That´s the usual problematic when arranging the wrong music
for the wrong instrument in the wrong range too.
Same is Figaro ouverture arranged for brass quintet. Why
does the arranger want to decorate himself with the genius´
name ??? The piece is not thought such by the composer.
Parts of a Bruc
Hello Rachel and others,
Jim Winter was a man of a vast knowledge not only regarding
the horn. It was a great pleasure talking with him. I can
say that I was most happy to have Jim Winter as guest in my
house many years ago (1989). I miss this distinguished
professor very much.
To the wagnertubas
Sorry to correct you,John, but as I have stepped back from
the principal position a yeasrt ago - and it was the right
decision - I might say, that my successor as leader of our
horn section, Johannes Dengler, (my alternating first horn
since 12+ years) has "licked" the blood & gotten the right
tast
"In his wrath, god created the horn" - but it is not from
the bible. Emil Wipperich entered it after the solo of the
third horn of "Der Waffenschmied" by Albert Lortzing when he
saved a performance at the Wuerzburg Stadttheater replacing
third horn (the solo is for third horn). He came from the
Bay
Adminstrators ? Administrators ? They have a certain policy
described at "Why doing things in a simple way, if there is
a complicate & confusing way ?". That´s their philosophy.
But this is a world wide epidemic.
Cheers
Hans
==
If the valve caps are hand engraved (means deep engraving),
the horn should be from that time.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of Steve Freides
Sent: Wednesday, July 12, 2006 8:17 PM
To: 'The Horn List'
Subject: [Hornlist] Alex 103 - history?
On any travel, it is very important to prepare the horn
against damage. Thee are the various cases with advantages &
disadvantages. But few have thought about preparing the horn
against an heavy impact when the case falls down either on
the broad side or the smaller side. What happens then ? The
he
Even I agree with Dr.Ericson, that the valves were intended
to make the horn/trumpet & other brass chromatic, I took on
the conservative players view of the things, namely using
the valves for the quick change of pitch instead changing
the crook. Adopting a valve system is the one thing, but
develo
That is the usual problem with "modern repair": just buy the
spare part & replace it. Any idiot can do it. We are getting
the same problem over here in Europe, as the E.U.
commisssion abandoned the "master" for most handicrafts ,
except the security relevant professions handling
electricity & gas &
A fully "chromatic horn" (my use of "horn" is for the
instrument, named Horn, corno, cor, lesni rog, valtorn,
etc., not in the American meaning og the generalized "horn")
is a horn which allows the player to play down from the
first octave of the fundamental for one half of an octave
(tritonus) wit
. The Lohengren parts are a result
of trying to cover all basses.
-Original Message-
From: Hans.Pizka <[EMAIL PROTECTED]>
To: 'The Horn List'
Sent: Sun, 9 Jul 2006 18:33:27 +0200
Subject: RE: [Hornlist] Haydn Symphony No. 46
Simon, when they invented the valves, t
Simon, when they invented the valves, they were intended as
a replacement of the various crooks. There were many
attempts to invent such a device. But as soon as they had
found the solution to there problems, they added two valves
first, but the third valve (1 1/2 steps) was added soon. The
valves
The anti-humorous thing is it, that we care most for
blending the sound at best, but studio manager, recording
technicians, (deaf) conductors, orchestra manager dont care
except for the budget. It happen so many times, that
(special public TV companies) they show the wrong
instruments at the wrong
It is also nice transposed down a third, as did famous
baritone Hermann Prey, himself a specialist for Schubert
lieders. He initiated the "Schubertiade" festival in
Feldkirch in Austria. It really sounds nice. Have done it
that way with Hermann Prey & also did it in regular E with
several sopranos.
But you have to chopp it the right way. That´s what I said.
Even difficult or boring etudes & exercises should be
practised as if they were concert pieces full of nice music.
The same happen with contemporanean music. If you treat it
the same way as you do for Beethoven or Brahms, you will not
like
According to Viennese tradition, there were no Bb-basso
crooks used before W.A.Mozarts "Il Seraglio". And, as said
before, the horns in H (B-natural) are just for one single
Haydn symphony.
H-horn (basso) appeared much later e.g. with G.Verdi,
J.Brahms, but they did not think about using a monstr
It is quite interesting to know, that there were NO
B-natural(H)-alto crooks nor were there B-nat.(H) basso
crooks ever made. I had quite all types of hand horns but
have never seen such crooks, but :
O.k. there were no Bb-basso crooks either until the very
late Haydn-time, included the adaptors f
You should read the title more carefully. Tenor & Soprano
are high voices & both would fit both pieces. The Schubert
is also avaiulable for Baritone or Mezzosoprano. Even
Schubert specialist Hermann Prey did it transposed when I
played with him.
Hello, it is very helpful to have this list, but one thing
is missing:
The article should mention a permission by the IHS to
reprint it, as there is a copyright also valid for John
MacDonald. Just to be correct.
Yes, I know that Dr.Christopher C. Leuba played the first
horn in many Dorati - Haydn
One can even play a C-major scale musically & have fun, so
it be with etudes.
===
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of Larry Jellison
Sent: Monday, July 03, 2006 9:01
Can you imagine, casting mouthpieces precisely as for these
bunch of super curious horn players who even see a
difference in the bore of 0,1 mms or less as a catastrophe -
or better said as a welcome excuse fortheir own failure ?
Or, how to "home bake" new rotors, where even professional
drillers h
Klaus, you have to remember the instruments used for
Beethovens violin concert were naturalhorns. And a
naturalhorn in G speaks so easy & shiny & silvery, that the
ppp (at the end of the slow movement) written c2 - c2 - d2 -
e2 (played as d2 - d2 - e2 - f#2 - in F-horn terminology)
should come extr
As most brass repair shops have no experience with sterling
silver, I asked my old master horn maker Hermann Ganter. He
said, there is no problem fixing lose braces with regular
soldering metal. Special soldering metal would only be used,
soldering new braces together, while they will be fixed on
p
These problems (soft playing along with 2 clarinets as a
quartet) is solved by the use of a cone mute mostly ( I
would not need that as I can even whisper on the F-side),
but the cone a bit lifted.
===
Yes, exactly, Steve, this is the bad effect of band playing
- it is simiöar to play ballet music, just ooompah ooompah
ooompah. These short notes do not allow a development of any
tone quality & reduce your playing to a mere noise making.
It will destroy your practice effort eventually. So be very
Both cities are quite poor regarding music shops - as
elsewhere. Shops do not stock anything extra from very basic
stuff. It is a pity.
Be aware of pick-pockets while in Prague
Nove Straseci is a very small place but nice area.
===
Thank you, Bill, I got a lot down loaded including the Titl
Serenade twice for cello, flute & harpe replacing horn,
flute & piano/harpe & the orchestra versionfrom 1902. Have
it by my own on very early schellack with (I think) Oscar
Hieber & Gustav Kaleve (whom I met on his 90th birthday,
when we
ng off paper, but I have some well
lit large computer screens.
Klaus Smedegaard Bjerre
--- "Hans.Pizka" <[EMAIL PROTECTED]> wrote:
> Klaus, even you make a good point regarding band music, I
doubt if you
> really understood my message:
>
> It is written at the insert
t
what looks easy in a horn part by the standards of any other
instrument, not necessarily is perceived that way by the
horn player.
Is there any edition of the "Norma"-score available on the
web? I have problems reading off paper, but I have some well
lit large computer screens.
K
o pairs originally were in different keys, the 1st
pair may have had to play the said bars. A later editor may
have seen the chance to give the 1st pair a rest, when the
2nd pair by equipment was expected to be able to take over.
Klaus Smedegaard Bjerre
--- "Hans.Pizka" <[EMAIL PR
the principal part
of each two horn section.
-Original Message-
From: Hans.Pizka <[EMAIL PROTECTED]>
To: 'The Horn List'
Sent: Fri, 30 Jun 2006 22:56:39 +0200
Subject: RE: [Hornlist] RE: Norma - horns
They are not, be sure. If the orchestra would be a sm
You can also fix the bearing plate, by first removing it &
setting it in properly (there are marking which must be
aligned. To set it right flat, get a thin but strong plastic
tube, get it cut flat, put it at the bearing plate so it
covers the niple, set the plate in with two light hammer
stokes up
This horn is a true example of the Viennese horns in the
style of Josef Felix Riedl (Vienna), but it is badly damaged
& the starting price is really a fantasy price. And it is
not a "rotary horn" as it has pumpen-valves.
=
his
aria, it could then be performed by a smaller orchestra (2
horns)?
Regards,
-Michael Henry
--
message: 11
date: Fri, 30 Jun 2006 14:54:56 +0200
from: "Hans.Pizka" <[EMAIL PROTECTED]>
subject: [Hornlist] Norma - horns
I played third horn last night for
The dimensions for the on-boad-case are regulated
internationally. They are 22 x 16 x 8 inches or 55 x 40 x 20
cms. If the flat case fits into this more or less (bit
thicker but also shorter e.g.), nobody might expect any<
problem. Non cut bell cases , well, it depends on the
tolerance of the check
I played third horn last night for the opera "Norma" (same
name as a very successful supermarket chain). Horns 1 & 2
and 3 & 4 are set as pairs in the parts, but there is a spot
near the Finale of the 2nd act, where horn 1 & 2 are
inserted into the parts 3 & 4, just half notes & full 4/4
held, a ph
Check the inside bearing plate, if it is set properly.
===
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of Snapfoo
Sent: Friday, June 30, 2006 2:08 AM
Have you tried Billaudot ? I think, they have published it
under the care of Michel Garcin-Marrou or Daniel Bourgue.
=
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PRO
Thanks for the very informing news, but I might point out,
that cork get into place easier. Wrap the cork piece (uncut)
within a thin towel & use a plastic hammer to hammer it oval
carefully. It should slide into the horseshoe easily. Use a
thin flat instrumement (cabbaqge, dont fool me about this
Hello Rachel, Osmun would have them probably. - For those
not much familiar how to change the "corks" (made of cork or
neopren), you could find pictures on my Web
www.pizka.de/Change-Corks.htm - description of necessary
tools, tricks etc.
Cork is easier to handle & easier to cut when in place, but
Rachel, Rachel,
<>
Why did you play this gig on two borrowed instruments &
borrowed mouthpieces, - as a responsible player I would
have my mouthpiece with me at least. At an important gig
Does not look responsible enough ???
<>
Well, I explained allready, how to manage this problem,
Hello Steve, wouldn´t it be better to ask your teacher to
assign you to another piece than Mozarts D-major concerto or
many other short pieces first ??? The D-major concerto is
not that easy as many teachers might think. Explore the
short pieces by Eichborn or other songs first to stabilize
the pla
Lawrence, does it matter much at the amateur orchestra, to
play these 8 measures on the wagnertuba instead of the horn
Isn´t that a bit too much ambition similar to the
ambition of an amateur orchestra playing Bruckner no.8. This
kind of experiments should be prohibited for amateur groups,
as
Dear Rachel, therre is just one single spot in the no.8
Bruckner symphony where the quick change, the two measures
(117/118) rest for the 1st Bb-tuba to change to the horn
no.5 fot just 8 measures. All the other changes are very
easy & within 13 measures rests or more. Movement 2 has just
horns, w
Hello Rachel, I will get back to your letter in details,
but have to correct you strongly this time:
THERE IS NO WAGNER TUBA IN THE RIDES OF THE VALKYRIES,
sorry. Third act of Valkyre or Walkuere has no Wagnertubas,
as they are employed in the acts 1 & 2 only, where horn 5 to
8 have a complete ta
Does it matter really when using a "spray" horn ??
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of [EMAIL PROTECTED]
Sent: Saturday, June 24, 2006 2:10 AM
To: [EMAIL PROTECTED]; horn@music.memphis.edu
S
Rachel, you said some very true things, but I do not get the
horn & wagnertuba story. Why did you use completely
different mouthpieces for the two instruments ? If the rim
is "about" the same & just the cup different, why should it
ruin the embouchure ? If using two different (size) rims,
well, it
Hello, permanent rhingitis is a real problem for a wind
player or everyone. Get this cured by an allergologist as
soon as possible, as it will ruin all your practising effort
if not cured.
Sticking with a piece of music for a long time to perfect it
has a very common reason:
One is not ready for t
When Mahler asked that, he had just single horns in F or Bb
in the orchestras not the modern double horns with much more
resounding mass.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of John Mason
Sent: Thursday, June 22, 2006 6:02 AM
To: horn@music.memph
Did your conductor have a phone conference with Gustav ? Why
dont the VPO not use "as many horns as possible on stage"
? These stick weaving idiots ! Well, admitted, there
are few good ones left, often to good as persons also, so
not to make a career.
===
Steve, this is a bad example. For me everything is just out
of tune, some notes too sharp others too low. It does not
sound as a group from VPO. Well, but this is a very old
recording.
=
-Original Message
Thank you, Anthony, for the CD. I just listened to it,
following the first horn part. You are right absolutely. The
high b-natural (written upbeat c2 for E-horn) is one octave
higher. It can be heard clearly, and it is the horn & no
overtones or trumpet. It is the typical sound of the
Viennese when
e
better-I'd like to hear other stories about hornists doing
other and more difficult music.
>from: "Hans.Pizka" <[EMAIL PROTECTED]> >Nobody here
plays Brandenburg 1 or the Quoniam on a double >horn. The
sound is too heavy.
Sorry Hans,
Phil DID say: "
Hello Adrian, while I still have to listen to the recording,
I checked with the parts & found that horn 2 & horn 1 enter
here unison (up beat to the fifth measure after rehearsal
mark "Q" or the 44th measure bevor the end of the 1st mov.
Or to measure 398) with written c2 for horn in E, a synkope
o
Just an information: please inquire privately
My mouth piece is available now again silver plated or gold
plated (just a limited number). Also two of my double horns
are ready for shipment. Have tested them in actual
performances the last two weeks.
The two discovered pieces for two horns in E &
Rachel, you generalize too much & even you have played a lot
your aspect is different to the real pro. Pro means full
time professional, full season (not just several months a
year. Pro means, making a living by music making as main
income.
Playing all kind of music on just one instrument is
poss
Sorry, Adrian, it reads: "Quoniam tu solus sanctus
altissimus Deus ", which has been abused by a certain
trumpet player from Dresden to read the music in D alto,
regardless the musical content. You forgot the letter "c" in
"sanctus".
That´s the Beethoven Sonata !
===
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of [EMAIL PROTECTED]
Sent: Monday, June 19, 2006 7:19 PM
To: horn@music.memphis.edu
Subject: [Hornlist] Re: Just an odd observation
You didn't
-they
were about 6 feet to the right of the 4th horn.
from: "Hans.Pizka" <[EMAIL PROTECTED]>
>it is INSANE to have the timpani in the back of the horns
Despite all attempts to convince the director, we are unable
to change this in one group I play in. They have the horns
poin
the musicianship of
the orchestra, but he does not understand the unique
problems of hornists - of course, he is not alone, so we
need to be somewhat forceful in pointing out the realities.
Fred
On 6/19/06, Hans.Pizka <[EMAIL PROTECTED]> wrote:
>
> Exactly, that is the feeling, but most stic
Exactly, that is the feeling, but most stick weavers cannot
understand it. Or they do not want to understand it.
=
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PRO
This horn looks excellent. It seems to be from
Marcel-Auguste Raoux (died 1871), thus around 140-150 years
old & is in fantastic condition, worth more than 5.000
anyway. And equipped completely. If I were much younger, I
would buy it to play it. Just spending the money to have it
laying around, not
Kleiber would never have done any such alterations nor would
the philharmonic hornplayers have done it. I probably knew
Carlos Kleiber better than any other horn player, having
(just) played Rosenkavalier over 90times under his baton,
plus many Othellos, Madame Buterfly, La Boheme, Fledermaus,
Woyz
Sorry, Chris, this would never sound impressive for the
audience, as it would be missed or near missed manytimes.
The impression would be just for horn players, but it would
cost the horn player in question a lot of nerves. The story
was with Schantl, but not in a rehearsal (that´s a myth
only)), j
that register.
Klaus Smedegaard Bjerre
--- "Hans.Pizka" <[EMAIL PROTECTED]> wrote:
> I own a wonderful TV recording of Bruckner no.4 with
Roland Berger
> playing first & Rafael Kubelik conducting.
>
> Does anybody know the "Urfassung" ? We just play
I own a wonderful TV recording of Bruckner no.4 with Roland
Berger playing first & Rafael Kubelik conducting.
Does anybody know the "Urfassung" ? We just played it
severaltimes & will do it on our European tour late
September & early October. First horn is very busy. The
symphony is completely dif
Once again I repeat here: it is INSANE to have the timpani
in the back of the horns, as the timpani sound will tilt the
horns sound. You can blow & blow & blow, but nothing is to
be heard except if the timpani have rests. The same happen
for both sides, if the trombones sit in the back of the
horns
Sorry, Matthew, the original questioner said, he practised
the Trio from Brandenburg 1 & the Quoniam & felt
difficulties. The two pieces will never be put on a program
together except by some insane concert planner. Missa in
B-minor is too long allready. And, just for the Missa: one
does not sit al
The Schumann is high, really high, but has a lot in the
middle range where one can regain strength. Extreme is just
the prelast page, where the first horn goes up to d3 & e3
(2nd half of the page). But here is it best, to play a lot
on the F-side to have the "turbo gear" (tumb valve) to swith
the h
Nobody here plays Brandenburg 1 or the Quoniam on a double
horn. The sound is too heavy. Yes, you can practice & play
the Quoniam on a single F, if you know how to play LIGHT. It
is not a "Tooo-teee-taaa-t-to"-"blast". It is just a
bit ornamentation, filigran. So is the Brandenburg Concert
What is a "metrognome" ? Is it a dwarf in the metro ? I know
only "METRONOME".
But it is a nice, very nice typo.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of
Horns should not point verse the audience and first horn
should sit left from the second & third left from fourth.
Using your terminology a & b it should be like:
conductor
-1b1a2a2b--
-3b3a4a4b--
It will enable the core quartet to hear each oth
Hello friends, when did you both approach Hermann Baumann ?
You should consider that he was terribly ill after his
stroke some 15 years ago and he is 72 now. One should
understand, that everybody gets tired sometimes.
Hello Karon, brass contains no nickel, but special brass as
Neusilber (=alpacca, white metal) as often used for
mouthpieces and for some parts of the horn contains nickel.
Hand contact from the horn to the lip might not be the cause
of your allergy, but the lip contact with the inside of the
cup or
Hello Steve, there is an old methode to get a stuck slide
out: put a few drops of thin oil at the edge of the shanks.
Use a lighter & heat the shanks just a bit but move the
lighter so the fire cannot damage the lacquer. By the heat,
the oil crouches into the shanks & gets them lose. Get all
slides
Last time I played under his baton was Bruckner no.9 in
Madrid four days after von Karajans last concert (Bruckner
no.9, where I replaced ill Friedrich Pfeiffer of VPO in the
Musikverein Saal, April 23rd 1989 11:00 AM), had Madame
Buterfly the same evening in Munich, flew to Budapest next
morning
Sorry, was not VPO but VSO (Vienna Symphony). As far as I
know, Woess did not conduct Vienna Phil. But he was good for
Viennese music, Wagner, Bruckner, Beethoven. He himself
began as 2nd violin. Thee is another story of him, when he
was in Tokyo as MD of the NHK symphony (Radio Symphony). He
had s
Hello Rachel, quite nice stories, but as these happen in
orchestras, I would question their professionality or regard
them as immature youth perhaps. Things like that are not to
happen in the top orchestras, sorry.
But we frequently make the conductors laugh, when they give
the downbeat at the beg
No, this is not the method. It should better read "Adjust to
your environment !" , as Josef Schantl told the young Karl
Stiegler, then solohorn in Wiesbaden: "Think allways about
the room & its acoustic, where you are playing !".
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL P
Hornplayers & other musicians tend to develop a certain
habit & get fixed on that. What has that to do with the
slides ? Yes, it has to do with this, as hornplayers get
used to their lipping up or down according to their first
instrument & when they have not developed the right skill
either to hit
By pulling the tuning slide out a bit as soon as you need
the mute to be put in. A modern (cone) mute should have an
adjustment screw to move the inner part up or down. There is
another way: just pull the cone mute out a bit while playing
& hold it. Gives you the same mute character, tone
productio
I possess a letter by Josef Schantl, written to the young
Karl Stiegler, when he was at his very first big engagement,
at the royal state theatre in Wiesbaden:
"Allways consider WHAT you are playing & WHERE, adjust
volume, tonquality (he meant density, carrying power, color)
to the composition AND
There is also the "acquired perfect pitch", means the "a" is
fix stored in the memory. There is a lot of education
involved.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of James Wester
Sent: Thursday, May 25, 2006 2:24 PM
To: horn@music.memphis.edu
Subje
When I was a student in Vienna, i rehearsed the Tschaikovsky
piano concert with the horn entrance in E-flat. But I got
ill & had to stay in hospital suddenly after the dress
rehearsal. So the called a replacement for me, who started
the piece in F instead of E-flat.
Or, we had an extra player to r
I'm pretty sure I know who
"Mozardus" is, but who is the rogator Romanus?
Emory Waters
-Original Message-
From: Hans.Pizka <[EMAIL PROTECTED]>
To: 'The Horn List'
Sent: Mon, 22 May 2006 21:51:17 +0200
Subject: [Hornlist] Who knows this poem
Omnis tu
Mastersinger Ouverture & Thriumph March from Aida
(transposed off course) match very well together as proved
by the late Giuseppe Patane (conductor & pianist) who played
that for us on the piano many years ago.
===
Omnis tulit punctum Punto, cui Musa bohemia
Ut plausit vivo, sic moriente gemit
Muta rogatoris romani puncta minora
Mozardi punctis. Hicse rogatur honor
Please, Paul, let the others answer. I know, you know it.
___
post: horn@music.memphis.edu
unsubscr
The great artist (theatre) Angelo Neumann (1838-1910) wrote
in his memories: " When Wagner conducted Beethovens
´Eroica´ in Vienna, horn virtuoso Levy committed a clam
during the delicate Scherzo, As the humorist (writer)
Mauthner, sitting in the first row, started laughing because
of the
Two of my nice double horns are ready for shipment. Both
silver & gold plated as usual. If you are interested
seriously, write me off the list please.
There is a possibility also, to make two Viennese
Pumpenhorns with the valve pistons made of titanium (means
ever lasting), special light & fast ac
We once had a prior famous Italian/Argentinian guest maestro
for a Verdi opera performance at the Munich National
Theatre. He was very poor until the intermission & being
boooed at the end. So he sneeked into the pit before dark
for the econd act, jumped up when lights were turned off. So
the audie
It is done in the German language, so I have to apologize as
I adopted it mistakingly too often in my English letters.
H.Pizka
=
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL P
What will you do, if you have a conductor in front, who
knows everything about a certain big piece and leads the
piece following every flydropping in the score like it were
the "Holy Evangelium", but has not 1/1000th percent of
charisma & taste ? Who is a fleshless, temperamentless
superbly studied
Hello Rachel, this is really important, but more, it is
important to know that playing in pitch is a "floating
task". Why ? Our brass instruments, also the woodwinds are
not tuned in a "metric" system but an "acoustical" system
where the halfsteps are not equal. So we have to listen with
whom we a
Find a clean point for the (tongue) attack. Attack with a
rather pointed tongue. Play with a saliva-clean tongue. Do
not stretch the tongue forward between the front teeth when
attacking. Think different when attacking: not as hammering
the notes out with the tongue, but releasing them (valve
syste
Chord in the staff, a full score, whatever. Needs a lot of
experience, off course, score-reading experience. Does not
work with most contemp works.
-Original Message-
From: [E
An accent on every note !
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of Mark Syslo
Sent: Friday, May 19, 2006 8:32 PM
To: horn@music.memphis.edu
Subject: [Hornlist] accentare ogni nota?
Charles Chaynes 15 Etudes for horn
#VIII
accentare ogni nota
What
I instantly hear the sound, the complete sound.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of [EMAIL PROTECTED]
Sent: Friday, May 19, 2006 8:31 PM
To: horn@music.memphis.edu
Subject: Re: [Hornlist] Re: Ear Training
Hans,
When you see the note, are yo
Hello Klaus & others,
Thanks for transmitting the pdf file of that piece. I tried
hard to understand the horn part & how it would make sense
to play it with hand horn, as a valved horn did not exist
that time, well, there was an exception: the invention by
Dickhuth with the easy extendable tuning
You have no time to do this during a performance. The best
way to get along with this:
Try out a horn, correct things if slide adjusting will do
it. Remember the other sharp or flat notes (should remain
equal sharp or flat at the step created by the valve(s) - as
just the whole horn is shifted down
Yes, Kendall, I second your opinion. Here in Germany, they
had a new survey about schools & school results. They were
katastrophic. They rank last in Europe & were first just one
generation ago. And the politicians are the same low level &
rather demagogues than deputies of the people. Well, they
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