Ken, you made a great post. Thanks. We need to keep
our audience in mind, and also keep in mind the
sensitivity of the playing situation when determining
how important details like stopping vs. muting vs.
normal hand position could be.
Our church orchestra rehearses without the choir and
without the organ, guitars and percussion; decisions
are made in rehearsal regarding fine-tuning the
orchestra's performance-- maybe one horn rather than
two should play a unison line. Then, when we get in
the service with the choir, the organ and guitars
going forte, it doesn't matter how many horns are
playing or how loud they are.
This is the special relativity of music.
Larry
----------------------------------------------------------------------
>
> message: 1
> date: Thu, 23 Aug 2007 11:09:51 -0400
> from: <[EMAIL PROTECTED]>
> subject: RE: [Hornlist] Stopped horn, found
> everywhere in Broadway
>
> I like to say that Andrew Lloyd Weber paid for my
> house (having spent 3
> years as principal horn touring with he and his
> wife) - and I can honestly
> say that the majority of times Pit conductors are
> keyboardists - NOT
> conductors. They typically do not know if you're
> playing stopped or not -
> OR, the pit is SO loud the stopped horn can not be
> heard.
> Lastly, the sound engineer usually places the pit
> orchestra at such a lower
> volume level than the singers that they sound as if
> they're being 'phoned
> in'. I once took off a show to watch our production
> - it was really
> depressing! All of our hard work in the pit was
> basically lost in the mix,
> or was obliterated by the volume levels of the
> singers.
> So... don't worry so much about the stopped playing
> in Broadway shows. The
> only exception I would add to this is if it is a
> matter of caring how your
> colleagues around you want it to sound. I would
> also say that you always
> want to play your best at ALL times, and sometimes
> that might mean making a
> change to the parts....
> Sincerely
> Ken (off the road) Pope
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