Re: [Hornlist] Tone color
Bill, I'm coming up empty on google searches for 'Scott Lasky'any assistance you can provide appreciated. The correct spelling is Laskey. His web site is at http://www.laskey.com/ [snip] -- Jonell Lindholm Reisterstown MD USA [EMAIL PROTECTED] ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Tone color
Bill, I'm coming up empty on google searches for 'Scott Lasky'any assistance you can provide appreciated. Fred - Original Message - From: <[EMAIL PROTECTED]> To: Sent: Saturday, May 14, 2005 12:27 AM Subject: Re: [Hornlist] Tone color In a message dated 5/13/2005 4:09:41 PM Pacific Daylight Time, [EMAIL PROTECTED] writes: I'm playing a concert at SPAC this summer, and I would like to have a nice bright sound to penetrate the hall. Any suggestions? Thanks. It would help to know what equipment you use. Find the Scott Lasky web site and check out his mouthpieces. What you want to do exactly fits with his concept of horn tone. His mouthpieces are large, but with relatively shallow cups with more of a bowl shape. They tend toward a 'shimmery' sound with a lot of complex higher overtones. The Schilke 31B was a design he promoted when he was the designer at Schilke, and his latest designs from his own company carry the design even farther. Your horn might effect the sound. Usually a nickle silver horn will carry better with bright overtones, but may not sound as good close up. If you have a way to record your sound using good digital equipment, you might find it isn't what you think it is. Play with much less cover from the right hand, and learn to listen for the reflection of your sound. In trying to brighten your sound, be careful not to harden it. The proper brightness in a horn sound is a velvety 'shimmer' of higher overtones. Hard and squealy is the domain of the trumpet, and is ugly coming from a horn. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/fbaucom%40sbcglobal.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Tone color
>date: Fri, 13 May 2005 16:08:37 -0700 (PDT) >from: Nicholas Hartman Hartman <[EMAIL PROTECTED]> >subject: [Hornlist] Tone color > >Dear list, >I have a bit of a problem with my tone color. I'm a freshman in high >school, and even though the player above me seems to be physically >incappable of practicing, and therefore, improving beyond the level of a >fourth grade music student, He's the junior and therefore, automatically >first chair. The problem is that he has a very distinct dark sound. When >I started in the orchestra at the beginning of the year, I had a very >bright sound, and now, I can't believe how dark it is. Is there anyway >that I can conciously brighten my sound? It tends to fluctuate from day >to day, depending on whether or not I have rehersal that day. I'm playing >a concert at SPAC this summer, and I would like to have a nice bright >sound to penetrate the hall. Any suggestions? Thanks. > > > Nick Dear Nick, It's nice that you are aware of tone colors and wanting to fill the hall with your sound. I find that just getting my students to actually listen to what is coming out their bell makes a huge difference. When i get a student who has a sound problem, and a lot do these days because many band programs really don't care about your sound as long as they can hear you, I first have to get them to agree with me on what sounds good and what doesn't. I don't mean that I try to influence them to sound a certain way necessarily, I just mean that we discuss what makes for a good sound. Then we find one note that they can play with that sound. After that it is a matter of moving that sound to the other notes by gradually working out from our good note. I would never go much farther than this with you unless i could actually hear and see you play. At your age, getting into mouthpieces, horns and other equipment things doesn't mean much unless it is an issue of actually "fitting" you. You need to work on your fundamentals with a good teacher. How is your embouchure? Your hand position? Your breathing? Along with your ear, these things are what determine your tone. You need to have a good, efficient vibration first. Any conjecture beyond this is futile in this forum. If all you want to do is play really loud, i think that would be a big mistake at your stage of development. There is a big difference between ugly loud and beautiful loud and it is a "skill to learn" to play loud with a great tone. But i don't get that from your post. I think you are on the right track. Just be diligent and patient and you will succeed. Get your own playing together and don't worry about other people or where you are sitting right now. If you have your fundamentals together you will have a beautiful, resonant tone that will carry anywhere- and people will love to hear you play! Sincerely, Wendell Rider For info about my book, "Real World Horn Playing", and the summer seminar, please visit my website at www.wendellworld.com ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Tone color
Nicholas, I'd suggest you work on developing a characteristic horn tone and not worry too much about whether it is dark or bright. You might need a different mouthpiece. You need to learn how to use your right hand. It is a primary determinant as to whether your tone is dark or brighter. Close the hand a tiny bit and you get darker; open it a smidge and you'll have a brighter tone. More important, learn how to play in tune at all times. Learn to LISTEN, LISTEN, AND LISTEN! Record yourself in a large hall and listen to that; it is a far better indicator of your sound than what you hear as you play. You could well find some surprises along the way. CORdially, Paul Mansur On Friday, May 13, 2005, at 07:08 PM, Nicholas Hartman Hartman wrote: Dear list, I have a bit of a problem with my tone color. I'm a freshman in high school, and even though the player above me seems to be physically incappable of practicing, and therefore, improving beyond the level of a fourth grade music student, He's the junior and therefore, automatically first chair. The problem is that he has a very distinct dark sound. When I started in the orchestra at the beginning of the year, I had a very bright sound, and now, I can't believe how dark it is. Is there anyway that I can conciously brighten my sound? It tends to fluctuate from day to day, depending on whether or not I have rehersal that day. I'm playing a concert at SPAC this summer, and I would like to have a nice bright sound to penetrate the hall. Any suggestions? Thanks. Nick - Discover Yahoo! Stay in touch with email, IM, photo sharing & more. Check it out! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/p_mansur1%40comcast.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Tone color
In a message dated 5/13/2005 4:09:41 PM Pacific Daylight Time, [EMAIL PROTECTED] writes: > I'm playing a concert at SPAC this summer, and I would like to have a nice > bright sound to penetrate the hall. Any suggestions? Thanks. > It would help to know what equipment you use. Find the Scott Lasky web site and check out his mouthpieces. What you want to do exactly fits with his concept of horn tone. His mouthpieces are large, but with relatively shallow cups with more of a bowl shape. They tend toward a 'shimmery' sound with a lot of complex higher overtones. The Schilke 31B was a design he promoted when he was the designer at Schilke, and his latest designs from his own company carry the design even farther. Your horn might effect the sound. Usually a nickle silver horn will carry better with bright overtones, but may not sound as good close up. If you have a way to record your sound using good digital equipment, you might find it isn't what you think it is. Play with much less cover from the right hand, and learn to listen for the reflection of your sound. In trying to brighten your sound, be careful not to harden it. The proper brightness in a horn sound is a velvety 'shimmer' of higher overtones. Hard and squealy is the domain of the trumpet, and is ugly coming from a horn. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Tone color
If you think of "penetrating the hall", you should better switch to trumpet. It is not "the horns thing" to penetrate the hall, but to establish the bridge between "heavy brass" and the "woods" or the "strings", if it is an orchestra. If it is a band, well, the horn should "bridge" heavy brass (trumpets, bones & tuba incl. euphonium, baryton etc.) with the woods. Bridge means filling the "sound gap". Reduce your "ego" & use the horn for the inherited duty. If you will not think permanently, how you be heard, your tone colour will remain flexible as you will not force your embouchure. Remember, the left arm should not do more than hold the horn, assisted by the right arm. It is not the "pressing" arm. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Nicholas Hartman Hartman Sent: Saturday, May 14, 2005 12:09 AM To: horn@music.memphis.edu Subject: [Hornlist] Tone color Dear list, I have a bit of a problem with my tone color. I'm a freshman in high school, and even though the player above me seems to be physically incappable of practicing, and therefore, improving beyond the level of a fourth grade music student, He's the junior and therefore, automatically first chair. The problem is that he has a very distinct dark sound. When I started in the orchestra at the beginning of the year, I had a very bright sound, and now, I can't believe how dark it is. Is there anyway that I can conciously brighten my sound? It tends to fluctuate from day to day, depending on whether or not I have rehersal that day. I'm playing a concert at SPAC this summer, and I would like to have a nice bright sound to penetrate the hall. Any suggestions? Thanks. Nick - Discover Yahoo! Stay in touch with email, IM, photo sharing & more. Check it out! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/hans%40pizka.d e ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Tone color
Dear list, I have a bit of a problem with my tone color. I'm a freshman in high school, and even though the player above me seems to be physically incappable of practicing, and therefore, improving beyond the level of a fourth grade music student, He's the junior and therefore, automatically first chair. The problem is that he has a very distinct dark sound. When I started in the orchestra at the beginning of the year, I had a very bright sound, and now, I can't believe how dark it is. Is there anyway that I can conciously brighten my sound? It tends to fluctuate from day to day, depending on whether or not I have rehersal that day. I'm playing a concert at SPAC this summer, and I would like to have a nice bright sound to penetrate the hall. Any suggestions? Thanks. Nick - Discover Yahoo! Stay in touch with email, IM, photo sharing & more. Check it out! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] tone color etc.
On Fri, 10 Oct 2003 [EMAIL PROTECTED] wrote:
> Hehehe. Anyone can own an airplane if they have the money, but just
> because you buy one doesn't mean you know how to fly it.
Well, you could probably fly it once.
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
___
post: [EMAIL PROTECTED]
set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] tone color etc.
But, Wilbert, how about the Mendelssohn Nocturno with the Alex 107 Ooops, most of you would play it on the Bb-side anyway, so it would not matter, while I - with my 62 years - still play it on the F-side except the f# & when it goes up to g#. Here the thumb valve helps with the Bb-side. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Wilbert Kimple Sent: Friday, October 10, 2003 11:44 PM To: The Horn List Subject: Re: [Hornlist] tone color etc. In response to Hans' recent posting, I thought it was wonderful, and deserved to be posted twice. Tons of wisdom with a touch of humor. The trouble is that everything he says does work. So, in spite of my best personal efforts, and the efforts of my teachers, I have been forced to resort to some of the "tricks" he's listed over the years. I now play a gold brass Alex 107 descant, but with a nickle silver bell flair. (Thank you Dave W. at BrassArts.) An excellent combination for my current situation. I have, however, spent many years on both Bb and triple horns, and have had my share of krantz(es). I use a "cabin" case because I find it the most practical, although it is heavy. I use a "custom designed" silver plated mouthpiece with a very thin gold rim. Again, a combination that gives me the most comfort, and most output for the least input. I would never recommend such equipment for my students, although I want them aware that it's out there should they find the need and have the money. I recommend that all of my students buy, and stay on, a yellow brass double for as long as possible. Yamaha or the Merker horns come to mind. My two cents. Wilbert in SC ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] tone color etc.
Many should read it every day ! so I repeated & repeat it again. Hans Pizka <[EMAIL PROTECTED]> wrote:Best choice for a warm tone is single F brass, but what to do with the high notes ? Get a Bb-side added. If the Bb-side does not satify for the extreme high, get a high F added, etc. If the sound is quite small then, get a bigger bell added. If the sound is not warm enough then, get a red brass bell or perhaps a red brass lead pipe. You complain, that the sound gets dull then. Well, change the red brass bell against a yellow brass or nickel silver bell. The sound gets to brassy then. Well, put a "kranz" on the bell. The overall sound has become too dull now. Change the tubings against narrower tubings, perhaps entirely of nickel silver. How about changing the mouth piece: a silver mpc for the heavy stuff, brass for the mpah & titanium light weight for the chamber music. And the lacquer effect ? Take advantage of clean hands by lacquering the bell inside. To avoid the permanent polishing of the horn, get it plated. If the light reflex does disturb the camera men, get the horn shaved a bit with sand paper. Valves are too slow. Get a very thin oil. But now you cannot feel the valve action. Put some fat inside & they will stick. The same for the slides if too lose or too tight. Some people swear upon lightly leak valves as they - so they say - provide better slurs ??? Others like them tight absolutely. You have the choice of plating the valves or "over fitting". Some notes are not in tune perfectly. Add a special valve here & there at the tubing. It might help. The screw bell is very practical, if you complain about the odd horn case. But doesn´t a gig-bag look funny also ? If you cut your bell & find the sound has changed too much, there is a way to re-solder the bell. If some notes do not speak so well, try the special trick of inserting a thread into one of the slides. But then another note may not speak so well. Insert another thread into a different slide. You have six valve slides at least plus the several tuning slides. A combination of them would bring multiple chances to improve your horn. And all this effort did not make you the "master of horns". Well, how about changing or exchanging YOURSELF - or at least the way of PLAYING the horn ? The best solution at all, but with the side effect that it is at no cost. The last choice: if you have spent all your money for horn modifications & it does not work properly still, lift it up in the air & smash it to the bottom & jump on it - to end the terror (for you & the listeners). Prof.Hans Pizka, Pf.1136 D-85541 Kirchheim - Germany Fax: 49 89 903-9414 Phone: 903-9548 home: www.pizka.de email: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/nafai23%40yahoo.com - Do you Yahoo!? The New Yahoo! Shopping - with improved product search ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] tone color etc.
Hehehe. Anyone can own an airplane if they have the money, but just because you buy one doesn't mean you know how to fly it. -William ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] tone color etc.
In response to Hans' recent posting, I thought it was wonderful, and deserved to be posted twice. Tons of wisdom with a touch of humor. The trouble is that everything he says does work. So, in spite of my best personal efforts, and the efforts of my teachers, I have been forced to resort to some of the "tricks" he's listed over the years. I now play a gold brass Alex 107 descant, but with a nickle silver bell flair. (Thank you Dave W. at BrassArts.) An excellent combination for my current situation. I have, however, spent many years on both Bb and triple horns, and have had my share of krantz(es). I use a "cabin" case because I find it the most practical, although it is heavy. I use a "custom designed" silver plated mouthpiece with a very thin gold rim. Again, a combination that gives me the most comfort, and most output for the least input. I would never recommend such equipment for my students, although I want them aware that it's out there should they find the need and have the money. I recommend that all of my students buy, and stay on, a yellow brass double for as long as possible. Yamaha or the Merker horns come to mind. My two cents. Wilbert in SC ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] tone color etc.
c y <[EMAIL PROTECTED]> said > I think we already read this once it was so nice he posted twice :) ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] tone color etc.
I think we already read this once Hans Pizka <[EMAIL PROTECTED]> wrote:Best choice for a warm tone is single F brass, but what to do with the high notes ? Get a Bb-side added. If the Bb-side does not satify for the extreme high, get a high F added, etc. If the sound is quite small then, get a bigger bell added. If the sound is not warm enough then, get a red brass bell or perhaps a red brass lead pipe. You complain, that the sound gets dull then. Well, change the red brass bell against a yellow brass or nickel silver bell. The sound gets to brassy then. Well, put a "kranz" on the bell. The overall sound has become too dull now. Change the tubings against narrower tubings, perhaps entirely of nickel silver. How about changing the mouth piece: a silver mpc for the heavy stuff, brass for the mpah & titanium light weight for the chamber music. And the lacquer effect ? Take advantage of clean hands by lacquering the bell inside. To avoid the permanent polishing of the horn, get it plated. If the light reflex does disturb the camera men, get the horn shaved a bit with sand paper. Valves are too slow. Get a very thin oil. But now you cannot feel the valve action. Put some fat inside & they will stick. The same for the slides if too lose or too tight. Some people swear upon lightly leak valves as they - so they say - provide better slurs ??? Others like them tight absolutely. You have the choice of plating the valves or "over fitting". Some notes are not in tune perfectly. Add a special valve here & there at the tubing. It might help. The screw bell is very practical, if you complain about the odd horn case. But doesn´t a gig-bag look funny also ? If you cut your bell & find the sound has changed too much, there is a way to re-solder the bell. If some notes do not speak so well, try the special trick of inserting a thread into one of the slides. But then another note may not speak so well. Insert another thread into a different slide. You have six valve slides at least plus the several tuning slides. A combination of them would bring multiple chances to improve your horn. And all this effort did not make you the "master of horns". Well, how about changing or exchanging YOURSELF - or at least the way of PLAYING the horn ? The best solution at all, but with the side effect that it is at no cost. The last choice: if you have spent all your money for horn modifications & it does not work properly still, lift it up in the air & smash it to the bottom & jump on it - to end the terror (for you & the listeners). Prof.Hans Pizka, Pf.1136 D-85541 Kirchheim - Germany Fax: 49 89 903-9414 Phone: 903-9548 home: www.pizka.de email: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/nafai23%40yahoo.com - Do you Yahoo!? The New Yahoo! Shopping - with improved product search ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] tone color etc.
Best choice for a warm tone is single F brass, but what to do with the high notes ? Get a Bb-side added. If the Bb-side does not satify for the extreme high, get a high F added, etc. If the sound is quite small then, get a bigger bell added. If the sound is not warm enough then, get a red brass bell or perhaps a red brass lead pipe. You complain, that the sound gets dull then. Well, change the red brass bell against a yellow brass or nickel silver bell. The sound gets to brassy then. Well, put a "kranz" on the bell. The overall sound has become too dull now. Change the tubings against narrower tubings, perhaps entirely of nickel silver. How about changing the mouth piece: a silver mpc for the heavy stuff, brass for the mpah & titanium light weight for the chamber music. And the lacquer effect ? Take advantage of clean hands by lacquering the bell inside. To avoid the permanent polishing of the horn, get it plated. If the light reflex does disturb the camera men, get the horn shaved a bit with sand paper. Valves are too slow. Get a very thin oil. But now you cannot feel the valve action. Put some fat inside & they will stick. The same for the slides if too lose or too tight. Some people swear upon lightly leak valves as they - so they say - provide better slurs ??? Others like them tight absolutely. You have the choice of plating the valves or "over fitting". Some notes are not in tune perfectly. Add a special valve here & there at the tubing. It might help. The screw bell is very practical, if you complain about the odd horn case. But doesn´t a gig-bag look funny also ? If you cut your bell & find the sound has changed too much, there is a way to re-solder the bell. If some notes do not speak so well, try the special trick of inserting a thread into one of the slides. But then another note may not speak so well. Insert another thread into a different slide. You have six valve slides at least plus the several tuning slides. A combination of them would bring multiple chances to improve your horn. And all this effort did not make you the "master of horns". Well, how about changing or exchanging YOURSELF - or at least the way of PLAYING the horn ? The best solution at all, but with the side effect that it is at no cost. The last choice: if you have spent all your money for horn modifications & it does not work properly still, lift it up in the air & smash it to the bottom & jump on it - to end the terror (for you & the listeners). Prof.Hans Pizka, Pf.1136 D-85541 Kirchheim - Germany Fax: 49 89 903-9414 Phone: 903-9548 home: www.pizka.de email: [EMAIL PROTECTED] ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] tone color/color instrument
I really wanted to read all of your post, Scott, but since I'm American it was too long for me... Actually I did read it all...not to apologize for junior high and high school band directors, but they are by necessity "generalists". Unlike a private instructor, they cannot spend alot of time with any one individual or group of instruments, so it seems to me they do what they can. Not that this in any way weakens your argument regarding the genesis of poor tonal concept; I did not begin thinking about the sound I was producing until college. It seems that things will get worse, at least here in California, before they get better...several school instrumental teachers I know are in the process of being laid off due to slashed school budgets. And of course no matter what one thinks about how they teach, grades 6-12 is an important time and opportunity for inclined students to begin playing an instrument. Seems to me that the best thing a band teacher could do for a promising student is to hook her/him up with a good private instructor, perhaps from the local college or university. Fred -Original Message- From: Scott Pappal [mailto:[EMAIL PROTECTED] Sent: Sunday, March 16, 2003 6:06 PM To: [EMAIL PROTECTED] Subject: [Hornlist] tone color/color instrument Dear listers: There has been some discussion on the list lately concerning "cutting through," "projection," and "tone color." While it is interesting to note how conception of tone quality varies from player to player and school to school, the following is always true: It is exciting to listen to the sound quality of the best players. A dull, colorless, lifeless sound serves no purpose and contributes nothing to any ensemble or any listener. Due to the wonderful weather here, my wife and I did some traveling yesterday, enjoying the drive, the sun, the new "green" smell in the air, and the 70 degree (F) temperatures. While driving, I had some different horn soloists playing - Phil Myers recital disk, Hans Pizka's "Dream Music," Greg Hustis' recital disk, and Lowell Greer's Mozarts on natural horn. All four hornists produced very different sounds, but all four were full of color and variety. The sounds of these players had individuality and personallity. The problem with many band directors is that they view horn as a "background brass" or "color instrument" and then interpret this as meaning: devoid of any interesting tone quality and focus. A large amount of my time and energy is devoted to horn studio teaching, a job I love to do and am proud to do. (In fact, if a few more of us taught horn instead of how to shoot a tank, we'd be in much better shape, but that's another matter...) Without exception, all the players who've come to me from public school band music programs have had a sound which is too dark, dull, unfocused, and blends too well. In short, their sound has no quality of its own because all they do is provide harmonic support and background for others! IMHO, this is one of the large drawbacks of (uhh) band playing: horns are used merely as "range fillers" to round out the alto/tenor voices. Orchestral playing is much more challenging, and encourages growth of musicianship. For instance: 1.) Most band pieces are only several minutes long. A 30 minute piece for band is considered a massive work. A piece of the same length for orchestra is certainly one of the shorter works in the genre. Why? Because audiences (especially American audiences) can't pay attention for more than five minutes, and can't appreciate large sonata forms. Also, because many band composers are sadly inferior to orchestral composers. Name the top five band composers - now name the top five orchestra composers. Compare the two lists - I rest my case. 2.) Most public school band directors know nothing about horn. They characterize horn sound as "dark," "blending," or "smooth." If they want dark and non-focused, why don't they do get more euphonium players? Newsflash: Interesting horn sound is not dark and rich!! It has sparkle, is shiny, and has a velvet "zzch" to it, even in ppp it is interesting and distinct. Want proof? Listen to some of the principal horns on this list, such as Bob Ward, Kendall Betts, or Professor Pizka. 3.) Players playing too loud and with a pinched sound? Duh: Marching Band, marching band, marching band!!! When are Americans going to realize that Marching Band is not a musical activity? Listening to a Beethoven symphony with the score open in one's lap, this is a musical activity. Rehearsing the Mozart Horn Quintet for the first time with the strings, this is a musical activity. As a young teenager, I remember writing out the string parts to the quintet by hand from the score, because I lived in a remote area and couldn't get parts!
AW: [Hornlist] tone color/color instrument
While I agree with you on most points, I have to say something about band music: There are also bands, playing REAL music, even transcriptions of Verdi (not just triumph march from AIDA), Puccini (not just Turandot), Wagner (not just the loud things). Few of them play Ouvertures from the 19th century, but how ? They play it like a symphony would. Why ? Because they are commanded by a MUSICIAN, who not just commands with the baton, but listens first to what comes from the players & corrects it if necessary. He has also the necessary concept of serving to the composer. And his success is sure also. -Ursprüngliche Nachricht- Von: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Im Auftrag von Scott Pappal Gesendet: Montag, 17. März 2003 03:06 An: [EMAIL PROTECTED] Betreff: [Hornlist] tone color/color instrument Dear listers: There has been some discussion on the list lately concerning "cutting through," "projection," and "tone color." While it is interesting to note how conception of tone quality varies from player to player and school to school, the following is always true: It is exciting to listen to the sound quality of the best players. A dull, colorless, lifeless sound serves no purpose and contributes nothing to any ensemble or any listener. Due to the wonderful weather here, my wife and I did some traveling yesterday, enjoying the drive, the sun, the new "green" smell in the air, and the 70 degree (F) temperatures. While driving, I had some different horn soloists playing - Phil Myers recital disk, Hans Pizka's "Dream Music," Greg Hustis' recital disk, and Lowell Greer's Mozarts on natural horn. All four hornists produced very different sounds, but all four were full of color and variety. The sounds of these players had individuality and personallity. The problem with many band directors is that they view horn as a "background brass" or "color instrument" and then interpret this as meaning: devoid of any interesting tone quality and focus. A large amount of my time and energy is devoted to horn studio teaching, a job I love to do and am proud to do. (In fact, if a few more of us taught horn instead of how to shoot a tank, we'd be in much better shape, but that's another matter...) Without exception, all the players who've come to me from public school band music programs have had a sound which is too dark, dull, unfocused, and blends too well. In short, their sound has no quality of its own because all they do is provide harmonic support and background for others! IMHO, this is one of the large drawbacks of (uhh) band playing: horns are used merely as "range fillers" to round out the alto/tenor voices. Orchestral playing is much more challenging, and encourages growth of musicianship. For instance: 1.) Most band pieces are only several minutes long. A 30 minute piece for band is considered a massive work. A piece of the same length for orchestra is certainly one of the shorter works in the genre. Why? Because audiences (especially American audiences) can't pay attention for more than five minutes, and can't appreciate large sonata forms. Also, because many band composers are sadly inferior to orchestral composers. Name the top five band composers - now name the top five orchestra composers. Compare the two lists - I rest my case. 2.) Most public school band directors know nothing about horn. They characterize horn sound as "dark," "blending," or "smooth." If they want dark and non-focused, why don't they do get more euphonium players? Newsflash: Interesting horn sound is not dark and rich!! It has sparkle, is shiny, and has a velvet "zzch" to it, even in ppp it is interesting and distinct. Want proof? Listen to some of the principal horns on this list, such as Bob Ward, Kendall Betts, or Professor Pizka. 3.) Players playing too loud and with a pinched sound? Duh: Marching Band, marching band, marching band!!! When are Americans going to realize that Marching Band is not a musical activity? Listening to a Beethoven symphony with the score open in one's lap, this is a musical activity. Rehearsing the Mozart Horn Quintet for the first time with the strings, this is a musical activity. As a young teenager, I remember writing out the string parts to the quintet by hand from the score, because I lived in a remote area and couldn't get parts! This is musical learning, not playing in a marching band, blasting away at at a football game halftime show. As Americans, we play too loud because we were brought up on band instead of orchestra. Look at the average number of winds in a large orchestral piece: perhaps 12 woodwinds and 12 brass for a total of 24 players; the rest are strings. Too many youn
[Hornlist] tone color/color instrument
Dear listers: There has been some discussion on the list lately concerning "cutting through," "projection," and "tone color." While it is interesting to note how conception of tone quality varies from player to player and school to school, the following is always true: It is exciting to listen to the sound quality of the best players. A dull, colorless, lifeless sound serves no purpose and contributes nothing to any ensemble or any listener. Due to the wonderful weather here, my wife and I did some traveling yesterday, enjoying the drive, the sun, the new "green" smell in the air, and the 70 degree (F) temperatures. While driving, I had some different horn soloists playing - Phil Myers recital disk, Hans Pizka's "Dream Music," Greg Hustis' recital disk, and Lowell Greer's Mozarts on natural horn. All four hornists produced very different sounds, but all four were full of color and variety. The sounds of these players had individuality and personallity. The problem with many band directors is that they view horn as a "background brass" or "color instrument" and then interpret this as meaning: devoid of any interesting tone quality and focus. A large amount of my time and energy is devoted to horn studio teaching, a job I love to do and am proud to do. (In fact, if a few more of us taught horn instead of how to shoot a tank, we'd be in much better shape, but that's another matter...) Without exception, all the players who've come to me from public school band music programs have had a sound which is too dark, dull, unfocused, and blends too well. In short, their sound has no quality of its own because all they do is provide harmonic support and background for others! IMHO, this is one of the large drawbacks of (uhh) band playing: horns are used merely as "range fillers" to round out the alto/tenor voices. Orchestral playing is much more challenging, and encourages growth of musicianship. For instance: 1.) Most band pieces are only several minutes long. A 30 minute piece for band is considered a massive work. A piece of the same length for orchestra is certainly one of the shorter works in the genre. Why? Because audiences (especially American audiences) can't pay attention for more than five minutes, and can't appreciate large sonata forms. Also, because many band composers are sadly inferior to orchestral composers. Name the top five band composers - now name the top five orchestra composers. Compare the two lists - I rest my case. 2.) Most public school band directors know nothing about horn. They characterize horn sound as "dark," "blending," or "smooth." If they want dark and non-focused, why don't they do get more euphonium players? Newsflash: Interesting horn sound is not dark and rich!! It has sparkle, is shiny, and has a velvet "zzch" to it, even in ppp it is interesting and distinct. Want proof? Listen to some of the principal horns on this list, such as Bob Ward, Kendall Betts, or Professor Pizka. 3.) Players playing too loud and with a pinched sound? Duh: Marching Band, marching band, marching band!!! When are Americans going to realize that Marching Band is not a musical activity? Listening to a Beethoven symphony with the score open in one's lap, this is a musical activity. Rehearsing the Mozart Horn Quintet for the first time with the strings, this is a musical activity. As a young teenager, I remember writing out the string parts to the quintet by hand from the score, because I lived in a remote area and couldn't get parts! This is musical learning, not playing in a marching band, blasting away at at a football game halftime show. As Americans, we play too loud because we were brought up on band instead of orchestra. Look at the average number of winds in a large orchestral piece: perhaps 12 woodwinds and 12 brass for a total of 24 players; the rest are strings. Too many young people are brought up trying to blast over a 75 - 100 piece (yuk) band, instead of blending and contributing thier special, complex sound with the orchestra. Off Soapbox, Scott __ Do you Yahoo!? Yahoo! Web Hosting - establish your business online http://webhosting.yahoo.com ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
