And what about the samples on the home pages ?
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Von: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] Im
Auftrag von Jonathan West
Gesendet: Mittwoch, 12. März 2003 23:46
An: The Horn List
Betreff: RE: AW
Hello fellow hornists:
I perform with a large community band (90+ members) as well as a local horn
ensemble, but once in a great while I like to work on piece of music as if I
were going to perform it as a soloist. Chances are that I never will, but
friends and family make a great "test audience."
Sunley have asked me to confirm numbers for the jazz playing
weekend 20/21 - 23 March by this Thursday, 13 March.
If you are planning to book but have not yet contacted me, please
do so urgently.
Course description follows. Prices and booking form available at
my web-site (see below), or I will
That's a good question Hans! I speak quite a bit about Schantl and singing
through the horn as well but I haven't mentioned that lately I guess and it
didn't seem pertinent to the question asked;-). My students are even now
learning the joys of Bordogni! However, a few tricks in the bag are ni
>
>
> It was not a critic on your question, but just wondering, why quite zero
> questions are related to cantilena or tone. When I started the thread
> about tone & tone colour, it died out shortly. Isn´t the tone the
> greater problem compared with technical things, which can be acquired by
> ha
Twas writ:
>>Hi Gang - just a head's up to let you know the Houston Symphony went on
strike on March 9th. It is particularly ugly as the board of directors
wishes
to cut this world class orchestra back into the dark ages. We will fight the
good fight but if anyone is inclined to write the Houston
Hans Pizka fretted:
Why do so many people care so much
of so unimportant effects, which have more to do with noise than music ?
Flutter tongue, glissandi, fortissimo trills (Dvorak, Wagner) are not
the most musical things ever. Why quite nobody asks about nice (and very
difficult) cantilena thin
Well, I remember reading somewhere (maybe an article by Clevenger?) that
tone itself, that is the pure tone colour, without attack or release, is
largely unimportant when considering a musical interpretation. Take DB's
tone for instance... Largely uninspiring by itself, but the way in which he
USE
I think we are fortunate here in Boise, Idaho to have a high-caliber
orchestra AND a board and Executive Director (of the Boise Philharmonic)who
have a strong vision and a good sense of "perceived value" and it's
importance, AND an Artistic Director/Conductor who is willing to get
involved with
Dear Members
The Kensington Symphony Orchestra is looking for a horn player to play
2nd/4th horn, alternating every concert. The current set includes the
Serenade for 13 winds by R. Strauss (magnificent horn parts!) and the
Schumann Third Symphony. Rehearsals are held Wednesday evenings in El
It was not a critic on your question, but just wondering, why quite zero
questions are related to cantilena or tone. When I started the thread
about tone & tone colour, it died out shortly. Isn´t the tone the
greater problem compared with technical things, which can be acquired by
hard work ? Isn´t
About the state of the orchestra, Bruce wrote:
>Orchestras such as the Dallas Symphony that have
>committed, hard-working boards are managing just
fine.
>The Dallas Symphony just added $20 million to its
>endowment. The Columbus Symphony, a former peer of my
>orchestra in Tulsa, signed a new
Herb,
Sounds like this is after-beat activity, so would think that you can take
breaks without impairing the overall effect of the march. After beats are
mostly "percussive" (meaning the pitch of the note is not so important), so
you should be able to arrange 8 to 16 bar switch-offs with the other
Hans Pizka writes:
... Why quite nobody asks about nice (and very
difficult) cantilena things ? I am just wondering.
Hello Hans,
As perhaps a typical amateur player, I 'think' that I already know how the
'nice cantilena t
Question: How can I reduce the literal pain in the neck of playing a 6/8 march?
After 32 measures of straight rat tat-tat tat-tat... then a breath and another
32 measures, the pain in my throat, neck and face is bad. I have mostly solved
the breathing problem: a few measures, let some air out, a f
In a message dated 3/12/03 1:54:57 AM, [EMAIL PROTECTED] writes:
<< The way Clevenger always taught us to do it was to shake the hell out of
them. He claimed one could not get the proper affect by a regular lip
trill and he rarely proposed a valve trill in that range. I choose the
robust lip tr
The Oklahoma Horn Workshop, featuring Andrew Pelletier, will be hosted
by the University of Oklahoma on April 4-6. Below is the official
website of the event. Registrations may be done on-line or at the
event.
http://www.cafe.ou.edu/horn
Other contributing artists for this event are:
Dr. Kar
Right, Russ & John, use a bit of pepper too (valve rattle !). It works.
May I ask one thing, just one thing ? Why do so many people care so much
of so unimportant effects, which have more to do with noise than music ?
Flutter tongue, glissandi, fortissimo trills (Dvorak, Wagner) are not
the most mu
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