to those who
are or were very successful in the highest ranks. Are they
deaf or what ? Dont they listen to the high class recordings
of "our heroes or idols" I doubt that. Yes, many of our
heroes produce the excellent recordings on the Bb-horn, that
is right. But they experienced the great colourfullness of
the F-tonality & produce a similar result on the Bb-horn
BECAUSE of their experience. Believe that or die stupid
(directed to the mass of readers, not to a single person !)
(e.g. even Peter Damm, not a representative of the
F-horn, does all his warm-up routine on the F-side
exclusively. Ask him, if you dont believe me. Ask him, and
he will tell you why.)
==
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of Steve Freides
Sent: Friday, March 03, 2006 8:27 PM
To: 'The Horn List'
Subject: RE: [Hornlist] Etudes for beginners [was: start off
on an F horn?]
Greg Campbell wrote:
> What etudes do list members recommend for teaching
beginning horn
> players in the first two years of playing?
Both my son and I have worked from the Anton Horner book
almost exclusively.
It has done very well by both of us. Is there a need for
more? My son will be through with it relatively soon,
probably at about the 2-1/2 year point in his study. I
expect to take a while longer. :)
-S-
___
post: horn@music.memphis.edu
unsubscribe or set options at
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de
___
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unsubscribe or set options at
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RE: [Hornlist] Etudes for beginners [was: start off on an F horn?]
Greg Campbell wrote: > What etudes do list members recommend for teaching beginning > horn players in the first two years of playing? Both my son and I have worked from the Anton Horner book almost exclusively. It has done very well by both of us. Is there a need for more? My son will be through with it relatively soon, probably at about the 2-1/2 year point in his study. I expect to take a while longer. :) -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Etudes for beginners [was: start off on an F horn?]
Hans.Pizka wrote: ...instead of giving the e.g. Sawart-Wottawa etudes for beginners, accompanied with piano (very simple). These are two to four liner etudes really for beginners. So they can experience some easy music. And these short songs of all kind, again accompanied by (easy) piano. These things together with other goddies for solo horn (Eichborn e.g.) and together with progressive etudes will develop the skill of these youngsters even fast on the F-Horn & keep them interested. I didn't have the luxury of private lessons until my third year of playing, when I was started on Kopprasch and Maxime-Alphonse. I have since been asked to give lessons to students in their first two years of playing the horn and I've never really been satisfied with any of the literature I've found. What etudes do list members recommend for teaching beginning horn players in the first two years of playing? Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
