Does anyone know the differences between the MB6, MB7 and MB8?
Which MB case is the best for the new carry-on restrictions?
I'm trying to decide on a case, and while www.mbcases.com has descriptions for
each model, some of the descriptions are surprisingly similar.nbsp; There
doesn't seem to be any information on how they differ.
Thanks
--- On Tue, 4/15/08, Douglas Lundeen lt;[EMAIL PROTECTED]gt; wrote:
From: Douglas Lundeen lt;[EMAIL PROTECTED]gt;
Subject: [Hornlist] Changing tone color
To: horn@music.memphis.edu
Date: Tuesday, April 15, 2008, 1:46 PM
I was really glad to hear Hans comment on changing tone color. It IS
extremely rare in modern wind playing in general and brass playing in
particular to hear people talk of changing colors. There are (fewer now
than formerly) different tone-colors out there, but each school
seems
to be aiming for one basic sound. String players (especially chamber
musicians) think a lot about color and changing it, and can see with
there eyes how changing the distance from the bridge changes the tone
color, etc., etc.
By changing the mouthspace (vowel), and the air/volume/speed/pressure
recipe for a given note, horn tone can also be extremely flexible,
and
should be changed to suit the composer/work in question, i.e. Bruckner
WAY different than Rossini:) Sort of stacking the deck there, but also
there is a lot of musical value to changing color within a phrase or
even on a long note the way a fine singer would. Think of all of the
different vowel shadings there are in vocalization; and while on the
topic, why shouldn't we horn players make the full palette of
consonants, voiced and unvoiced, an integral part of our articulation?
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