Re: [Hornlist] Tuning a double horn(playing sharp)
Here's good practice for blending your low chops with your high chops: Kopprasch #23, #56, #32. { David Goldberg: [EMAIL PROTECTED] } { Math Dept, Washtenaw Community College } { Ann Arbor Michigan } ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Tuning a double horn(playing sharp)
Yes, Valerie, you have understood it right. All has to be played with "about" the same embouchure setting. The only difference is it, to open more or to close the opening between the lips by the use of the jaw more, but in a very sublime manner. This can work only, if you use not more than the "necessary" vertical pressure, where vertical means mouthpiece verse lips. Inserting the mouthpiece just at the border of the red flesh of the lower lip helps a lot. It is the wrong way to play the extreme low notes with protruding lips as seen so often. Hope this helps a bit. If you have more questions, please, ask again. Greetings through the language barrier. Hans -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Valerie WELLS Sent: Monday, January 21, 2008 11:30 PM To: horn1 list Subject: [Hornlist] Tuning a double horn(playing sharp) Hans, thank you for your comments. However, I'm not sure I understand what you are trying to tell me. Do you mean that when I work on low horn parts, I'm setting in the lower lip too deeply (Einsetzen?) pulling the lips apart too much and it is causing cramping? Do you mean that I should be using the same basic embouchure "set up" for all my playing? Please clarify across the pond & our language barriers as best you can. Thank you. Valerie < It means, that you cramp the one or the opposite way. Whynot playing all relaxed with less vertical pressure,mouthpiece set at the edge of the lower lip so it pulls thelip opening open enough ? You would soon find out that youplay more relaxed without getting sharp or flat. Gettingflat due to playing low parts ? Why ? Because you aredigging into the ground instead of playing the low notesjust as other notes. Try it ! Just practising the one or theother extreme does not improve anything.>___ 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] Tuning a double horn(playing sharp)
Hans, thank you for your comments. However, I'm not sure I understand what you are trying to tell me. Do you mean that when I work on low horn parts, I'm setting in the lower lip too deeply (Einsetzen?) pulling the lips apart too much and it is causing cramping? Do you mean that I should be using the same basic embouchure "set up" for all my playing? Please clarify across the pond & our language barriers as best you can. Thank you. Valerie < It means, that you cramp the one or the opposite way. Whynot playing all relaxed with less vertical pressure,mouthpiece set at the edge of the lower lip so it pulls thelip opening open enough ? You would soon find out that youplay more relaxed without getting sharp or flat. Gettingflat due to playing low parts ? Why ? Because you aredigging into the ground instead of playing the low notesjust as other notes. Try it ! Just practising the one or theother extreme does not improve anything.>___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Tuning a double horn(playing sharp)
It means, that you cramp the one or the opposite way. Why not playing all relaxed with less vertical pressure, mouthpiece set at the edge of the lower lip so it pulls the lip opening open enough ? You would soon find out that you play more relaxed without getting sharp or flat. Getting flat due to playing low parts ? Why ? Because you are digging into the ground instead of playing the low notes just as other notes. Try it ! Just practising the one or the other extreme does not improve anything. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Valerie WELLS Sent: Monday, January 21, 2008 5:17 AM To: horn1 list Subject: [Hornlist] Tuning a double horn(playing sharp) Everytime I start to have trouble playing chronically sharp, all I have to do to correct the problem is to spend an appreciable amount of time working on low horn work, & I mean VERY LOW horn work. My favorite low horn part to honk around on is Kerry Turner's Quartet # 1. I can't play the fourth part worth beans, but it sure is fun & always relaxes my embouchure. When I first started working on it, I spent at least an hour a day on it. After about five days of that, I was so flat I was still below pitch will my tuning slide pushed all the way in. Valerie___ 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] Tuning a double horn(playing sharp)
Everytime I start to have trouble playing chronically sharp, all I have to do to correct the problem is to spend an appreciable amount of time working on low horn work, & I mean VERY LOW horn work. My favorite low horn part to honk around on is Kerry Turner's Quartet # 1. I can't play the fourth part worth beans, but it sure is fun & always relaxes my embouchure. When I first started working on it, I spent at least an hour a day on it. After about five days of that, I was so flat I was still below pitch will my tuning slide pushed all the way in. Valerie___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org