Repp Ripped and Rapped:
<< In fact, my understanding is that 8Ds
are "banned" in
some orchestras. >>
Now, it is the mostestest of understoods by me, many, many, many times, that
in certain parts of our vast US of A, that some people are always having
some half vast ideas, conceptuals, impre
Hello Jeffrey, I agree with you, but I would even go
further. Too many players today produce just an acoustical
event, but no tone, no special tone, no personal tone, not a
beautiful tone, just a colorless more or less intonated &
dynamically controlled NOISE, nobody would care about.
What is a go
In addition to listening to recordings to become familiar with a
work and a variety of approaches to it, I also try to have a look
at the full score. I'm lucky that I live close to an excellent
music library. (I don't mean the one where I work, where, in any
event, I don't have time to pore ov
Steve wrote: "The thing I don't like about most of the strap arrangements
is that there's so much material there, it feels confining to me. Also, for
me I found that all that stuff strapped to the horn deadened the sound a
bit. I made one that only attaches at one point and leaves my hand fre
I think that as long as the tone does not take away from the musical message
that there should 'ideally' be no preferred tone. Above all, I think that
flexibility of tone color is probably much more important than devotion to any
one color (ie. cleveland sound, ny sound, london sound etc).
J
Nobody cares about tone these days. The only thing that matters is to not
miss notes. Actually, that's not such a bad thing in itself, I think it was
Phil Farkas who said "after you miss a certain number of notes, it ceases to be
espressivo".
I do know of more than one top US orchestr
Hi Fred and horn listers!
Regarding your predicament of preparing great music, I think you might find
people might be more willing to listen to your suggestions than you realize. I
have been blessed to be able to speak to others about their performance
problems without being offensive becaus
Perhaps I should clarify "measure". One can over/under interpret, and that is
why I say
measure. Top-flight players have to have a good sense of measure...IMHO.
Point I am getting at is what folks out there like when the tone is "uncoaxed".
Tone is indeed individual, and influenced by embouchure
Steve said producing a positively terrible tone, the teacher must
intervene - not all
students have good ears, and even those with good ears don't always have the
experience necessary to know what sounds good and what doesn't. But for a
professional or even a conservatory or univ
For those in the area, the University of Arkansas at Fayetteville has
a unique concert coming up. Chris Brubeck's jazz quartet is performing
on campus next Monday, April 30. About half of the concert will be the
quartet by itself. The other part of the program will be Brubeck's
group perfor
Hmm interesting observation about "banned 8D.s" Can you provide any further
information?
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of
Steve Repp
Sent: Friday, April 27, 2007 11:03 AM
To: horn@music.memphis.edu
Subject: [Hornlist] The preferred tone/sou
There are nevertheless a great number of people who are practicing in
the hotel room because they are going to an audition, and would rather
warm up in the privacy of the room rather than together with the
competition.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Hello List,
I think I know, but if I am right, then I find it surprising that no one
else has answered this aready.
In the manufacture process, tubes are first bent to approximate shape. Then
placed in a mold. One end is stopped and high pressure liquid is put in the
other end to force the t
> From: Steve Repp [mailto:[EMAIL PROTECTED]
>
> Just wondering what some of your opinions are regarding your
> preference in how a horn should sound in general. I had a
> great conversation with another horn player in Denver
> yesterday and it was offered up that the traditional "8D"
> sound
Playing off-the-leg, like I do, balances the horn so that I need to pull with
the left arm just for zero pressure. I find that even with something like a
tennis grip or friction tape, that I tense up and use more pressure. With a
strap, I can relax and use appropriate pressure. YMMV.
Herb Foster
-
That's what I thought, too. There is a bend for around the bell. They did come
from a music store. Remember, in the U.S. "horn" means anything you blow into,
including harmonica.
Herb Foster (I play horn, French horn)
--- Carl Bangs <[EMAIL PROTECTED]> wrote:
> I think they go with a baritone or
Alas, it hasn't helped my playing so far, but my serve is a lot better
these days.
Jack Martin
[EMAIL PROTECTED] wrote:
Jack M opined
I had the pinky ring removed from my horn more than 10 years ago and the
horn has never slipped or dropped, even under the hottest, sweatiest
circumstances. I
Just wondering what some of your opinions are regarding your preference in how
a horn
should sound in general. I had a great conversation with another horn player in
Denver
yesterday and it was offered up that the traditional "8D" sound (see "typical
Hollywood
sound") is loosing popularity fast.
Bill, and nobody complained about the loud TV ? Like in
chinese hotels in China
I never practised in any hotel room. Had nothing to
practise. One hour early in the hall gives enough time to
refresh the embouchure. For practising, it is too late
anyway. This has to be done long before acceptin
Hmmm
No mention of any tendency for excessive pressure.
In fact, I play with very little pressure (especially since I have a
crown on my front top tooth). I just find that the duck's foot
*creates* pressure. I also just don't *like* the pinky hook. I just
think there has to be a better way
Re: Discussion of live versus dry acoustics for practice room
I think it is good to practice in a variety of spaces where you enjoy playing.
Also outside sometimes, especially in the woods, where horn playing
originated. Enjoying what we do is part of making a beautiful sound. Isn't
that
<>
A few years ago, I had the good fortune to play in an orchestral workshop
conducted by Simon Rattle, with him taking us through Bruckner 9. One of the
things he most passionately insisted upon was that it wasn't enough for us
merely to follow his beat, we had to *listen* to each other and ensur
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