Re: [Hornlist] Instructiona Methods
Tom Spillman wrote: >I am hardly one to comment. > >I have returned to the horn after fifty+ years away. I bought a student >grade double horn last October. I thought that I didn't want to invest >TOO much money until I found out if it was feasible for an old guy like >me (I'm 74!) to be able to play again. The sounds I made when I first >got the horn have to be heard to be believed. I found a teacher and >started working. > >I have spent the last 40+ years working with computers, so I also bought >some software. I made some initial mistakes, but I'm quite pleased with >my current set up. I have either scanned or directly entered all of my >practice pieces via midi keyboard into my MIDI software which produces >sheet music I can use. Using the software, I can modify tempos, use the >built in metronome and the moving cursor, I can hear what it's supposed >to sound like, I can play alone or mute it, and all sorts of things like >this. I also subscribed to the Classical Music Archives and downloaded >hundreds of pieces of music, many of which I remember playing when I was >younger. > >In my opinion, I have progressed much faster than I had any right to >expect. I joined a community band about two months ago and I'm having a >ball. I got the bug for a new horn, knowing full well that it would not >cure all of my problems. In fact my horn teacher gave me some criteria >he thought I should meet before buying a new horn. I needed to hit the >A on the first ledger line above the treble clef and be able to play the >first two pages of Kopprasch. These exercises all go up to this A. I >have hit that A successfully every day this week! > >My new horn arrives Monday. I've been tracking the shipment and it >currently is airborne en route to my home city! > >As I said before, I doubt very much if I would have advanced as quickly >as I have without the new tools I bought > >Of course. there is another difference: I never used to look forward to >practicing. Now I wish my lip would hold up enough for me to practice >longer! > >Regards... > >Tom > > For those that are interested, if you will email me, I'll send you some 30" MP3 clips to show what I'm talking about. The first will be Dennis Brain playing part of a Mozart horn concerto (K412), the second is my software playing the same musical, the third is my software with the horn part muted, so I can use the orchestration for accompaniment. The fourth will be a pdf file of the generated sheet music. Let me know if you want it... Regards... Tom -- Thomas M. Spillman, Jr. Asst. Professor (retired) Information Technology MBA Program School of Management St. Edward's University Austin, TX (home) 512-267-4393 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Instructiona Methods
>>> One technique used by many instructors working with students on solo >>> pieces >>> is to have them listen to a recording of the work. Since having >>> access to a >>> large volume of recorded work for horn is a relatively new >>> development, what >>> did folks do before they could pick up a CD of the piece they were >>> working >>> on? Has the access to recordings had a positive or negative impact >>> on the >>> learning process? Here's my take. A certain amount of imitation is necessary in the learning process. Think about it, we learn to speak (long before learning to read and write) by listening to people around us talk and imitating the sounds we hear. We learn correct pronunciation by hearing it and imitating it. I think it helps a student to know what a GOOD horn player sounds like, what a good tone sounds like. And they should listen to as many different recordings as possible to hear that there is no such thing as one good horn sound, that every player has his or her own unique sound. And yet, all good horn players have certain aspects of good tone in common. Also, as far as creativity and making a piece your own goes, listening to different recordings of the same piece can give a student some interpretive ideas to get them started on their own creative path. They also get to hear phrasing that may not be obvious on the page. Recordings can be a crutch, sure, but they also have a lot of potentially valuable uses. Jim >@/ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Instructiona Methods
I had sense that might be a consideration. Some of my real world experience has been in heavy construction. We used drawings and specifications to get something built, not unlike notes written on paper. I was wondering if relying on recordings might defeat a students ability to look at the written notes and interpret from that. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Paul Mansur Sent: Friday, June 17, 2005 6:05 PM To: The Horn List Subject: Re: [Hornlist] Instructiona Methods \ >> One technique used by many instructors working with students on solo >> pieces >> is to have them listen to a recording of the work. Since having >> access to a >> large volume of recorded work for horn is a relatively new >> development, what >> did folks do before they could pick up a CD of the piece they were >> working >> on? Has the access to recordings had a positive or negative impact >> on the >> learning process? >> >> I don't know what the impact is. I used recordings sparingly as I wanted the students to work the piece to find their own strengths and weaknesses and to apply themselves to their own interpretations, with guidance from me. I had some students who could do this well and I had some who were clueless about getting themselves into the music. The best they could do was imitate what they heard from others and never brought any insight or genuine expression to whatever they played. To them, it was always just a bunch of notes. Fortunately, most such washed out and did not inflict their perfidy on others by becoming teachers. I've seen and heard far too many who could get by on parroting and then go to work in the public schools and call themselves teachers. Generally, it is a poetic justice that they failed and took up other pursuits. I don't play much or very well now, but you should hear me sing those horn notes! Well, maybe you shouldn't. CORdially, Paul Mansur ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/bgross%40airmail.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Instructiona Methods
\ >> One technique used by many instructors working with students on solo >> pieces >> is to have them listen to a recording of the work. Since having >> access to a >> large volume of recorded work for horn is a relatively new >> development, what >> did folks do before they could pick up a CD of the piece they were >> working >> on? Has the access to recordings had a positive or negative impact >> on the >> learning process? >> >> I don't know what the impact is. I used recordings sparingly as I wanted the students to work the piece to find their own strengths and weaknesses and to apply themselves to their own interpretations, with guidance from me. I had some students who could do this well and I had some who were clueless about getting themselves into the music. The best they could do was imitate what they heard from others and never brought any insight or genuine expression to whatever they played. To them, it was always just a bunch of notes. Fortunately, most such washed out and did not inflict their perfidy on others by becoming teachers. I've seen and heard far too many who could get by on parroting and then go to work in the public schools and call themselves teachers. Generally, it is a poetic justice that they failed and took up other pursuits. I don't play much or very well now, but you should hear me sing those horn notes! Well, maybe you shouldn't. CORdially, Paul Mansur ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Instructiona Methods
If you have a recording you can play it any time you want. If you rely on your teachers demonstration you probably only have access once a week. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Friday, June 17, 2005 4:44 PM To: horn@music.memphis.edu Subject: Re: [Hornlist] Instructiona Methods In a message dated 17/06/2005 22:42:46 GMT Daylight Time, [EMAIL PROTECTED] writes: But in most cases you can't take the teacher home with you. What difference would that make? (Surely you're not suggesting that students take the instrument out of its box outside lesson time?) All the best, Lawrence "þaes ofereode - þisses swa maeg" _http://lawrenceyates.co.uk_ (http://lawrenceyates.co.uk/) Dulcian Wind Quintet: _http://dulcianwind.co.uk_ (http://dulcianwind.co.uk/) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/bgross%40airmail.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Instructiona Methods
Bill Gross wrote: >One technique used by many instructors working with students on solo pieces >is to have them listen to a recording of the work. Since having access to a >large volume of recorded work for horn is a relatively new development, what >did folks do before they could pick up a CD of the piece they were working >on? Has the access to recordings had a positive or negative impact on the >learning process? > > >___ >post: horn@music.memphis.edu >unsubscribe or set options at >http://music.memphis.edu/mailman/options/horn/tspillman%40austin.rr.com > > > > I am hardly one to comment. I have returned to the horn after fifty+ years away. I bought a student grade double horn last October. I thought that I didn't want to invest TOO much money until I found out if it was feasible for an old guy like me (I'm 74!) to be able to play again. The sounds I made when I first got the horn have to be heard to be believed. I found a teacher and started working. I have spent the last 40+ years working with computers, so I also bought some software. I made some initial mistakes, but I'm quite pleased with my current set up. I have either scanned or directly entered all of my practice pieces via midi keyboard into my MIDI software which produces sheet music I can use. Using the software, I can modify tempos, use the built in metronome and the moving cursor, I can hear what it's supposed to sound like, I can play alone or mute it, and all sorts of things like this. I also subscribed to the Classical Music Archives and downloaded hundreds of pieces of music, many of which I remember playing when I was younger. In my opinion, I have progressed much faster than I had any right to expect. I joined a community band about two months ago and I'm having a ball. I got the bug for a new horn, knowing full well that it would not cure all of my problems. In fact my horn teacher gave me some criteria he thought I should meet before buying a new horn. I needed to hit the A on the first ledger line above the treble clef and be able to play the first two pages of Kopprasch. These exercises all go up to this A. I have hit that A successfully every day this week! My new horn arrives Monday. I've been tracking the shipment and it currently is airborne en route to my home city! As I said before, I doubt very much if I would have advanced as quickly as I have without the new tools I bought Of course. there is another difference: I never used to look forward to practicing. Now I wish my lip would hold up enough for me to practice longer! Regards... Tom -- Thomas M. Spillman, Jr. Asst. Professor (retired) Information Technology MBA Program School of Management St. Edward's University Austin, TX (home) 512-267-4393 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Instructiona Methods
In a message dated 17/06/2005 22:42:46 GMT Daylight Time, [EMAIL PROTECTED] writes: But in most cases you can't take the teacher home with you. What difference would that make? (Surely you're not suggesting that students take the instrument out of its box outside lesson time?) All the best, Lawrence "þaes ofereode - þisses swa maeg" _http://lawrenceyates.co.uk_ (http://lawrenceyates.co.uk/) Dulcian Wind Quintet: _http://dulcianwind.co.uk_ (http://dulcianwind.co.uk/) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Instructiona Methods
But in most cases you can't take the teacher home with you. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Alan Cole Sent: Friday, June 17, 2005 4:39 PM To: The Horn List Subject: Re: [Hornlist] Instructiona Methods Well, the teachers could play the pieces for the students to listen to & learn from -- & in doing so reinforce their credibility with the students, in addition to providing instructive examples of how the pieces should be played. -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. At 05:29 PM 6/17/2005, you wrote: >One technique used by many instructors working with students on solo pieces >is to have them listen to a recording of the work. Since having access to a >large volume of recorded work for horn is a relatively new development, what >did folks do before they could pick up a CD of the piece they were working >on? Has the access to recordings had a positive or negative impact on the >learning process? > -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.323 / Virus Database: 267.7.3/15 - Release Date: 6/14/2005 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/bgross%40airmail.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Instructiona Methods
Well, the teachers could play the pieces for the students to listen to & learn from -- & in doing so reinforce their credibility with the students, in addition to providing instructive examples of how the pieces should be played. -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. At 05:29 PM 6/17/2005, you wrote: >One technique used by many instructors working with students on solo pieces >is to have them listen to a recording of the work. Since having access to a >large volume of recorded work for horn is a relatively new development, what >did folks do before they could pick up a CD of the piece they were working >on? Has the access to recordings had a positive or negative impact on the >learning process? > -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.323 / Virus Database: 267.7.3/15 - Release Date: 6/14/2005 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Instructiona Methods
One technique used by many instructors working with students on solo pieces is to have them listen to a recording of the work. Since having access to a large volume of recorded work for horn is a relatively new development, what did folks do before they could pick up a CD of the piece they were working on? Has the access to recordings had a positive or negative impact on the learning process? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
