RE: [Hornlist] Re: Horn Digest, Vol 29, Issue 23
Shel, this is a common error. Our lips & our embouchure are not equal to a double-reed instrument, but function like a single reed instrument (clarinet). The vibration of the lower lip can be neglected as it has quite no function. Try playing any note with the mpiece inserted into the tongue. It works also. == -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Sheldon Kirshner Sent: Saturday, May 21, 2005 5:21 AM To: The Horn List Subject: RE: [Hornlist] Re: Horn Digest, Vol 29, Issue 23 The reed refers to the aperture between the lips through which the air passes when playing. (our lips form the reed) The largest reed is one that approaches or equals the maximum inner diameter of the rim. The smallest reed is -- assuming the typical 2/3 upper and 1/3 lower or half and half position on the mouthpiece -- with the opening occuring nearer the bottom of the mouthpiece, which makes high tessitura playing more efficient. It makes for a shorter vibrating surface-- which are the lips across which the air passes. Shel ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Horn Digest, Vol 29, Issue 23
The reed refers to the aperture between the lips through which the air passes when playing. (our lips form the reed) The largest reed is one that approaches or equals the maximum inner diameter of the rim. The smallest reed is -- assuming the typical 2/3 upper and 1/3 lower or half and half position on the mouthpiece -- with the opening occuring nearer the bottom of the mouthpiece, which makes high tessitura playing more efficient. It makes for a shorter vibrating surface-- which are the lips across which the air passes. Shel -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of David Jewell Sent: Friday, May 20, 2005 8:20 AM To: The Horn List Subject: RE: [Hornlist] Re: Horn Digest, Vol 29, Issue 23 I am not sure that I understand the reed thing. Could you please explain in more detail where he put the reed, etc? I have not heard of a brass player using a reed on his brass instrument. I have used a reed, but only when I play clarinet or saxophone. Paxmaha Sheldon Kirshner <[EMAIL PROTECTED]> wrote: Hi, Arnold taught that high tessitura playing is done more efficiently with a smaller reed. When he played in our high C range on the tuba, which he did easily, and musically, he used a small reed at the bottom of his mouthpiece--but didn't change his mouthpiece. He taught that in the extreme bass tessitura a large reed will produce relatively more resonant sonorities. And, for example, driving the bass register in the tuba using a small reed produces a more strident sound. He was originally a cornet player, then a trombone player and finally a tuba player. Arnold said that the mouthpiece pressure should be equal on both lips. And I suspect that there are many brass players who have injured their lips in not following that admonition while playing, particularly, in the extreme high tessitura and at great volumes. And, as you say, one should use lots of free flowing air. Shel -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Wendell Rider Sent: Thursday, May 19, 2005 2:07 PM To: Horn-List Subject: [Hornlist] Re: Horn Digest, Vol 29, Issue 23 >message: 4 >date: Wed, 18 May 2005 12:53:00 -0500 >from: "Sheldon Kirshner" >subject: Re: [Hornlist] Embouchure Problem > Arnold Jacobs told me that many fine brass players have unorthodox >embouchures. > >Shel Hi, Arnold Jacobs told me the same thing and I remember him sitting there with a horn mouthpiece and putting it on his lips in different places and buzzing away. Of course he got notes out because his lips were lined up nicely and he could buzz very well without a mouthpiece, even though he discouraged that. He even had me play while I was sucking in on the horn. This was to show that blowing hard really isn't that important- you can play just as loud sucking in as blowing out. Anyway, if there was one issue I would have with Jake if he were still around, it would be that it doesn't matter where you set the mouthpiece as long as you have your air right. This is probably 100% right on Tuba because basically you stick the mouthpiece under your nose and blow. Its not going anywhere. Trombone is close to that. Trumpet you can always favor the upper register, although I would say that many modern players are playing with what is closer to horn embouchure placement than ever before. The horn is basically a Bass Trombone with a different bore and a small mouthpiece that plays in the trumpet range much of the time. An eighth inch of setting difference can mean the difference between success and failure. We have so much range to cover. The of success of any "unorthodox" embouchure can only be measured by the ability to control the beast in all registers and dynamics. Hey, if it works, it works. Define "works". Phil Farkas once told me that when he wrote in his book that there WAS a fundamental playing position for the horn, back in the 50s this was big news, that he had stated that 95% of great players had certain things in common. He said that ever since then, he had been deluged by people, looking for help, who were convinced they were the other 5%. In fact he told me that whenever one writes something like "99% of the time this is true", people reading that are going to be thinking, "I'm that 1%". I was one of those people. I was wrong. This and other topics will be great grist for the mill at Tuscaloosa, where you are welcome to my exhibit and ongoing therapy session. 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/skirshner%40ameritech.net ___ post: horn@mus
RE: [Hornlist] Re: Horn Digest, Vol 29, Issue 23
All the usual pressing is of evil for the tone. I have never noticed pressing on the lower lip. As I use "einsetzen", there is no pressure on the lower lip at all. The mouthpiece is "hanging" in the lower lip thus keeping the lip opening appropriate. There is a little pressure on the upper lip as to avoide the side escape of the air (often be noticed, with the ugly noise). But one must care that the pressure is just used to keep the mouthpiece firm on its place. Pressing to get out higher notes is of evil, really, as it will pinch the tone definitely. Together with a narrow bore mouthpiece, Forget about horn tone characteristics. Well, admitted, playing in the higher region in fff dynamics requires some pressure. I said SOME pressure, to hold the lips together, thus holding the pitch. I read these messages before todays two rehearsals for Bruckner 7, so I had plenty time to auto-observe my playing for double-check before answering. Pressing: yes, - lower lip: no, - upper lip: as required to avoid air escape & to hold the lips in place What kind of pressure 1: as little as possible for the task What kind of pressure 2: vertical (front) pressure: as little as possible - horizontal pressure (thickening the lips by contracting): excellent when using the lips like a cushion between teeth & mpiece, means shortening the vibrating part of the lip by contracting NOT by stretching. Understood ? = -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Loren Sent: Friday, May 20, 2005 1:57 AM To: 'The Horn List' Subject: RE: [Hornlist] Re: Horn Digest, Vol 29, Issue 23 Well in the case of the horn, I have been taught (and practice) to have more pressure on the bottom lip and the minimum possible on the upper lip; the purpose of resting the mpc on the lower lip is to control the pressure on the upper lip. I find that if I use too much pressure on the upper lip I lose accuracy, dynamic control and wear my lips out prematurely. I am not a tuba player, but when I have played around on the tuba or baritone, I have found it helpful to have the lip pressure equal and more centered in the mpc. Arnold was a great tuba player of course, but I don't think his advice mentioned in the subject post applies to horn mpc. Loren \@() [EMAIL PROTECTED] (520) 403-6897 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Sheldon Kirshner Sent: Thursday, May 19, 2005 5:35 PM To: The Horn List Subject: RE: [Hornlist] Re: Horn Digest, Vol 29, Issue 23 Hi, Arnold taught that high tessitura playing is done more efficiently with a smaller reed. When he played in our high C range on the tuba, which he did easily, and musically, he used a small reed at the bottom of his mouthpiece--but didn't change his mouthpiece. He taught that in the extreme bass tessitura a large reed will produce relatively more resonant sonorities. And, for example, driving the bass register in the tuba using a small reed produces a more strident sound. He was originally a cornet player, then a trombone player and finally a tuba player. Arnold said that the mouthpiece pressure should be equal on both lips. And I suspect that there are many brass players who have injured their lips in not following that admonition while playing, particularly, in the extreme high tessitura and at great volumes. And, as you say, one should use lots of free flowing air. Shel -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] du]On Behalf Of Wendell Rider Sent: Thursday, May 19, 2005 2:07 PM To: Horn-List Subject: [Hornlist] Re: Horn Digest, Vol 29, Issue 23 >message: 4 >date: Wed, 18 May 2005 12:53:00 -0500 >from: "Sheldon Kirshner" <[EMAIL PROTECTED]> >subject: Re: [Hornlist] Embouchure Problem >Arnold Jacobs told me that many fine brass players have unorthodox >embouchures. > >Shel Hi, Arnold Jacobs told me the same thing and I remember him sitting there with a horn mouthpiece and putting it on his lips in different places and buzzing away. Of course he got notes out because his lips were lined up nicely and he could buzz very well without a mouthpiece, even though he discouraged that. He even had me play while I was sucking in on the horn. This was to show that blowing hard really isn't that important- you can play just as loud sucking in as blowing out. Anyway, if there was one issue I would have with Jake if he were still around, it would be that it doesn't matter where you set the mouthpiece as long as you have your air right. This is probably 100% right on Tuba because basically you stick the mouthpiece under your nose and blow. Its not going anywhere. Trombone is close to that. Trumpet you can always favor the upper register, although I would s
RE: [Hornlist] Re: Horn Digest, Vol 29, Issue 23
Loren, I don't, of course, dispute your personal observations and experience. And in that regard it did come to mind that Orval once told me that he also used considerable pressure on the lower lip, differently however. He sort of buried the bottom of the rim downward as a brace and pivot. He told me some that some of his students were able to adopt that embochure position and some not. I have also heard, but I cannot remember from whom, and therefore can not verify as to accuracy or reliability, that one or more who tried Orval's approach developed a cyst while using a downward pressure methodology. Dave Goldberg of our list was with me at the time. He may remember more. I do remember that Dave asked Francis a question I think concerning trills, and the Weber concertino, and Oval proclaimed: jamais!! Whether or not that concerned mouthpiece position, I can't remember. Shel -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Loren Sent: Thursday, May 19, 2005 7:57 PM To: 'The Horn List' Subject: RE: [Hornlist] Re: Horn Digest, Vol 29, Issue 23 Well in the case of the horn, I have been taught (and practice) to have more pressure on the bottom lip and the minimum possible on the upper lip; the purpose of resting the mpc on the lower lip is to control the pressure on the upper lip. I find that if I use too much pressure on the upper lip I lose accuracy, dynamic control and wear my lips out prematurely. I am not a tuba player, but when I have played around on the tuba or baritone, I have found it helpful to have the lip pressure equal and more centered in the mpc. Arnold was a great tuba player of course, but I don't think his advice mentioned in the subject post applies to horn mpc. Loren \@() [EMAIL PROTECTED] (520) 403-6897 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Sheldon Kirshner Sent: Thursday, May 19, 2005 5:35 PM To: The Horn List Subject: RE: [Hornlist] Re: Horn Digest, Vol 29, Issue 23 Hi, Arnold taught that high tessitura playing is done more efficiently with a smaller reed. When he played in our high C range on the tuba, which he did easily, and musically, he used a small reed at the bottom of his mouthpiece--but didn't change his mouthpiece. He taught that in the extreme bass tessitura a large reed will produce relatively more resonant sonorities. And, for example, driving the bass register in the tuba using a small reed produces a more strident sound. He was originally a cornet player, then a trombone player and finally a tuba player. Arnold said that the mouthpiece pressure should be equal on both lips. And I suspect that there are many brass players who have injured their lips in not following that admonition while playing, particularly, in the extreme high tessitura and at great volumes. And, as you say, one should use lots of free flowing air. Shel -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Wendell Rider Sent: Thursday, May 19, 2005 2:07 PM To: Horn-List Subject: [Hornlist] Re: Horn Digest, Vol 29, Issue 23 >message: 4 >date: Wed, 18 May 2005 12:53:00 -0500 >from: "Sheldon Kirshner" <[EMAIL PROTECTED]> >subject: Re: [Hornlist] Embouchure Problem >Arnold Jacobs told me that many fine brass players have unorthodox >embouchures. > >Shel Hi, Arnold Jacobs told me the same thing and I remember him sitting there with a horn mouthpiece and putting it on his lips in different places and buzzing away. Of course he got notes out because his lips were lined up nicely and he could buzz very well without a mouthpiece, even though he discouraged that. He even had me play while I was sucking in on the horn. This was to show that blowing hard really isn't that important- you can play just as loud sucking in as blowing out. Anyway, if there was one issue I would have with Jake if he were still around, it would be that it doesn't matter where you set the mouthpiece as long as you have your air right. This is probably 100% right on Tuba because basically you stick the mouthpiece under your nose and blow. Its not going anywhere. Trombone is close to that. Trumpet you can always favor the upper register, although I would say that many modern players are playing with what is closer to horn embouchure placement than ever before. The horn is basically a Bass Trombone with a different bore and a small mouthpiece that plays in the trumpet range much of the time. An eighth inch of setting difference can mean the difference between success and failure. We have so much range to cover. The of success of any "unorthodox" embouchure can only be measured by the ability to control the beast in all registers and dynamics. Hey, if it works, it works. Define "works". Phil Farkas once told me that when he wrote in his book that there WAS a fundament
RE: [Hornlist] Re: Horn Digest, Vol 29, Issue 23
I am not sure that I understand the reed thing. Could you please explain in more detail where he put the reed, etc? I have not heard of a brass player using a reed on his brass instrument. I have used a reed, but only when I play clarinet or saxophone. Paxmaha Sheldon Kirshner <[EMAIL PROTECTED]> wrote: Hi, Arnold taught that high tessitura playing is done more efficiently with a smaller reed. When he played in our high C range on the tuba, which he did easily, and musically, he used a small reed at the bottom of his mouthpiece--but didn't change his mouthpiece. He taught that in the extreme bass tessitura a large reed will produce relatively more resonant sonorities. And, for example, driving the bass register in the tuba using a small reed produces a more strident sound. He was originally a cornet player, then a trombone player and finally a tuba player. Arnold said that the mouthpiece pressure should be equal on both lips. And I suspect that there are many brass players who have injured their lips in not following that admonition while playing, particularly, in the extreme high tessitura and at great volumes. And, as you say, one should use lots of free flowing air. Shel -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Wendell Rider Sent: Thursday, May 19, 2005 2:07 PM To: Horn-List Subject: [Hornlist] Re: Horn Digest, Vol 29, Issue 23 >message: 4 >date: Wed, 18 May 2005 12:53:00 -0500 >from: "Sheldon Kirshner" >subject: Re: [Hornlist] Embouchure Problem > Arnold Jacobs told me that many fine brass players have unorthodox >embouchures. > >Shel Hi, Arnold Jacobs told me the same thing and I remember him sitting there with a horn mouthpiece and putting it on his lips in different places and buzzing away. Of course he got notes out because his lips were lined up nicely and he could buzz very well without a mouthpiece, even though he discouraged that. He even had me play while I was sucking in on the horn. This was to show that blowing hard really isn't that important- you can play just as loud sucking in as blowing out. Anyway, if there was one issue I would have with Jake if he were still around, it would be that it doesn't matter where you set the mouthpiece as long as you have your air right. This is probably 100% right on Tuba because basically you stick the mouthpiece under your nose and blow. Its not going anywhere. Trombone is close to that. Trumpet you can always favor the upper register, although I would say that many modern players are playing with what is closer to horn embouchure placement than ever before. The horn is basically a Bass Trombone with a different bore and a small mouthpiece that plays in the trumpet range much of the time. An eighth inch of setting difference can mean the difference between success and failure. We have so much range to cover. The of success of any "unorthodox" embouchure can only be measured by the ability to control the beast in all registers and dynamics. Hey, if it works, it works. Define "works". Phil Farkas once told me that when he wrote in his book that there WAS a fundamental playing position for the horn, back in the 50s this was big news, that he had stated that 95% of great players had certain things in common. He said that ever since then, he had been deluged by people, looking for help, who were convinced they were the other 5%. In fact he told me that whenever one writes something like "99% of the time this is true", people reading that are going to be thinking, "I'm that 1%". I was one of those people. I was wrong. This and other topics will be great grist for the mill at Tuscaloosa, where you are welcome to my exhibit and ongoing therapy session. 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/skirshner%40ameritech.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/paxmaha%40yahoo.com - Do you Yahoo!? Yahoo! Small Business - Try our new resources site! ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Horn Digest, Vol 29, Issue 23
Well in the case of the horn, I have been taught (and practice) to have more pressure on the bottom lip and the minimum possible on the upper lip; the purpose of resting the mpc on the lower lip is to control the pressure on the upper lip. I find that if I use too much pressure on the upper lip I lose accuracy, dynamic control and wear my lips out prematurely. I am not a tuba player, but when I have played around on the tuba or baritone, I have found it helpful to have the lip pressure equal and more centered in the mpc. Arnold was a great tuba player of course, but I don't think his advice mentioned in the subject post applies to horn mpc. Loren \@() [EMAIL PROTECTED] (520) 403-6897 -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Sheldon Kirshner Sent: Thursday, May 19, 2005 5:35 PM To: The Horn List Subject: RE: [Hornlist] Re: Horn Digest, Vol 29, Issue 23 Hi, Arnold taught that high tessitura playing is done more efficiently with a smaller reed. When he played in our high C range on the tuba, which he did easily, and musically, he used a small reed at the bottom of his mouthpiece--but didn't change his mouthpiece. He taught that in the extreme bass tessitura a large reed will produce relatively more resonant sonorities. And, for example, driving the bass register in the tuba using a small reed produces a more strident sound. He was originally a cornet player, then a trombone player and finally a tuba player. Arnold said that the mouthpiece pressure should be equal on both lips. And I suspect that there are many brass players who have injured their lips in not following that admonition while playing, particularly, in the extreme high tessitura and at great volumes. And, as you say, one should use lots of free flowing air. Shel -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Wendell Rider Sent: Thursday, May 19, 2005 2:07 PM To: Horn-List Subject: [Hornlist] Re: Horn Digest, Vol 29, Issue 23 >message: 4 >date: Wed, 18 May 2005 12:53:00 -0500 >from: "Sheldon Kirshner" <[EMAIL PROTECTED]> >subject: Re: [Hornlist] Embouchure Problem >Arnold Jacobs told me that many fine brass players have unorthodox >embouchures. > >Shel Hi, Arnold Jacobs told me the same thing and I remember him sitting there with a horn mouthpiece and putting it on his lips in different places and buzzing away. Of course he got notes out because his lips were lined up nicely and he could buzz very well without a mouthpiece, even though he discouraged that. He even had me play while I was sucking in on the horn. This was to show that blowing hard really isn't that important- you can play just as loud sucking in as blowing out. Anyway, if there was one issue I would have with Jake if he were still around, it would be that it doesn't matter where you set the mouthpiece as long as you have your air right. This is probably 100% right on Tuba because basically you stick the mouthpiece under your nose and blow. Its not going anywhere. Trombone is close to that. Trumpet you can always favor the upper register, although I would say that many modern players are playing with what is closer to horn embouchure placement than ever before. The horn is basically a Bass Trombone with a different bore and a small mouthpiece that plays in the trumpet range much of the time. An eighth inch of setting difference can mean the difference between success and failure. We have so much range to cover. The of success of any "unorthodox" embouchure can only be measured by the ability to control the beast in all registers and dynamics. Hey, if it works, it works. Define "works". Phil Farkas once told me that when he wrote in his book that there WAS a fundamental playing position for the horn, back in the 50s this was big news, that he had stated that 95% of great players had certain things in common. He said that ever since then, he had been deluged by people, looking for help, who were convinced they were the other 5%. In fact he told me that whenever one writes something like "99% of the time this is true", people reading that are going to be thinking, "I'm that 1%". I was one of those people. I was wrong. This and other topics will be great grist for the mill at Tuscaloosa, where you are welcome to my exhibit and ongoing therapy session. 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/skirshner%40ameritech.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/loren%40mayhews.us _
RE: [Hornlist] Re: Horn Digest, Vol 29, Issue 23
Hi, Arnold taught that high tessitura playing is done more efficiently with a smaller reed. When he played in our high C range on the tuba, which he did easily, and musically, he used a small reed at the bottom of his mouthpiece--but didn't change his mouthpiece. He taught that in the extreme bass tessitura a large reed will produce relatively more resonant sonorities. And, for example, driving the bass register in the tuba using a small reed produces a more strident sound. He was originally a cornet player, then a trombone player and finally a tuba player. Arnold said that the mouthpiece pressure should be equal on both lips. And I suspect that there are many brass players who have injured their lips in not following that admonition while playing, particularly, in the extreme high tessitura and at great volumes. And, as you say, one should use lots of free flowing air. Shel -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Behalf Of Wendell Rider Sent: Thursday, May 19, 2005 2:07 PM To: Horn-List Subject: [Hornlist] Re: Horn Digest, Vol 29, Issue 23 >message: 4 >date: Wed, 18 May 2005 12:53:00 -0500 >from: "Sheldon Kirshner" <[EMAIL PROTECTED]> >subject: Re: [Hornlist] Embouchure Problem >Arnold Jacobs told me that many fine brass players have unorthodox >embouchures. > >Shel Hi, Arnold Jacobs told me the same thing and I remember him sitting there with a horn mouthpiece and putting it on his lips in different places and buzzing away. Of course he got notes out because his lips were lined up nicely and he could buzz very well without a mouthpiece, even though he discouraged that. He even had me play while I was sucking in on the horn. This was to show that blowing hard really isn't that important- you can play just as loud sucking in as blowing out. Anyway, if there was one issue I would have with Jake if he were still around, it would be that it doesn't matter where you set the mouthpiece as long as you have your air right. This is probably 100% right on Tuba because basically you stick the mouthpiece under your nose and blow. Its not going anywhere. Trombone is close to that. Trumpet you can always favor the upper register, although I would say that many modern players are playing with what is closer to horn embouchure placement than ever before. The horn is basically a Bass Trombone with a different bore and a small mouthpiece that plays in the trumpet range much of the time. An eighth inch of setting difference can mean the difference between success and failure. We have so much range to cover. The of success of any "unorthodox" embouchure can only be measured by the ability to control the beast in all registers and dynamics. Hey, if it works, it works. Define "works". Phil Farkas once told me that when he wrote in his book that there WAS a fundamental playing position for the horn, back in the 50s this was big news, that he had stated that 95% of great players had certain things in common. He said that ever since then, he had been deluged by people, looking for help, who were convinced they were the other 5%. In fact he told me that whenever one writes something like "99% of the time this is true", people reading that are going to be thinking, "I'm that 1%". I was one of those people. I was wrong. This and other topics will be great grist for the mill at Tuscaloosa, where you are welcome to my exhibit and ongoing therapy session. 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/skirshner%40ameritech.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Horn Digest, Vol 29, Issue 23
At 4:09 PM -0400 5/19/05, David Goldberg wrote: >On Thu, 19 May 2005, Alan Cole wrote: > >> ...backwards through a tuba... > >tubabut ? Strangely enough, one hears burros providing the double-belled effect quite often here. I heard it the first time when I was on a Sierra Club Family Burro Trip in the 50's in King's Canyon National Park. It is funny. Carlberg Jones Guanajuato, Gto. MEXICO ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Horn Digest, Vol 29, Issue 23
On Thu, 19 May 2005, Alan Cole wrote: > ...backwards through a tuba... tubabut ? ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
RE: [Hornlist] Re: Horn Digest, Vol 29, Issue 23
What the heck it's Friday, and since you brought up politics. . . There is an apocryphal story told about Henry Kissinger. New staff member was told to get a speech ready for him. He worked all night and had it on Kissinger's desk first thing in the morning. By 9:30AM in was back in his in box marked, NOT SUFFICIENT RE-SUBMIT. The staffer soon learned that Kissinger never read the first draft, just said "NOT GOOD ENOUGH." Several months transpired and the staffer was well versed in writing speeches for Kissinger. He got a call at home one evening from Kissinger saying, "I've got to leave early in the Morning for Europe. Have a speech at Andrews AFB to go on the plane when I leave. I won't have time to look it over." The staffer did as instructed. Kissinger arrived at his meeting and opened the speech, after he had finished the first page he turned to page two only to find in bold letters, "YOU'RE ON YOUR OWN NOW - YOU SOB!" -Original Message- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Carlberg Jones Sent: Thursday, May 19, 2005 2:35 PM To: The Horn List Subject: Re: [Hornlist] Re: Horn Digest, Vol 29, Issue 23 At 3:22 PM -0400 5/19/05, Alan Cole wrote: >Fortunately, as it happens, there are other easier & more effective ways, >once you learn how, & those better ways are what the good horn teachers out >there are trying to get us to do. Greetings - I forget where now, but wasn't there a euphonium teacher somewhere who didn't believe in circular breathing, and was training his students to play very long notes by the breath-suck method? Now, where did I hear that one of this teacher's former students now writes speeches for a very high ranking person in the US? Regards, Carlberg P.S. - - Who all's going to IHS2005 in Tuscaloosa? Carlberg Jones Guanajuato, Gto. MEXICO ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/bgross%40airmail.net ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Horn Digest, Vol 29, Issue 23
At 3:22 PM -0400 5/19/05, Alan Cole wrote: >Fortunately, as it happens, there are other easier & more effective ways, >once you learn how, & those better ways are what the good horn teachers out >there are trying to get us to do. Greetings - I forget where now, but wasn't there a euphonium teacher somewhere who didn't believe in circular breathing, and was training his students to play very long notes by the breath-suck method? Now, where did I hear that one of this teacher's former students now writes speeches for a very high ranking person in the US? Regards, Carlberg P.S. - - Who all's going to IHS2005 in Tuscaloosa? Carlberg Jones Guanajuato, Gto. MEXICO ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] Re: Horn Digest, Vol 29, Issue 23
It's OK to play horn by sucking air in backwards through a tuba mouthpiece while standing up in a hammock if that's how you like doing it. Fortunately, as it happens, there are other easier & more effective ways, once you learn how, & those better ways are what the good horn teachers out there are trying to get us to do. -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. ~~~ Arnold Jacobs told me the same thing and I remember him sitting there with a horn mouthpiece and putting it on his lips in different places and buzzing away. Of course he got notes out because his lips were lined up nicely and he could buzz very well without a mouthpiece, even though he discouraged that. He even had me play while I was sucking in on the horn. This was to show that blowing hard really isn't that important- you can play just as loud sucking in as blowing out. -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.322 / Virus Database: 266.11.12 - Release Date: 5/17/2005 ___ post: horn@music.memphis.edu unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
