Re: [Hornlist] Music "Dictionary" Recommendation
Harvard Concise Dictionary of Music -Original Message- From: Loren <[EMAIL PROTECTED]> To: 'The Horn List' Sent: Tue, 25 Nov 2008 1:11 pm Subject: RE: [Hornlist] Music "Dictionary" Recommendation Elson's Pocket Music Dictionary Loren Mayhew, Owner Computer Intelligence LLC, dba CI Music [EMAIL PROTECTED] www.mayhews.us/CI/Finke 001 (520) 289-0700 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of William Gross Sent: Tuesday, November 25, 2008 11:55 AM To: The Horn List Subject: [Hornlist] Music "Dictionary" Recommendation Any one care to recommend a reference book I could haul a long to rehearsals. Something that would be useful in figuring out more obscure performance notations, etc. Something that I could conveniently toss in my kit bag to have handy "just in case." ___ 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/corsolo%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music "Dictionary" Recommendation
The conductor doesn't necessarily know everything. In a previous thread I had asked what "en dehors" meant in Afternoon of a Faun by Debussy. The consensus was that it meant to the fore. Our conductor had said that it meant from a distance. When I told him of my findings, he stood corrected. He is a good conductor, and I respect him a lot. By the way, some editions of Afternoon of a Faun have wrong notes. If it doesn't tell you to remove the sardines, err... mutes, there's at least one wrong note. Herb Foster On Nov 25, 2008, at 2:34 PM, hans wrote: > I have begun with it, but it takes some time. Such small > music dictionaries are rare, the really small but with a lot > of information. Most were published in German language, > sorry, but they are available at antiquars only. > > Rec.: use your common sense & ask the conductor. Don't be > shy. It is not a shame, not to know some very rare musical > terms in a foreign language. BUT THE CONDUCTOR HAS TO KNOW > THEM (rarely !) AND UNDERSTAND THEM - HOPEFULLY > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music "Dictionary" Recommendation
Hans, when I read...your common sense & ask the conductor. I remembered that our band ran across the term "islancio" in a piece we were playing. When asked the meaning, the conductor admitted he had never heard of the term. None of the members, including three other conductor members, knew. Reading your I decided to do a little research and went to Google typing "islancio" then search. Google's first listing was - [It., impetuous] "A directive for a musician to perform a specific passage in an impetuous manner. This term is typically used with the term 'con' (with) as in con islancio or with impetuousness." youngjim On Nov 25, 2008, at 2:34 PM, hans wrote: I have begun with it, but it takes some time. Such small music dictionaries are rare, the really small but with a lot of information. Most were published in German language, sorry, but they are available at antiquars only. Rec.: use your common sense & ask the conductor. Don't be shy. It is not a shame, not to know some very rare musical terms in a foreign language. BUT THE CONDUCTOR HAS TO KNOW THEM (rarely !) AND UNDERSTAND THEM - HOPEFULLY = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of William Gross Sent: Tuesday, November 25, 2008 7:55 PM To: The Horn List Subject: [Hornlist] Music "Dictionary" Recommendation Any one care to recommend a reference book I could haul a long to rehearsals. Something that would be useful in figuring out more obscure performance notations, etc. Something that I could conveniently toss in my kit bag to have handy "just in case." ___ 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/ youngjim80%40bellsouth.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music "Dictionary" Recommendation
What happened to clamato?? c >>> "John Baumgart" <[EMAIL PROTECTED]> 11/25/08 7:43 PM >>> It needs to have all of Grainger's terms in there, too. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Kit Wolf Sent: Tuesday, November 25, 2008 5:28 PM To: The Horn List Subject: Re: [Hornlist] Music "Dictionary" Recommendation > Paulatinamente, Slentando, Schulgerecht, Schmachtend, Fregiato, Fistula > Pastoralis, Capolavoro, Ghirbizzi, Gedackt, Gedent, Gedicht, Gefahrte, > Gegenbewegung etc., et al., ... all yours. All this on a little chip > smaller than the crud cake in your mouthpiece. What a world! Tempo di Twmpath? Then it's no good, Kit ___ 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/cwilhjelm%40pascack.k12.nj.us ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music "Dictionary" Recommendation
It needs to have all of Grainger's terms in there, too. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Kit Wolf Sent: Tuesday, November 25, 2008 5:28 PM To: The Horn List Subject: Re: [Hornlist] Music "Dictionary" Recommendation > Paulatinamente, Slentando, Schulgerecht, Schmachtend, Fregiato, Fistula > Pastoralis, Capolavoro, Ghirbizzi, Gedackt, Gedent, Gedicht, Gefahrte, > Gegenbewegung etc., et al., ... all yours. All this on a little chip > smaller than the crud cake in your mouthpiece. What a world! Tempo di Twmpath? Then it's no good, Kit ___ 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/archive%40jab.org
Re: [Hornlist] Music "Dictionary" Recommendation
> Paulatinamente, Slentando, Schulgerecht, Schmachtend, Fregiato, Fistula > Pastoralis, Capolavoro, Ghirbizzi, Gedackt, Gedent, Gedicht, Gefahrte, > Gegenbewegung etc., et al., ... all yours. All this on a little chip > smaller than the crud cake in your mouthpiece. What a world! Tempo di Twmpath? Then it's no good, Kit ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music "Dictionary" Recommendation
William Gross wrote: Any one care to recommend a reference book I could haul a long to rehearsals. Something that would be useful in figuring out more obscure performance notations, etc. Something that I could conveniently toss in my kit bag to have handy "just in case." Get on Google. Click "more". Click the third line down, "Books". Click "Advanced Book Search". On the top line (prompt: "with all of the words") write "music dictionary" On the "Search" line below, click "Full view only" Back on the top right, click "Google Search" You should then see a screen filled with complete texts of many music dictionaries. You can download them as pdf files or as text files and print them out, or if you have some whizbang pocket internet connected telephone on your person, or if you record the digitized texts on a fancy mp3/mp4 player/e-book, then you can look up all the words you want wherever you are. Paulatinamente, Slentando, Schulgerecht, Schmachtend, Fregiato, Fistula Pastoralis, Capolavoro, Ghirbizzi, Gedackt, Gedent, Gedicht, Gefahrte, Gegenbewegung etc., et al., ... all yours. All this on a little chip smaller than the crud cake in your mouthpiece. What a world! David Goldberg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music "Dictionary" Recommendation
I have begun with it, but it takes some time. Such small music dictionaries are rare, the really small but with a lot of information. Most were published in German language, sorry, but they are available at antiquars only. Rec.: use your common sense & ask the conductor. Don't be shy. It is not a shame, not to know some very rare musical terms in a foreign language. BUT THE CONDUCTOR HAS TO KNOW THEM (rarely !) AND UNDERSTAND THEM - HOPEFULLY = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of William Gross Sent: Tuesday, November 25, 2008 7:55 PM To: The Horn List Subject: [Hornlist] Music "Dictionary" Recommendation Any one care to recommend a reference book I could haul a long to rehearsals. Something that would be useful in figuring out more obscure performance notations, etc. Something that I could conveniently toss in my kit bag to have handy "just in case." ___ 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] Music "Dictionary" Recommendation
Elson's Pocket Music Dictionary Loren Mayhew, Owner Computer Intelligence LLC, dba CI Music [EMAIL PROTECTED] www.mayhews.us/CI/Finke 001 (520) 289-0700 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of William Gross Sent: Tuesday, November 25, 2008 11:55 AM To: The Horn List Subject: [Hornlist] Music "Dictionary" Recommendation Any one care to recommend a reference book I could haul a long to rehearsals. Something that would be useful in figuring out more obscure performance notations, etc. Something that I could conveniently toss in my kit bag to have handy "just in case." ___ 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/archive%40jab.org
[Hornlist] Music "Dictionary" Recommendation
Any one care to recommend a reference book I could haul a long to rehearsals. Something that would be useful in figuring out more obscure performance notations, etc. Something that I could conveniently toss in my kit bag to have handy "just in case." ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music information
We are currently playing the Carmen Fantasy and all the horn parts are simple. They are however quite exposed and there is need for transposition in E, D and C. Never the less, in my opinion the hardest part is counting all the rests :) Have fun, Artturi Lehtiö Finland Fred wrote: Next concerts, we are playing a few pieces which I have not encountered before, and I'll need to make playing assignments prior to seeing the horn parts. Anyone have information (number of horns, difficulty, horn solos, etc.) regarding the following: Berlioz - King Lear Overture Saint-Saens - Havanaise Sarasate - Carmen Fantasy Thanks, Fred ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/lehtior2%40gmail.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music information
Sarasate is not difficult, but it is a violin piece with lots of rubato and tempo changes. If your horns are not familiar with the Bizet's Carmen, they should listen to it and get the flavor, as this is the basis of the piece. We played it last year and you could instantly tell which members of the orchestra were or were not familiar with Carmen in general. Paul - Original Message - From: "Fred" <[EMAIL PROTECTED]> To: "The Horn List" Sent: Thursday, October 23, 2008 7:59 AM Subject: [Hornlist] Music information Next concerts, we are playing a few pieces which I have not encountered before, and I'll need to make playing assignments prior to seeing the horn parts. Anyone have information (number of horns, difficulty, horn solos, etc.) regarding the following: Berlioz - King Lear Overture Saint-Saens - Havanaise Sarasate - Carmen Fantasy Thanks, Fred ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/pmanly%40icehouse.net No virus found in this incoming message. Checked by AVG - http://www.avg.com Version: 8.0.175 / Virus Database: 270.8.2/1741 - Release Date: 10/23/2008 7:54 AM ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Music information
Next concerts, we are playing a few pieces which I have not encountered before, and I'll need to make playing assignments prior to seeing the horn parts. Anyone have information (number of horns, difficulty, horn solos, etc.) regarding the following: Berlioz - King Lear Overture Saint-Saens - Havanaise Sarasate - Carmen Fantasy Thanks, Fred ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music
On Jun 6, 2008, at 2:58 PM, Ashley Grothe wrote: On it was a recording of Bohemian Rhapsody by Queen, but played by horns and couple other back-up instruments. I found a video of what appears to be the same arrangement (or maybe group, i don't know) on youtube (http://www.youtube.com/watch?v=PSXvqRXaJ0M) I was just wondering if anyone knew where I might be able to find a copy of sheet music for this piece. I haven't watched the video, but I would guess it's likely the arrangement from the London Horn Sound CD. It, along with several others from that CD, is available here: http://tinyurl.com/77j6h Dan Dan Phillips Associate Professor Rudi E. Scheidt School of Music University of Memphis [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music- Bohemian Rhapsody
Hi Ashley, You might try the Mnozil Brass website (www.mnozilbrass.at-- this is the group who arranged and performed Bohemian Rhapsody for brass) and they have many of their arrangements available for purchase. While I haven't looked over every piece they have offered, it may be there. Hope this starts things off for you, Regards, martin bender On 6-Jun-08, at 3:58 PM, Ashley Grothe wrote: I have a french horn friend who gave me a burnt CD of a bunch of horn pieces (solos, duets, choirs, etc.). It was unmarked and he had it forever (along with SEVERAL french horn disks) so he didn't remember for sure where it came from. On it was a recording of Bohemian Rhapsody by Queen, but played by horns and couple other back-up instruments. I found a video of what appears to be the same arrangement (or maybe group, i don't know) on youtube (http://www.youtube.com/watch?v=PSXvqRXaJ0M ) I was just wondering if anyone knew where I might be able to find a copy of sheet music for this piece. I know this is really vague, and unlikely to turn anything up, but I wondered if anyone else out there knew what I was talking about and could help me out. I wish I had more information, sorry. Ashley _ It’s easy to add contacts from Facebook and other social sites through Windows Live™ Messenger. Learn how. https://www.invite2messenger.net/im/?source=TXT_EML_WLH_LearnHow___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/embee%40magma.ca ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Music
I have a french horn friend who gave me a burnt CD of a bunch of horn pieces (solos, duets, choirs, etc.). It was unmarked and he had it forever (along with SEVERAL french horn disks) so he didn't remember for sure where it came from. On it was a recording of Bohemian Rhapsody by Queen, but played by horns and couple other back-up instruments. I found a video of what appears to be the same arrangement (or maybe group, i don't know) on youtube (http://www.youtube.com/watch?v=PSXvqRXaJ0M) I was just wondering if anyone knew where I might be able to find a copy of sheet music for this piece. I know this is really vague, and unlikely to turn anything up, but I wondered if anyone else out there knew what I was talking about and could help me out. I wish I had more information, sorry. Ashley _ It’s easy to add contacts from Facebook and other social sites through Windows Live™ Messenger. Learn how. https://www.invite2messenger.net/im/?source=TXT_EML_WLH_LearnHow___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Music faculty vacancies
Castleton State College in Vermont has a couple of music faculty vacancies beginning in the Fall 2008 semester: Associate Director of Bands - Castleton State College, Vermont, seeks to fill an instructor or assistant professorship in music beginning in August 2008; this is a possible tenure-track position. Qualifications: Minimum of a Masters in music/music education required. The candidate will show evidence of successful high school and/or college marching band teaching experience. In addition, knowledge of current computer drill design software is required, as well as demonstrated success in recruiting and working collaboratively with public school band programs. Preference will be given to candidates with proven experience as a show designer and marching band teaching success. Responsibilities: Coordinate and direct athletic bands, including the development of a marching band program, and direct other college instrumental ensembles as appropriate. Additional courses will be assigned from the music curriculum which could include applied music, instrumental methods, music education, music history, theory, and music appreciation. Active student recruitment, an interest in working with our civic engagement and K-12 teacher education programs and continued contribution to the excellence of the Music Department are essential and on-going responsibilities. Application: Send a letter of application, curriculum vitae, at least three original letters of recommendation, a completed CSC application (available on www.castleton.edu), list of references and video of marching band performances produced by the candidate to: Dr. Joseph T. Mark, Academic Dean, Castleton State College, Castleton, VT 05735. Director of Choral Activities - Castleton State College, Vermont, seeks to fill a tenure-track assistant professorship in music beginning in August 2008. We are searching for an outstanding candidate who will be able to provide leadership in the choral music program, serve as director of the Collegiate Choral, teach vocal pedagogy and coordinate applied vocal instruction. Additional courses will be assigned from the music curriculum which could include, applied voice, music education, music history, theory, and music appreciation. Active student recruitment, an interest in working with our civic engagement and K-12 teacher education programs and continued contribution to the excellence of the Music Department are essential and on-going responsibilities. Qualifications: Master's degree required, Doctorate preferred. Previous college teaching experience strongly preferred. Application: Send a letter of application, curriculum vitae, at least three original letters of recommendation, a completed CSC application (available on www.castleton.edu), list of references and video of choral performances produced by the candidate to: Dr. Joseph T. Mark, Academic Dean, Castleton State College, Castleton, VT 05735. Jay Hilfiger ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music Venues
We do quite well in Manchester, England too - Halle, BBC Phil, Camerata, Northern Ballet Orchestra and, just up the road, the Liverpool Phil. plus a whole host of freelance orchestras. Cheers, Lawrence lawrenceyates.co.uk ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music Venues
Well it's simple = unsubscribe and you won't have to worry. See how simple it is. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of DavWolf310 Sent: Monday, January 07, 2008 7:56 PM To: The Horn List Subject: Re: [Hornlist] Music Venues I wish that I did not have these horn e-mails coming to my computer by the hundreds every day In a message dated 01/07/08 16:44:43 Pacific Standard Time, [EMAIL PROTECTED] writes: I live in Dallas and recently discovered the quality of the FT Worth Symphony. I was wondering how many other locals are fortunate enough to have to very good symphonies within thirty miles of each other. Is there a Minneapolis Symphony and a St. Paul Symphony? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/davwolf310%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music Venues
Carnegie Hall comes to mind. If you a fortunate to live near New York, in addition to the Met and the NYPO, you can also see the Vienna Philharmonic, Cleveland Orchestra, Berlin Philharmonic, Philadelphia Orchestra, and just about any other orchestra of any reputation who travels to Carnegie Hall every year or so. Pete Jilka Kansas City. MO PS: I'm looking forward to hearing the VPO perform Tchaikovsky's 5th Symphony and 6th Symphony in Carnegie at the beginning of March... ** Start the year off right. Easy ways to stay in shape. http://body.aol.com/fitness/winter-exercise?NCID=aolcmp0030002489 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music Venues
I wish that I did not have these horn e-mails coming to my computer by the hundreds every day In a message dated 01/07/08 16:44:43 Pacific Standard Time, [EMAIL PROTECTED] writes: I live in Dallas and recently discovered the quality of the FT Worth Symphony. I was wondering how many other locals are fortunate enough to have to very good symphonies within thirty miles of each other. Is there a Minneapolis Symphony and a St. Paul Symphony? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/davwolf310%40aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music Venues
Bill Gross <[EMAIL PROTECTED]> wrote: I live in Dallas and recently discovered the quality of the FT Worth Symphony. I was wondering how many other locals are fortunate enough to have to very good symphonies within thirty miles of each other. London, England comes to mind. - 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/archive%40jab.org
[Hornlist] Music Venues
I live in Dallas and recently discovered the quality of the FT Worth Symphony. I was wondering how many other locals are fortunate enough to have to very good symphonies within thirty miles of each other. Is there a Minneapolis Symphony and a St. Paul Symphony? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
FW: Re: [Hornlist] Music Education/Marching Band
Thank you to Carlisle and others who sent me advice. I apologize for my lack of technical savvy (it's more like technical savagery.) I am now fairly confident of my ability to send weblinks (rather than attachments) via email. For your viewing pleasure (or displeasure, or whatever...) http://www.youtube.com/watch?v=vC5223oLEKM Vincent Duval Amateur horn player Middle School Band Director -- Forwarded Message: -- From: Carlisle Landel <[EMAIL PROTECTED]> To: [EMAIL PROTECTED] Subject: Re: [Hornlist] Music Education/Marching Band Date: Sat, 3 Nov 2007 01:52:53 + > Attachments don't go through to the list. Can you send the link to > the list? > > Thanks, > > Carlisle > > > On Nov 2, 2007, at 9:46 PM, [EMAIL PROTECTED] wrote: > > > After being a "lurker" on this forum for three years, I am making > > my first contribution to the list as a whole. > > > > Shortly after the recent threads on school music programs and > > marching, I received the attached youtube link from a colleague. > > Make of it what you will. I find it an amazing testament to innate > > human musical ability, a remarkable demonstration of our potential > > for training and education, and probably a sad misuse/abuse of the > > same. It's a powerful example of our ability to execute complicated > > actions with limited understanding. I find it likely that most of > > the children involved will come to hate this activity (if they > > don't already.) I've watched it three times now. It still leaves me > > shaking my head. > > > > > > Vincent Duval > > Amateur Player > > Middle School Band Director > > New Hampshire, USA > > > > (I hope the attachment goes through. Fingers crossed as I click on > > send...) > > ___ > > post: horn@music.memphis.edu > > unsubscribe or set options at http://music2.memphis.edu/mailman/ > > options/horn/clandel%40roadrunner.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music Education/Marching Band
On 11/2/07 8:46 PM, "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> wrote: (I hope the attachment goes through. Fingers crossed as I click on send...) Because of both security and bandwidth concerns all attachments are automatically stripped from this list, and all messages are converted to plain text before mailing. Please send a link. Dan Dan Phillips Associate Professor Rudi E. Scheidt School of Music University of Memphis [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music Education/Marching Band
Please send a link to it if you can as my mail server strips most attachments if it cannot verify it, and I feel that this is also true of the situations of many other listers. Thank you very much, Ellen Manthe On 11/2/07 8:46 PM, "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> wrote: > After being a "lurker" on this forum for three years, I am making my first > contribution to the list as a whole. > > Shortly after the recent threads on school music programs and marching, I > received the attached youtube link from a colleague. Make of it what you will. > I find it an amazing testament to innate human musical ability, a remarkable > demonstration of our potential for training and education, and probably a sad > misuse/abuse of the same. It's a powerful example of our ability to execute > complicated actions with limited understanding. I find it likely that most of > the children involved will come to hate this activity (if they don't already.) > I've watched it three times now. It still leaves me shaking my head. > > > Vincent Duval > Amateur Player > Middle School Band Director > New Hampshire, USA > > (I hope the attachment goes through. Fingers crossed as I click on send...) > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/ellenmanthe%40earthlink.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Music Education/Marching Band
After being a "lurker" on this forum for three years, I am making my first contribution to the list as a whole. Shortly after the recent threads on school music programs and marching, I received the attached youtube link from a colleague. Make of it what you will. I find it an amazing testament to innate human musical ability, a remarkable demonstration of our potential for training and education, and probably a sad misuse/abuse of the same. It's a powerful example of our ability to execute complicated actions with limited understanding. I find it likely that most of the children involved will come to hate this activity (if they don't already.) I've watched it three times now. It still leaves me shaking my head. Vincent Duval Amateur Player Middle School Band Director New Hampshire, USA (I hope the attachment goes through. Fingers crossed as I click on send...) ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music Trivia
Wow Fast! -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Mathew James Sent: Wednesday, October 03, 2007 11:43 AM To: The Horn List Subject: Re: [Hornlist] Music Trivia IS it UMI? On 10/2/07, Bill Gross <[EMAIL PROTECTED]> wrote: > > I came across this in our daily fish wrap. (for our non-US > correspondents, > there are two fellows who write about investing and economics under the > byline Montley Fools) This is form their column of today. > > Motley Fool Investing Column > > Foolish Trivia > > Who Am I? > > Founded in Manhattan in 1853, I'm a world leader in musical instruments. > > My brands include Vincent Bach brass, Selmer USA woodwinds, C.G. Conn > Brass, > King brass, Armstrong woodwinds, Ludwig and Musser percussion, and Glaesel > string instruments. > > I'm the number one make of band and orchestra instrument. My pianos take > a > year to make and are chosen by 90 percent of the worlds performing concert > pianist. > > Harry Connick, Jr. has said of my pianos, "With a tone so rich, I would > never be afraid of the dark." > > My annual sales top $80million, who am I? > > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/hornboy101%40gmail.com > -- Mathew James ___ 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/archive%40jab.org
Re: [Hornlist] Music Trivia
Steinway On 10/3/07 11:42 AM, "Mathew James" <[EMAIL PROTECTED]> wrote: > IS it UMI? > > On 10/2/07, Bill Gross <[EMAIL PROTECTED]> wrote: >> >> I came across this in our daily fish wrap. (for our non-US >> correspondents, >> there are two fellows who write about investing and economics under the >> byline Montley Fools) This is form their column of today. >> >> Motley Fool Investing Column >> >> Foolish Trivia >> >> Who Am I? >> >> Founded in Manhattan in 1853, I'm a world leader in musical instruments. >> >> My brands include Vincent Bach brass, Selmer USA woodwinds, C.G. Conn >> Brass, >> King brass, Armstrong woodwinds, Ludwig and Musser percussion, and Glaesel >> string instruments. >> >> I'm the number one make of band and orchestra instrument. My pianos take >> a >> year to make and are chosen by 90 percent of the worlds performing concert >> pianist. >> >> Harry Connick, Jr. has said of my pianos, "With a tone so rich, I would >> never be afraid of the dark." >> >> My annual sales top $80million, who am I? >> >> >> >> ___ >> post: horn@music.memphis.edu >> unsubscribe or set options at >> http://music2.memphis.edu/mailman/options/horn/hornboy101%40gmail.com >> > > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music Trivia
IS it UMI? On 10/2/07, Bill Gross <[EMAIL PROTECTED]> wrote: > > I came across this in our daily fish wrap. (for our non-US > correspondents, > there are two fellows who write about investing and economics under the > byline Montley Fools) This is form their column of today. > > Motley Fool Investing Column > > Foolish Trivia > > Who Am I? > > Founded in Manhattan in 1853, I'm a world leader in musical instruments. > > My brands include Vincent Bach brass, Selmer USA woodwinds, C.G. Conn > Brass, > King brass, Armstrong woodwinds, Ludwig and Musser percussion, and Glaesel > string instruments. > > I'm the number one make of band and orchestra instrument. My pianos take > a > year to make and are chosen by 90 percent of the worlds performing concert > pianist. > > Harry Connick, Jr. has said of my pianos, "With a tone so rich, I would > never be afraid of the dark." > > My annual sales top $80million, who am I? > > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/hornboy101%40gmail.com > -- Mathew James ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music Trivia
Yamaha's very first product was a reed organ, hence the tuning forks. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Wednesday, October 03, 2007 9:13 AM To: horn@music.memphis.edu Subject: Re: [Hornlist] Music Trivia In a message dated 10/2/2007 10:06:47 PM Central Daylight Time, [EMAIL PROTECTED] writes: Interestingly Yamaha makes brass instruments, grand pianos, and 200,000 ton petrolium carrying ships, and skis. ... and motorcycles with the three tuning forks crossed on the fuel tank.. ** See what's new at http://www.aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/pandolfi%40deerfield.edu ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music Trivia
Hey! You forgot the motorcycles! Paul Mansur On Oct 2, 2007, at 11:05 PM, [EMAIL PROTECTED] wrote: Interestingly Yamaha makes brass instruments, grand pianos, and 200,000 ton petrolium carrying ships, and skis. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/ options/horn/p_mansur1%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music Trivia
In a message dated 10/2/2007 10:06:47 PM Central Daylight Time, [EMAIL PROTECTED] writes: Interestingly Yamaha makes brass instruments, grand pianos, and 200,000 ton petrolium carrying ships, and skis. ... and motorcycles with the three tuning forks crossed on the fuel tank.. ** See what's new at http://www.aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music Trivia
Interestingly Yamaha makes brass instruments, grand pianos, and 200,000 ton petrolium carrying ships, and skis. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music Trivia
Ask a hard one.? You are Steinway. Motley Fool forgot Benge and Artley, but who can blame them?? ;) Dave Weiner Brass Arts Unlimited My annual sales top $80million, who am I? -Original Message- From: Bill Gross <[EMAIL PROTECTED]> To: 'The Horn List' Sent: Tue, 2 Oct 2007 5:14 pm Subject: [Hornlist] Music Trivia I came across this in our daily fish wrap. (for our non-US correspondents, there are two fellows who write about investing and economics under the byline Montley Fools) This is form their column of today. Motley Fool Investing Column Foolish Trivia Who Am I? Founded in Manhattan in 1853, I'm a world leader in musical instruments. My brands include Vincent Bach brass, Selmer USA woodwinds, C.G. Conn Brass, King brass, Armstrong woodwinds, Ludwig and Musser percussion, and Glaesel string instruments. I'm the number one make of band and orchestra instrument. My pianos take a year to make and are chosen by 90 percent of the worlds performing concert pianist. Harry Connick, Jr. has said of my pianos, "With a tone so rich, I would never be afraid of the dark." My annual sales top $80million, who am I? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/brassartsunlim%40aol.com Email and AIM finally together. You've gotta check out free AOL Mail! - http://mail.aol.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Music Trivia
I came across this in our daily fish wrap. (for our non-US correspondents, there are two fellows who write about investing and economics under the byline Montley Fools) This is form their column of today. Motley Fool Investing Column Foolish Trivia Who Am I? Founded in Manhattan in 1853, I'm a world leader in musical instruments. My brands include Vincent Bach brass, Selmer USA woodwinds, C.G. Conn Brass, King brass, Armstrong woodwinds, Ludwig and Musser percussion, and Glaesel string instruments. I'm the number one make of band and orchestra instrument. My pianos take a year to make and are chosen by 90 percent of the worlds performing concert pianist. Harry Connick, Jr. has said of my pianos, "With a tone so rich, I would never be afraid of the dark." My annual sales top $80million, who am I? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] music question - Koetsier
Old notation. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Greg Campbell Sent: Wednesday, August 22, 2007 1:46 AM To: Horn List - Memphis Subject: [Hornlist] music question - Koetsier I have a question about Jan Koetsier's Divertimento No. 2 for wind quintet: In the fourth movement, the horn starts with a printed F on the bottom of the bass staff. Is this old or new notation? Old notation is a 5th below the bassoon, sounds fine, but it seems strange that Koetsier would write this note and the E below it in the bass clef when there's nothing lower in the entire work. New notation is an octave and a 5th below the bassoon. It seems muddy, but that's likely due to my own response problems in that pedal register. The piece was written in 1947. I imagine members of this list may have met Koetsier personally, given his death only last year. Thanks for the help, 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
[Hornlist] music question - Koetsier
I have a question about Jan Koetsier's Divertimento No. 2 for wind quintet: In the fourth movement, the horn starts with a printed F on the bottom of the bass staff. Is this old or new notation? Old notation is a 5th below the bassoon, sounds fine, but it seems strange that Koetsier would write this note and the E below it in the bass clef when there's nothing lower in the entire work. New notation is an octave and a 5th below the bassoon. It seems muddy, but that's likely due to my own response problems in that pedal register. The piece was written in 1947. I imagine members of this list may have met Koetsier personally, given his death only last year. Thanks for the help, Greg ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] music ghost writers
Hello, I worked a lot with Maurice Jarre, who had a cousin of L.Bernstein as orchestrator. Wow, they worked incredible fast, most over night. That time, they did not have the help of a PC. All music was written by hand by a legion of copyists. They were still writing out the parts when we were recording allready. So piece & fractions of pieces were reached into the recording hall one by one. There was zero time to rehearse anything as it was not ready. But what kind of a great music we did then : Enemy mine, Lawrence from Arabia, - just two name some. We also worked with Harry Rosenthal, wo arrived with complete scores, but was a very poor conductor. We recorded for "Peter the Great" & did a 15 min. sequence as one block in one take only. Lucky. There were many composers rcording for their films here in Munich. But this business is gone. If you watch the great b/w mountain movies & others by Louis Trenker, famous mountaineer & producer-actor, one remains in doubt, if not R.Strauss himself had done some of these films to earn a further big cheque . === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Herbert Foster Sent: Tuesday, May 08, 2007 5:25 PM To: The Horn List Subject: Re: [Hornlist] music ghost writers Some movie score composers do their own orchestrating, and others have the orchestrators do it. They work fairly closely with the directors, so ghost writers usually don't get into the act. Of course they may "borrow" some music. Composing movie music is an art in itself. Each cue is of a given length, and enhances the emotional impact. Herb Foster --- Per Ottar Gjerstad <[EMAIL PROTECTED]> wrote: > Dear List, > > I may be wrong about this, but I believe that most movie score writers > make use of some sort of "short score" or "condensed score" when they > do the actual writing of the music. > These scores usually contains (more or less detailed) instructions for > the orchestrators, who then use this short score when laying out the > score that is actually used when playing and recording the music. > > > Per Ottar > > > > Subject: RE: [Hornlist] music ghost writers > > > > G.Mahler, R.Strauss, Korngold ... > > > > > > Subject: [Hornlist] music ghost writers > > > > idiocy and lousy arrangers aside, Is there someone who is willing to > > concur without using names that some famous movie score composers > > 'owe' their fame to ghost writers? > > > > or is this a question that should not be asked in public? > > ___ > > 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/potgjers%40fr isurf.no > > > > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/herb_foster%4 0yahoo.com > We won't tell. Get more on shows you hate to love (and love to hate): Yahoo! TV's Guilty Pleasures list. http://tv.yahoo.com/collections/265 ___ 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] music ghost writers
Some movie score composers do their own orchestrating, and others have the orchestrators do it. They work fairly closely with the directors, so ghost writers usually don't get into the act. Of course they may "borrow" some music. Composing movie music is an art in itself. Each cue is of a given length, and enhances the emotional impact. Herb Foster --- Per Ottar Gjerstad <[EMAIL PROTECTED]> wrote: > Dear List, > > I may be wrong about this, but I believe that most movie score writers make > use of some sort of > "short score" or "condensed score" when they do the actual writing of the > music. > These scores usually contains (more or less detailed) instructions for the > orchestrators, who then use this short score when > laying out the score that is actually used when playing and recording the > music. > > > Per Ottar > > > > Subject: RE: [Hornlist] music ghost writers > > > > G.Mahler, R.Strauss, Korngold ... > > > > > > Subject: [Hornlist] music ghost writers > > > > idiocy and lousy arrangers aside, Is there someone who is > > willing to concur without using names that some famous movie > > score composers 'owe' their fame to ghost writers? > > > > or is this a question that should not be asked in public? > > ___ > > 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/potgjers%40frisurf.no > > > > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/herb_foster%40yahoo.com > We won't tell. Get more on shows you hate to love (and love to hate): Yahoo! TV's Guilty Pleasures list. http://tv.yahoo.com/collections/265 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] music ghost writers
In a message dated 5/8/2007 2:37:10 AM Eastern Daylight Time, [EMAIL PROTECTED] writes: G.Mahler, R.Strauss, Korngold ... --- Korngold's music is enjoying somewhat of a revival on our local classical music radio station, WBJC. He's getting substantial air time. Very thrilling concert pieces based on his movie scores. Dave Weiner Brass Arts Unlimited ** See what's free at http://www.aol.com. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] music ghost writers
Dear List, I may be wrong about this, but I believe that most movie score writers make use of some sort of "short score" or "condensed score" when they do the actual writing of the music. These scores usually contains (more or less detailed) instructions for the orchestrators, who then use this short score when laying out the score that is actually used when playing and recording the music. Per Ottar Subject: RE: [Hornlist] music ghost writers G.Mahler, R.Strauss, Korngold ... Subject: [Hornlist] music ghost writers idiocy and lousy arrangers aside, Is there someone who is willing to concur without using names that some famous movie score composers 'owe' their fame to ghost writers? or is this a question that should not be asked in public? ___ 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/potgjers%40frisurf.no ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] music ghost writers
G.Mahler, R.Strauss, Korngold ... -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of harveycor Sent: Tuesday, May 08, 2007 2:57 AM To: horn@music.memphis.edu Subject: [Hornlist] music ghost writers idiocy and lousy arrangers aside, Is there someone who is willing to concur without using names that some famous movie score composers 'owe' their fame to ghost writers? or is this a question that should not be asked in public? ___ 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
[Hornlist] music ghost writers
idiocy and lousy arrangers aside, Is there someone who is willing to concur without using names that some famous movie score composers 'owe' their fame to ghost writers? or is this a question that should not be asked in public? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Music Physics
Adam Watts wrote: "Seeing as the board lacks traffic at the moment, I thought it may be more prudent to ask this slightly odd question now. I am a freshman physics student at UIUC, and I am working with an adviser to create an option for my major (Engineering Physics) in Acoustics. My ultimate goal is to use physics in the realm of the French Horn, either by working in a design team for a company like Conn-Selmer, or in a private shop designing mouthpieces, or something similar; I used to make my own mouthpieces in my high school's metal shop, and it fascinated me. However, I'm not too sure what classes I should look for, or to whom I should speak about entering this sort of field. I am currently in a Physics of Music class, and am preparing to do a research project on the horn (the link to which I'll post here if anyone is interested), and am currently reading Backus' /The Acoustical Foundations of Music/ and Benade's /Fundamentals of Musical Acoustics/. Does anyone on this list have any suggestions as to people I should contact for advice/information, internship opportunities in the Champaign IL area, career possibilities, books to read, or anything I would find useful? I would greatly appreciate any advice. Thanks in advance, Adam Watts" Hi Adam, Why don't you swing by my shop sometime. I'm just West of Champaign on highway 10 (Springfield Ave.) I have a few other texts the might interest you. There's Willi Aebi's "The Horn and Its Inner Acoustics), Reynold Schilke's "The Physics of Brass Instruments" (also available on the Schilke website), and a host of articles that I've collected over the years. Walter Lawson wrote a nice little article on mouthpieces that I have lying around someplace. Also check out the libraries for Acoustical Society journals. Give me a call before you come over though so I'm not surprised by the knock on the door. The number is 217-377-1462. Take care, Stuart de Haro Stuart A. de Haro, Custom Horns, Leadpipes, Brass Repair and Modification (217) 377-1462 [EMAIL PROTECTED] http://www.deharohorns.com __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music Physics
Since you're constructing your own degree program, is it within the realm of possibilities to take such courses at somewhat nearby universities, such as Marquette (OK, 2 hours away) that may offer them? Another possibility could be attending such a university for a semester or so to pick up specific courses that might be weak at Lawrence. Your advisor should be able to help you in this manner. Might be preferable to an independent study. John Baumgart -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Monday, October 23, 2006 4:08 PM To: horn@music.memphis.edu Subject: Re: [Hornlist] Music Physics hello Adam and Listers- I decided to send this post to the whole list, but it's mostly a reply to adam watts. I am a sophomore student at Lawrence University & Conservatory (Appleton Wisconsin) and have set up a 5 year degree program whereby I will hopefully graduate with a B.M. in Horn performance, a B.A. in physics, and a minor in Computer Science. My goal -for career or at least graduate school thesis- is to use computer-modeled computational physics for designing and analyzing Horns (and other Brass instruments) So it sounds like we are of similar interests, eh? ...[snip]... As far as course to take, take lots of Physics. My university doesn't have a straight engineering department, so I don't have any pure "acoustics" courses available -but I am working on designing my own course as a independent study. ...[snup]... ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music Physics
hello Adam and Listers- I decided to send this post to the whole list, but it's mostly a reply to adam watts. I am a sophomore student at Lawrence University & Conservatory (Appleton Wisconsin) and have set up a 5 year degree program whereby I will hopefully graduate with a B.M. in Horn performance, a B.A. in physics, and a minor in Computer Science. My goal -for career or at least graduate school thesis- is to use computer-modeled computational physics for designing and analyzing Horns (and other Brass instruments) So it sounds like we are of similar interests, eh? I spent most of last summer researching on my own everything I could find about horn-acoustics, and I've been really surprised at how little has been done from a physicist point of view. I am sure you know that Lawson was the first to try re-designing a horn from a acoustical standpoint. Engelbert Schmid has done some too, but I can't locate much information specifically of what he's done. (I should also mention the Venklasen Horn story, but I don't know any more than what's on the front page of hornplayer.net) Lawson has published several articles in the Journal of the American Acoustical Society, all of which you should read. I am sure you could get access to them through the physics or engineering department at your university. Also, Laswon published a less technical -yet very good- article in the Horn Call (nov 1998 Vol XXIX, No1 pg. 59 title: A Primer on Acoustics and Horn Design). >From what I can see though, the research done got stumped a while ago and there hasn't been much with new much more powerful computer simulation/analysis techniques available today. If you know of any current research, PLEASE let me know. If I am wrong about this, PLEASE let me know, I have tried to find everything I could on the subject. As for general Acoustics books to read: Benade is your foundation. Definitely read the "Fundamental of Musical Acoustics," but you might want to start (I did and it was much more helpful) with another book he wrote for a general audience called "Horns Strings and Harmony". In addition, I own and am working through "An Introduction to Acoustics" by Robert Randall -very technical, and "Music, Physics, and Engineering, by Harry F. Olson (may be under the title Musical Engineering -also very technical) Aside from straight acoustics/physics, I have been reading up on Psycho-acoustics too. I am convinced that to really understand how an instrument works one really needs to understand how sound and music (different things) are perceived. A very interesting, non-technical starting point is a wonderful book "This is your brain on Music" by Daniel J. Levitin. I am currently working through "Music, Cognition, and Computerized Sound, an Introduction to Psycho-acoustics" by Perry R. Cook too. It is a lot more technical and includes more about perception of sound vs. music from what I've read so far (which isn't much). As far as course to take, take lots of Physics. My university doesn't have a straight engineering department, so I don't have any pure "acoustics" courses available -but I am working on designing my own course as a independent study. I wouldn't be surprised though that one might be able to get further in research with solid general physics background -with an addition emphasis on acoustics- than acoustical engineering. You also want to study all the math involved with Fourier series/transforms and differential equasions as possible. Also fluid/dynamics would be critical to really getting at air-flow, which is most obviously an important part of Horns! I am still only a sophmore, so I haven't gotten to much of these yet. Please, if anyone out there knows more about current research, what has been done, what hasn't been done, things good to study, places to do research in this field, ways to get funding, or anything else relevant I and Adam would greatly appreciate it. Prof. Cabbage.??? I plan to spend my senior - 5th undergraduate year doing intensive research (tons of opportunities at my school for undergrad research) and then go on in grad-school with this. Thanks a lot, Dave Meichle Try Juno Platinum for Free! Then, only $9.95/month! Unlimited Internet Access with 1GB of Email Storage. Visit http://www.juno.com/value to sign up today! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music Physics
If you read what´s written about Selmer-Conn-Steinway, you would not hope to be on theit team sometimes, as they seem to be on the outsourcing trip. = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Adam Watts Sent: Sunday, October 22, 2006 6:13 PM To: horn@music.memphis.edu Subject: [Hornlist] Music Physics Seeing as the board lacks traffic at the moment, I thought it may be more prudent to ask this slightly odd question now. I am a freshman physics student at UIUC, and I am working with an adviser to create an option for my major (Engineering Physics) in Acoustics. My ultimate goal is to use physics in the realm of the French Horn, either by working in a design team for a company like Conn-Selmer, or in a private shop designing mouthpieces, or something similar; I used to make my own mouthpieces in my high school's metal shop, and it fascinated me. However, I'm not too sure what classes I should look for, or to whom I should speak about entering this sort of field. I am currently in a Physics of Music class, and am preparing to do a research project on the horn (the link to which I'll post here if anyone is interested), and am currently reading Backus' /The Acoustical Foundations of Music/ and Benade's /Fundamentals of Musical Acoustics/. Does anyone on this list have any suggestions as to people I should contact for advice/information, internship opportunities in the Champaign IL area, career possibilities, books to read, or anything I would find useful? I would greatly appreciate any advice. Thanks in advance, Adam Watts ___ 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] Music Physics
Check out the Lawson Brass website http://www.lawsonhorns.com/. If you see stuff that you like, give the folks there a call. They may be willing to talk to you, that or a written letter. E-mail may be problematic, some times they answer, some times they don't. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Adam Watts Sent: Sunday, October 22, 2006 12:13 PM To: horn@music.memphis.edu Subject: [Hornlist] Music Physics Seeing as the board lacks traffic at the moment, I thought it may be more prudent to ask this slightly odd question now. I am a freshman physics student at UIUC, and I am working with an adviser to create an option for my major (Engineering Physics) in Acoustics. My ultimate goal is to use physics in the realm of the French Horn, either by working in a design team for a company like Conn-Selmer, or in a private shop designing mouthpieces, or something similar; I used to make my own mouthpieces in my high school's metal shop, and it fascinated me. However, I'm not too sure what classes I should look for, or to whom I should speak about entering this sort of field. I am currently in a Physics of Music class, and am preparing to do a research project on the horn (the link to which I'll post here if anyone is interested), and am currently reading Backus' /The Acoustical Foundations of Music/ and Benade's /Fundamentals of Musical Acoustics/. Does anyone on this list have any suggestions as to people I should contact for advice/information, internship opportunities in the Champaign IL area, career possibilities, books to read, or anything I would find useful? I would greatly appreciate any advice. Thanks in advance, Adam Watts ___ 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/archive%40jab.org
Re: [Hornlist] Music Physics
In a message dated 10/22/2006 1:38:10 PM Eastern Standard Time, [EMAIL PROTECTED] writes: Does anyone on this list have any suggestions as to people I should contact for advice/information, internship opportunities in the Champaign IL area, career possibilities, books to read, or anything I would find useful? I would greatly appreciate any advice. -- Contact Stuart deHaro, _www.deharohorns.com_ (http://www.deharohorns.com) . Dave Weiner Brass Arts Unlimited ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Music Physics
Seeing as the board lacks traffic at the moment, I thought it may be more prudent to ask this slightly odd question now. I am a freshman physics student at UIUC, and I am working with an adviser to create an option for my major (Engineering Physics) in Acoustics. My ultimate goal is to use physics in the realm of the French Horn, either by working in a design team for a company like Conn-Selmer, or in a private shop designing mouthpieces, or something similar; I used to make my own mouthpieces in my high school's metal shop, and it fascinated me. However, I'm not too sure what classes I should look for, or to whom I should speak about entering this sort of field. I am currently in a Physics of Music class, and am preparing to do a research project on the horn (the link to which I'll post here if anyone is interested), and am currently reading Backus' /The Acoustical Foundations of Music/ and Benade's /Fundamentals of Musical Acoustics/. Does anyone on this list have any suggestions as to people I should contact for advice/information, internship opportunities in the Champaign IL area, career possibilities, books to read, or anything I would find useful? I would greatly appreciate any advice. Thanks in advance, Adam Watts ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music Physics
In a message dated 10/22/2006 1:38:10 PM Eastern Standard Time, [EMAIL PROTECTED] writes: Does anyone on this list have any suggestions as to people I should contact for advice/information, internship opportunities in the Champaign IL area, career possibilities, books to read, or anything I would find useful? I would greatly appreciate any advice. -- I forgot to add that the horn professor at UIUC is Kaz Machala. He might be helpful, as well. I don't know how much you'll be able to do at Conn-Selmer. The Bach factory in Elkhart is on strike right now. You might want to contact the people at Schilke, or Ron Pinc. Chicago is no farther than Elkhart. Dave Weiner Brass Arts Unlimited ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music for Sale
The stop mute has now been sold, but the berp is still avaliable for $13.50. Act fast!!! ~Sarah Sarah <[EMAIL PROTECTED]> wrote: Hello again! I wanted to let you all know again that I am totally sold out! However, I will now be selling a berp for $13.50 and a Tom Crown stop mute for $32.00. Both are in excellent condition. If you want these, I suggest jumping on them fast, considering all of the music sold out within 24 hours! Let me know! ~Sarah - See the all-new, redesigned Yahoo.com. Check it out. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/grazioso07%40yahoo.com - Talk is cheap. Use Yahoo! Messenger to make PC-to-Phone calls. Great rates starting at 1¢/min. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music for Sale
Hello again! I wanted to let you all know again that I am totally sold out! However, I will now be selling a berp for $13.50 and a Tom Crown stop mute for $32.00. Both are in excellent condition. If you want these, I suggest jumping on them fast, considering all of the music sold out within 24 hours! Let me know! ~Sarah - See the all-new, redesigned Yahoo.com. Check it out. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Music for Sale
Sorry, everyone! I'm sold out! I can't believe how fast it all went! :-) Thanks, ~Sarah - How low will we go? Check out Yahoo! Messengers low PC-to-Phone call rates. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Music for Sale
Wow, these are going fast! Here is the updated list Horn Player's Audition Handbook, Labar - excellent condition, $13.50 Beethoven Sonata - near mint condition, some markings in pencil - $5.00 Nocturno by Franz Strauss - near mint condition, very few light pencil markings; edition now out of print - $10.00 Six Trios by Reicha - really good condition - $15.00 Patriotic Favorites, Essential Elements - excellent condition - $2.00 First Book of Practical Studies for Trombone - ex. condition - $4.00 Rubank Supplementary Studies Trombone - good condition - $2.00 Get back to me soon!!! ~Sarah - How low will we go? Check out Yahoo! Messengers low PC-to-Phone call rates. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] music for sale
Hi everyone! I am sending an updated list of the music for sale because five of them have already been reserved. If you are interested, act fast because they are going like lightening! ~Sarah Thompson (second) Edition, $75.00 Horn Player's Audition Handbook, Labar - excellent condition, $13.50 Oscar Franz Complete Method, Fischer - great condition, $17.00 Patriotic Favorites, Essential Elements - excellent condition - $2.00 First Book of Practical Studies for Trombone - ex. condition - $4.00 Rubank Supplementary Studies Trombone - good condition - $2.00 Beethoven Sonata - near mint condition, some markings in pencil - $5.00 Paul Hindemith Sonata - near mint condition, some pencil markings - $15.00 Nocturno by Franz Strauss - near mint condition, very few light pencil markings; edition now out of print - $10.00 Mozart Horn Concerto K.V. 495, Horn in Eb, edited by Hermann Baumann - mint condition, never played - $10.00 Mozart Horn Concerto K.V. 417, Horn in Eb, edited by Hermann Baumann - mint condition, never played - $10.00 Mozart Horn Concerto K.V. 412/514, Horn in D, edited by Hermann Baumann - mint condition, never played - $10.00 Mozart Horn Concerto K.V. 447, Horn in Eb, edited by Hermann Baumann - near mint condition, pencil markings - $9.00 Six Trios by Reicha - really good condition - $15.00 - Do you Yahoo!? Everyone is raving about the all-new Yahoo! Mail Beta. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music Theory: The Curse of Perfect Pitch
Steve Freides <[EMAIL PROTECTED]> wrote: I've read enough research on perfect pitch to know that no two people's perfect pitch is quite the same. ... Unless, you have a pair of twins who have perfect pitch, which is the case with me and my twin. Our perfect pitch is at a level where we have little trouble tuning to any ensemble. We can even sing any pitch you ask us. My only fear is very bad head colds. There are times for me when PP was a bit of a curse. One example would be when I played in an ensemble where a good number of players did not know not only the tuning tendencies of their individual instruments, but also their place in chords and the tuning tendencies of those chords. This actually resulted in lowering my confidence in my tuning for a couple of weeks. It was easier if I happened to play the bass part than alto or tenor. Another would be when I began theory and aural training back in my undergrad, when I could not fall asleep w/my CD player on. It resulted in analyzing chords in my dreams. As if I couldn't get away from more theory homework... For me, the hardest part of this ability is preparing for an audition, and my ears and brain know how the piece goes, but the rest of my body doesn't. When my brain and ears know the piece, I can fall into a rut where I hear "I know the piece, so why should I practice it any further?" So I have to play mental tricks with myself to keep practicing fresh. My twin and I have had this ability practically all our lives, but didn't know what it was until our senior year of high school. We thought everybody had this ability and knew a B-nat. from a C. Once my sis and I knew the extent of our ability, we really flexed our theory muscles. This resulted in frightening a few profs, being show-n-tell examples for a couple of classes and being refused to give answers in many classes, for good reason. But this has brought benefits, such as understanding the harmonic series and learning transposition in a matter of days. It's also helped in making musical arrangements in a flash. And we can sightread better than the average musician, whatever average is. BUT, it has not, nor will it ever, make me a better musician than the next person. Nowadays, I consider PP as only one of many tools I use, not THE tool. My twin finds it handy as a middle school band director, and she would agree it is not the only thing she relies on to run her ensembles. When I prepare for an audition, I still do all the hard work needed to learn each excerpt (know the part, know the score, know the entire piece), as well as the hours of practicing that is needed. I think what humbles me even more is that there are many fantastic, out-of-sight musicians and music educators out there that do not have this ability. Questions? Comments? Accusations? My $0.028 worth (since I've heard it costs $0.014 to make one penny) Angela Gonzales - Talk is cheap. Use Yahoo! Messenger to make PC-to-Phone calls. Great rates starting at 1¢/min. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music Theory: The Curse of Perfect Pitch
On May 23, 2006, at 10:31 PM, Steve Freides wrote: I've read enough research on perfect pitch to know that no two people's perfect pitch is quite the same. I, for one, have a great deal of trouble with anything other than piano-like equal temperament... ...While my inability to play out of tune is appreciated by my section mates, it does make this aspect of learning to play the horn more difficult for me. But of course, as you know, if you play in equal temperament, then you ARE out of tune with anything but a piano :-) Not being blessed (?) with perfect pitch, I've often wondered how those of you are reconcile it with the untempered intervals used in ensemble playing, if in fact your perfect pitch is equal tempered. While I can easily and automatically bend to fit with what I hear around me, you have to consciously choose to ignore your internal tuner. It has to be painful, and frankly, as Rachel has stated, I wouldn't think it would really be that much of a help except for finding difficult entrance pitches or intervals. Dan Dan Phillips Associate Professor Rudi E. Scheidt School of Music University of Memphis [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music Theory: The Curse of Perfect Pitch
> -Original Message- > From: > [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] > du] On Behalf Of [EMAIL PROTECTED] > Sent: Tuesday, May 23, 2006 9:43 PM > To: horn@music.memphis.edu > Subject: Re: [Hornlist] Music Theory: The Curse of Perfect Pitch > > Do you have any trouble tuning harmonically in the chord even > though your perfect pitch would tell you you're playing > whatever the third note is -flat, by a good bit. I've read enough research on perfect pitch to know that no two people's perfect pitch is quite the same. I, for one, have a great deal of trouble with anything other than piano-like equal temperament, although the more I play the horn, the more I'm becoming used to, and accepting of, other ways of tuning. Somewhat related to this, my horn teacher finds it amusing that he can have me change the slides by quite a bit and the notes still come out the same. I find it very difficult to know what a 'centered' pitch on the horn is because my ear insists on it being a certain way. Although I suspect most people have to concentrate on playing in tune, my current project is learning to _not_ to play in tune but to just let each note center itself and see where it ends up. While my inability to play out of tune is appreciated by my section mates, it does make this aspect of learning to play the horn more difficult for me. -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music Theory: The Curse of Perfect Pitch
Do you have any trouble tuning harmonically in the chord even though your perfect pitch would tell you you're playing whatever the third note is -flat, by a good bit. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Music Theory: The Curse of Perfect Pitch
For Steve; For Carlberg: For Hornfolks: Steve and Carlberg are both correct regarding the chord 'spelling' issue; one needs both ear training and music theory for a balanced college curriculum (music major). I found myself propelled into college with only my perfect pitch; ruined horn chops (a different story) and wondering why I was even in college. The first year of music theory (the Piston text) was a nightmare. Yes, I heard the chords. Several different 'spellings' in fact. But NO one, not even the teacher told me that I needed to spell the chords as they were meant to be; usually in conjunction with modulations; so I did the homework as I 'heard' it. And it was always wrong. I argued my point with the teacher; even played 'my' chords on the piano for him and he still said I was 'wrong'. I had no idea why and he did not bother to explain. You see, he did not know I had perfect pitch and I had no idea that this was the root of the problem; so I did not tell him either. In fact I worked myself to the bone on theory assigments; checking them repeatedly; even with my father who was a piano professor (and he even told me they were correct). Now, he has perfect pitch as well; so I may as well have put the cart before the horse as it were-all of my homework came back with a C or worse and lots of notes from the teacher. I even went back to my father and said 'you corrected this for me and so-and-so still gave me a C' 'Why?' There was never an answer from him; he had a reputation to maintain or else he didn't know the answer either. It was not until my 2nd year that I finally 'got' the gist of the music theory system as far as correctly 'spelling' the wanted modulations, etc. Yes there were harder chords but since now I understood the 'spelling' concept it was simply a matter of adding a few notes here and there, depending upon the complexity of the chord or whether it was a modulatory chord or inversion of such. I even sometimes cursed my own perfect pitch for 'getting me into this mess' because yes, it can and will mess you up badly if mis-used or if you are mis-guided in its use. This includes playing in ensembles that are out of tune for long term because what a person with perfect pitch does after a time is to take on whatever pitch is being played and utilize it as one's own sense of pitch-it is so automatic that the person often does not notice until he/she gets into an in-tune ensemble and is suddenly told that he/she is 'sharp' or whatever. Surprise!! So you say, Gee, I have perfect pitch and 'they' dare to tell me I'm sharp? What do you do? Argue? Nah; no one wants to hear THAT. I truly hate to invite this on anyone here; but if you have perfect pitch; and want to test my 'argument' go ahead; play in a sharp ensemble yourself and see what happens; I guarantee you it is not fun in the end because from experience w/this I say that even 'perfect pitch' can and does get messed up by an out of tune ensemble. As a result of playing in a 'sharp' ensemble, my pitch is now such that I must 'think' about every single note I self-generate before doing so. No one with perfect pitch deserves to have this happen, but it happened to me. It can happen to YOU if you have perfect pitch and play regularly with out-of-tune ensembles and in particular, multiple ensembles which TUNE to different A's. Lastly, where theory is concerned; I still hear chords different ways, but when adhering to a music theory system, especially when composing; I am cautious to keep to the correct key and modulation sequence and must check my work frequently to make sure I do not 'suddenly' change key and accidentals in order to 'satisfy' my hearing 'requirements'. best wishes Rachel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music Theory for Josh and others
Good explanation and more in depth than mine! Klaus Smedegaard Bjerre --- Steve Freides <[EMAIL PROTECTED]> wrote: > Klaus Bjerre wrote: > > -snip- > > > During my musicological studies, I have been quite a bit > > around jazz theory. And there the same chord (Db in C major > > is not considered a subdominant, but a tritone-substitution > > for the dominant, usually with the Db in the bass and with at > > least a minor seventh added. > > > > The classical purpose of the Napolitan chord is to approach > > the Tonica in the melody line from a semitone above via a > > semitone below (the leading note). > > > > The jazz purpose is to approach the root in a chromatic way. > > The normal jazz cadenza in a simplified version is ii7-V7-I. > > In C major giving the bass line D-G-C. The substitution > > version is ii7-bII7-I giving the bass line of D-Db-C. > > > > For me there is no split between the classical and the jazz > > approaches, as they are all about creating a tension to be > > released on the Tonica. > > Thanks you, Klaus. > > I will point out two differences that I are, at least to this theory > teacher, significant. > > The first - in classical music, the Neapolitan chord is usually seen as a > triad in first inversion, while in jazz it's usually a 'dominant' (major > third, minor seventh) seventh chord in root position. In the key of C, the > classical chord is spelled F-Ab-Db, while the jazz chord is spelled Db, F, > Ab, Cb. The classical Neapolitan is more often used in music in a minor key > because it "fixes" what would otherwise be a diminished chord. Ed Aldwell > and Carl Schacter give this chord, which they call the Phryigian II, > excellent treatment in the second volume of their text book, "Harmony and > Voice Leading." The Neapolitan 6/3 chord may, in fact, be followed by a > tonic chord, but that will almost always be a cadential 6/4 version of the > tonic chord, which will then be followed by the dominant chord and then the > final tonic itself. In Aldwell/Schacter parlance, one does not even call > the tonic 6/4 chord used this way a tonic chord at all. (To say more on > this would open Pandora's Box - suffice it to say their theory text is > excellent and explains all this very well.) > > Secondly, in jazz, as you rightly observe, it's a substitute for a dominant > triad or seventh chord, while in classical music it usually functions much > like a II (supertonic), that is, a chord that goes to the dominant chord > which then goes to the tonic. The jazz version is often refered to as a > "sub-V", meaning a substitute for a V chord. So here its function is > different, one level more removed from the tonic in classical music in terms > of how it functions. > > The jazz useage is fun to play with. If you take, e.g., a standard like > "All The Things You Are" (which, I understand, was recently voted "best > popular song of all time" by the members of some musical organization - I'm > afraid I forget the details) in its original key of Ab major, at the text, > "promised kiss of" near the beginning where the melody is a repeated G, you > can play either Eb dominant seven to get you to the following Ab major > chord, in which case the melody note is the third of the chord, or you can > play A (natural) dominant seventh and have the melody be the seventh of the > chord, the latter being the jazz "sub-V" useage. You can even use one > followed by the other and it sounds good. > > Sorry to venture off the topic of horns so much. Horn content - if anyone > would like to sell me an Alexander 103 for very little money, I'm interested > - I had a chance to play one for the first time a few days ago and I am in > love. :) > > -S- > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/yorkmasterbbb%40yahoo.com > __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music Theory for Josh and others
I suppose I wasn't quite clear in my earlier post. My point was that ear training in many schools is insufficient in comparison to music theory. Unfortunately, I can't speak from personal experience, but I watched some of my peers either breeze through or pass completely out of music theory courses. In every case, they had strong listening (ear training) skills. Some were self taught, others had private lesson instructors who insisted on ear training. Many of the things I learned in "music theory" didn't make sense until I went through my recent ear training courses. Concepts which had at the time seemed complex, became very basic. Original Message Follows From: [EMAIL PROTECTED] Reply-To: The Horn List To: horn@music.memphis.edu Subject: [Hornlist] Music Theory for Josh and others Date: Sun, 21 May 2006 03:31:55 + Josh and Hornfolks I got in big trouble with music theory because I 'could' hear the chors and MISSPELLED them as many chords SOUND the same but LOOK different. I did not believe this for a few years until my teacher sat me down and explained that I must not 'listen' to the chords; only spell them as outlined in the text. Only in ear training/musicianship will you be required to use your ears and it is only in the last year of musicianship that a 'chord' test may be given (the teacher (at least at SJSU) played an amalgam of notes on the piano for the last test and the student's job was to identify each and every note. Don't worry about Neopolitan chords, 9th chords, 13th chords, or French Sixths or whatever; as long as you follow the teacher's specific instructions on how to spell each one, you will be just fine. Now, a cautionary word; IF you have perfect pitch; yes you will hear each chord but this is where I got into trouble; because, trust me on this, many many chords SOUND the SAME but are SPELT differently. You want to follow the teacher's instructions and (if you have perfect pitch) try to turn it 'off' for the duration of the class and for your homework. You do NOT need to hear any pitches in music theory with the exception of differentiating between the intervals (a basic exercise). Just spell them exactly as instructed. best Rachel >Josh wrote: >What good does it do to teach a young music student how to >correctly spell a Neopolitan 6 chord if they can't even hear it? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music Theory for Josh and others
Klaus Bjerre wrote: -snip- > During my musicological studies, I have been quite a bit > around jazz theory. And there the same chord (Db in C major > is not considered a subdominant, but a tritone-substitution > for the dominant, usually with the Db in the bass and with at > least a minor seventh added. > > The classical purpose of the Napolitan chord is to approach > the Tonica in the melody line from a semitone above via a > semitone below (the leading note). > > The jazz purpose is to approach the root in a chromatic way. > The normal jazz cadenza in a simplified version is ii7-V7-I. > In C major giving the bass line D-G-C. The substitution > version is ii7-bII7-I giving the bass line of D-Db-C. > > For me there is no split between the classical and the jazz > approaches, as they are all about creating a tension to be > released on the Tonica. Thanks you, Klaus. I will point out two differences that I are, at least to this theory teacher, significant. The first - in classical music, the Neapolitan chord is usually seen as a triad in first inversion, while in jazz it's usually a 'dominant' (major third, minor seventh) seventh chord in root position. In the key of C, the classical chord is spelled F-Ab-Db, while the jazz chord is spelled Db, F, Ab, Cb. The classical Neapolitan is more often used in music in a minor key because it "fixes" what would otherwise be a diminished chord. Ed Aldwell and Carl Schacter give this chord, which they call the Phryigian II, excellent treatment in the second volume of their text book, "Harmony and Voice Leading." The Neapolitan 6/3 chord may, in fact, be followed by a tonic chord, but that will almost always be a cadential 6/4 version of the tonic chord, which will then be followed by the dominant chord and then the final tonic itself. In Aldwell/Schacter parlance, one does not even call the tonic 6/4 chord used this way a tonic chord at all. (To say more on this would open Pandora's Box - suffice it to say their theory text is excellent and explains all this very well.) Secondly, in jazz, as you rightly observe, it's a substitute for a dominant triad or seventh chord, while in classical music it usually functions much like a II (supertonic), that is, a chord that goes to the dominant chord which then goes to the tonic. The jazz version is often refered to as a "sub-V", meaning a substitute for a V chord. So here its function is different, one level more removed from the tonic in classical music in terms of how it functions. The jazz useage is fun to play with. If you take, e.g., a standard like "All The Things You Are" (which, I understand, was recently voted "best popular song of all time" by the members of some musical organization - I'm afraid I forget the details) in its original key of Ab major, at the text, "promised kiss of" near the beginning where the melody is a repeated G, you can play either Eb dominant seven to get you to the following Ab major chord, in which case the melody note is the third of the chord, or you can play A (natural) dominant seventh and have the melody be the seventh of the chord, the latter being the jazz "sub-V" useage. You can even use one followed by the other and it sounds good. Sorry to venture off the topic of horns so much. Horn content - if anyone would like to sell me an Alexander 103 for very little money, I'm interested - I had a chance to play one for the first time a few days ago and I am in love. :) -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music Theory for Josh and others
At 10:26 AM -0400 5/21/06, [EMAIL PROTECTED] wrote: Like "Viola" and "Cat" Voilà, ya got it, mighty! -- Carlberg Jones Guanajuato, Gto. MEXICO mailto:[EMAIL PROTECTED] Skype: carlbergbmug - http://skype.com/ My ISP feels that some of my e-mails are not worthy of deliverance. If you do not receive something you expect, please ask me to resend. I apologize for my ISP's evaluation of my e-mail's worthiness. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music Theory for Josh and others
In a message dated 21/05/2006 15:17:32 GMT Daylight Time, [EMAIL PROTECTED] writes: As in music, the English language has many words which sound the same but are spelled differently. Like "Viola" and "Cat" "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://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music Theory for Josh and others
At 3:31 AM + 5/21/06, [EMAIL PROTECTED] wrote: I got in big trouble with music theory because I 'could' hear the chors and MISSPELLED them as many chords SOUND the same but LOOK different. I did not believe this for a few years until my teacher sat me down and explained that I must not 'listen' to the chords; only spell them as outlined in the text. It seems to me that unless you know the function of a chord its spelling is a moot point. If you are asked to write down "this" chord, and you hear only the chord, any spelling is correct, I'd say. When you wrote "text" at the end of the above quote, did you mean "context?" Then I think spelling would matter. When one hears the word "read," how can one know if it's spelled that way or "red," (or "reed," for that matter) without know the context or the word's meaning? As in music, the English language has many words which sound the same but are spelled differently. Carlberg -- Carlberg Jones Guanajuato, Gto. MEXICO mailto:[EMAIL PROTECTED] Skype: carlbergbmug - http://skype.com/ My ISP feels that some of my e-mails are not worthy of deliverance. If you do not receive something you expect, please ask me to resend. I apologize for my ISP's evaluation of my e-mail's worthiness. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music Theory for Josh and others
--- Steve Freides <[EMAIL PROTECTED]> wrote: You have all read Steves fine posting, so I wont quote it. It made me wonder, why I never really can remember the precise composition of the Napolitan chord. So I found it on a web page, and then I knew why: During my musicological studies, I have been quite a bit around jazz theory. And there the same chord (Db in C major is not considered a subdominant, but a tritone-substitution for the dominant, usually with the Db in the bass and with at least a minor seventh added. The classical purpose of the Napolitan chord is to approach the Tonica in the melody line from a semitone above via a semitone below (the leading note). The jazz purpose is to approach the root in a chromatic way. The normal jazz cadenza in a simplified version is ii7-V7-I. In C major giving the bass line D-G-C. The substitution version is ii7-bII7-I giving the bass line of D-Db-C. For me there is no split between the classical and the jazz approaches, as they are all about creating a tension to be released on the Tonica. This relates to a recent thread about Lacher, where Hans like the other posters excluded the alleged horn obligato to be intended for horn. Hans suggested the zink/cornetto, which I applauded. The Napolitan discussion took me back to the Lacher score, as I remembered a figure of some soloist line notes with a sequence similar to that of a Napolitan cadenza. They were not true Napolitan, rather sort of appogiaturas leading to the main note, which in casu was the third of the subdominant. This is all very subtle in a horn context, but it leads to the point of several posters including me: horn players shall play their horn well, but they shall also be thorough musicians, which includes knowledge of style and of harmony. I only have played Mendelssohns violin concerto once at a reading. I was 2nd horn and another, very good, but back then quite young, list member was first. Most of the way we played in natural horn harmonies for horn in E, but suddenly we had to play one or more top-of-the-staff Fs in unisono. Not an obvious range to meat within. But there is a clear reason behind the composers writing. Which is that reason? Only to be told by those knowing about orchestral horn playing of the period. Klaus Smedegaard Bjerre __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music Theory for Josh and others
At 3:31 AM + 5/21/06, [EMAIL PROTECTED] wrote: You do NOT need to hear any pitches in music theory with the exception of differentiating between the intervals (a basic exercise). Just spell them exactly as instructed. Sort of like learning how to spell without learning what the words mean? Carlberg -- Carlberg Jones Guanajuato, Gto. MEXICO mailto:[EMAIL PROTECTED] Skype: carlbergbmug - http://skype.com/ My ISP feels that some of my e-mails are not worthy of deliverance. If you do not receive something you expect, please ask me to resend. I apologize for my ISP's evaluation of my e-mail's worthiness. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music Theory for Josh and others
Josh wrote: > > >What good does it do to teach a young music student how to > >correctly spell a Neopolitan 6 chord if they can't even hear it? Rachel Harvey replied: > I got in big trouble with music theory because I 'could' hear > the chors and MISSPELLED them as many chords SOUND the same > but LOOK different. I did not believe this for a few years > until my teacher sat me down and explained that I must not > 'listen' to the chords; only spell them as outlined in the text. -snip- There is a reason all good musicianship programs require both theory and ear-training - each helps the other. No one is a complete musician without both. I also have perfect pitch, but I grew up as a jazz guitarist and that background has helped me immensely in my career as a classical musician. If anything, I believe one ought to understand before learning to hear - learn theory before ear-training - because hearing without understanding is only half the picture and, as you observe, half the picture can give a misleading impression of the whole. No one without theory training (at least no one I've ever met) understands a Neopolitan, an augmented sixth chord, or other non-beginner theoretical concept intuitively - it must be taught. Merely recognizing the notes one hears but not recognizing them in context is nothing more than a parlor trick - one I am well able to perform but which has little value in the grand scheme of things. I tell my students that my ability to sight-sing almost anything, including atonal music, is ultimately useless to me as a performer because when an audience listens to a performance, they wish to be moved emotionally and don't care whether the performer took 3 minutes or 3 years to prepare the piece. It is not good to only be able to spell a Neapolitan and not hear it, but that is better than to be able to hear the notes because of perfect pitch and have no clue what they mean in context. One can never know too much theory, just as one can never have ears that are too good. Good musicians study theory, ear-training, and the history not only of music but of other arts and general history, for one can also never have too much knowledge about a piece one will perform. -S- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Music Theory for Josh and others
Josh and Hornfolks I got in big trouble with music theory because I 'could' hear the chors and MISSPELLED them as many chords SOUND the same but LOOK different. I did not believe this for a few years until my teacher sat me down and explained that I must not 'listen' to the chords; only spell them as outlined in the text. Only in ear training/musicianship will you be required to use your ears and it is only in the last year of musicianship that a 'chord' test may be given (the teacher (at least at SJSU) played an amalgam of notes on the piano for the last test and the student's job was to identify each and every note. Don't worry about Neopolitan chords, 9th chords, 13th chords, or French Sixths or whatever; as long as you follow the teacher's specific instructions on how to spell each one, you will be just fine. Now, a cautionary word; IF you have perfect pitch; yes you will hear each chord but this is where I got into trouble; because, trust me on this, many many chords SOUND the SAME but are SPELT differently. You want to follow the teacher's instructions and (if you have perfect pitch) try to turn it 'off' for the duration of the class and for your homework. You do NOT need to hear any pitches in music theory with the exception of differentiating between the intervals (a basic exercise). Just spell them exactly as instructed. best Rachel >Josh wrote: >What good does it do to teach a young music student how to >correctly spell a >Neopolitan 6 chord if they can't even hear it? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Music of Eric Ewazen..a comment
On May 10, 2006, at 10:00 AM, [EMAIL PROTECTED] wrote: message: 3 date: Tue, 09 May 2006 16:19:42 -0400 from: [EMAIL PROTECTED] subject: [Hornlist] Music of Eric Ewazen..a comment Eric's works are well respected in the professional and academic horn communities. Before sarcastically referring to his music as "trite or vapid" I encourage Chris and others to attempt playing the Sonata, for example, as well as the Trio. They are not pieces for the artistically challenged. Sincerely, John David Smith, DMA Assistant Professor of Music message: 4 date: Tue, 9 May 2006 14:55:50 -0600 from: "Matt James" <[EMAIL PROTECTED]> subject: Re: [Hornlist] Music of Eric Ewazen..a comment I agree completely. I have had the privelage to perform Eric ewaznes Sonata, trio, and his symphony in brass. These peices are as John said, no= t for the artistically challenged. Try them out before you beat them up. Teh= y are marvelous. MAthew James What does "artistically challenged" mean? Sincerely, Wendell Rider For information about my book, "Real World Horn Playing" and the summer seminar, go to my website: www.wendellworld.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music of Eric Ewazen..a comment
I am playing the sonata for my final recital exam in June! I'm really excited, I love it! From: "Matt James" <[EMAIL PROTECTED]> Reply-To: The Horn List To: "The Horn List" Subject: Re: [Hornlist] Music of Eric Ewazen..a comment Date: Tue, 9 May 2006 14:55:50 -0600 I agree completely. I have had the privelage to perform Eric ewaznes Sonata, trio, and his symphony in brass. These peices are as John said, not for the artistically challenged. Try them out before you beat them up. Tehy are marvelous. MAthew James On 5/9/06, [EMAIL PROTECTED] <[EMAIL PROTECTED]> wrote: Eric Ewazen recently was in-residence at ULM and I was delighted to host part of his residency. In addition to performing his Trio for Piano, Flute and Horn I was delighted to again perform his Sonata for Horn and Piano at ULM and a week later at the 2006 Southeastern Horn Workshop. Additionally, I will be performing the Sonata this summer at the IHS Symposium in Capetown, South Africa. Eric's works are well respected in the professional and academic horn communities. Before sarcastically referring to his music as "trite or vapid" I encourage Chris and others to attempt playing the Sonata, for example, as well as the Trio. They are not pieces for the artistically challenged. This past week while performing in New York City with both the Metropolitan Opera orchestra and the NYC Opera orchestra I was once again reminded how often composers honor our instrument with beautiful passages in ensemble playing as well as in chamber and solo settings. Mr. Ewazen continues that tradition. Sincerely, John David Smith, DMA Assistant Professor of Music ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hornboy101%40gmail.com -- Mathew James ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/pristine_%40hotmail.com _ The new MSN Search Toolbar now includes Desktop search! http://join.msn.com/toolbar/overview ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music of Eric Ewazen..a comment
I agree completely. I have had the privelage to perform Eric ewaznes Sonata, trio, and his symphony in brass. These peices are as John said, not for the artistically challenged. Try them out before you beat them up. Tehy are marvelous. MAthew James On 5/9/06, [EMAIL PROTECTED] <[EMAIL PROTECTED]> wrote: Eric Ewazen recently was in-residence at ULM and I was delighted to host part of his residency. In addition to performing his Trio for Piano, Flute and Horn I was delighted to again perform his Sonata for Horn and Piano at ULM and a week later at the 2006 Southeastern Horn Workshop. Additionally, I will be performing the Sonata this summer at the IHS Symposium in Capetown, South Africa. Eric's works are well respected in the professional and academic horn communities. Before sarcastically referring to his music as "trite or vapid" I encourage Chris and others to attempt playing the Sonata, for example, as well as the Trio. They are not pieces for the artistically challenged. This past week while performing in New York City with both the Metropolitan Opera orchestra and the NYC Opera orchestra I was once again reminded how often composers honor our instrument with beautiful passages in ensemble playing as well as in chamber and solo settings. Mr. Ewazen continues that tradition. Sincerely, John David Smith, DMA Assistant Professor of Music ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hornboy101%40gmail.com -- Mathew James ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Music of Eric Ewazen..a comment
Eric Ewazen recently was in-residence at ULM and I was delighted to host part of his residency. In addition to performing his Trio for Piano, Flute and Horn I was delighted to again perform his Sonata for Horn and Piano at ULM and a week later at the 2006 Southeastern Horn Workshop. Additionally, I will be performing the Sonata this summer at the IHS Symposium in Capetown, South Africa. Eric's works are well respected in the professional and academic horn communities. Before sarcastically referring to his music as "trite or vapid" I encourage Chris and others to attempt playing the Sonata, for example, as well as the Trio. They are not pieces for the artistically challenged. This past week while performing in New York City with both the Metropolitan Opera orchestra and the NYC Opera orchestra I was once again reminded how often composers honor our instrument with beautiful passages in ensemble playing as well as in chamber and solo settings. Mr. Ewazen continues that tradition. Sincerely, John David Smith, DMA Assistant Professor of Music ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music Making and Mozart
Both Allegros were written on separate & distant occasions. They are separate movements, but put together to have no.1 Concerto. But the Eb-Concerto no.3 K.447 was the first completed concerto & published such as op.92. The first Allegro in D is dated end 1782, while the Rondo Allegro 6/8 is probably from 1787. K.447 is definitely dated 1783, the Concert Rondo is from March 21st 1781, but is also a separate movement, perhaps matching with an unfinished "first" undated movement, both be from 1781 probably, but incomplete. The E-major fragment is another unfinished movement with complete instrumentated long introduction but from unknown date, the K.417 also op.105 & named 2nd concerto at the first publication is dated definitely with May 27th, 1783 & finally the 4rth concerto published as op.106 & named third concerto then is also dated definitely with June 26th 1786. I thought these facts were widely know by the many publications (Mozart Society, Koechel, Jeurissen, etc.) == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Bill Gross Sent: Friday, April 14, 2006 2:28 PM To: 'The Horn List' Subject: RE: [Hornlist] Music Making and Mozart I am not sure I understand what this means, "the two separate movements in D (which we know today as no.1 concerto)." Were the two separate movements put into on piece by later editors or is it all that remains of a complete work? -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Hans.Pizka Sent: Thursday, April 13, 2006 2:18 AM To: 'The Horn List' Subject: RE: [Hornlist] Music Making and Mozart Hello Eldon, the three concertos in Eb K.447, K.417, K.495 as completed concertos, the two separate movements in D (which we know today as no.1 concerto), the fragment in E (of a big but abandoned concerto), the fragment in Eb matching as first movement of a concerto with the well known Rondo K.371. But that makes just eight. Where is the no.9 ? Ooops, the known no.3 concerto K.447 has new sheet numbering beginning with the Larghetto (Romance), which would bring up all to nine more or less completed or fragmentarian concertos for horn. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Eldon Matlick Sent: Wednesday, April 12, 2006 10:22 PM To: horn@music.memphis.edu Subject: [Hornlist] Music Making and Mozart I've been reading with some amusement postings regarding opinions of the Mozart Concerti. First of all, to fully appreciate these works, one cannot look at these from our modern perspective. To look at and analyze these works not only from a historical, but pedagogical aspect will enlighten one to the brilliance of these works. Mozart knew the horn, no doubt about it. His understanding of the limitations afforded by the harmonic series and the knowledge of hand stopping shows in his richness of melodic invention for the instrument. If one has the opportunity to fully examine these works using period performance practice, the subtle use of colors within the various key schemes and regions become readily apparent. While many hornists cut their teeth on Mozart, it does not become long until novices look down their noses at these concerti, considering them more of a trifle. To echo the comments of other listeners, the more musically astute a person becomes, the more one really appreciates the artistry of composition of these concerti. While the Rosetti concerti offer more flash, the supreme elegance and balance of architecture make these works singular. Also, there is evidence that Mozart wrote as many as 9 concerti for the instrument. While novices falsely believe that end-all to horn playing is higher-faster-louder, the best way to tell a person's true musicianship and taste is to play classical literature. Purity of tone, evenness of scale, subtlety of articulation, and attention to architecture of sections, as well as movement, will all need to be addressed for a satisfactory and musical performance. Later and more modern works offer substantial challenges, to be sure. However, to look down one's nose at a body of work/composer from a bygone era because it is deemed to be simple, uncomplicated belies the fact that these are true gems of the period and should be looked at as such. One cannot make sweeping comparisons of Mozart, Strauss, Berio, Corigliano, et. al. without looking at their place within the period in which they were writing. Each is unique and valid within their own period. However, history will eventually prove the worth of more recent composers. Sincerely Dr. Eldon Matlick, Horn Professor, University of Oklahoma Pri
RE: [Hornlist] Music Making and Mozart
I am not sure I understand what this means, "the two separate movements in D (which we know today as no.1 concerto)." Were the two separate movements put into on piece by later editors or is it all that remains of a complete work? -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Hans.Pizka Sent: Thursday, April 13, 2006 2:18 AM To: 'The Horn List' Subject: RE: [Hornlist] Music Making and Mozart Hello Eldon, the three concertos in Eb K.447, K.417, K.495 as completed concertos, the two separate movements in D (which we know today as no.1 concerto), the fragment in E (of a big but abandoned concerto), the fragment in Eb matching as first movement of a concerto with the well known Rondo K.371. But that makes just eight. Where is the no.9 ? Ooops, the known no.3 concerto K.447 has new sheet numbering beginning with the Larghetto (Romance), which would bring up all to nine more or less completed or fragmentarian concertos for horn. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Eldon Matlick Sent: Wednesday, April 12, 2006 10:22 PM To: horn@music.memphis.edu Subject: [Hornlist] Music Making and Mozart I've been reading with some amusement postings regarding opinions of the Mozart Concerti. First of all, to fully appreciate these works, one cannot look at these from our modern perspective. To look at and analyze these works not only from a historical, but pedagogical aspect will enlighten one to the brilliance of these works. Mozart knew the horn, no doubt about it. His understanding of the limitations afforded by the harmonic series and the knowledge of hand stopping shows in his richness of melodic invention for the instrument. If one has the opportunity to fully examine these works using period performance practice, the subtle use of colors within the various key schemes and regions become readily apparent. While many hornists cut their teeth on Mozart, it does not become long until novices look down their noses at these concerti, considering them more of a trifle. To echo the comments of other listeners, the more musically astute a person becomes, the more one really appreciates the artistry of composition of these concerti. While the Rosetti concerti offer more flash, the supreme elegance and balance of architecture make these works singular. Also, there is evidence that Mozart wrote as many as 9 concerti for the instrument. While novices falsely believe that end-all to horn playing is higher-faster-louder, the best way to tell a person's true musicianship and taste is to play classical literature. Purity of tone, evenness of scale, subtlety of articulation, and attention to architecture of sections, as well as movement, will all need to be addressed for a satisfactory and musical performance. Later and more modern works offer substantial challenges, to be sure. However, to look down one's nose at a body of work/composer from a bygone era because it is deemed to be simple, uncomplicated belies the fact that these are true gems of the period and should be looked at as such. One cannot make sweeping comparisons of Mozart, Strauss, Berio, Corigliano, et. al. without looking at their place within the period in which they were writing. Each is unique and valid within their own period. However, history will eventually prove the worth of more recent composers. Sincerely Dr. Eldon Matlick, Horn Professor, University of Oklahoma Principal Hornist, OK City Philharmonic 500 W Boyd Norman, OK 73019 (405) 325-4093 off. (405) 325-7574 fax Conn-Selmer Educational Artist http://ouhorns.com __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ 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/archive%40jab.org
RE: [Hornlist] Music Making and Mozart
Hello Eldon, the three concertos in Eb K.447, K.417, K.495 as completed concertos, the two separate movements in D (which we know today as no.1 concerto), the fragment in E (of a big but abandoned concerto), the fragment in Eb matching as first movement of a concerto with the well known Rondo K.371. But that makes just eight. Where is the no.9 ? Ooops, the known no.3 concerto K.447 has new sheet numbering beginning with the Larghetto (Romance), which would bring up all to nine more or less completed or fragmentarian concertos for horn. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Eldon Matlick Sent: Wednesday, April 12, 2006 10:22 PM To: horn@music.memphis.edu Subject: [Hornlist] Music Making and Mozart I've been reading with some amusement postings regarding opinions of the Mozart Concerti. First of all, to fully appreciate these works, one cannot look at these from our modern perspective. To look at and analyze these works not only from a historical, but pedagogical aspect will enlighten one to the brilliance of these works. Mozart knew the horn, no doubt about it. His understanding of the limitations afforded by the harmonic series and the knowledge of hand stopping shows in his richness of melodic invention for the instrument. If one has the opportunity to fully examine these works using period performance practice, the subtle use of colors within the various key schemes and regions become readily apparent. While many hornists cut their teeth on Mozart, it does not become long until novices look down their noses at these concerti, considering them more of a trifle. To echo the comments of other listeners, the more musically astute a person becomes, the more one really appreciates the artistry of composition of these concerti. While the Rosetti concerti offer more flash, the supreme elegance and balance of architecture make these works singular. Also, there is evidence that Mozart wrote as many as 9 concerti for the instrument. While novices falsely believe that end-all to horn playing is higher-faster-louder, the best way to tell a person's true musicianship and taste is to play classical literature. Purity of tone, evenness of scale, subtlety of articulation, and attention to architecture of sections, as well as movement, will all need to be addressed for a satisfactory and musical performance. Later and more modern works offer substantial challenges, to be sure. However, to look down one's nose at a body of work/composer from a bygone era because it is deemed to be simple, uncomplicated belies the fact that these are true gems of the period and should be looked at as such. One cannot make sweeping comparisons of Mozart, Strauss, Berio, Corigliano, et. al. without looking at their place within the period in which they were writing. Each is unique and valid within their own period. However, history will eventually prove the worth of more recent composers. Sincerely Dr. Eldon Matlick, Horn Professor, University of Oklahoma Principal Hornist, OK City Philharmonic 500 W Boyd Norman, OK 73019 (405) 325-4093 off. (405) 325-7574 fax Conn-Selmer Educational Artist http://ouhorns.com __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Music Making and Mozart
I've been reading with some amusement postings regarding opinions of the Mozart Concerti. First of all, to fully appreciate these works, one cannot look at these from our modern perspective. To look at and analyze these works not only from a historical, but pedagogical aspect will enlighten one to the brilliance of these works. Mozart knew the horn, no doubt about it. His understanding of the limitations afforded by the harmonic series and the knowledge of hand stopping shows in his richness of melodic invention for the instrument. If one has the opportunity to fully examine these works using period performance practice, the subtle use of colors within the various key schemes and regions become readily apparent. While many hornists cut their teeth on Mozart, it does not become long until novices look down their noses at these concerti, considering them more of a trifle. To echo the comments of other listeners, the more musically astute a person becomes, the more one really appreciates the artistry of composition of these concerti. While the Rosetti concerti offer more flash, the supreme elegance and balance of architecture make these works singular. Also, there is evidence that Mozart wrote as many as 9 concerti for the instrument. While novices falsely believe that end-all to horn playing is higher-faster-louder, the best way to tell a person's true musicianship and taste is to play classical literature. Purity of tone, evenness of scale, subtlety of articulation, and attention to architecture of sections, as well as movement, will all need to be addressed for a satisfactory and musical performance. Later and more modern works offer substantial challenges, to be sure. However, to look down one's nose at a body of work/composer from a bygone era because it is deemed to be simple, uncomplicated belies the fact that these are true gems of the period and should be looked at as such. One cannot make sweeping comparisons of Mozart, Strauss, Berio, Corigliano, et. al. without looking at their place within the period in which they were writing. Each is unique and valid within their own period. However, history will eventually prove the worth of more recent composers. Sincerely Dr. Eldon Matlick, Horn Professor, University of Oklahoma Principal Hornist, OK City Philharmonic 500 W Boyd Norman, OK 73019 (405) 325-4093 off. (405) 325-7574 fax Conn-Selmer Educational Artist http://ouhorns.com __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Music per se
Larry wrote I have never seen excitement on a young students face, playing Kopprach #4 in A-flat basso! *** How sad. But perhaps there is a simple explanation. Who was playing, you or the young student? gotta go, Cabbage ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music per se !
Larry, when did you check last ? 40 or 50 years ago ? There are too many so called "Wunderkinder" (kind = child) around here, but just "virtuosi" without music. Technique, technique, technique. No sound concept but just the all abundant "oven exhaust pipe sound". And believe me, bitternis comes because of the stupidity as an epidemic, not about 1945. This is just your simple answer to all critics on America today. I do not care, as I am not a German but Austrian. And Austria has got freedom by the Allied troups. Kopprasch in A-basso is silly anyway & of no use. These few A-basso or A-flat-basso things contain just simple chords or accompaniment, so the training is not much. But why do these kids just play one octave ? Because of the mellophone, the wrong mouthpiece, the noise making, self taught teachers who have no idea about what they teach , etc. And it is spelled "naive", sorry. Have a nice time. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Tuesday, February 28, 2006 7:16 AM To: horn@music.memphis.edu Subject: Re: [Hornlist] Music per se ! Hans Why so bitter? Can't get over May 1945 yet? We are talking about 13 year old kids discovering Mozart, not about raping anyone's tradition. Sure kids today are not as nieve as they were many years ago, but what's wrong with discovery in the world of music? If you can't play more than an octave how is learning to read down a minor 10th going to help? Perhaps there are a bunch of Wunderkins (sp) over there, but last time I checked there weren't many 15 year old virtuosi horn players running around. I have never seen excitement on a young students face, playing Kopprach #4 in A-flat basso! I commend your English and are sorry I can't communicate in your native tongue, I had lesser education than you my friend! Larry ___ 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] Music per se !
Hans Why so bitter? Can't get over May 1945 yet? We are talking about 13 year old kids discovering Mozart, not about raping anyone's tradition. Sure kids today are not as nieve as they were many years ago, but what's wrong with discovery in the world of music? If you can't play more than an octave how is learning to read down a minor 10th going to help? Perhaps there are a bunch of Wunderkins (sp) over there, but last time I checked there weren't many 15 year old virtuosi horn players running around. I have never seen excitement on a young students face, playing Kopprach #4 in A-flat basso! I commend your English and are sorry I can't communicate in your native tongue, I had lesser education than you my friend! Larry ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music per se !
Hans, It is not so difficult to demand better musical aesthetics from our students, other than that we are constantly competing with popular culture. We are bombarded with television commercials which use loud sound bytes having nothing to do with the concepts you speak of. I have seen some showing a basketball player slamming a ball over a cellist in concert dress or a teenage rock guitarist skateboarding onto a stage during a classical piano performance blaring his instrument to thunderous applause as if he has saved the audience from aural death. Our young people are overwhelmed with noise and visual images, so no wonder many have lost their ears. I have young colleagues at my school with advanced Ivy League degrees in other disciplines who cannot recognize a cello or a bassoon on sight. We are churning out numerous music educators with absolutely no serious training or understanding of that which you have spoken. Still, there are some teachers who insist on a higher level of musical understanding. There are also many young people who naturally seek a higher aesthetic, and somehow (usually with the support of educated, aware parents) manage to connect with the more artistically demanding teachers. It is not a hopeless situation yet, but the trend is not as promising as I would hope, and with funding for professional orchestras and good training grounds for young musicians diminishing, we are heading for trouble. In his state of the union address, George W. Bush made a case for stronger support for education in math and science, but his track record for support of the arts is abysmal. All we can do is fight the good fight. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Hans.Pizka Sent: Monday, February 27, 2006 9:20 AM To: 'The Horn List' Subject: RE: [Hornlist] Music per se ! Hello Lawrence, your message is one of the true answers. What is so difficult in the US school bands, to keep these youngsters NOT playing so loud & not blaring all the time ? Does it mirror the society, with the blared commands & the marching noise (it is not music, even the band masters think they command a music band) like in the caserne compound ? And the Mozart ? Isn´t it like raping Mozart most of the time, even these people seem to enjoy "the Mozart noise" they make (mostly) ? But nevertheless, we here in Europe have plenty of young professionals who not even know the story of "Carmen" nor being interested to know it. If one likes to make real music, no matter what level, he or she must respect the music as a very complex acoustical-physical-mental sensation. If one factor is left out, forget it. It becomes just noise. This is for all levels, amateurs, youngsters, professionals. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Monday, February 27, 2006 9:25 AM To: horn@music.memphis.edu Subject: Re: [Hornlist] Re: Transposing In a message dated 27/02/2006 07:31:53 GMT Standard Time, [EMAIL PROTECTED] writes: think there is a point where the horn player has to start thinking about learning transposition,but that usually doesn't come until right before college I disagree completely. My 10year old pupils can all transpose at least horn in Eb at sight and can have a good go at Cand Bb as well. They'll attempt any other transposition put in front of them. They don't find it difficult, they just do it as a matter of course- it's as natural to them as putting in the mouthpiece. The earlier you start, the better. Left until college age, yes, then it might be difficult to start. 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://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/pandolfi%40deerfield.edu ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music per se !
Hello Lawrence, your message is one of the true answers. What is so difficult in the US school bands, to keep these youngsters NOT playing so loud & not blaring all the time ? Does it mirror the society, with the blared commands & the marching noise (it is not music, even the band masters think they command a music band) like in the caserne compound ? And the Mozart ? Isn´t it like raping Mozart most of the time, even these people seem to enjoy "the Mozart noise" they make (mostly) ? But nevertheless, we here in Europe have plenty of young professionals who not even know the story of "Carmen" nor being interested to know it. If one likes to make real music, no matter what level, he or she must respect the music as a very complex acoustical-physical-mental sensation. If one factor is left out, forget it. It becomes just noise. This is for all levels, amateurs, youngsters, professionals. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Monday, February 27, 2006 9:25 AM To: horn@music.memphis.edu Subject: Re: [Hornlist] Re: Transposing In a message dated 27/02/2006 07:31:53 GMT Standard Time, [EMAIL PROTECTED] writes: think there is a point where the horn player has to start thinking about learning transposition,but that usually doesn't come until right before college I disagree completely. My 10year old pupils can all transpose at least horn in Eb at sight and can have a good go at Cand Bb as well. They'll attempt any other transposition put in front of them. They don't find it difficult, they just do it as a matter of course- it's as natural to them as putting in the mouthpiece. The earlier you start, the better. Left until college age, yes, then it might be difficult to start. 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://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] music publishers
There is an old Simrock edition. I could scan the solo part for you & send as attachement. Yes, the ds-minor was an exception from the KaWe list, as it was published allready. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Kurtis Henderson Sent: Friday, February 24, 2006 8:45 AM To: The Horn List Subject: RE: [Hornlist] music publishers I didn't know any better, the part seemed fine to me. Mr. Hoeltzel didn't agree with some things in it, so I thought I would find out if there were a more authentic version. He couldn't remember any others except for the Kuhl edition, and he didnt' seem very enthusiastic about that one. The list you have doesnt' seem to include the D minor concerto. There would be nothign the matter with the Urtext, I certainly don't know if Ostermeyer has been completely true to the original or if he has taken lots of artistic liberties in editing it since I have not seen the original or any other editions. Mr. Hoeltzel made a call for me to someone in Germany, and the only edition they were familiar with was the Kuhl. Kurtis ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] music publishers
I didn't know any better, the part seemed fine to me. Mr. Hoeltzel didn't agree with some things in it, so I thought I would find out if there were a more authentic version. He couldn't remember any others except for the Kuhl edition, and he didnt' seem very enthusiastic about that one. The list you have doesnt' seem to include the D minor concerto. There would be nothign the matter with the Urtext, I certainly don't know if Ostermeyer has been completely true to the original or if he has taken lots of artistic liberties in editing it since I have not seen the original or any other editions. Mr. Hoeltzel made a call for me to someone in Germany, and the only edition they were familiar with was the Kuhl. Kurtis --- "Hans.Pizka" <[EMAIL PROTECTED]> wrote: > But Ostermeyer claims to follow the Urtext But > most > Rosetti concerts were published by former KaWe > Edition > Amsterdam, which I own since over twenty years > .. Visit > my home page at www.pizka.de/Pizka-music.html > > And scroll to the relevant category. > These editions were prepared by Edmond Leloir > mostly. > > What´s the matter with the Urtext ? What are you > looking for > ? Some different slurs ? If editors changed > something, they > did it just as an alternative, like a passage high & > low. > But this had been offered by the composer as well. > As I have > seen the originals in Oettingen-Wallerstein-Castle, > I might > say so. > > == > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] > On > Behalf Of Kurtis Henderson > Sent: Thursday, February 23, 2006 8:47 PM > To: horn@music.memphis.edu > Subject: [Hornlist] music publishers > > Can anybody recommend a good publisher of Rosetti's > concerto > for horn in D minor? Our music library has the > Ostermeyer > edition, although I'm told that it takes many > liberties and > is not exactly accurate. Does anyone know of an > Urtext > available? > > http://www.sheetmusicplus.com has a Richard Schauer > edition > and a Kohl/Boosey and Hawkes/Simrock edition > available. Does > anybody have experience with either of these? > > Thanks, > > Kurtis > > > > test'; "> > > __ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam > protection > around http://mail.yahoo.com > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/hans%40pizka. > de > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/hornkiddo84%40yahoo.com > test'; "> __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] music publishers
But Ostermeyer claims to follow the Urtext But most Rosetti concerts were published by former KaWe Edition Amsterdam, which I own since over twenty years .. Visit my home page at www.pizka.de/Pizka-music.html And scroll to the relevant category. These editions were prepared by Edmond Leloir mostly. What´s the matter with the Urtext ? What are you looking for ? Some different slurs ? If editors changed something, they did it just as an alternative, like a passage high & low. But this had been offered by the composer as well. As I have seen the originals in Oettingen-Wallerstein-Castle, I might say so. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Kurtis Henderson Sent: Thursday, February 23, 2006 8:47 PM To: horn@music.memphis.edu Subject: [Hornlist] music publishers Can anybody recommend a good publisher of Rosetti's concerto for horn in D minor? Our music library has the Ostermeyer edition, although I'm told that it takes many liberties and is not exactly accurate. Does anyone know of an Urtext available? http://www.sheetmusicplus.com has a Richard Schauer edition and a Kohl/Boosey and Hawkes/Simrock edition available. Does anybody have experience with either of these? Thanks, Kurtis test'; "> __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] music publishers
Can anybody recommend a good publisher of Rosetti's concerto for horn in D minor? Our music library has the Ostermeyer edition, although I'm told that it takes many liberties and is not exactly accurate. Does anyone know of an Urtext available? http://www.sheetmusicplus.com has a Richard Schauer edition and a Kohl/Boosey and Hawkes/Simrock edition available. Does anybody have experience with either of these? Thanks, Kurtis test'; "> __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Music for 2 Horns
Hello fellow hornists, I am pleased to announce the publication of two new works in the horn duo repertoire. 6 Duos, Op. 2 by Les Fréres Grimm (early 19th cent.) Trio for Oboe & 2 Horns, Op. 56 by Eugen Thurner (1785-1827) Both pieces date from the early 19th century and are now available for the first time in modern performing editions. To find out more about the music, please visit www.mjcerri.com. Coming soon! Trios for Clarinet, Horn & Bassoon by Duvernoy & Fuchs Happy playing, Marc Cerri www.mjcerri.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music metaphor
Of course it's redundant! The one that always got to me and stirred my innards is "pre-planning." I think they mean planning, which if indulged in, occurs before the event or happenstance under consideration. But the schools do tolerate some weird grammatical forms these days. Another big gripe is to use "he and I" or " my wife and I" in the objective case. So please, do not write to I and tell me them forms are acceptable in such cases. Paul Mansur On Thursday, December 15, 2005, at 03:23 PM, WIlliam Botte wrote: If you like being annoyed, how about: Pre-recorded any thing. The "pre" is redundant. Metal woods in golf jargon. ?? This is cheerfully stupid 22 gauge rifle or even dumber, a .12 shotgun. And on a Chinese channel, a 45mm pistol. "We'll keep an eye out for." Deja vu all over again. This is part of a quote by Yogi Berra, famously inarticulate baseball coach. TV "jounalists" use the phrase to appear articulate without realising the source. Using pre redundantly..prewashed, prepackaged, prerecorded, preheated ad nauseum. If Mr. Cole starts ranting at his TV, he'll be in good company. My wife has ceased reminding me that the idiots can't hear me. --wabotte ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/p_mansur1%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music metaphor
There is a US Government Department responsible for a lot of this, The U.S. Department of Redundancy Department. -Original Message- [. . .] Using pre redundantly..prewashed, prepackaged, prerecorded, preheated ad nauseum. If Mr. Cole starts ranting at his TV, he'll be in good company. My wife has ceased reminding me that the idiots can't hear me. --wabotte ___ ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Music metaphor
If you like being annoyed, how about: Pre-recorded any thing. The "pre" is redundant. Metal woods in golf jargon. ?? This is cheerfully stupid 22 gauge rifle or even dumber, a .12 shotgun. And on a Chinese channel, a 45mm pistol. "We'll keep an eye out for." Deja vu all over again. This is part of a quote by Yogi Berra, famously inarticulate baseball coach. TV "jounalists" use the phrase to appear articulate without realising the source. Using pre redundantly..prewashed, prepackaged, prerecorded, preheated ad nauseum. If Mr. Cole starts ranting at his TV, he'll be in good company. My wife has ceased reminding me that the idiots can't hear me. --wabotte ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music for horn, clarinet, and piano
--- Kathrynne <[EMAIL PROTECTED]> wrote: > Hello-- > Can anyone recommend some good arrangements of Christmas music for horn, > clarinet and piano (any level of difficulty)? Honestly I am quite surprised, that there have been no replies to this posting, so I will try to make suggestions in a more general way: Please allow me to use my own editions of Danish hymns and carols as pedagogical samples. They can be downloaded for free from http://launch.groups.yahoo.com/group/YorkMasterBBb2/files/Danske%20salmer/ There are, among others, scores for horns, clarinets, and keyboards. There are several permutations of part distribution possible. A. The keyboard plays all 4 parts. The clarinet doubles the melody. The horn doubles the tenor or the bass line (but never the alto line in a such trio set-up. Try it once and you will understand why). One variant would be to let the horn play the melody and let the clarinet double the tenor line. B. Is a more advanced variant of the above. I am not extremely fond of wind instruments playing in unisono with a piano. The intonation, the attack, and the release all offend my ears. This takes a pianist being able to omit the parts played by the two wind instruments. The right hand plays the alto line, and the left hand plays the bass line in octaves, if the winds play the S&T lines. A special variant would have the clarinet play the alto line, the horn play the tenor line, and the piano playing the melody as well as the bass line in octaves. With an accomplished pianist this is easily done from my editions of Danish hymns and carols, where all transpositions are already done. The basic idea is to think like an organ player selecting various stops. But of course you are out after a much wider selection of repertory. As long as we stay within the frame of hymns and carols I would believe, that all major US churches have their own two staff/four part hymn score books like we have here in the Peoples Church of Denmark. (That term was coined long before Marx and Mao). The pianists role will be the same as in my above samples. And so will the roles of the clarinet and the horn. Only they will have to transpose. But learning to read C concert parts in treble and bass clefs is no problem whatsoever for even amateurs. They just have to have acquired the minimum skills of music theory. If you want to play the more show type of Christmas music, let the clarinet do the melody, the piano do the comp work, and let the horn-player make up his/hers own long note parts from the chord symbols. It may be tough to transpose chord symbols. but saxophone players do that every day for a living. With time more advanced interpretations of the chord symbols will develop all by them self. I am fully aware, that i have given no specific here and now easy repertory access. But I hope that the experiences from a lifetime as a musical journeyman have provided you some tools to develop on. Klaus __ Yahoo! FareChase: Search multiple travel sites in one click. http://farechase.yahoo.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Music for horn, clarinet, and piano
Hello-- Can anyone recommend some good arrangements of Christmas music for horn, clarinet and piano (any level of difficulty)? Thank you! ---Kathrynne ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music from the Danish Royal Library
I think many people would be amazed at what can be found in the shelves of libraries. A researcher looking at Libraries in Spain found music manuscripts written for the Court in the 17th Century and in the Spanish colonies in the New World. He found enough to spur his interest and lead to the creation of a group "The Orchestra of New Spain." I've also talked with folks who are in the history field as well as librarians and they feel that there is a whole treasure of information un-cataloged in many of the older European libraries. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Eric James Sent: Friday, October 14, 2005 9:18 AM To: The Horn List Subject: RE: [Hornlist] Music from the Danish Royal Library Because that's what I do, Herr Pizka. I am one of those researchers. Show me a modern edition of Gustav Helted's Decet. > "If only other national libraries would offer the same > service." , well, than all the work done by the > researchers & by the publishers is obsolete & the circle > starts again. From bottom. Why not just getting the > modern publications, without the hazzle of arranging ones > own score etc. finding the mistakes ... Publishers & > researchers have invested a lot of time & effort, to get > these things published. > == > == == > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On > Behalf Of Eric James > Sent: Friday, October 14, 2005 1:52 PM > To: The Horn List > Subject: Re: [Hornlist] Music from the Danish Royal > Library > > Tha last link Peter mentions is for the Serenade by Emil > Hartmann for ten instruments. It's a terrific work and > deserves to be better known. I believe there is a > recording of it somewhere. Also, there is the Decet for > winds and strings by Gustav Helsted, another fine work. > I've made modern scores and parts of both works--there is > some cleaning up to do in both--and am in the process of > arranging readthroughs. If only other national libraries > would offer the same service. > > Eric James > > > I have been quite excited by the mention on this list of > the Danish > > Royal Library's having made some very interesting public > domain items > > available in PDF. This excitement has been followed by > severe > > frustration with the web-site's haphazard organization. > I have, > > however, persevered and found the following direct links > to the > > digitized sheet music for several works with > considerable hornistic > > interest. If you use them, you can save yourself a lot > of time > > groping around as I had to: > > > > > > > http://www.kb.dk./kb/dept/nbo/ma/acclist/enoder-10-04.htm > > http://img.kb.dk/ma/ukam/dauprat-op6.pdf > > http://img.kb.dk/ma/ukam/amon-op20.pdf > > http://img.kb.dk/ma/ukam/amon-op109.pdf > > http://img.kb.dk/ma/ukam/gambaro-op4.pdf > > http://img.kb.dk/ma/ukam/mueller-quintetto-1.pdf > > http://img.kb.dk/ma/ukam/mueller-quintetto-2.pdf > > http://img.kb.dk/ma/ukam/mueller-quintetto-3.pdf > > http://img.kb.dk/ma/ukam/freyschytz-harm.pdf > > http://www.kb.dk/elib/noder/div/hart-seren/index.htm > > Now, I hope you have access to a decent printer and a > pile of decent > > paper stock. > > > > Peter Hirsch > > > > > > > > ___ > > post: horn@music.memphis.edu > > unsubscribe or set options at > > > http://music2.memphis.edu/mailman/options/horn/eric_d_james% > 40canada.com > > > > Upgrade your account today for increased storage; mail > forwarding or POP enabled e-mail with automatic virus > scanning. Visit > http://www.canada.com/email/premiumservices.html for more > information. > ___ > 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/eric_d_james%40canada.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/bgross%40airmail.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music from the Danish Royal Library
Because that's what I do, Herr Pizka. I am one of those researchers. Show me a modern edition of Gustav Helted's Decet. > "If only other national libraries would offer the same > service." , well, than all the work done by the > researchers & by the publishers is obsolete & the circle > starts again. From bottom. Why not just getting the > modern publications, without the hazzle of arranging ones > own score etc. finding the mistakes ... Publishers & > researchers have invested a lot of time & effort, to get > these things published. > == > == == > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On > Behalf Of Eric James > Sent: Friday, October 14, 2005 1:52 PM > To: The Horn List > Subject: Re: [Hornlist] Music from the Danish Royal > Library > > Tha last link Peter mentions is for the Serenade by Emil > Hartmann for ten instruments. It's a terrific work and > deserves to be better known. I believe there is a > recording of it somewhere. Also, there is the Decet for > winds and strings by Gustav Helsted, another fine work. > I've made modern scores and parts of both works--there is > some cleaning up to do in both--and am in the process of > arranging readthroughs. If only other national libraries > would offer the same service. > > Eric James > > > I have been quite excited by the mention on this list of > the Danish > > Royal Library's having made some very interesting public > domain items > > available in PDF. This excitement has been followed by > severe > > frustration with the web-site's haphazard organization. > I have, > > however, persevered and found the following direct links > to the > > digitized sheet music for several works with > considerable hornistic > > interest. If you use them, you can save yourself a lot > of time > > groping around as I had to: > > > > > > > http://www.kb.dk./kb/dept/nbo/ma/acclist/enoder-10-04.htm > > http://img.kb.dk/ma/ukam/dauprat-op6.pdf > > http://img.kb.dk/ma/ukam/amon-op20.pdf > > http://img.kb.dk/ma/ukam/amon-op109.pdf > > http://img.kb.dk/ma/ukam/gambaro-op4.pdf > > http://img.kb.dk/ma/ukam/mueller-quintetto-1.pdf > > http://img.kb.dk/ma/ukam/mueller-quintetto-2.pdf > > http://img.kb.dk/ma/ukam/mueller-quintetto-3.pdf > > http://img.kb.dk/ma/ukam/freyschytz-harm.pdf > > http://www.kb.dk/elib/noder/div/hart-seren/index.htm > > Now, I hope you have access to a decent printer and a > pile of decent > > paper stock. > > > > Peter Hirsch > > > > > > > > ___ > > post: horn@music.memphis.edu > > unsubscribe or set options at > > > http://music2.memphis.edu/mailman/options/horn/eric_d_james% > 40canada.com > > > > Upgrade your account today for increased storage; mail > forwarding or POP enabled e-mail with automatic virus > scanning. Visit > http://www.canada.com/email/premiumservices.html for more > information. > ___ > 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/eric_d_james%40canada.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Music from the Danish Royal Library
"If only other national libraries would offer the same service." , well, than all the work done by the researchers & by the publishers is obsolete & the circle starts again. From bottom. Why not just getting the modern publications, without the hazzle of arranging ones own score etc. finding the mistakes ... Publishers & researchers have invested a lot of time & effort, to get these things published. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Eric James Sent: Friday, October 14, 2005 1:52 PM To: The Horn List Subject: Re: [Hornlist] Music from the Danish Royal Library Tha last link Peter mentions is for the Serenade by Emil Hartmann for ten instruments. It's a terrific work and deserves to be better known. I believe there is a recording of it somewhere. Also, there is the Decet for winds and strings by Gustav Helsted, another fine work. I've made modern scores and parts of both works--there is some cleaning up to do in both--and am in the process of arranging readthroughs. If only other national libraries would offer the same service. Eric James > I have been quite excited by the mention on this list of the Danish > Royal Library's having made some very interesting public domain items > available in PDF. This excitement has been followed by severe > frustration with the web-site's haphazard organization. I have, > however, persevered and found the following direct links to the > digitized sheet music for several works with considerable hornistic > interest. If you use them, you can save yourself a lot of time > groping around as I had to: > > http://www.kb.dk./kb/dept/nbo/ma/acclist/enoder-10-04.htm > http://img.kb.dk/ma/ukam/dauprat-op6.pdf > http://img.kb.dk/ma/ukam/amon-op20.pdf > http://img.kb.dk/ma/ukam/amon-op109.pdf > http://img.kb.dk/ma/ukam/gambaro-op4.pdf > http://img.kb.dk/ma/ukam/mueller-quintetto-1.pdf > http://img.kb.dk/ma/ukam/mueller-quintetto-2.pdf > http://img.kb.dk/ma/ukam/mueller-quintetto-3.pdf > http://img.kb.dk/ma/ukam/freyschytz-harm.pdf > http://www.kb.dk/elib/noder/div/hart-seren/index.htm > > Now, I hope you have access to a decent printer and a pile of decent > paper stock. > > Peter Hirsch > > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/eric_d_james% 40canada.com Upgrade your account today for increased storage; mail forwarding or POP enabled e-mail with automatic virus scanning. Visit http://www.canada.com/email/premiumservices.html for more information. ___ 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] Music from the Danish Royal Library
Tha last link Peter mentions is for the Serenade by Emil Hartmann for ten instruments. It's a terrific work and deserves to be better known. I believe there is a recording of it somewhere. here you go: http://www.amazon.com/exec/obidos/tg/detail/-/B0IGLK/qid=1129294660/sr=8-1/ref=sr_8_xs_ap_i1_xgl15/102-6453326-1097744?v=glance&s=classical&n=507846 Bryan Doughty BVD Press and Cimarron Music Press 79 Meetinghouse Lane Ledyard, CT 06339 [EMAIL PROTECTED] 860 536-2185 http://www.bvdpress.com/ http://www.cimarronmusic.com/ Also, there is the Decet for winds and strings by Gustav Helsted, another fine work. I've made modern scores and parts of both works--there is some cleaning up to do in both--and am in the process of arranging readthroughs. If only other national libraries would offer the same service. Eric James I have been quite excited by the mention on this list of the Danish Royal Library's having made some very interesting public domain items available in PDF. This excitement has been followed by severe frustration with the web-site's haphazard organization. I have, however, persevered and found the following direct links to the digitized sheet music for several works with considerable hornistic interest. If you use them, you can save yourself a lot of time groping around as I had to: http://www.kb.dk./kb/dept/nbo/ma/acclist/enoder-10-04.htm http://img.kb.dk/ma/ukam/dauprat-op6.pdf http://img.kb.dk/ma/ukam/amon-op20.pdf http://img.kb.dk/ma/ukam/amon-op109.pdf http://img.kb.dk/ma/ukam/gambaro-op4.pdf http://img.kb.dk/ma/ukam/mueller-quintetto-1.pdf http://img.kb.dk/ma/ukam/mueller-quintetto-2.pdf http://img.kb.dk/ma/ukam/mueller-quintetto-3.pdf http://img.kb.dk/ma/ukam/freyschytz-harm.pdf http://www.kb.dk/elib/noder/div/hart-seren/index.htm Now, I hope you have access to a decent printer and a pile of decent paper stock. Peter Hirsch ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/eric_d_james%40canada.com Upgrade your account today for increased storage; mail forwarding or POP enabled e-mail with automatic virus scanning. Visit http://www.canada.com/email/premiumservices.html for more information. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/bvdpress%40snet.net -- ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Music from the Danish Royal Library
Tha last link Peter mentions is for the Serenade by Emil Hartmann for ten instruments. It's a terrific work and deserves to be better known. I believe there is a recording of it somewhere. Also, there is the Decet for winds and strings by Gustav Helsted, another fine work. I've made modern scores and parts of both works--there is some cleaning up to do in both--and am in the process of arranging readthroughs. If only other national libraries would offer the same service. Eric James > I have been quite excited by the mention on this list of > the Danish Royal Library's having made some very > interesting public domain items available in PDF. This > excitement has been followed by severe frustration with > the web-site's haphazard organization. I have, however, > persevered and found the following direct links to the > digitized sheet music for several works with considerable > hornistic interest. If you use them, you can save > yourself a lot of time groping around as I had to: > > http://www.kb.dk./kb/dept/nbo/ma/acclist/enoder-10-04.htm > http://img.kb.dk/ma/ukam/dauprat-op6.pdf > http://img.kb.dk/ma/ukam/amon-op20.pdf > http://img.kb.dk/ma/ukam/amon-op109.pdf > http://img.kb.dk/ma/ukam/gambaro-op4.pdf > http://img.kb.dk/ma/ukam/mueller-quintetto-1.pdf > http://img.kb.dk/ma/ukam/mueller-quintetto-2.pdf > http://img.kb.dk/ma/ukam/mueller-quintetto-3.pdf > http://img.kb.dk/ma/ukam/freyschytz-harm.pdf > http://www.kb.dk/elib/noder/div/hart-seren/index.htm > > Now, I hope you have access to a decent printer and a pile > of decent paper stock. > > Peter Hirsch > > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/eric_d_james%40canada.com Upgrade your account today for increased storage; mail forwarding or POP enabled e-mail with automatic virus scanning. Visit http://www.canada.com/email/premiumservices.html for more information. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
