No, no. No use of the recordings themselves. Sorry for the confusion.
I am writing an instrumental composition, using these old tunes. These
are tunes that have been sung by virtually ALL of the Amish in Adams
County, Indiana, since they came over from Switzerland around 1815. I
only have
Another thought:
For another way of thinking of these yodels, compare them to theme and
variations, like Carnival of Venice. For each of these tunes,
everybody (Amish) in Adams County sings the tune, then does variations
(the yodels). Everybody knows Carnival of Venice, nobody owns it,
profits I would ever make
form this thing...
RBH
dhbailey wrote:
Raymond Horton wrote:
Another thought:
For another way of thinking of these yodels, compare them to theme
and variations, like Carnival of Venice. For each of these tunes,
everybody (Amish) in Adams County sings the tune
PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of
dhbailey
Sent: 05 March 2007 20:17
To: finale@shsu.edu
Subject: Re: [Finale] How much can I quote?
Raymond Horton wrote:
Thanks, Christopher, for that link, and to everyone else for the
excellent and extremely helpful advice I received here
can find a book of Swiss folk songs which
includes the original tunes, you'll be able to sort out her ornaments.
David H. Bailey
Raymond Horton wrote:
But what if there are NO copyrights of the music itself? None of
these tunes were ever copyrighted, that I know of. This woman has
some
Thanks for all your thoughts, extremely helpful.
John Howell wrote:
(What I'm REALLY curious about is how you're going to represent the
register break that's at the heart of yodeling instrumentally!!)
You and me both, Fella!
Ray
___
John Howell wrote:
At 2:29 PM -0500 3/6/07, Raymond Horton wrote:
I understand that the TUNE of Happy Birthday, that is Good Morning
To You - is PD. It's when it's coupled with the words of Happy
Birthday that the copyright comes into play, correct? (Louisville
being the home town
in a private message
last night. that this makes me realize that this woman's singing should
be brought to the attention of whomever is doing Alan Lomax's work these
days, if anyone.
Thanks
Ray
Mark D Lew wrote:
On Mar 6, 2007, at 11:24 AM, Raymond Horton wrote:
I had my talk with the lady
Violists don't mind a few flats. F and Bb are certainly safe, maybe not
past Eb for ease. (String sections grown at Eb minor, I know that much.)
Ray Horton
Christopher Smith wrote:
Trombonists don't really care, as there are no real technical
difficulties from one key to the next (unless
.
Raymond Horton
Bass Trombonist,
occasional composer and arranger,
Louisville Orchestra
Brennon Bortz wrote:
That's exactly it--I don't want it to sound any differently. In this
slow tempo, rhythms between instruments tend to not be as tight as I'd
like--they're not locked in. The only way
Seems to me armonica without the modifier may work on paper but not
when heard.
RBH
Andrew Stiller wrote:
On Mar 15, 2007, at 10:09 PM, Francis Fitzpatrick wrote:
I'm very much interested in the glass armonica - [also the glass
harmonica although the splinters can be tough on the
where. When I was in high school I used to check out from the public
library constantly the miniature full score with the piano original at
the bottom - that is a textbook all on it's own.
Raymond Horton
Bass Trombone,
Louisville Orchestra
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As soon as the Stamitz movie is released, you're all set.
RBH
Johannes Gebauer wrote:
Well, how about celebrating Johann Stamitz's 250th anniversary of his
death, and getting this:
http://www.cdbaby.com/all/johannesg
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Hop on over to List Trombone [EMAIL PROTECTED] and you
will get plenty of advice on quartets there, Keith.
Gearhart, Cassel, And Hornibrook, _Bass Clef Sessions_ Shawnee (pub)
is still available. I have a copy - it's great fun.
There are many quartets available at cimarronmusic.com
. D. C. is a
different place, for a different kind of people.
Raymond Horton
Bass Trombonist
Louisville Orchestra
David W. Fenton wrote:
...
You've made the choice to work for someone who allows no flexibility. ...
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Randolph Peters wrote:
Raymond Horton wrote:
[snip]
I have a sister who has worked, high up, for the government in the
D.C area for many years. She wouldn't have seen OR heard Josh Bell.
I tried to play a recording of a piece of mine for her, and after 3
minutes she was talking to someone
for Bell to play, but again, at least some of those
people had the time to listen. It's only logical.
Raymond Horton
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that there are good explanations why a great
many people ignored him. We think it is quite odd that virtually _all_
the people ignored him.
Raymond Horton
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dhbailey wrote:
Didn't you say that you refuse to buy and iPod because you don't want
music to be a passive listening experience?
For people who don't want to hear it, music is indeed as much an
obnoxious assault as those squeegee kids (or their older counterparts).
Think of the assault on
David W. Fenton wrote:
Unfortunately, I was late for rehearsal and couldn't stop and enjoy!
Gotcha!
RH
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The web page say acid-free.
RBH
Aaron Sherber wrote:
At 02:44 PM 4/22/2007, Christopher Smith wrote:
Is the acid-free white paper tape that makes an excellent hinge and
doesn't yellow or fall off with age?
I don't think this tape is acid-free, but it does make an excellent
hinge and hasn't
Oh.
Well, then, forget I said anything.
[Sulk mode ON.]
RBH
Aaron Sherber wrote:
At 04:46 PM 4/22/2007, Raymond Horton wrote:
The web page say acid-free.
Now we're talking in circles. g
We were originally talking about 3M #256 tape, which I recommended and
which Nick says he carries
Finale files two-up on 11 x 17 paper on
Vista on this printer? Anything you can tell me?
Thanks,
Raymond Horton
Bass Trombonist, occasional arranger and composer
Louisville Orchestra
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5/4 and 7/4 giving pros problems in the US?
Man, in the LO we drink the 5/8s and 7/16s like mother's milk - we've
been playing that stuff since our first day in the band.
You've just got a grouchy bunch of pros!
Ray Horton
Bass Trombone,
Louisville Orchestra
Aaron Rabushka wrote:
in an orchestra that has played a ton
of new music written under all the different rules.)
Raymond Horton
Bass Trombonist,
Louisville Orchestra
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room
alternating with live musicians, _who are playing with no electronic
amplification_. That is the only test would mean anything.
Raymond Horton
Christopher Smith wrote:
On 6-May-07, at 6:51 PM, shirling neueweise wrote:
the differences would be even more evident at a higher
dhbailey wrote:
Raymond Horton wrote:
I don't see the fuss. A guy is trying to prove he can replace _live_
musicians, but does so by posting _recordings_, some of which are so
badly reproduced they could never be mistaken for live players, even
though the recordings were once made from live
of mics, turn 'em on, and it sounds like a symphony!
How can you argue with logic like that?
Raymond Horton
Bass Trombonist
Louisville Orchestra
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Christopher Smith wrote:
On May 9, 2007, at 10:02 PM, Raymond Horton wrote:
Once, many years ago, a rock sound guy (perhaps not the tightest
cable tie in the bunch, if you get my drift) was setting up mics for
a pops concert of ours. I mentioned to him how we had a problem
school. It's
much less effective with only piano).
Raymond Horton
Bass Trombonist
Louisville Orchestra
dhbailey wrote:
Is that really *entirely* in octaves or unisons? The orchestra is
only playing octaves/unisons?
David H. Bailey
Aaron Rabushka wrote:
One of the basso arias in Handel's
as sparse as this one - I would
imagine most have some other texture going on, even if the voice is
doubling the bass.
Just my 1 cent worth.
RBH
Raymond Horton wrote:
The Aria is The People the Walked in Darkness, in part one of
_Messiah_. It is mostly octaves, with harmony at the cadences
Blank Page is good enough, IMHO. Quicker to read. The arrow is good,
also. Or the obvious - plan the pages so you don't need the blank page,
but the blank is much better than a bad turn.
I use graphics sometimes. Don't know the solution to this problem, so I
hadn't weighed in. I have
that year, she was so successful that our MD at
the time got jealous, gave her very little to do the next year, so in
frustration she got another gig. And of course, we never played Ives
for high school kids again, because nobody in charge was paying attention.
Raymond Horton
Bass
Guy Hayden wrote:
My kilt is made of just about 7 years of fabric.
We all admire your dedication, Guy!
RBH
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I felt like saying nearly the same words to Andrew, also, but I
appreciated reading his post, because he makes such good arguments -
including that excellent Louvre guard line which I had not heard before.
RBH
Darcy James Argue wrote:
Andrew,
Why are you wasting your time? Of course Phil
I got the humor, if it's any consolation, Randolph.
RBH
Randolph Peters wrote:
Mariposa Symphony Orchestra wrote:
Sure, I like Bach; I marvel especially at his contrapuntal
creativity; I enjoy the sound of his music.
Andrew Stiller wrote:
Me, I like his grinding dissonances!
Mariposa Symphony Orchestra wrote:
...a very intriguing claim of an 1818 (!) first official resident
symphony orchestra, founded by the Society of St Cecilia in
Louisville, KY (Ray Horton - any knowledge of that group?)
Just how old do you think I am?
rimshot
I'll be here all week, folks.
at
the range would say the Brits are closer.
Raymond Horton
Bass Trombone (the difference here is timbre more so than range)
Louisville Orchestra
John Howell wrote:
At 1:40 PM -0400 6/6/07, Andrew Stiller wrote:
On Jun 6, 2007, at 8:23 AM, Christopher Smith wrote:
On Jun 5, 2007, at 9:37 PM
We have a real collector in our orchestra. Only guy I know to have a D
clarinet, a C clarinet, a basset horn, a great bass clarinet with a low
C, etc., etc..
He wants to be able to play anything on the instrument for which it was
written. I forget if he said he has a clarinet in every
Marilyn,
Uhh, I believe I've done this by accident before.
Sometimes in the middle of a heavy GPO project I'll need to do some
quick print-only project. I'll switch the first device under Midi
Setup to softsynth, since that is easier to work with on a quick
project in which playback is
://en.wikipedia.org/wiki/Schrammelmusik and associated links...
Cheers
Jim
Raymond Horton:
He wants to be able to play anything on the instrument for which it was
written. I forget if he said he has a clarinet in every key, or is
lacking something in G. (Is there anything?)
--
James
What's the question, Aaron? That the instrument is called bass
trumpet? Yes the low Bb and C instrument is always called bass. I and
many others have merely observed that it would more logically be called
tenor.
The Janacek Sinfonietta bass trumpet part (2 in unison) is unusually
low.
OK... the subject line said GPO.
Darcy James Argue wrote:
This only works if you are using Garritan Studio, instead of using
AU/VST playback.
Cheers,
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 06 Jun 2007, at 11:17 PM, Raymond Horton wrote:
Marilyn,
Uhh, I believe I've done
Andrew Stiller wrote:
In addition to the ones you mentioned (by great bass I assume you
meant the contra-alto)
No, I meant he had an excellent bass clarinet with a low C. Sorry for
the confusing choice of a word.
I don't mean to say he has every clarinet ever made. I think he has
So we need to send for the calvary when the Rite comes up?
Interesting theory. I remember the low F's in Agon. I assumed Strav
just kept all the parts in C for simplicity, but knew the third player
would play the part on a Bb, which is what happens in performance.
Ravel (I remember the
John Howell wrote:
Better? [alto clarinet vs basset horn] Or just different? And of
course the matter of low range, although the extension to low C would
take care of that. I suspect that very few band directors assign their
best players to alto clarinets, and like every member of the
John Howell wrote:
What makes things interesting is that instruments have evolved since a
century ago, let alone a century and a half. Verdi wrote for a bass
brass instrument, knowing that his orchestras would use an
Ophicleide. Today those parts would be played on a tuba, but I seem
to
Green and I play the same instrument.
Hey, I've got it! This low F trombone is about an octave below an alto
trombone:
Let's call it a CONTRA-ALTO TROMBONE!
Raymond Horton
Bass Trombonist
Louisville Orchestra
Christopher Smith wrote:
On 7-Jun-07, at 4:35 PM, John Howell wrote:
At 3:17 PM
Andrew Stiller wrote:
Thank you, Ray for straightening this out so accurately. I had thrown
up my hands at any attempt to clear the air on this one, but you have
done so admirably. My one quibble:
Before valves, in Germany a low F trombone was a bass trombone and
was similar bore size to
. At any given time, at printing time, my full
pages print as only a postage stamp size. Only solution at that point
was to print as PDFs. It happened too often, with no warning.
Once the stamps showed up, they printed on different printers.
Raymond Horton
Johannes Gebauer wrote:
On 12.06.2007 [EMAIL PROTECTED] wrote:
If more than one note is involved before the rest you can slur to the
last
note, click on the slur, and re-shape it to reach to the rest.
Yes, I know that is also possible, but such slurs behave differently
when the layout is
I ask for. Single copies print OK.
I've restarted Finale and restarted the computer, same problem. This
does not happen in any other application program.
Thanks for any advice.
Raymond Horton
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http
dhbailey wrote:
[EMAIL PROTECTED] wrote:
It's a way of emphasizing carrying a phrase into the ensuing silence, as
at the end of my bass trombone sonata.
I've seen this notated with a tie from a note to the following rest,
never as a slur which continues onto the rest following the final
Seems like I'd start by adding a blank staff under each staff and
exploding each staff onto two. Then you might be able to copy parts
around to playable locations - you might want to use scratch staves,
(temporary staves just for copying) also.
Raymond Horton
Leigh Daniels wrote:
Hello
dhbailey wrote:
Raymond Horton wrote:
This is a new one.
FinWin 2006c. It has never showed up before.
When I start Finale and print more than one copy of a file, lets say
two copies, the first time Finale prints two copies. The next time I
print two copies, it prints four copies
is a nearly full score (sometimes three trumpets on one line, explode
them later, etc.).
Raymond Horton
Andrew Stiller wrote:
I think that Beethoven and Mozart would have used Finale if it were
available back in their day.
This is definitely a generational issue. When I started using Finale
.
Raymond Horton
Dennis Bathory-Kitsz wrote:
David,
Good sequence of questions...
At 06:51 AM 7/2/2007 -0400, dhbailey wrote:
In your clip it sounds like an extra note is being played -- you don't
have any hidden notes which might be there for spacing issues but not
for display, do you
with
FinWin 2007 prints at postage stamp size, on either my laser or inkjet
printer. My _solution_ (temporary) was to use CutePDF Writer to print
to PDFs. My _solution_ (permanent) is to use Finale 2006.
Finale 2007c did not correct the problem.
Raymond Horton
I'm the someone, btw.
You know, Aaron, today I checked those three places, didn't change
anything as they were all letter size, and then printed a couple of
Win2007c files: One from scratch (identical to one that printed tiny
yesterday) and one medium-big project I did months ago that always
Ken give an excellent lecture several years ago
summarizing much of this - he has done his homework.
Raymond Horton
Bass Trombonist
Louisville Orchestra
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for
these works.
RBH
Andrew Stiller wrote:
On Jul 4, 2007, at 10:49 PM, Raymond Horton wrote:
Andrew Stiller, a few weeks back I said some recent scholarship was
heading toward alto, tenor and bass trombones all being in Bb in the
18th and 19th centuries. I intended to send you some links at the
time
looking: What kind of trombones did Dvorak write for?
RBH
Andrew Stiller wrote:
On Jul 5, 2007, at 5:09 PM, Raymond Horton wrote:
I was never aware of such 80's belief. Up until this recent
scholarship, all I ever knew was that a trio of trombones: alto in
Eb, tenor in Bb and bass in F were
dhbailey wrote:
John Howell wrote:
[snip]
I think that may depend heavily on who, exactly, you're talking about
in the '80s. Symphony trombonists, and those training them, may
indeed have thought in those terms, but it's a cinch that people in
early music were not, since most of us are
Christopher Smith wrote:
On Jul 6, 2007, at 11:39 PM, Raymond Horton wrote:
The other interesting standard rep composer is Dvorak - quick -
without looking: What kind of trombones did Dvorak write for?
Didn't he write quite a bit for valve trombone? Or some kind of weird
hybrid piston
Given the amount of research Shifrin has done, together with the music
of the Dvorak 8th symphony (quite nonidomatic for slide trombone) and
other Dvorak excerpts, I'll accept it, at least until your paper comes
out. g
(BTW, is the slide trombone specialist ... named a permanent
instructor
Kim Patrick Clow wrote:
On 7/18/07, Raymond Horton [EMAIL PROTECTED] wrote:
I'm with David. If the Sibelius guy is trying to show that Sibelius can
do it as well, then he should have done the whole page, and made it look
as good. But he didn't. Not really close.
It's a partial job
system is very clear on the page. Sometimes
those systems get skipped in rehearsal (or even worse, performance!)
Raymond Horton
Minister of Music
Edwardsville (IN) United Methodist Church
(Sorry if part of this message repeats. Finale bounced back an earlier
reply from a different email
? I have some relation on my
mother's side to Rebecca Bryan Boone.)
Raymond Bryan Horton
(an old Kentucky boy)
Dalvin Boone wrote:
Raymond Horton wrote:
Subject: Re: [Finale] printer frustration - Ricoh AP2610
Speaking of printer frustration, I'm having trouble with my Ricoh
AP2610. I'm
Williams, Jim wrote:
Anyone for Laser Music Processor
Right here!
Actually, I was using Personal Composer at the time, but my
entrepreneur/brother-in-law looked at that for 30 seconds, decided it
was too complicated, then came across LMP and became a dealer of it. I
think I have 3
Thanks Harold. That works, although my IE won't let me bookmark it,
saying This URL is unsuitable for bookmarking...
But it is nice to see the F'ing Manual, I mean the Finale Manual, for
all the new changes.
RBH
Harold Owen wrote:
Dear Chuck,
MakeMusic has owned up to the fact that
What is your point? g
Paul Davies wrote:
It's rabbits that get myxomatosis!
-Original Message-
From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of
Will Denayer
Sent: 07 August 2007 16:53
To: finale@shsu.edu
Subject: [Finale] Fenton
What is your point?
What is it that I
. In a half a week it could all be forgotten.This is not
a list for personal grudges, or many of us could be still waging them.
Raymond Horton
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Thanks.
I'm hoping we're done with this.
RBH
Bob Morabito wrote:
Tue Aug 7 13:41:36 Raymond Horton wrote:
Gee, Will. Please don't act like that, and don't go away. The rest of
us were all on your side, but it was time to drop it. We put up with
David, because he does have a lot
an
unofficial member (unbeknownst to me) of the select group of chosen
ones (the all), of which there are so far, officially, three.
The rest of us were all on your side
Raymond Horton
Let's drop it
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score,
but I haven't tried that yet.
Raymond Horton
(speaking only for himself, and watching his language)
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this. I think it will be
much better if we keep this ridiculous thread going for a month or two.
This is not sincere.
Everybody happy now?
RBH
David W. Fenton wrote:
On 7 Aug 2007 at 20:45, Raymond Horton wrote:
Let's drop it
Funny how when you're on the receiving end
might be a consideration there, also.
RBH
Christopher Smith wrote:
On Aug 7, 2007, at 8:58 PM, Raymond Horton wrote:
Has anyone tried the new Merge function in 2008? I've been playing
with it a bit with mixed success. I tried it one a large work with
some differences in instrumetation
Horace Brock wrote:
I was privileged this week to participate in what is planned as the
first in a series of regional Finale workshops, run by MakeMusic.
...
While I can certainly see the value of such an intensive workshop,
and applaud MM for getting out among its customers, one
David Fenton wrote:
And in exactly how many posts did I use profanity or masked
profanity?
The only one I remember is Brahms is full of shit, but that was a
couple of years ago, and directed at me.
(Just trying to help!)
Ray Horton
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Bob posted that excellent guide to importing midi files last week, just
after joining the list, actually. I found it quite helpful, although I
can't speak for anyone else g.
Raymond Horton
Eric Dannewitz wrote:
God, what a twit. You HAVE to get the last word in. I haven't attacked
you
. Great time saver. Thanks for the help with the new feature.
RBH
Christopher Smith wrote:
On Aug 7, 2007, at 8:58 PM, Raymond Horton wrote:
Has anyone tried the new Merge function in 2008? I've been playing
with it a bit with mixed success. I tried it one a large work with
some
David W. Fenton wrote:
On 7 Aug 2007 at 23:18, Raymond Horton wrote:
David Fenton wrote:
And in exactly how many posts did I use profanity or masked
profanity?
The only one I remember is Brahms is full of shit, but that was a
couple of years ago, and directed at me
Andrew Levin wrote:
David,
Regarding the Brahms quote, I think it's in this book:
Talks with Great Composers: Candid Conversations with Brahms, Puccini,
Strauss, and Others by Arthur M. Abell. New York: Carol Publishing Group,
Citadel Press, (1955), 1994, 182 pp. ISBN 0-8065-1565-1.
Very
One paragraph (at least) was quite unclear:
Joachim had to sign contracts which said he could play anything but the
Brahms Concerto (written for Joachim). In other words, Brahms was
greatly under appreciated during his lifetime. But Brahms knew what his
place would be fifty years hence.
That's odd. My only experience with concert pitch extracted parts is
with WinFin2006 in a special situation in which I want to print a couple
of parts from one file in concert pitch. I get a friendly warning each
time I print those parts. Same just now when I tried printing them with
That is a good link.
It is comforting to know the the _entire_ F--- You and Flapjacks
threads are preserved for posterity.
RBH
Bob Morabito wrote:
Hi Aaron-- I thought they are??
--I've found this helpful--
http://www.mail-archive.com/finale@shsu.edu/
Thanks
Peace, Bpb Morabito
On
Aaron Rabushka wrote:
Aaron J. Rabushka
who still doesn't like the Brahms violin concerto and wonders what would've
happened had ragtime fallen into the hands of Tchaikovsky (bigoted as he
was)
or Dvorák
That's what came to my mind, when I read that possible quote of Brahms
himself, especially befriended other violinists.
Note Chiefly in German and English; some letters in French and Russian.
Raymond Horton
Andrew Levin wrote:
Regarding the Brahms quote, I think it's in this book:
Talks with Great Composers: Candid Conversations with Brahms
but the extracted parts aren't. This is
very bad.
Cheers,
- Darcy
-
[EMAIL PROTECTED]
Brooklyn, NY
On 08 Aug 2007, at 1:37 PM, Raymond Horton wrote:
That's odd. My only experience with concert pitch extracted parts is
with WinFin2006 in a special situation in which I want to print a
couple
Robert Florence wrote:
Hi All,
I recently had a computer problem where I lost EVERYTHING except my
music which had been backed up.
I have always used speedy entry with an ancient DX7. I get everything
I imput except the correct pitches. They will not change from the 3rd
line B in the
As I recall, The DX7 only sends and receives MIDI channel 1. Check
your MIDI SETUP so that it's set the same way as before your computer
problem?
This is really not my area of expertise. Someone else please jump in
and help Bob.
Ray
Robert Florence wrote:
Raymond Horton wrote
.
The editor could have gone farther to match modern band standards, if he
had wanted - there is no oboe part listed, for example, and that would
have done no harm.
Raymond Horton
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past the talking on the tour
bus stage before he left town for good.
Raymond Horton
Bass Trombonist
Louisville Orchestra
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for modern band with these
older works, but with more woodwinds in the modern band this can often
suffice. I've been working a lot with British-style brass bands,
lately, and the Eb soprano cornets are certainly the woodwinds of those
groups.
Raymond Horton
Bass Trombonist,
Louisville Orchestra
This band talk started me doing some surfing, which turned up this quote:
A horse, a dog, a girl, a gun, and music on the side that is my
idea of heaven.
- John Phillip Sousa
It's
at the time?
I am in the process of having a _removable_ double bell added to one of
my euphoniums, but I haven't heard from the guy doing it for months (he
was so confident at the start!). I really should email him...
Raymond Horton
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Marching was only an occasional, necessary evil for these guys.
Generally it was two to three concerts a day, in different locations.
We are talking about the biggest name in popular music of his day. In
those decades - the peak year being 1910, there were hundreds of
professional bands
off-stage or see them sit idle.
This is the blessing and curse of the bands, as we have been discussing.
Raymond Horton
David W. Fenton wrote:
On 24 Aug 2007 at 16:33, Daniel Wolf wrote:
I have a general aesthetic question for people involved in bands. Is
there a rationale beyond
- the instrumentation is standard. (There is
also a smaller nine-piece standard group, also but I have no experience
with it.)
Raymond Horton
John Howell wrote:
At 11:15 PM -0400 8/23/07, Raymond Horton wrote:
Missing the Eb soprano cornet is a problem for modern band with these
older works
would expect to find all the parts played on trumpets.
With pro orchestras cornet use varies a lot according to preferences of
players and conductors. It is common to see all the parts played on
trumpets.
Raymond Horton
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