Dean M. Estabrook wrote:
Actually, I have more respect for your particular instrumental
subculture than most. I can't imagine how frightening it would be to be
sitting in the horn section, in a performance with a major orchestra in
front of an huge audience ... counting a 200 bar tacet, waiti
Actually, I have more respect for your particular instrumental
subculture than most. I can't imagine how frightening it would be to
be sitting in the horn section, in a performance with a major
orchestra in front of an huge audience ... counting a 200 bar tacet,
waiting to enter on a high
Hey! We're a fun bunch!!
RGS
Dean M. Estabrook wrote:
Imagine that ... a lively conversation among horn players!
Dean
On Nov 3, 2007, at 9:53 PM, Robert Patterson wrote:
On 11/2/07, Richard Smith <[EMAIL PROTECTED]> wrote:
there is a lively discussion among horn players
about whethe
Imagine that ... a lively conversation among horn players!
Dean
On Nov 3, 2007, at 9:53 PM, Robert Patterson wrote:
On 11/2/07, Richard Smith <[EMAIL PROTECTED]> wrote:
there is a lively discussion among horn players
about whether the 4th horn solo in the 3rd mvt of Beethoven
9 was
On 11/2/07, Richard Smith <[EMAIL PROTECTED]> wrote:
> there is a lively discussion among horn players
> about whether the 4th horn solo in the 3rd mvt of Beethoven 9 was
> written for valve horn.
And yet, John Ericson, very eloquently, dispassionately,
perspicaciously, and convincing
Robert Patterson wrote:
But even in much more recent history, where the composer is
well-known, questions abound. Here are two thorny ones from the world
of horn music. Brahms wrote is horn trio for the natural horn, but
because it was so difficult without valves, and because valve-horn
play
John Howell wrote:
The fact is that an excellent modern
baroque orchestra DOES sound quite different from an excellent modern
orchestra using 19th century performance practices,
It would take a very deaf ear indeed for anyone to argue differently. I
find nothing in what I've read of Taruskin
At 11:25 AM -0500 11/2/07, Robert Patterson wrote:
dhbailey wrote:
Jeff Beck did a wonderful acoustic guitar version back in the 60s
I find whole question of performance history and how it informs our
listening to be quite interesting. This is especially true of tune
like that for "Greensle
dhbailey wrote:
Jeff Beck did a
wonderful acoustic guitar version back in the 60s
I find whole question of performance history and how it informs our
listening to be quite interesting. This is especially true of tune like
that for "Greensleeves", with its meandering inflected 6th degree. Is
Stu McIntire wrote:
Thanks much for this history lesson. Regarding "Greensleeves", does this
mean that it is always historically incorrect to perform it with the fifth
note NOT lowered?
Depends on how far back in history you want to go -- Jeff Beck did a
wonderful acoustic guitar version bac
At 12:01 PM -0400 11/1/07, Stu McIntire wrote:
Thanks much for this history lesson. Regarding "Greensleeves", does this
mean that it is always historically incorrect to perform it with the fifth
note NOT lowered?
Hi, Stu. Of course not, but since we've all heard it sung both ways,
I think it
Thanks much for this history lesson. Regarding "Greensleeves", does this
mean that it is always historically incorrect to perform it with the fifth
note NOT lowered?
Stu
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Hello John (and David).
Thanks for clarification. You know, having worked as a conductor in
Germany, the Netherlands and -of course- in my own country, I've been
frustrated by many misunderstandings caused by the different pitch
names. The B/H discussion invited me to tell something from wh
On 1 Nov 2007 at 0:19, John Howell wrote:
> "gamut"
This term comes from the note added to the Greek scale, "Gamma Ut",
which was below the A. That is, the Greek scale was a tetrachordal
system starting on A. The G below was added later, and called Gamma
Ut. I don't know how that got collapsed
At 12:07 PM +0100 10/31/07, Hans Swinnen wrote:
In the 12th century or something when introducing a 7th note to the
already existing hexachord, there was a babylonic confusion about
the name. We know that the first syllabe of each verse came out the
hymne for St Johannes (Ut..., Re..., Mi..., e
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