Hi gang.
I'm seeking recommendations from those of you who do
private horn teaching or are familiar with many of the
different editions available of the mozart horn
concerts.
Back when I was in high school (living in a town of
500...no stoplights...more cows than people) I
considered myself lucky
For what its worth, I've used a Schmid for five years
now and nothing has ever broken on it. Then again, min
is not very old, as it was manufactured in 2000.
Scott
--- [EMAIL PROTECTED] wrote:
> For the third time in 6 weeks, a stop arm has broken
> on my Schmid. I've got
> one extra replacemen
You are incorrect, sir. Perhaps your mistake stems
from the fact that you do not play with professional
trumpet players. The first harmonic (fundamental) of
the 4.5 foot Bb trumpet (one octave about the
fundamental of the Bb horn) exists and is easily
playable by a professional. I am surprised that
Trumpets will play the pedal tone! It takes quite a
good player to keep them from "sagging" far below
pitch, but believe me, trumpets will play the pedal
tones!!
Scott
--- Ray & Sonja Crenshaw <[EMAIL PROTECTED]>
wrote:
> > That is the reason the fundamental on the F Horn
> doesn't speak
> > as
I definitely agree with this - I start my students on
transposition quite early. I start E-flat near the end
of the first year of lesson study. A method which
works well for me (with my very young students) is to
assign well-known folk or national melodies in various
keys other than F. This way, a
7;t matter which) to:
Scott A. Pappal
221 Willow Avenue
Altoona PA 16601
I send music out very quickly - usually the same day I
receive payment, or at the very latest, the next
business day.
Any questions, contact me by e-mail or by phone at:
(814) 942 8503
Thank you for your interest!
Scott Pappal
To those who were/are interested, I do still offer
"Sketches on Three Sacred Melodies" for horn and
piano. I have completed some further arrangements
(some for horn choir, some for solo horn w/piano)
which will be forthcoming over Christmas.
Scott Pappal
P.S. Thanks for the very kind
Gounod's "Six Melodies" for horn and piano does, as
the name implies, have a piano accompaniment. When I
initially purchased my copy of this music, I got it
from McCoy's horn library. The piece makes decent
19th-century "salon" or "parlor" music. Hope this
helps. I'll occasionally assign the piece
Cabbage:
(I though this might be of general interest)
How does the flared tubing of the horn affect its
pitch? Why would two different leadpipe or bell tapers
affect the flatness or sharpness of a horn even if
their lengths are the same? I realize that to answer
this question may require the calcu
All:
Has anyone on the list performed Michael Haydn's
Concertino for Horn and Alto Trombone? If so, do you
have any recommendations for good, representative CD
recordings? My younger brother is in his final year of
study as a trombone major, and is putting together his
final recital. Any recommend
Hey E. Schmid drivers out there:
Anybody (rich people maybe) play/own both a Schmid
triple and double? Any thoughts on comparing the two,
e.g. resistance/response both low and high, valve
speed, sound weight/timbre, etc. You can e-mail to me
privately if you don't feel this is of general
interest
Uhh...OK, I gotta' ask. What the hell is this? (and
that's putting it diplomatically) I've seen and played
most every key/layout/bore/material, and this might
beat even the crazy Prager horns. Can't wait for
Mansur's answer to this...
Scott
--- Alan Cole <[EMAIL PROTECTED]> wrote:
> Nice looking
Samantha:
OK, here are some good mouthpiece (IMHO)
recommendations which are cheap which have worked well
in my horn studio:
Holton/Farkas MC, MDC, or DC. (M stands for medium, D
for deep, c for cup...you do the math:) Your needs
could vary depending on your personnal setup.
Schilke 31C2 (bigger
row it from me.
Hope this helps. As you can see, I have to cram every
ounce of learning I can into the time I have with my
kids, but if you really push them, they'll respond. If
you have any questions, I'd be happy to share other
ideas beyond these few basics. E-mail me at
[EMAIL PROTECTE
Written "A" (horn in F) played on Thumb Valve alone
tends to be quite flat. Reason? Simple: its position
in the overtone series as 5th (a1) and 10th (a2)
harmonics. Most good horn players don't play a1 with
anything other than T12 as their primary fingering,
although many horn players have an alter
Question to those on the list who are 12 hours or less
from Pennsylvania in the US: Is there anywhere nearby
to try out a decent number of double descant horns? I
just had an old friend call and ask, but please reply
to me or to the list if you feel this is of general
interest. I know of Baltmimore
All:
Regarding the confusion on the Schumann Konzerstucke,
there is an e3 at the end of the first movement for
the first horn. I've used Breitkopf, Kalmus, and the
new Thompson Performing Edition, and all have this
high e3 in the recap. of movement one. The secondary
theme ascends to b2 (horn 1) i
Jon:
Since this may be of general interest I'll respond to
the list. PHC 20 is quite a shallow mouthpiece. I've
used PHC mouthpieces for five years now on my E.
Schmid. My normal setup is a 23A cup (4.7 MM bore with
medium deep cup) with an AN rim (17.5 inner diameter).
I like thinner rims - in fa
gs. I
often try tricky passages with three or four alternate
fingering systems while practicing, just to be
prepared and to find what I like best.
Good Day to You Sir,
Scott in Altoona
--- Klaus Bjerre <[EMAIL PROTECTED]> wrote:
> From: Scott Pappal <[EMAIL PROTECTED]>
>
> K
Bjerre <[EMAIL PROTECTED]> wrote:
> From: Scott Pappal <[EMAIL PROTECTED]>
> Subject: [Hornlist] Triple/Descant Usage
>
> Der Perfesser:
>
> You mentioned that Phil Myer's method of combining
> the
> three sides of his horn is not easily under
Der Perfesser:
You mentioned that Phil Myer's method of combining the
three sides of his horn is not easily understood or
categorized. I've been to several Phil Myer's
masterclasses (he usually comes yearly to
Carnegie-Mellon U. in Pittsburgh) and have never been
able to find much rhyme or reason
Hans (and list):
Apologies for the delay, as I have been out of town
the past several weeks. Professor Pizka, I do not
believe I compared my own reduction with the Leloir or
Musica Rara editions. My words were "I'd wager that my
reduction is better" - at no time did I write "I have
seen these redu
All:
As stated before, I have seen neither the Leloir (full
score or piano reduction - in fact, I was unaware of
their existence prior to being kindly informed by
Professor Pizka) nor the Musica Rara scores to the
Haydn double concerto. Certainly, my intention is not
to plagarize the work of other
ting a piano reduction? I certainly
don't wish to offend Professor Pizka or any copyright
holder, if indeed the original piece is under
copyright protection.
Peace, Scott in Altoona
--- John Kowalchuk <[EMAIL PROTECTED]> wrote:
> At 02:00 PM 8/8/04 -0700, Scott Pappal wrote:
> >
All and professor Pizka:
I appreciate the information - and since I don't want
to violate any copyright laws, I must withdraw my
offer of the piano reduction to this concerto. Thank
you for the update!
Scott in Altoona
--- Hans Pizka <[EMAIL PROTECTED]> wrote:
> Hello Scott,
>
> the piano redu
All:
Some of you may know from postings/discussion from
several months back that I'll be performing the Haydn
(attributed, but we'll call it that for the sake of
convenience) concerto for two horns this fall (with
orchestra.) My fellow soloist and I have met several
times to rehearse and make some
All:
Quick question: Is the Paxman "medium" flare size
close to the old true "French" horn flare size? (As
opposed to the wider-bore German-inspired designs.)
Just curious.
Scott
__
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New and Improved Yahoo! Mail - 100MB fre
ccording to the info I could find on
the web) Sweden, Austria and Germany. Do any of you
know of this disc, and if its possible to get here in
the U.S.? Maybe Professor Pizka could get some copies
to sell on his website, considering that he knows all
the Vienna Phil. players closely?
Thanks in
All:
Does anybody know if the Haydn concerto for two horns
has an HOB number? None of my sources list one. I may
be playing this next year with my orchestra and the
librarian needs the information.
Thank you in advance, Scott in Altoona
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John:
This is a wonderful piece with which I am familiar. I
have an original copy for seven-part male voices. I
may just have my horns read off that, transposing it
as they go.
Sincere THanks, Scott
--- J Burch <[EMAIL PROTECTED]> wrote:
> At 02:12 PM 3/6/04, Scott Pappal wrote:
>
David:
My horns always do this on the hymns which the
congregation sings (transposing from C of course), but
it hardly makes a very interesting "feature" number or
numbers. I was actually thinking something more along
the lines of Basler's "three hymn tune" settings, but
for multiple horns.
Scot
or horn quartet. I'm hoping that some of
you can offer suggestions based on your personal
performing experience - I'd much sooner take the
recommendation of a fellow lister than base my
decisions on a brief one-sentence description in a
catalogue.
Thank you in advance for your time,
One of my horn teachers, Bill Caballero (principal of
Pittsburgh Symphony) had me practice "breath" attacks
without any discernable tongueing sound. He said it
was a necessary skill for a principal horn player, and
that it would let a player appear to enter "from
nowhere." He would demonstrate thes
Actually, it's Charles Emerson Winchester III. (Sorry,
I'm a MASH nut, OK...I've gotta watch something to
unwind after concerts!
Scott Pappal
--- Paul Mansur <[EMAIL PROTECTED]> wrote:
> Uh, that would be Charles Remington Winchester, who
> was a Major, played
>
mble between orchestra and pianist. Very sensitive
sound from the orchestra. Professor Pizka, perhaps you
could tell me who these hornists are?
Thanks in advance, Scott Pappal
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Yahoo! Hotjobs: Enter the "Signing Bonus" Sweepstakes
;run-out"
and educational outreach concerts for several months
now, and they sound great. If you get a chance to go,
don't miss it.
Scott Pappal
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When playing music like this (high Haydn or Bach) with
a smaller, lighter-sounding orchestra, you should use
a double-descant or high F horn. The double's sound is
too "present." I use a screw-rim mouthpiece, and so I
change the cup to a shallower, smaller-bore size for
lighter, soft, high material
er. Anyway, I
> understand what you're saying, I just attempted to
> explain how I found an
> easier way, for me, on the B-side.
>
> If only Zamfir were here,
> Chris
>
>
> --- Scott Pappal <[EMAIL PROTECTED]> wrote:
> > Chris, again I say that you d
herous cross
> fingerings are from C# to D and C# to D#.
>
> Chris
>
>
>
> --- Scott Pappal <[EMAIL PROTECTED]> wrote:
> > Um...my point was (in the section that I mentioned
> > from Mozart 1) that the Bb horn entails many
> > cross-fingerings,
Professor and all:
I seem to recall reading in the Morley-Pegge "Horn"
book that Gumbert (?) remarked "composers of today,
like Mahler and Strauss, really require a little motor
in the horn. Therefore I retired..." (Gumbert was
writing around 1900, I believe.) Maybe this is the
right idea - isn't
27;s on the f-side.
> For me, it's much easier.
>
>
> Chris
>
>
>
> --- Scott Pappal <[EMAIL PROTECTED]> wrote:
> > This is fascinating advice, Professor. May I
> > (respectfully) ask why Strauss 1 as a test piece?
> In
> > my studio, I&
ia, Czech Rep.,
> Japan, etc.) or
> breaking at a certain point e.g. c2 (USA & related).
>
> Reason for the (Most) use of the Bb: recordings,
> safety, clarity -
> sound doesn´t seem to matter any more. But this
> should be our great
> chance with the sound.
>
>
==
Jack:
Interesting...I have the opposite problem: Those
students who come to me from "outside" (started by
other teachers or on thier own) usually use the double
as an F single, and have no idea what the trigger is
for!
Scott
--- John Dutton <[EMAIL PROTECTED]> wrote:
> First I'll agree that this
Wilbert:
Thanks for sharing. Would it be possible to obtain
back issues of this "school musician" magazine? I
haven't heard of it, but that doesn't mean anything -
is it still published or is it defunct?
Scott
--- Wilbert Kimple <[EMAIL PROTECTED]> wrote:
>
> As part of my Master's work in coll
Lawrence:
This is exactly the type of anecdote I was looking
for. Thank you for sharing! Any others out there have
similar experiences?
P.S. Occasionally, in my studio horn choir, my
students and I have "F Horn Day" where every player,
no matter what the speed or range, must not press the
trigger
m play for a panel of
ten professional horn players and teachers for an
adjudication, and see who comes out ahead. Or, we
could wait and see which group has more students reach
the professional level. Any researchers want to try
this project? I would, but I'm too busy teaching my F
horn players:)
Cord
f Osmun,
Rayburn's, or other's rountinely stock Yamaha?
(Wichita band instrument co. doesn't stock new Yamaha
either.) Any help would be appreciated.
Thanks, Scott Pappal
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The New Yahoo! Shopping - with impr
eason schedule.
Scott Pappal
--- Russ Smiley <[EMAIL PROTECTED]> wrote:
> - Original Message -
> From: "Tom Warner" <[EMAIL PROTECTED]>
> To: <[EMAIL PROTECTED]>
> Sent: Sunday, August 31, 2003 6:33 PM
> Subject: [Hornlist] Pittsburgh at the Proms
>
Donna:
First of all, 3199.00 is too much to pay for a new
Conn. Places like Baltimore Brass (in Baltimore, of
course!), Chuck Levin's (in D.C.), music123.com, and
woodwind and brasswind are charging in the
neighborhood of 2500 - 2550, give or take a hundred.
Six months ago, one of my students pur
Hans - I look forward to the publication of this CD -
ROM greatly; godspeed to you in getting the work
finished!
Scott Pappal
--- Hans Pizka <[EMAIL PROTECTED]> wrote:
> May I inform you, that my spezial page for younger
> horn players and for
> those elder who are still short (e
Dear listers:
There has been some discussion on the list lately
concerning "cutting through," "projection," and "tone
color." While it is interesting to note how conception
of tone quality varies from player to player and
school to school, the following is always true: It is
exciting to listen to
Mike:
A 19mm inner diameter is quite extreme! Who is your
teacher, may I ask? I got my undergrad and grad
degrees in Pittsburgh (at Duquesne) studying with Bill
Cabellero and Zach Smith of the PSO, so I know or have
played with most of the horn players active in your
area. Most "normal" orchestral
horns. Also,
what's the approximate pricing of the horn?
Thanks, Scott Pappal
P.S. I thought this would be of general interest.
--- Robert Osmun <[EMAIL PROTECTED]> wrote:
> Kipp-
>
> One horn to bear in mind is the Getzen Capri 561
> (http://www.osmun.com/prod/Getzen/getze
Ken:
I wasn't aware one could get 667s/668s for around
$2000. Who is offering this price right now? (I'm
Interested on behalf of my students.)
Scott Pappal
--- Kenneth Pope <[EMAIL PROTECTED]> wrote:
> As a technician/player I'd go with the Yamaha
> 667/668 or an
other trio sonatas which work well, let
us know. Thanks for your sharing of horn-related info;
much better than all the political junk going on
lately.
Thanks, Scott Pappal
--- David Goldberg <[EMAIL PROTECTED]> wrote:
> I just stumbled on another fine trio sonata that
> works well for tw
Kipp:
On that type of budget, you could take a look at:
Yamaha 567 (Should be around $1575 through NAMM)
Conn 8D, 9D, 10D, or 11D (Without the cut bell, you
could find these as low as around $2200.)
I would not advocate the cheaper horns such as Jupiter
or any of the Chinese models - they're ju
Professor Pizka:
I believe that Howard (and others) was refering
strictly to the NAMING of a chord as opposed to the
TUNING of a chord. In the chord you quote from
Goetterdaemmerung, do you call this a bb minor chord?
I certainly don't - its an e-flat minor triad, so
built from the "bottom up." Of
/makes popular now. I
always quote them when trying to convince my horn
students' moms and dads into dropping several thousand
dollars on a new horn, instead of continuing to use
the beat-up, leaky, broken-solder-joint singles from
1923 that they get from the public schools
Scott Pappa
tant double the passage
in question. With skillful use of staggered breathing,
that's always been loud enough for me (and the
conductor.)
Scott Pappal
--- Bill Gross <[EMAIL PROTECTED]> wrote:
> This discussion raises a question in my mind. Is
> the need for this extra
&g
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