It's ok, we all knew you meant Heldenleben!
the other Chris
--- Christopher Bonner [EMAIL PROTECTED] wrote:
Please disregard previous post of CSO/Fritz ReinerI have had too much to
drink tonight, and misread what piece we were discussing.
Chris
- Original Message -
From: Fred
Hello everybody!
I am studying in Academy of Music and one part of my graduation is going to be short
writing task ( like so-called research etc ). I want to write about horn auditions.
Main idea of the task can be just to give information, what is happening? How
musicains usually get the job
Does anybody know where I can find a recording of the Goedike horn Concerto?
I need to play it for a competition next year and would like to hear it
first.
___
post: [EMAIL PROTECTED]
set your options at
Hi Jan,
There are some great articles in the Horn Call. You should also
search the archives of the horn lists as this topic comes up on
occasion.
Regards, Jerry in Kansas City
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post: [EMAIL PROTECTED]
set your options at
Does anyone know where I can get the Stich-Punto Sonata for Horn and Bassoon?
Actually, there is a piano part, too. It is out of print--have called all the
major sheet music companies. Thanks!
Barb Benson
Executive Director
Colorado Plateau Field Institute
www.cpfieldinstitute.org
This is a general post to both lists, so please excuse the double posting;
I have just a couple of thoughts on some threads that just popped up on the list.
Firstly, when discussing vibrato, if one wants to dive into this issue in depth, just
as in most other aspects of performance, you have
Dear all,
In the 67-69th bars after the second Tregrave;s calme, (i.e. rehersal number 10 of
Chester's editon) there is a word cuivregrave;. Does it mean hand-stopping, stop
with a mute or just simply play copper-like ?
Cuivregrave; means copper-like, brassy in French but more specifically, it
In a message dated 11/15/03 1:00:18 PM Eastern Standard Time,Herb Foster
writes:
I had to pull the slide out because of the laws of physics, not my
emouchure.
Increasing the temperature from 40 deg F to 100 deg F (4 deg C to 33 deg C)
increases the speed of sound by 5%.
Hi Herb,
How
Here's a link to amazon.com cd of the concerto...it's actually quite good. I own it
and teach the concerto to some of my students.
http://www.amazon.co.uk/exec/obidos/ASIN/B07RSV/026-5685530-1192445
Matthew Lovelace [EMAIL PROTECTED] wrote:
Does anybody know where I can find a recording
That's a very good question. The relative speed of sound I know can change
the pitch of something - it's called the Doppler effect. A good example is
someone driving down the highway honking their horn as you are standing on the side
of the road. Notice the pitch starts higher than the sound of
Oh yes, and it's surprising how many students out there actually think that
colder instruments are sharper because they are a little shorter. Once again,
the contraction of the metal is TRIVIAL compared to the temperature of the air
inside it. It is the air column which is carrying the sound,
According to my physics textbooks I just read that the frequency itself does
not change with a change in air temperature although the speed of the air
changes. Yet we know there is a Doppler effect. I'm not really sure why that is so
if anyone wants to explain it, feel free.
-William
Of
On Monday, November 17, 2003, at 11:29 AM, [EMAIL PROTECTED] wrote:
Yet we know there is a Doppler effect.
It is my understanding that the Doppler effect is heard only when there
is motion by the sound source (toward or away from) the point of
perception, or vice versa, when the point of
Ah. So why is there such a change in pitch with changes in air temperature
inside the Horn?
It cannot be because of the metal expanding or contracting since it doesn't
do it enough to cause that much of a difference, plus that would change the
pitch oppositely to how it normally behaves with
The Doppler effect isn't involved with the relation between temperature,
speed and frequency.
An analogy:
Imagine a dripping faucet: drip..drip..drip..
Now raise the faucet while it drips. As it rises, the drops are spread
out more because drop#2 begins farther up from where drop#1 began;
Sorry, I was not complete in my explanation. The frequency is directly
proportional to the speed of sound in the horn. That is, a 5% increase in speed
of sound will give a 5% increase in frequency. As Cabbage has pointed out, this
is 84 cents, nearly a 1/2 step.
More technical: as the speed of
In a message dated 17/11/2003 17:25:28 GMT Standard Time, [EMAIL PROTECTED]
writes:
However, if an orchestra member plays very sharp, the overall sound will
improve if that person were to move very fast away from the orchestra.
In a wonderful little book I possess there is a passage on the
Paul - if I remember my high school physics, I believe you are correct. To state is
anothe way, the Doppler effect is only heard by the stationary listener as the sound
source moves towards him/her, then past him/her. The source of the sound will only
perceive a steady tone. Incidentally,
Barb,
Try Hans Pizka; it is listed as one of the publications he carries. I
think, though I am not sure it is one of the KaWe items he took over from
Klaas Weelink. I'm sure you would have heard directly from him by now,
except for the fact that I believe he is traveling in the far east at the
Ah... thanks... I was confusing the Doppler effect with something else then.
*doh*
Now you can see why I only lasted one semester as a Physics major
-William
In a message dated 11/17/2003 9:37:26 AM Pacific Standard Time,
[EMAIL PROTECTED] writes:
Subj: Re: [Hornlist] Re: Speed of Sound
At 11:29 AM 11/17/03 EST, [EMAIL PROTECTED] wrote:
Yet we know there is a Doppler effect.
Relatively speaking.
John Kowalchuk maker of mutes/horns/canoes/paddles/bikes
Oshawa, Ontario http://home.ca.inter.net/~horn1
Canadians don't surf the net, we paddle it.
In the previous digest, I see that someone is seeking a recording of the
Goedicke (as it is usually, but not always, transliterated) and was
referred to amazon.uk. The CD may or may not be out of print, or at least
this appears to be the case from the amazon info and was further confirmed
when I
This change is not the Doppler effect, but a change of the basic
frequency. There is no frequency change with Doppler; it is perception
only that changes.
Cheers, Paul Mansur
On Monday, November 17, 2003, at 12:15 PM, [EMAIL PROTECTED] wrote:
Ah. So why is there such a change in pitch with
Air density varies inversely proportional to temperature? Sound
(vibration) will travel slower through denser materials.
That's my guess. It's been a few years.
Ah. So why is there such a change in pitch with changes in air temperature
inside the Horn?
Shane McLaughlin [EMAIL PROTECTED]
Paul
It is my understanding that the Doppler effect is heard only when there
is motion by the sound source (toward or away from) the point of
perception, or vice versa, when the point of perception moves in
relation to the sound source.
**
True. If you run while playing your horn,
On Monday, November 17, 2003, at 01:46 PM, Shane McLaughlin wrote:
Sound
(vibration) will travel slower through denser materials.
That's my guess. It's been a few years.
I think it's the other way 'round. Otherwise we would use cast iron
for sound insulation material.
Cheers, Paul Mansur
On Mon, 17 Nov 2003 [EMAIL PROTECTED] wrote:
Why does a cold horn take so long to warm up? Simple. The air at the end
of it by the time it gets there matches the temperature of the Horn
itself.
The air that emanates from your embouchure loses a lot of heat on
expansion, so your mouthpiece
On Monday, November 17, 2003, at 02:08 PM, [EMAIL PROTECTED] wrote:
By the way, Doppler's experiments verifying the effect involved
listening
to trumpet players on passing railroad cars. Since he studied rising
pitch
before he studied falling pitch, one important side benefit of his
research
another source is www.crotchet.co.uk worth a try!
- Original Message -
From: phirsch [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Monday, November 17, 2003 12:56 PM
Subject: [Hornlist] Goedicke (Gedike) Horn Concerto recording
In the previous digest, I see that someone is
Vibrato discussion brought to mind a question I've had for quite some time We often
refer to our playing as singing with the horn and during my few lessons with Morris
Secon he really stressed the singing aspect. Then I made a point of listening to
singers,especially Frank Sinatra for his
Anne,
You think that is a stupid question? Not at all! I think that the
best reference for you would be Marvin C. Howe's The Advancing Hornist. I don't
know how accessible it is, (I only ever have seen it at Interlochen) but it
is a great book to learn how to be more lyrical in your
Hi. Again, I mention Earl Saxton's emphasis upon hornsinging. It is
a good concept and likely easier to grasp with legato and slurring.
However; may I remind you that staccato occurs also in singing. Think
of Figaro in Largo al factotum and the Gilbert and Sullivan patter
songs. Some of
I've recently moved to Singapore and the ensemble that I now play with expects the
section to use stop mutes for stopped parts. When I was a student in the US, we were
always encouraged to use our hand to play stopped parts.
This week in a rehearsal, the director demanded that we all go buy
How's the intonation?-AC.
~~~
After the rehearsal, the section leader said there was no need to spend the
eighty bucks - just use an empty mineral water bottle she said. Sure
enough, if you shove it up your bell, the horn sounds stopped with a lovely
David,
I don't understand why swing the funnel can alter the pitch by Doppler effect.
Can you explain more? Then what about a modern horn? Can we swing a modern horn
to make a trill?
Simone
Quoting David Goldberg [EMAIL PROTECTED]:
Another practical use of the Doppler effect in the
On Tue, 18 Nov 2003 [EMAIL PROTECTED] wrote:
David,
I don't understand why swing the funnel can alter the pitch by Doppler
effect. Can you explain more?
People nearby will experience a Doppler effect because as the hose swings
around, the funnel end gets alternately closer and farther from
Hi Simone
I'm not a specialist on the Poulenc, but I'm trying to get a handle on stopping.
This column says that cuivre doesn't necessarily mean stopped.
http://www.auburn.edu/~schafwr/tech2.html
Maybe it will help?
Rebecca
[EMAIL PROTECTED] wrote:
Dear all,
In the 67-69th bars after
OK, you asked for it.
1. To add length to the levers if your fingers are short.
2. To add thickness to the levers if they have worn down to a sharp edge.
3. To provide a tactile reminder of the need to arch the fingers with the
fingertips touching the widest parts of the levers.
4. To
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