I happen to have this piano score out today.
"Son Bouche" from Big Rehearsal #17 for 5 measures.
Next measure is "ouvert".
I noticed nothing out of the norm with the bass clef.
There is a misprint in my piano score with treble clef
to bass clef though.
all the best,
Matthew Scheffelman
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Yes to your first question Rebecca. Regarding the stopped horn
passage - play 5 bars (measures) bouché,then revert to open horn for
the rest of the piece.
This is indicated in the piano part of my copy,but omitted from the
horn part.Maybe we have the same edition(Chester).=
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The first sonata is the most difficult - the 2nd is the most esoteric - the
3rd is the most accessible (ie: melodic and fun - though they all are...),
and the suite is wonderful and perhaps the very model of a Wilder work: 5
movements of short duration - much like little pop songs. It's my favor
There's a right-handed horn on eBay.. Item#180077500691
A friend of mine who's quite high up in Hornist's appreciation circles has one
but his is a pea-shooter from a much earlier time.
Foxy
UK
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Thanks for the heads up on this centennial. I was
looking for something to perform this spring...this
will be great as I like Wilder.
Does anyone here have experience with the three
sonatas and suite??
If so, what are they like? Which are the strongest?
Any descriptions would be great as I would
Sorry list members!
My previous message was ment for Hans privately.
Mea culpa.
Rogier
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Over the years, many on the list have said they recopy transposed parts into
F because they aren't quick enough at transpostion to do it on the fly. The
only question that occurs to me is, how will you EVER learn to do it?
I remember my first exposure to the New World Symphony on 4th hor
I have a couple of questions about Poulenc's Elegie for Horn and Piano. The
portions of the piece that are written in bass clef are actually written an
octave below where they should be played, correct? Secondly, near the end of
the piece, there is a notation for stopped horn. However, there
Wilder was a fine composer; and I too encourage all hornists to learn more
about him. Especially good works include the Suite for Clarinet, Horn, and
Piano; any of the horn sonatas or suite, and if you've got at least 2
fabulous players with range up to e3 (or is it 4?) - the Nonet for 8 horns
and
2007 marks the centennial celebrating the birth of American composer,
Alec Wilder. This unique American voice defies categorization, but a
lot of his classical music anticipated both the third stream movement
of the 1950’s and the crossover style of the 1990’s to the present.
Quoting from t
You're absolutely right, Hans. Not having learned transpositions when I was
young, I find transposition slow going. Rather than writing transpositions in
the original music, which doesn't work well anyway, I write down the transposed
notes on fresh staff paper. Usually, before I am finished, I have
In a message dated 21/01/2007 05:11:03 GMT Standard Time,
[EMAIL PROTECTED] writes:
"IMHOlearning to transpose is not all that hard."
If you start early enough. As I've said before, my 10 year old pupils
transpose horn in Eb at ease - they don't know it's difficult. When I need
th
Hello, I have re-typed the BWV14 in the alternated horn
pitches (Bb-basso instead of F for both chorals & F instead
of Bb-alto for the aria) to doublecheck again about the
playability in these keys (on these horns) as I suggested in
my previous letter.
The written a2 is not a problem on the open
I've mentioned this on the list before when the subject of transposition
comes up. I play in an orchestra where a lot of the horn parts are
written for Horn in something other than F, and a lot of parts are hand
written - fairly standard for most orchestras I would say. Ideally I'd
be able to trans
Richard, this note in BWV78 is written as f#1 - the 6th step
of the harmonic series - a note easy be lipped down. I had
two original c-alto (same pitch as written) horns made by
Johann Werner in Dresden, small coiled with a bell of 23 cms
diameter (about) & thin bore. They allowed this lipping
down
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