[Hornlist] various advices
I noticed over the years, that too many mailing in their answers their advice, tend to much to speak them right after their mouth - understood. This does not help. Just critic realism will help, everything expressed honestly. 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
[Hornlist] various thoughts
Fellow listers - just a couple of thoughts I would like to share. {pardon the cross
posting,}First off if you have access to the latest International Musician the AFM
trade paper, our own Ken Pope has an article to himself, 2/3 of the way in. Short, but
sweet. Way to go Ken!
Second off, everyone is invited to Osmun Music in Arlington, [outside Boston] on
February 7, 2004 for the third horn choir Saturday. Go to Osmun.com to let them know
you are coming. Bring a stand, any arrangements you would like to try [Dave Ohanion
has aked that we try to make them for eight or more horns, please] and come prepared
for a truly great time. I know that the two times I have made it {from upsate NY}
have been worth it. Plus, you'll get to meet new friends, and maybe catch up with
some old ones! See y'all there.
Paxmaha
-
Do you Yahoo!?
New Yahoo! Photos - easier uploading and sharing
___
post: [EMAIL PROTECTED]
set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] various thoughts
This is a general post to both lists, so please excuse the double posting; I have just a couple of thoughts on some threads that just popped up on the list. Firstly, when discussing vibrato, if one wants to dive into this issue in depth, just as in most other aspects of performance, you have to consider areas of performance other than horn playing. There is still a great degree of disagreement as to the proper use of vibrato both in strings and voice for the renaissance and baroque periods. You can hear examples of both, but I personally feel that as music is really a medium of contrasts that the use of vibrato in particular phrases and styles is an enhancement when the majority of the piece is played without. When one moves into the classical and romantic periods the prevailing sentiment is for more sustained use of vibrato, and the composers wrote with that in their subconscious mind. To hear the music of Heinrich Schutz, for example played and sung with a modern heavy vibrato muddies it up tremendously, whereas if I were to hear the Brahms vi olin concerto without a much greater use, that would sound irregular and perhaps even improper to my ears. specifically regarding horn vibrato, I enjoy the tasteful use of vibrato, especially the Hungarian and Czech players. Listen to Ferenc Tarjanis' Haydn concerto recordings to hear what I am talking about. If, however, every phrase was played with a constant quaver, then I would more than likely get a little queasy long before it was through. When one is learning the horn, Vibrato should be one of those items that is a taught as an additional technique, after one has established a solid, consistent, desirable tone quality. If only every horn player would sing in a choir too, then more of this would become an inherent understanding of our physical natures. Vibrato is natural, but definitely controllable, and should be thought of in that way when applied to horn. On the Home Depot issue - as an ex Home Depot employee, one can certainly find nearly every tool and materials needed to build a horn. A poor quality, copper or steel horn, and not one I would use on stage. One can, however equip themselves very nicely in regards to instrument repair and construction - and if one wants the tools to take apart a horn, then the Depot is your place to be! I understand that Joss was not making any statements about the quality of the end product, but one could certainly do worse. One last opinion is regarding those times when a lister makes the type of personal statements that border on pure boasting, bragging, or outright arrogance. Usually I immediately feel the urge to slam that person, but often after letting things fall into context, I can be benevolent and let them go their merry way, as I realize that no matter what they may say, unless I am in personal contact with them, it really has no effect upon how I live daily. I do think that a polite, strong, caring reply to put them straight is necessary, and thankfully those on this list who are universally considered to be in a position to do so, do so. Let us not quash anyones self-confidence, but remember that true self-confidence is one that can withstand trials and tribulations, even the occassional abuse, and remain true. I daily enjoy this list, I always learn something from the many wonderful people on it, and only hope that when I contribute I am benefitting even on person who reads it. Carpe cornu!!! Paxmaha - Do you Yahoo!? Protect your identity with Yahoo! Mail AddressGuard ___ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
[Hornlist] Various
All, In over my head with responsibilities et al is reason I've been lurking. Catching up on recent threads. W/respect to playing in COLD TEMPS. Have been using Hetman lubes for almost a decade. Seems temperature affects their performance much less than other lubes. Had access to aerospace synthetic lubes (oil) in 60s used personal supply until switch to Hetman. Some posts on playing military gigs in severe weather remind me of my 17 months in Bremerhaven GER. Rarely did it snow. It rained all the time. So cold the drops would become ice before-after landing. My solution was to run plain old water through the rotors before early morning gigs for departing-incoming troop ships (tide times ya kno). Can't play with frozen valves, can we? David Amram did spot my trick when he arrived on one of these tubs wrote of it in one of his books. From current posts, thank goodness, it seems the military brass have become more sensible. FLIPPERS. Have used one since '61. Positioned not on index finger knuckle, but just below on fleshy part. No problem in all those years. Ditto for the adjustable flipper Johannes Finke installs on his Horns after having a trace of an outline of ones hand. PRE WWII SINGLE F STENCILS. My parents bought a White single F for me circa '39. It definitely was made in GER. $125 when dad was earning $5 a day in coal mines. As stated previously it carried me through many competitions (always against doubles) until Uncle Sam handed me my first NS double (one of those TX Sansones yet). So I too am an advocate of starting youngsters on F Horn. MUTES. Have used an AULOS (aka Lawson) practice mute for decades. Practiced in many a motel room w/TV turned up a little during the many years of travel in engineering position. Kept me in shape. BUZZER. Have used BERP for couple decades during commuting to office on travel. It worked for me. AIR TRAVEL. Used soft cut bell cases of various manufacturers w/no problem prior to 9/11/01. Banff Beijing included. Did get away w/Olds fixed bell hard case several times in this period. Since I packed in the Horn end of 2K I can't comment on current experience. PRACTICE. Used standard books other than Kopprash during career. Arbans Trumpet, GER orchestral series (name?) even a mellophone exercise book. The key was really having superior teachers. RIGHT HORN. The right Horn is the one that plays the best for one within financial constraints. Brand, model, etc be darned. Condition is a factor of course. Enough for now. As said in another venue. That's all folks. Take care. GN ENGINEERING: Retired Industry-Gov't MANAGEMENT TECHNICAL CONSULTING Napuda Associates, Pennsville, NJ HORN: Public School System, College, Univ., US Army, Freelance, Lifelong AFM, Avocation, IHS NJ Rep. ___ Horn mailing list [EMAIL PROTECTED] http://music.memphis.edu/mailman/listinfo/horn
