Re: [Hornlist] pieces not intended for horn
On Saturday, November 20, 2004, at 09:29 AM, [EMAIL PROTECTED] wrote: I've never really understood the place of the mellophone in the hierarchy. I suppose I should get myself a copy of the Hindemith and try it on my solo alto. Once you realize you don't have to sound like a snitweasel, the solo alto is a very expressive horn. I've always accepted the idea that the Eb alto horn (Tenor horn in UK) was an alto/tenor voice for bands in the 19th century. They fell into disrepute but were resurrected as Marching mellophones for US school marching bands in the 20th century, and still used now in the 21st. I don't know that anyone makes a real mellophone any longer; just in various cornet, trumpet, and euphonium configurations. They can be played by anyone who can play a treble clef brass instrument. 'Twas the original intent for the Saxhorn output. They were necessary for the old small town Silver Cornet Bands, of course. Where do they fit now? In the huge marching bands of US schools and for UK style Brass Bands. They are not used for concert bands or orchestras. Don't get much solo work, either, but are useful for U.S.A. Civil War era band/ensemble historical performance buffs. CORdially, Paul Mansur ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] pieces not intended for horn
Does Hindemith define what alto horn he is specifically writing for? The Eb alto comes in a variety of sizes and shapes. Years ago I was quite taken by an obscure 78 RPM recording of the Sousa Band performing Titl's Serenade, featuring flute and solo alto. I located the music in a piano reduction, and have performed it many times as incidental music. I originally played it on horn, but now have an authentic solo alto. The solo alto is basically a low Eb cornet. It is smaller than the usual upright alto and is played bell forward. A standard upright alto would probably scale to an Eb flugelhorn, by comparison. Mine is by Boston Musical Instrument Mfgy. Mine is set to take either the original mouthpiece, a large, very deep trumpet type, with a narrow (for trumpet) rim, or I can use my largest bowl shaped horn mouthpiece. I don't know much about European brass bands, but American brass bands seemed to use the solo alto as the low voice in the cornets, and the Eb cornet as the voice above the standard Bb cornet. Later on, the clarinet replaced the high Eb cornet in the voicing. Upright altos were used in conjunction with the solo alto, and a distinction between baritone and euphonium was usually observed. The bottom was provided by an Eb contrabass Saxhorn. Not very loud by tuba standards, but, with a BBb 4th valve, easily covers four and a half octaves. I have a really nice one in my collection. I've never really understood the place of the mellophone in the hierarchy. I suppose I should get myself a copy of the Hindemith and try it on my solo alto. Once you realize you don't have to sound like a snitweasel, the solo alto is a very expressive horn. ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] pieces not intended for horn
Jack Attack! Thanks for the reply- I've thought about the same concerns for some time now. My curiosity about the subject comes from playing concert mellophone for 4+ years now. I had a seat with a big-band as both horn (see pieces like el Congo Valiente), and on concert/16E Mellos (see pieces like Kenton's West Side Story). Thanks again PM On 20 nov. 04, at 00:47, John Dutton wrote: PM writes: I guess what I'm wondering is if anyone really sees the intrinsic value of reviving the instrument. Many of us were forced to play the "child of unwed parents" in our high school and college marching days. Does anyone feel the instrument deserves its few moments in the spotlight now and again? I guess you are assuming that the e-flat mellophone is a descendent of the alto horn (or tenor horn in other places). I might buy an argument stating it is an offshoot but probably not. Since the Hindemith was written for an alto horn then if you wanted to "revive" an instrument (which in other countries is still played often) then you should perform on an alto horn. That said, I'll give you the advice a good friend once gave to me. No one wants to hear a piece played less than your best just so you can use a different instrument, so if it compromises your end product to perform on the alto horn then you should perform on a regular horn. The advice was given to me regarding performance of the Brahms Trio on natural horn. I took his advice to heart and for the audience to which I was performing it made more sense to use a valved horn. I have performed it on natural horn both before and since successfully but the advice is valid none the less. Take your audience and your own skills into consideration and go from there. The Jack Attack! ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/morganp2%40msu.edu ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] pieces not intended for horn
Now now, playing historically correct, and playing on an intended instrument are two different things. The Mellophone did not evolve into the horn like the natural horn evolved into the valve horn. I see what everyone is saying about "if it sounds good, it sounds good." I definitely agree with that sentiment. What I was asking was about general feelings toward playing a piece like the Hindemith on the mellophone. Or just any pieces originally for mellophone- I guess what I'm wondering is if anyone really sees the intrinsic value of reviving the instrument. Many of us were forced to play the "child of unwed parents" in our high school and college marching days. Does anyone feel the instrument deserves its few moments in the spotlight now and again? On 19 nov. 04, at 22:42, <[EMAIL PROTECTED]> wrote: So I guess you play yhe mozart concerti on a natural horn? I guess my question is this: as horn players, what are your feelings toward these other instruments, and what are your feelings on performing them as intended by the composer? Personally I feel that it is both unfair to the history of said instruments, and unfair to the composers' original and intended visions. There's my two cents ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/morganp2%40msu.edu ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] pieces not intended for horn
So I guess you play yhe mozart concerti on a natural horn? > I guess my question is this: as horn players, what are your feelings > toward these other instruments, and what are your feelings on > performing them as intended by the composer? > > Personally I feel that it is both unfair to the history of said > instruments, and unfair to the composers' original and intended > visions. There's my two cents ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] pieces not intended for horn
That reminds me of the spoken introduction to each weekly installment of Schickele Mix on the radio: "This is a program dedicated to the proposition that All Musics Are Created Equal. Or, as Duke Ellington put it, if it sounds good, it is good." Check out... http://www.schickele.com/mix/index.htm -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. ~~~ At 10:33 PM 11/19/2004, you wrote: My three cents is that great music is great music. One of the classic examples is the Peer Gynt suite. It was NOT intended for a jazz ensemble. However, Duke Ellington recorded a version of it for a jazz band, and to me it sounds beautiful. Once again, great music is great music, and beauty is oftentimes in the eye of the beholder. -William ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] pieces not intended for horn
My three cents is that great music is great music. One of the classic examples is the Peer Gynt suite. It was NOT intended for a jazz ensemble. However, Duke Ellington recorded a version of it for a jazz band, and to me it sounds beautiful. Once again, great music is great music, and beauty is oftentimes in the eye of the beholder. -William In a message dated 11/19/2004 7:11:02 PM Pacific Standard Time, [EMAIL PROTECTED] writes: I'm a horn player, and can definitely see the value of performing works likes these on our instrument. The one thing that bothers me is that these kinds of works were not intended for horn. I'm in the process of assembling a recital for next september and am planning on performing the Hindemith on an antique mellophone as intended by the composer. I've also been lucky enough to find a fantasy written for Wagner Tuba that I'm hoping to program. I guess my question is this: as horn players, what are your feelings toward these other instruments, and what are your feelings on performing them as intended by the composer? Personally I feel that it is both unfair to the history of said instruments, and unfair to the composers' original and intended visions. There's my two cents ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Re: [Hornlist] pieces not intended for horn
I think alto horns & mellophones are actually alto-range flugel horns & as such ought to be associated with the trumpet & cornet crowd rather than relegated to the [French] horn folks. Not everybody agrees. One time when I mentioned that (politely, I thought) to a guy who waves the stick in front of a local oompah band, he got so angry at the idea that I wondered whether he was about to punch my lights out. -- Alan Cole, rank amateur McLean (Fairfax County), Virginia, USA. ~~~ I guess my question is this: as horn players, what are your feelings toward these other instruments, and what are your feelings on performing them as intended by the composer? ___ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
