Wendell, Wendell, Wendell, why starting with the formula one
car, if one does not know the very simple driving rules, why
conducting a complicate Strawinsky (sorry, we spell his name
that like) if even ending a simple menuetto would give head
ache.
I will just point to the old fashion method by J
On Feb 25, 2007, at 10:00 AM, [EMAIL PROTECTED] wrote:
Thore Dosdall dosda009 at morris.umn.edu
asked -
Hello all,
I am working on a piece called Night Watch: A Dialog for Flute,
Horn and
Kettledrums by Ellis Kohs.
The piece has a legato tounged two octive jump between the a-flat
below
"Róta, a Valkyrie in Norse mythology, who chose those who were about to die on
the battle-field."
Is this the 'rota' you had in mind, Lawrence? Our list does resemble a
battle-field, sometimes...
Fred
- Original Message
From: "[EMAIL PROTECTED]" <[EMAIL PROTECTED]>
To: horn@music.m
How about using a random number generator to assign everyone on the list
their place in rotation? As new members join they would be given one as
well.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of
[EMAIL PROTECTED]
Sent: Monday, February 26, 2007 5:55
In a message dated 26/02/2007 23:50:51 GMT Standard Time, [EMAIL PROTECTED]
writes:
"Actually you could not control what you did. It is the fate of this list to
have a "Pizka blow up" in a cyclic manner. As the Ancient Greeks knew, it
is the "Fates" that control everything; man can not
Actually you could not control what you did. It is the fate of this list to
have a "Pizka blow up" in a cyclic manner. As the Ancient Greeks knew, it
is the "Fates" that control everything; man can not change what they ordain.
It's just been too long since the last one. If you hadn't someone els
Dear Bill Gross, You are right. I broke the very rule I was trying to defend
and have automatically lost the argument. I am sorry. Ironically, I was
thinking about the same quote regarding spelling while composing my first
message.
Dear Hans Pizka, It was wrong of me to correct you in the mann
Correct me if I'm wrong, but aren't many horns built at A=442, with the idea
that the insertion of the hand in the bell brings the pitch down? I think that
for the most part, it's not the horn that plays sharp, it's the player that
plays sharp, mostly caused by endurance and strength issues (or
I have recently adapted my Recital Duets (1981) for all instruments.
The seven movements range in expressiveness from fanfares to love
duets and are in a modal language that is based in shifting tonality.
They can be used as duets for the same instrument or in any
combination of instruments
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