OK - I've read this a few times, the idea of singing through the horn.
Would someone care to elaborate on this a bit more? Is this a specific
technique, or more a matter of state of mind?
Thanks,
Timothy A. Johnson
Information Technologies
Northwestern College
St. Paul, Minnesota
This is not a specific technique, as so many advices are misunderstood
as they are taken wordly.
Singing through the horn means articulating as if one were singing. One
cannot sing with nearly closed mouth, right ? It would be humming not
singing. So keep the throat open.
Sing the melody without
Depends on whether you mean (A) playing lyrically or (B) producing that
weird effect known as double-stopping (i.e., vocalizing one pitch through
the horn while simultaneously playing a different pitch on the horn).
(A) involves a musical state of mind.
(B) is a stunt that falls into the
On this subject, is there someone out there in possession of the second
issue of the Horn Call? It contains an article by Earl Saxton (a former
teacher of mine) relative to singing through the horn. His perspective on
the subject was useful to me (and still is), and the copy he'd provided to
me
Hey Hans,
Could you elaborate on what you mean by breathing up-beat-wise? I'm not
sure I understand what you're saying on that.
Thanks...
- Original Message -
From: Hans Pizka [EMAIL PROTECTED]
To: 'The Horn List' [EMAIL PROTECTED]
Sent: Friday, March 14, 2003 7:31 AM
Subject: AW:
Hi all,
Fred asks a good question. As many of you know, I teach my students to
try and accept a brighter sound close up, because I think that at a
distance, if your sound is too covered or dark, it will sound unclear.
Obviously we all adjust to the acoustical space that we play in -
playing
B) is not a stupid Brass Trick, it is a very old Paganinesque trick,
which can be of great effect, if one does it the right way just once
or twice in a certain romantic cadenca. We have three cadenzas with that
effect: Ethel Smyth, Weber, Suttner.
But it is not for every voice ear.
Means, just before the upbeat, never before the down beat (with
exceptions). I thought this would be absolutely clear ?
Ooops, for a violinist it would be clear.
=
-Ursprüngliche Nachricht-
Von: [EMAIL PROTECTED]
Phil Farkas had about as nice a sound and singing style as anyone and it
would often seem from the back of the orchestra that he couldn't
possibly cut through. Invariably though, the sound in it's purity
carried very well back to the cheap seats. I think my favorite bit of
Mr. Farkas' playing is
Chad,
I guess we are somewhat in disagreement on the level of degradation that
has been suffered by the ears of the public. I agree that there is a real
danger implied in what I believe has happened to popular entertainment in
our society, but that danger is greater if we ignore reality. Don't
I don't advocate necessarily doing extensive mouthpiece work, but I
think it has a definite place in the tools available to the development
of phrasing and pitch. If one takes away the distraction of actually
moving valves or hitting the slots of the scale then we are left with
the pure line or
Dear Friends,
Stupid Brass Tricks aren't bad they aren't necessarily stupid. They're
just tricky -- e.g., double-tonguing, triple-tonguing, flutter-tonguing,
half-valving, double-stopping, circular breathing, playing with 1 or more
slides removed from the horn, growls, wah-wah effects (with
My prof. Dr Thomas Tritle also has the broken glass thing going on, I do as well. For
anyone wanting to immulate their favorite player, sit behind phil Myers or Dale
Clevenger. I'm told Clevenger's tone isn't the greatest and sounds loud and fuzzy up
close but sit in the back of the concert
An interesting book about musical phrasing is NOTE GROUPING A Method for
Achieving Expression and Style in Musical Performance - written by James
Morgan Thurmond.
You might be able to find this book at a college or university that has a
music school.
Jay Kosta
Endwell NY USA
Or you can get it at Amazon.com:
http://www.amazon.com/exec/obidos/ASIN/0942782003/inktomi-bkasin-20/002-8967
097-9576027
- Original Message -
From: [EMAIL PROTECTED]
To: The Horn List [EMAIL PROTECTED]
Sent: Friday, March 14, 2003 9:58 AM
Subject: Re: [Hornlist] Singing through the horn
Speaking ofdoes anyone know where I can get the Ethel Smyth and the
Suttner? Thompson Edition maybe?
The Jack Attack!
-Original Message-
From: Hans Pizka [mailto:[EMAIL PROTECTED]
Sent: Friday, 14 March, 2003 9:45
To: 'The Horn List'
Subject: AW: [Hornlist] Singing through the
As the message quoted below was sent to the 834 current subscribers of the
horn list and not to me personally (although seeming to actually be directed
toward me personally), I gather that Hans wishes for a public reply to his
second message on the topic of the Seaside Impressions, Op. 12, of
In a message dated 3/13/03 2:23:26 PM, [EMAIL PROTECTED] writes:
This discussion Hans has brought up is an excellent topic. I
recently attended the Southeast Horn Workshop held March 7-9 at
Columbus State University.
I'd like to read a report of the SEHW since I didn't get to go this year.
In a message dated 3/14/03 10:26:18 AM, [EMAIL PROTECTED] writes:
matter of state of mind?
Without a doubt!
___
post: [EMAIL PROTECTED]
set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
Did you ever know that I publish a lot fort he horn or with the hor or
for multiple horns ??? Visit my web site to know more. Also where to get
the Suttner concerto.
=
-Ursprüngliche Nachricht-
Von: [EMAIL PROTECTED]
Hi,
I've been playing on a Denis Wick No. 5 for over 20 years and never even thought about
trying something else. (Well - hardly ever and even then only out of curiosity.) It
works for me. In fact I'm now onto my third mpc - back to gold-plated after 10 years
of silver. Of course it took work
Robert Ward [EMAIL PROTECTED] wrote:
Fred asks a good question. As many of you know, I teach my
students to try and accept a brighter sound close up, because I
think that at a distance, if your sound is too covered or dark, it will
sound unclear.
I somewhat agree with you, Bob, in that we should
May I suggest checking out:
Nigel Downing
Singing on the Wind
http://www.hornweb.ch
It is a thought provoking book, available free as a PDF file, well worth
the download. I would recommend downloading the entire book at once, rather
than chapter by chapter, since then it is all in one file. It
Loren, as you know, perhaps, I sit on the Franz Strauss chair since
1967, come from similar language background (means dialect, also
ancestors being Franks), similar Southern German, a bit Bohemian,
similar family background. So, believe me, I do know his pieces really
better than anybody else. I
The discussion by Bob Ward and others about how what
we as players hear up close differs from what is heard
out in the hall raises a question for me: Is the
player with the beautiful/projecting out-in-the-hall
sound making an up close sound that he or she (the
player) doesn't like? Or is that
Bob Dickow wrote:
My stupid brass trick is performing a
sustained lip trill while rotating the
horn through a 360 degree arc,
returning to the start position without
breaking the tone or taking a breath.
I'm still perfecting the hand coordination
to swap the hands without jarring
the horn.
Brent wrote: My opinion and response to Hans' comment: In looking at the
average person's teeth, we can observe a slight overbite. Unless
the jaw is perpetually thrust forward, this overbite does not couple
well physiologically with the perfectly straight-placed
mouthpiece/leadpipe
Brent A.
Telling you the secret: on stage we all play as saumaessig as
possible, but the hall makes it all beautiful, if the hall is good. If
the hall is shit, everything is shit anyway, no matter if you play
beautiful on stage or saumaessig (like a pig). Not to forget the
Maestro. He is the most important
Russ, you analyzed things perfectly. This kind of understanding the
playing problematic is desired.
And exactly that is the dilemma. Why do so many players, and more more
younger players, neglect, that other circumstances require different
Tongebung (sound output) ?? They are great
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