Rachel wrote
Mahler 2 comes to mind in the following verses from Revelations:
..my apologies for not mentioning HORN in this one..
REV 8:2,6
2: And I saw seven angels which stood before GOD; and to them were given
seven TRUMPETS
6: And the seven angels which had the seven TRUMPETS prepared th
Does anyone on this list know anything about Erik Hauser who wrote the
Foundation to French Horn Playing?
Just curious.
Richard Smith
www.rgsmithmusic.com
[EMAIL PROTECTED]
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Hi Howard,
NHR-- Thanks for the clarifications, and the historical links. I
stand corrected.
Best regards,
Martin Bender
On 16-Jul-06, at 11:05 PM, Howard Sanner wrote:
A couple of minor points. The Mercury Living Presence recordings
were engineered by Robert Fine and produced first by Haro
Benjamin Reidhead wrote:
As a high school senior, I love to hear about the "old world" of
music, recording, etc., as I find it very inspiring and amazing to
learn about a musical and technological world that I will never get to
experience.
You shouldn't encourage us.
"No oper
On Sun, 16 Jul 2006 15:10:12 -0700 (PDT) Klaus Bjerre
<[EMAIL PROTECTED]> wrote:
> You may know, that I can tell anecdotes without end...
> Of course a rant from the old days, please be forgiving.
>
> Klaus Smedegaard Bjerre
Hornlist -
I must say, that although some people may find th
Klaus Bjerre wrote:
We are approaching NHR territory here, but I am most surprised about film being
the medium in the
said fine recordings.
When I went to school from 1954 trough 1966, video was not available. The
Danish state had a
pedagogical film-service covering especially historical, bio
A couple of minor points. The Mercury Living Presence recordings
were engineered by Robert Fine and produced first by Harold
Lawrence and later by Wilma Cozart (later Wilma Cozart Fine). I'm
pretty good friends with one of the Fines' sons. He has termed
Michael Gray's survey of Mercury in The
A perusal of any Tchaikowsky score will reveal dynamics ranging from
p to F. Unfortunately, novices and careless players will
relish the thought of playing very strongly, to the point of making
crass, unmusical sounds.
Tchaikowsky uses dynamics differently than many other composers.
Some
We are approaching NHR territory here, but I am most surprised about film being
the medium in the
said fine recordings.
When I went to school from 1954 trough 1966, video was not available. The
Danish state had a
pedagogical film-service covering especially historical, biological, and
geographi
I was taught that FFF means "forte possible" (within the very fragile
bounds of control, balance, and musical taste). This obviously must be
tempered by knowledge of the composer, the hall, the style of music and
the requirements of the conductor.
I have always thought that , f, cresce
Hi Jeremy,
I agree with you. Call me a Luddite, but most of the best recordings
were done with fewer rather than more microphones, using analogue
systems.
For example, check out the Mercury "Living Presence" recordings (now
re-issued by Philips Classics Productions and available on CD) done
Daniel Canarutto wrote:
[EMAIL PROTECTED] wrote:
You just don't understand a thing about sound recording. Without a
separate channel for each instrument, how can an engineer possibly make
them sound like they're supposed to?
[snip]
Do you really mean that all recordings would soun
[EMAIL PROTECTED] wrote:
You just don't understand a thing about sound recording. Without a
separate channel for each instrument, how can an engineer possibly make
them sound like they're supposed to? All recordings would sound the
same. Who'd by it if it isn't 'special'?
Bill, certainly I did
Ralph Mazza wrote:
Rachel Harvey asked (rhetorically, I think) how DO you play an FF and an
FFF-and distinguish between the two?
It gets worse. I recently saw (in Sibelius No.1, I think) fff followed
by a crescendo. I decided that (like much else about my playing) that
was more than I could
The stop mute has now been sold, but the berp is still avaliable for $13.50.
Act fast!!!
~Sarah
Sarah <[EMAIL PROTECTED]> wrote: Hello again!
I wanted to let you all know again that I am totally sold out! However, I will
now be selling a berp for $13.50 and a Tom Crown stop mute for $32.00.
Bill -
I hope you were kidding in your post. Otherwise, I'm afraid it is in fact you
who knows little of recording.
Rarely are groups ever recorded nowadays with one mic per instrument. This was
experimented with a lot in the 60s and 70s, but most of those recordings sound
like utter crap.
Rachel Harvey asked (rhetorically, I think) how DO you play an FF and an
FFF-and distinguish between the two?
It gets worse. I recently saw (in Sibelius No.1, I think) fff followed by a crescendo.
I decided that (like much else about my playing) that was more than I could manage.
Ralph Mazza
Very simply, they will sound like in a concert with a mixed
sound not like the garbage constructed by the engineers with
their separation of instruments. I did a lot early stereo
recordings with the system developed then by Mr.Charlier. We
had (wooden) reflectors behind the horns e.g. or we played
You just don't understand a thing about sound recording. Without a
separate channel for each instrument, how can an engineer possibly make
them sound like they're supposed to? All recordings would sound the
same. Who'd by it if it isn't 'special'?
-Original Message-
From: [EMAIL PROTEC
Wouldn't it help if the slides were removed? While they are lighter than the
valves, they have a long lever arm to twist the assembly.
Herb Foster
--- Robert Osmun <[EMAIL PROTECTED]> wrote:
> There are three separate factors to consider when choosing a case for
> airline travel:
> ...
> How wel
My (amateur) experience makes me believe that most composers and arrangers
rarely write dynamic markings that are explicite for each instrument group
or part. Very often the dynamic mark indicates the volume level desired for
the entire ensemble, and it is expected that the conductor and individual
harveycor wrote:
Hornfolks:
In the 1st movement of Tchaik 4 (the beginning and the horn soli beginning with
the written C#, an FF and FFF are presented, respectively.
I personally believe that after a certain dynamic, it does not make much of a
difference what dynamic the horns are playing-jus
I bought a Sony minidisk recorder (the sole cheap recording device I
found at a local shop) and I'm quite satisfied. I recorded a concert
of my wind octet and the sound is nice, the balance between the
different instruments excellent. I could even issue a CD, were it not
for a few mistakes ;-).
It seems to me that nobody, up to now, has quoted Psalm 150:
"...Praise Him with the blast of the horn,
Praise Him with the psaltery and Harp,
Praise Him with the timbrel and dance,
Praise Him with stringed instruments and the pipe.
Praise Him with the loud-sounding cymbals;
Praise Him with the c
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