Since Hans is on the move in NE Thailand with his family
now, it could take a while to hear from him directly on
this matter.
This is just my impression (I cannot possibly speak on
his behalf), but I think what Hans preaches perfectly
makes sense. Listen to those “stratospheric” jazz
I think if you will re-read all of the message for LT in full
you'll note
his comment you cited were meant tongue-in-cheek (Bill Gross).
Bill, LT's intended meaning is not what prompted the response, but
his actual text: the myth that Wagner wrote the Siegfried Call for
Franz Strauss is
Linda writes:
Now I'm trying to research mics but am at a loss. I
don't know anything about the technologies and am not sure of what specs
to look for to record in a range of situations--from horn alone to full
orchestra.
The standard college-level text on recording is John Eargle's
Hi JY in Bangkok,
Thanks for your post. I am not necessarily challenging the wisdom that
low practice helps high playing. I agree that a lot of very successful
high players use low playing to work on their high register. Your
scream trumpet example is right on the money.
My question
Please, please, please don't rely on Google to find out information
about recording orchestras and horns... There is so MUCH bad information
floating around on the net, it's hard to sort out the good from the band
and the ugly!
If you're looking for a place to ask some genuine questions about
Passing from the low range in arpeggios to the high
range in patterns such as the Farkas warm-up, will
teach the chops to move into the high register
relaxed.
It may take a few weeks of the right kind of
practice, or years Only with a proper teacher and
many lessons will one learn how to
If you don't ever practice low to the point of fatigue, you will
probably notice that when you do, your embouchure will feel very tired
in places that it normally doesn't. This suggests that playing low
exercises muscles that normally are not exercised. Strengthening these
muscles has to
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