Shorter instruments require different solutions which would
appear strange to somebody who never thought about this
solution. I got a fine descant (high F with harmonics for
sopranino Bb) built with an original baroque bell shape. But
the tube was too short to be bent into the first valve. So
we en
Sorry, very sorry, Bill, but this "fighter" was in the
"business" long before he lost his legs, so did Colonel
Rudel, also highest decorated fighter pilot. But the young
girl has not yet begun learning an instrument. Why to start
with an obstacle while perhaps talented in another field
where the ha
I'm leading an all-day horn sectional for our local youth orchestra.
Would anyone like to share their favourite activities for leading a
developing horn section? I'll spend a fair time on fun breathing
exercises and focus on producing a beautiful ensemble sound with 4 part
chorales and trios, e
Paul Mansur wrote:
It appears to me that it is a shepherd crook cornet. It is not an
uncommon instrument, being used in most Brass Band organizations.
Sure is. I've owned various examples, but they've all been a more
conventional wrap. I haven't seen one that bypasses the second valve on th
It appears to me that it is a shepherd crook cornet. It is not an
uncommon instrument, being used in most Brass Band organizations.
Mansur's Answer
On Friday, October 14, 2005, at 03:26 PM, Alan Cole wrote:
I've seen plenty of odd-looking instruments, both hornish &
non-hornish. Here's 1
I've seen plenty of odd-looking instruments, both hornish &
non-hornish. Here's 1 that defies recognition:
http://cgi.ebay.com/Musical-Instrument_W0QQitemZ7357680114QQcategoryZ16215QQrdZ1QQcmdZViewItem
-AC.
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On Fri, 14 Oct 2005, David Jewell wrote:
I firmly advocate that all horn players should be singers in some
capacity, especially choral, and that they should listen to - gasp -
opera some too. paxmaha
gasp, sigh - for those of us who can't or won't sing, at least we can play
real songs and us
On Oct 14, 2005, at 10:00 AM, [EMAIL PROTECTED] wrote:
from: Herbert Foster <[EMAIL PROTECTED]>
subject: RE: [Hornlist] Fingerings
Way back when I took my first lessons, and dinosaurs roamed the
earth, I was
taught that 3rd space C was the proper switch point. Lately I've
been taught
that
Hell, there was a famous WWII RAF Pilot who lost both legs and continued to
fly Spitfires. Finally shot down over Germany he parachuted to safety but
lost both artificial legs in the process. An RAF mission flew over the camp
he was in and dropped a replacement set of prosthetics. Just shows wha
I have to agree with Hans and Paul about the human voice being perhaps our
grail as horn players. Lately I have been relistening to a recording of some
sonatas by Pavel Vejvanofsky, a bohemian baroque composer, who seemingly wrote
quite a bit for clarino trumpet and trombone. Although the reco
Message text written by The Horn List
>You can develop into a fine horn player with only one hand. A missing
hand
can be most effectively replaced by a prosthetic hand, <
Dear All
There is a very good amateur player in the Leeds area of West Yorkshire who
plays with a prosthetic right hand.
Th
Hans has it right, folks. The double horn is a fine instrument but all
too often i find students who lock in on a switch point and then miss
great opportunities to utilize all the resources found in the double
horn. The secret of it all is to develop that F horn sound; and then
learn to dupli
Way back when I took my first lessons, and dinosaurs roamed the earth, I was
taught that 3rd space C was the proper switch point. Lately I've been taught
that 2nd line G is the proper one, on the theory that you're staying on the
same harmonic up to C. This is the default fingering before you have
On Friday, October 14, 2005, at 05:34 AM, Daniel Canarutto wrote:
By the way, I now realize that I could answer my previous question
about the A and Ab parts just by looking at the I and II horn parts,
which are in E and Eb; obviously these could not be lower than III and
IV!
Oh yes, they
I think many people would be amazed at what can be found in the shelves of
libraries. A researcher looking at Libraries in Spain found music
manuscripts written for the Court in the 17th Century and in the Spanish
colonies in the New World. He found enough to spur his interest and lead to
the cre
Because that's what I do, Herr Pizka. I am one of those
researchers. Show me a modern edition of Gustav Helted's
Decet.
> "If only other national libraries would offer the same
> service." , well, than all the work done by the
> researchers & by the publishers is obsolete & the circle
> starts
>
>
> There is no switch point at all. It depends what you are
> playing.
>
I would agree with what Hans says. In addition, if you are playing a double
horn, you should aim to get a tone quality from the Bb side that in most
conditions is indistinguishable from what you get from the F side, so th
Is there anyone on this list from Columbia or Springfield, Missouri, who
might know of a community group needing a horn player? I currently play in
a community orchestra, but the music is usually less than challenging. I
would like to join a group that plays a college level repertoire.
Jim
"If only other national libraries would offer the same
service." , well, than all the work done by the researchers
& by the publishers is obsolete & the circle starts
again. From bottom. Why not just getting the modern
publications, without the hazzle of arranging ones own score
etc. finding t
There is no switch point at all. It depends what you are
playing. It depends on chosing the best in tune notes. It
depends with whom you are playing along, e.g. with other
B-flat instruments (trumpet, clarinet), so you have to match
their characteristic. It depends on how to ease the
fingerings avo
Tha last link Peter mentions is for the Serenade by Emil
Hartmann for ten instruments. It's a terrific work and
deserves to be better known. I believe there is a recording
of it somewhere.
here you go:
http://www.amazon.com/exec/obidos/tg/detail/-/B0IGLK/qid=1129294660/sr=8-1/ref=sr_8_xs_
Tha last link Peter mentions is for the Serenade by Emil
Hartmann for ten instruments. It's a terrific work and
deserves to be better known. I believe there is a recording
of it somewhere. Also, there is the Decet for winds and
strings by Gustav Helsted, another fine work. I've made
modern scor
At 11:14 PM -0400 10/13/05, Peter Hirsch wrote:
>http://www.kb.dk/elib/noder/div/hart-seren/index.htm
Greetings -
Careful with the Hartmann. The pages are tiny. Use some program or print
option to make them fill the page.
All the others are just fine as they are.
Thanks to Eric James, I found
This has been a most interesting discussion. I've picked up a lot of good
information. One question does come to mind about the "switch point" for
double horns. If the F horn has the more desired horn sound, why is the
"commonly accepted switch point" g1 sharp (second line treble clef)? As Dr.
Hold Daniel, hold, please, as there are plenty pieces where
3rd & 4rth horn go much higher than 1st & 2nd : Donizetti,
Mendelssohn, etc.
===
-Original Message-
From: [EMAIL PROTECTED]
Hans wrote:
The requiem surely asks for A-basso & Ab-basso. The conductors
should know it from the score. It seems they cannot even imagine how
a score should sound. Poor conductors, you have failed your
profession. Is just money counting your business ?
Thank you Hans and all who answered. A
It wasn't meant in a derogatory way, Hans :)
Even with drone parts I still listen, it's always been my policy -
musicality everywhere when playing any music.
-William
In a message dated 10/14/2005 2:45:15 A.M. Central Daylight Time,
[EMAIL PROTECTED] writes:
And your "over & over & ov
Sorry, we (special myself) have different margins. Notes
above g1 (2nd line from bottom) are still best on F-horn up
to written c2 or d2 or e2. Note that the d1 as open
F-horn-note is a perfect lucid note, full of light. If one
does switch to the Bb-side above c2, why not.
And your "over & over &
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