Hi Everyone,
I want to make sure I transpose my part correctly. I have been given one page
of music for movement IV. I pini della Via Appia. My part is called Buccina II
in Si flat (o Flicorno Tenore). I'm assuming I am part of the second separate
brass group that joins the orchestra at the ver
Hey Joe -
I sent an e-mail.
If you would like, feel free to call me at 1-877-SUBLYME or 540-429-2335.
Regards,
Jeremy
-Original Message-
From: "Joe Scarpelli" <[EMAIL PROTECTED]>
To: "'The Horn List'"
Sent: 4/26/08 3:07 PM
Subject: [Hornlist] NHR
Jeremy Cucco,
Could you contact me off
When we played this piece, we used bass trumpets for that part. They are in
B-flat. Check out this youtube clip of some real ones:
http://www.youtube.com/watch?v=KQ_a7NDuq8Q
Luke Zyla
2nd horn, WV Symphony Orchestra
- Original Message -
From: "Melvin Baldwin" <[EMAIL PROTECTED]>
To:
I'm going to ask - with some embarrassment - a question that I feel I
shouldn't have to ask by now. But here goes anyway.
I just played 5th horn in Mahler's 8th symphony, and my enjoyment was only
tempered by the fact that I missed 3 entries. Now this wasn't helped by a
part with lots of 'Tacet bi
I think that we all search for the answer to this question. I have had
similar experiences with miscounted rests too many times to admit. I think
this is the number one cause of mistakes in any performance.
Here are some things that might help:
Use your fingers. Right hand will keep count of
I guess you probably don't know, or care, but Janine Gaboury-Sly (now just
Gaboury) and Gordon Sly have split. There must be a problem with Michigan
State horn professors and remaining in a marriage - first Doug/LauraLee and
now Janine and Gord, as she calls him. He is a nice guy - I feel for the
[EMAIL PROTECTED] wrote:
Does anybody have any other hints or ideas about other things that I
might try.
One thing that helps me, especially in slow tempos, is to stop counting
beats and only count measures.
So instead of:
Five - 2 - 3 - 4, Six - 2 - 3 - 4, etc.
Just count
Fi - i - i - ve,
This is the first time I did this, but I sent a personal message to the
hornlist - please delete without reading it. It was not the nicest one but
one that I needed to discuss with Dan.
___
post: horn@music.memphis.edu
unsubscribe or set options at
ht
Ellen,
Your post here is one of the most distasteful messages I have ever seen
on the horn list.
This is personal information that is no place on this list.
Posting this kind of material does not speak well for your own personal
integrity.
Paul Navarro
Adj. Professor of horn
Indiana Unive
Yeah, counting long rests can be mesmerizing.
Here are some things that I do:
Bring Post-Its; mark note cues on them at various places within a long rest.
I break up big-number rests into smaller numbers by logical phrases;
/20/ might be /8/8/4/.
Mark musical events; if there is a key change
--- David Goldberg <[EMAIL PROTECTED]> wrote:
> Ask the trombones or trumpets how they stay
> conscious.
>
>
> David Goldberg
Better yet, ask a tubist or some percussionists...
Dvorak 9 (Tuba and cymbal scrape) anyone?
Jesting aside, I find thinking less and feeling more
(i.e. count less and
Hi Kit,
I like to mark musical events in the music
like the entrance of certain instruments.
If the trumpets have an entrance at rehearsal
number 253, I mark "tp" at that point. This
helps confirm that the count is correct. If
not, ask "what's the count?". .. been there,
done that .
As mentioned before, probably the best thing is to just be really familiar
with the music. Listen to recordings if you have them, read a score, etc.
Fortunately, most of the time, the end of a long rest usually corresponds to
a significant change in the music, like the end of a section, key change,
Composers and copyists can do a geat service by including ample cues along
the way. A fourth horn player, for example, deserves to know how the piece
is progressing. Well placed cues at clearly audible check points can save
much time in rehearsals and make entrances more secure.
More than on
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