RE: [Hornlist] RE: Mozart Sinfonia no.29 in A
Hello, what is a ROPA orchestra ? Please explain. You know, buying four Viennese horns is quite a big amount of money. Wait ten days & I can make you an estimate of the price, but I should know in which country you are, as I might calculate delivery too. If here in Europe, no problem at all. I played in a section with the Vienna Philharmonic often, but did play here in Munich just alone withViennese single F for two years against a section of all 103. Occasionally I did use my Viennese Pumpenhorn until retirement. Yes, you can learn to play the pumpenhorn even in the later years of the professional life, but it would be wise to restrict oneself to use these horns for the easier things only e.g. proms, New Year concert, Johann Strauss program) and for the hornensemble (quartet). You would gain much endurance , tone quality, breath control. Kindst greetings Hans PS: Write me off the list next time, please = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Reba McLaurin Sent: Sunday, August 26, 2007 6:34 PM To: The Horn List Subject: Re: [Hornlist] RE: Mozart Sinfonia no.29 in A I play in a ROPA orchestra. It was a freelance gig though, and the conductor was very inexperienced, and had no idea what he was doing. I accepted it because I was afraid to turn down any playing at the time. It's a long story, but I wasn't sure what was going on with my position in the group after the sabbatical; so, I said yes to everything. They filled the principal position by moving everyone up a chair. Second was on first, third on second, fourth on third, and assistant on fourth. They hired in someone from out of town for assistant. None of us subbed anything big out that year because there was almost no one to cover it. They did ask me to play I see a huntsman from Giulio Cesare on a freelance gig later that year and I refused to do it. I told them to hire the acting principal which they did. Did you play in a section of Viennese horns? Why did you switch off of these instruments? Is it possible to learn how to play these instruments later in life or do you have to start young? If I were going to buy some Viennese horns, I think I would need four, not two. On 8/26/07, hans <[EMAIL PROTECTED]> wrote: > Hello Reba, you still did not answer what kind of an orchestra you > were or are in (classification, no name), because they can (could) > move you all over the section. Even in that case - special if many or > most first horns in the world are getting a bit nervous for that kind > of stuff > (no.29 & other Mozart & Haydn things), why did you accept this gig ? > Just for your masochism ? Or as you WANTED to play it ? Small sub list > does not count at all. If the conductor puts this kind of music on the > program, he or she should think first, if it were possible. If > possible (not because of the horns), they should think first again. > How did they fill the missing first position (due sabbatical > leave) for the other programs ? If they cannot find a replacement > nearby, they have to fly-in another player. > Would cost something, right, but could be taken from the irresponsible > stupid conductors salary. > > Why did I choose to play it on the Viennese horn ? When I was until > 23, I played everything on the single F Viennese Horn, but adapted the > sound to the task. Even high "e" was a NO-PROBLEM for me then. Listen > to the high notes produced by Thomas Joebstl ! This is sound horn > playing and most tasteful also. > > Playing the Viennese Horn & playing all on it is not a matter choice. > It is a matter of growing & growing & growing again. It takes a lot of > time to "conquest" these horns & more time to "control" them. But with > today´s extreme loud playing (I do not say uncultivated even it would > be the right term in 75% of all cases) the Vienna Horn does not serve > at its best. The Viennese Horn is the horn of the beautiful sound and > it definitely does not show its best qualities playing high Mozart, > Haydn or Bach or Haendel pieces. For this kind of music, we have > better tools today, > - and they are cheaper than a Viennese Horn. > > By the way, I have two brand new Viennese Horns, one with titanium > valves & the other with brass valves, for sale. If somebody is > interested, let me know. > > > ======== > > -Original Message----- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On Behalf Of > Reba McLaurin > Sent: Sunday, August 26, 2007 7:23 AM > To: The Horn List > Subject: Re: [Hornlist] RE
Re: [Hornlist] RE: Mozart Sinfonia no.29 in A
I play in a ROPA orchestra. It was a freelance gig though, and the conductor was very inexperienced, and had no idea what he was doing. I accepted it because I was afraid to turn down any playing at the time. It's a long story, but I wasn't sure what was going on with my position in the group after the sabbatical; so, I said yes to everything. They filled the principal position by moving everyone up a chair. Second was on first, third on second, fourth on third, and assistant on fourth. They hired in someone from out of town for assistant. None of us subbed anything big out that year because there was almost no one to cover it. They did ask me to play I see a huntsman from Giulio Cesare on a freelance gig later that year and I refused to do it. I told them to hire the acting principal which they did. Did you play in a section of Viennese horns? Why did you switch off of these instruments? Is it possible to learn how to play these instruments later in life or do you have to start young? If I were going to buy some Viennese horns, I think I would need four, not two. On 8/26/07, hans <[EMAIL PROTECTED]> wrote: > Hello Reba, you still did not answer what kind of an > orchestra you were or are in (classification, no name), > because they can (could) move you all over the section. Even > in that case - special if many or most first horns in the > world are getting a bit nervous for that kind of stuff > (no.29 & other Mozart & Haydn things), why did you accept > this gig ? Just for your masochism ? Or as you WANTED to > play it ? Small sub list does not count at all. If the > conductor puts this kind of music on the program, he or she > should think first, if it were possible. If possible (not > because of the horns), they should think first again. How > did they fill the missing first position (due sabbatical > leave) for the other programs ? If they cannot find a > replacement nearby, they have to fly-in another player. > Would cost something, right, but could be taken from the > irresponsible stupid conductors salary. > > Why did I choose to play it on the Viennese horn ? When I > was until 23, I played everything on the single F Viennese > Horn, but adapted the sound to the task. Even high "e" was a > NO-PROBLEM for me then. Listen to the high notes produced by > Thomas Joebstl ! This is sound horn playing and most > tasteful also. > > Playing the Viennese Horn & playing all on it is not a > matter choice. It is a matter of growing & growing & growing > again. It takes a lot of time to "conquest" these horns & > more time to "control" them. But with today´s extreme loud > playing (I do not say uncultivated even it would be the > right term in 75% of all cases) the Vienna Horn does not > serve at its best. The Viennese Horn is the horn of the > beautiful sound and it definitely does not show its best > qualities playing high Mozart, Haydn or Bach or Haendel > pieces. For this kind of music, we have better tools today, > - and they are cheaper than a Viennese Horn. > > By the way, I have two brand new Viennese Horns, one with > titanium valves & the other with brass valves, for sale. If > somebody is interested, let me know. > > > ======== > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On > Behalf Of Reba McLaurin > Sent: Sunday, August 26, 2007 7:23 AM > To: The Horn List > Subject: Re: [Hornlist] RE: Mozart Sinfonia no.29 in A > > It was a freelance gig in a place where all of the freelance > work goes to the orchestra. Our principal was on > sabbatical. I just go where they point and do what they ask > me to do. It was easier than arguing with the person that > was insisting on playing second. I don't argue. > Because of this I've played every position in our section > over the past few years, although my position is officially > labeled fourth. I'm the one that gets moved when someone is > out of town. We have a very small sub list. > > Why did you choose to play it on your Vienna horn? What was > it like? > > I want to play anything on a Vienna horn. If I had one I > would probably play everything on it. > > R. > > On 8/24/07, hans <[EMAIL PROTECTED]> wrote: > > Yes, you can play K.201 on the big horn - I did it on my > Viennese Horn > > (no problem if you have a good high B-natural) and it > sounded light > > (!!) - , but does it make sense to squeeze the notes out > or to blair > > them out on the big horn ? > > It is heard that way so often. But it should all be light > (in Italian: > > a squillo
RE: [Hornlist] RE: Mozart Sinfonia no.29 in A
Hello Reba, you still did not answer what kind of an orchestra you were or are in (classification, no name), because they can (could) move you all over the section. Even in that case - special if many or most first horns in the world are getting a bit nervous for that kind of stuff (no.29 & other Mozart & Haydn things), why did you accept this gig ? Just for your masochism ? Or as you WANTED to play it ? Small sub list does not count at all. If the conductor puts this kind of music on the program, he or she should think first, if it were possible. If possible (not because of the horns), they should think first again. How did they fill the missing first position (due sabbatical leave) for the other programs ? If they cannot find a replacement nearby, they have to fly-in another player. Would cost something, right, but could be taken from the irresponsible stupid conductors salary. Why did I choose to play it on the Viennese horn ? When I was until 23, I played everything on the single F Viennese Horn, but adapted the sound to the task. Even high "e" was a NO-PROBLEM for me then. Listen to the high notes produced by Thomas Joebstl ! This is sound horn playing and most tasteful also. Playing the Viennese Horn & playing all on it is not a matter choice. It is a matter of growing & growing & growing again. It takes a lot of time to "conquest" these horns & more time to "control" them. But with today´s extreme loud playing (I do not say uncultivated even it would be the right term in 75% of all cases) the Vienna Horn does not serve at its best. The Viennese Horn is the horn of the beautiful sound and it definitely does not show its best qualities playing high Mozart, Haydn or Bach or Haendel pieces. For this kind of music, we have better tools today, - and they are cheaper than a Viennese Horn. By the way, I have two brand new Viennese Horns, one with titanium valves & the other with brass valves, for sale. If somebody is interested, let me know. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Reba McLaurin Sent: Sunday, August 26, 2007 7:23 AM To: The Horn List Subject: Re: [Hornlist] RE: Mozart Sinfonia no.29 in A It was a freelance gig in a place where all of the freelance work goes to the orchestra. Our principal was on sabbatical. I just go where they point and do what they ask me to do. It was easier than arguing with the person that was insisting on playing second. I don't argue. Because of this I've played every position in our section over the past few years, although my position is officially labeled fourth. I'm the one that gets moved when someone is out of town. We have a very small sub list. Why did you choose to play it on your Vienna horn? What was it like? I want to play anything on a Vienna horn. If I had one I would probably play everything on it. R. On 8/24/07, hans <[EMAIL PROTECTED]> wrote: > Yes, you can play K.201 on the big horn - I did it on my Viennese Horn > (no problem if you have a good high B-natural) and it sounded light > (!!) - , but does it make sense to squeeze the notes out or to blair > them out on the big horn ? > It is heard that way so often. But it should all be light (in Italian: > a squillo), light as Champagne, light as Mozart. Mozart is in the > foreground. And a question: what kind of an orchestra, where the > proposed first player can say he would play second horn ? Or was it > some kind of an pick up orchestra for that gig ? If so, why did you > not resist the temptation & tell´m you were hired for the second horn. > You would have saved a lot of your nerves & frustration. > > > > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On Behalf Of > Reba McLaurin > Sent: Friday, August 24, 2007 5:30 AM > To: The Horn List > Subject: Re: [Hornlist] RE: Mozart Sinfonia no.29 in A > > Actually, my post was not entirely accurate. I had just returned from > a sabbatical when I got asked to play the gig by our personnel manager > because everyone else in town turned it down. I was told that I was > playing second. I got to the gig and found out I was on first because > the other player wanted to play second. I had no option other than > the "big horn." Because of the way things work in this town, I had to > accept the gig (if I wanted to continue working on the horn in this > town), and I knew to practice both parts. > > I think the other piece on the program was Mozart 21 or 22. > I think it was in c alto, but I'm not sure... it was a while back
Re: [Hornlist] RE: Mozart Sinfonia no.29 in A
It was a freelance gig in a place where all of the freelance work goes to the orchestra. Our principal was on sabbatical. I just go where they point and do what they ask me to do. It was easier than arguing with the person that was insisting on playing second. I don't argue. Because of this I've played every position in our section over the past few years, although my position is officially labeled fourth. I'm the one that gets moved when someone is out of town. We have a very small sub list. Why did you choose to play it on your Vienna horn? What was it like? I want to play anything on a Vienna horn. If I had one I would probably play everything on it. R. On 8/24/07, hans <[EMAIL PROTECTED]> wrote: > Yes, you can play K.201 on the big horn - I did it on my > Viennese Horn (no problem if you have a good high B-natural) > and it sounded light (!!) - , but does it make sense to > squeeze the notes out or to blair them out on the big horn ? > It is heard that way so often. But it should all be light > (in Italian: a squillo), light as Champagne, light as > Mozart. Mozart is in the foreground. And a question: what > kind of an orchestra, where the proposed first player can > say he would play second horn ? Or was it some kind of an > pick up orchestra for that gig ? If so, why did you not > resist the temptation & tell´m you were hired for the second > horn. You would have saved a lot of your nerves & > frustration. > > > > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On > Behalf Of Reba McLaurin > Sent: Friday, August 24, 2007 5:30 AM > To: The Horn List > Subject: Re: [Hornlist] RE: Mozart Sinfonia no.29 in A > > Actually, my post was not entirely accurate. I had just > returned from a sabbatical when I got asked to play the gig > by our personnel manager because everyone else in town > turned it down. I was told that I was playing second. I > got to the gig and found out I was on first because the > other player wanted to play second. I had no option other > than the "big horn." Because of the way things work in this > town, I had to accept the gig (if I wanted to continue > working on the horn in this town), and I knew to practice > both parts. > > I think the other piece on the program was Mozart 21 or 22. > I think it was in c alto, but I'm not sure... it was a while > back and I threw away the program. > > On the subject of descant or high hornsif you can't play > the piece on the "big horn", you have no business pulling > out a descant or high f horn. (especially if you don't own > one.) The instrument should be used for color, a change of > timbre, and style, and not to "get the high notes out". I > think there are specific periods of music that are > appropriate for high horns and natural horns, and these > instruments sound their very best when they are used in > pairs. I don't see what the big deal is about using the big > horn on Mozart. > > > ___ > post: horn@music.memphis.edu > unsubscribe or set options at > http://music2.memphis.edu/mailman/options/horn/sallym.of.mclaurin%40gmail.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE: Mozart Sinfonia no.29 in A
Yes, you can play K.201 on the big horn - I did it on my Viennese Horn (no problem if you have a good high B-natural) and it sounded light (!!) - , but does it make sense to squeeze the notes out or to blair them out on the big horn ? It is heard that way so often. But it should all be light (in Italian: a squillo), light as Champagne, light as Mozart. Mozart is in the foreground. And a question: what kind of an orchestra, where the proposed first player can say he would play second horn ? Or was it some kind of an pick up orchestra for that gig ? If so, why did you not resist the temptation & tell´m you were hired for the second horn. You would have saved a lot of your nerves & frustration. -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Reba McLaurin Sent: Friday, August 24, 2007 5:30 AM To: The Horn List Subject: Re: [Hornlist] RE: Mozart Sinfonia no.29 in A Actually, my post was not entirely accurate. I had just returned from a sabbatical when I got asked to play the gig by our personnel manager because everyone else in town turned it down. I was told that I was playing second. I got to the gig and found out I was on first because the other player wanted to play second. I had no option other than the "big horn." Because of the way things work in this town, I had to accept the gig (if I wanted to continue working on the horn in this town), and I knew to practice both parts. I think the other piece on the program was Mozart 21 or 22. I think it was in c alto, but I'm not sure... it was a while back and I threw away the program. On the subject of descant or high hornsif you can't play the piece on the "big horn", you have no business pulling out a descant or high f horn. (especially if you don't own one.) The instrument should be used for color, a change of timbre, and style, and not to "get the high notes out". I think there are specific periods of music that are appropriate for high horns and natural horns, and these instruments sound their very best when they are used in pairs. I don't see what the big deal is about using the big horn on Mozart. ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] RE: Mozart Sinfonia no.29 in A
Actually, my post was not entirely accurate. I had just returned from a sabbatical when I got asked to play the gig by our personnel manager because everyone else in town turned it down. I was told that I was playing second. I got to the gig and found out I was on first because the other player wanted to play second. I had no option other than the "big horn." Because of the way things work in this town, I had to accept the gig (if I wanted to continue working on the horn in this town), and I knew to practice both parts. I think the other piece on the program was Mozart 21 or 22. I think it was in c alto, but I'm not sure... it was a while back and I threw away the program. On the subject of descant or high hornsif you can't play the piece on the "big horn", you have no business pulling out a descant or high f horn. (especially if you don't own one.) The instrument should be used for color, a change of timbre, and style, and not to "get the high notes out". I think there are specific periods of music that are appropriate for high horns and natural horns, and these instruments sound their very best when they are used in pairs. I don't see what the big deal is about using the big horn on Mozart. On 8/22/07, hans <[EMAIL PROTECTED]> wrote: > It is definitely "insane" to do such. After one year hiatus > & without a high horn & even another still higher symphony - > which one ? > > If one has no access to a high horn, one should decline > accepting such a task. It would be better for the player, > the audience & the music & last for Mozart. > > Declining a task or declining a gig is not a matter of "want > to play it", but rather a matter of realism & "potentials of > the player". Anything else is MAD. > > As a lot of professionals are getting nervous if this > particular symphony is on the program, why amateurs or less > experienced or part timers or house wive players cannot > resist the temptation Is this a problem of masochism ? > It seems to be. Or is it a big problem of underestimating a > task ? It seems also to be that. Or is it a problem of false > self-assessment. > > I think it is the last one, sorry ! > > == > > -Original Message----- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On > Behalf Of Reba McLaurin > Sent: Wednesday, August 22, 2007 12:33 AM > To: The Horn List > Subject: Re: [Hornlist] RE: Mozart Sinfonia no.29 in A > > What if you don't have access to any type of "high" horn. > An F or Bflat or descant or natural horn. I got asked to do > it without one once. It was a nightmare because it was > right after I had spent a year off the horn, but I did it > anyway. I just wanted to play, and I really didn't have any > reputation to damage or job to lose at the time. Was there > something I could have done to make it easier on a standard > double horn? It was kind of hard, and the program included > another Mozart symphony that was even higher. This made it > seem to be more difficult than it actually was. > > On 8/20/07, hans <[EMAIL PROTECTED]> wrote: > > Your problem is, that you are used to Bb fingering, while > I prefer the > > F-fingering, so high F fingering is ZERO problem. > > On the Bb horn you miss the great opportunity to avoid > > finger-squeezing for the ##-tonalities, haha. > > > > If you like a bit stronger sound, use the Bb-high F but > removing the > > Bb-slides. It works superbly & is a compromise. > > > > > === > > > > -Original Message- > > From: [EMAIL PROTECTED] > > [mailto:[EMAIL PROTECTED] On > Behalf Of > > Alon reuven > > Sent: Monday, August 20, 2007 11:05 PM > > To: horn@music.memphis.edu > > Subject: [Hornlist] RE: Mozart Sinfonia no.29 in A > > > > Hans is allmost there - I do think that one may use a high > F horn , > > but not single , but double .I mean , Bb/Hi F.and because > you may use > > it right on the F# on the top of the staff , you would > have no hard > > time with the fingerings . As for the sound - just follow > your ear , > > and your body would guide you properly . > > Alon > > ___ > > 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 > > unsub
RE: [Hornlist] RE: Mozart Sinfonia no.29 in A
It is definitely "insane" to do such. After one year hiatus & without a high horn & even another still higher symphony - which one ? If one has no access to a high horn, one should decline accepting such a task. It would be better for the player, the audience & the music & last for Mozart. Declining a task or declining a gig is not a matter of "want to play it", but rather a matter of realism & "potentials of the player". Anything else is MAD. As a lot of professionals are getting nervous if this particular symphony is on the program, why amateurs or less experienced or part timers or house wive players cannot resist the temptation Is this a problem of masochism ? It seems to be. Or is it a big problem of underestimating a task ? It seems also to be that. Or is it a problem of false self-assessment. I think it is the last one, sorry ! == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Reba McLaurin Sent: Wednesday, August 22, 2007 12:33 AM To: The Horn List Subject: Re: [Hornlist] RE: Mozart Sinfonia no.29 in A What if you don't have access to any type of "high" horn. An F or Bflat or descant or natural horn. I got asked to do it without one once. It was a nightmare because it was right after I had spent a year off the horn, but I did it anyway. I just wanted to play, and I really didn't have any reputation to damage or job to lose at the time. Was there something I could have done to make it easier on a standard double horn? It was kind of hard, and the program included another Mozart symphony that was even higher. This made it seem to be more difficult than it actually was. On 8/20/07, hans <[EMAIL PROTECTED]> wrote: > Your problem is, that you are used to Bb fingering, while I prefer the > F-fingering, so high F fingering is ZERO problem. > On the Bb horn you miss the great opportunity to avoid > finger-squeezing for the ##-tonalities, haha. > > If you like a bit stronger sound, use the Bb-high F but removing the > Bb-slides. It works superbly & is a compromise. > > === > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On Behalf Of > Alon reuven > Sent: Monday, August 20, 2007 11:05 PM > To: horn@music.memphis.edu > Subject: [Hornlist] RE: Mozart Sinfonia no.29 in A > > Hans is allmost there - I do think that one may use a high F horn , > but not single , but double .I mean , Bb/Hi F.and because you may use > it right on the F# on the top of the staff , you would have no hard > time with the fingerings . As for the sound - just follow your ear , > and your body would guide you properly . > Alon > ___ > 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/sallym.of.mcl aurin%40gm > ail.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
Re: [Hornlist] RE: Mozart Sinfonia no.29 in A
What if you don't have access to any type of "high" horn. An F or Bflat or descant or natural horn. I got asked to do it without one once. It was a nightmare because it was right after I had spent a year off the horn, but I did it anyway. I just wanted to play, and I really didn't have any reputation to damage or job to lose at the time. Was there something I could have done to make it easier on a standard double horn? It was kind of hard, and the program included another Mozart symphony that was even higher. This made it seem to be more difficult than it actually was. On 8/20/07, hans <[EMAIL PROTECTED]> wrote: > Your problem is, that you are used to Bb fingering, while I > prefer the F-fingering, so high F fingering is ZERO problem. > On the Bb horn you miss the great opportunity to avoid > finger-squeezing for the ##-tonalities, haha. > > If you like a bit stronger sound, use the Bb-high F but > removing the Bb-slides. It works superbly & is a compromise. > > === > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On > Behalf Of Alon reuven > Sent: Monday, August 20, 2007 11:05 PM > To: horn@music.memphis.edu > Subject: [Hornlist] RE: Mozart Sinfonia no.29 in A > > Hans is allmost there - I do think that one may use a high F > horn , but not single , but double .I mean , Bb/Hi F.and > because you may use it right on the F# on the top of the > staff , you would have no hard time with the fingerings . As > for the sound - just follow your ear , and your body would > guide you properly . > Alon > ___ > 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/sallym.of.mclaurin%40gmail.com > ___ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] RE: Mozart Sinfonia no.29 in A
Your problem is, that you are used to Bb fingering, while I prefer the F-fingering, so high F fingering is ZERO problem. On the Bb horn you miss the great opportunity to avoid finger-squeezing for the ##-tonalities, haha. If you like a bit stronger sound, use the Bb-high F but removing the Bb-slides. It works superbly & is a compromise. === -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Alon reuven Sent: Monday, August 20, 2007 11:05 PM To: horn@music.memphis.edu Subject: [Hornlist] RE: Mozart Sinfonia no.29 in A Hans is allmost there - I do think that one may use a high F horn , but not single , but double .I mean , Bb/Hi F.and because you may use it right on the F# on the top of the staff , you would have no hard time with the fingerings . As for the sound - just follow your ear , and your body would guide you properly . Alon ___ 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
