I have a question about Jan Koetsier's Divertimento No. 2 for wind quintet:
In the fourth movement, the horn starts with a printed F on the bottom
of the bass staff. Is this old or new notation?
Old notation is a 5th below the bassoon, sounds fine, but it seems
strange that Koetsier would
I visited Dillon music in Woodbridge, NJ yesterday. I tried out about 10
used horns 3 new Alex's. [Oh what heavenly horns those Alex's are!]
Anyway, with my small paw, I was able to play stopped horn in tune on every
horn for every note I tried except middle C. For some reason I don't
Dear All,
The Barbara York Commission/Consortium project is now up on the
Cimarron Music Press website:
http://www.cimarronmusic.com/BarbaraYork/
All of the details can be found on the site, but here is the boiled
down version:
Barbara has agreed to compose four new pieces for brass and
Jeremy,
I'd like to recommend you check out Jeff Smiley's book, The Balanced
Embouchure, for help with your embouchure frustrations. His simple little
exercises lifted me out of the range rut I was stuck in for several years.
He's a trumpet teacher whose program [called BE] has helped
That old Sansone double is the one that was parodied in the old Schmutzig
Method in which a light bulb was included in the many capabilities of
the horn. They might have added a skyhook to hold the horn up. Pete
Exline
___
post: horn@music.memphis.edu
I'm sure that Smiley's method works for many and solves high range problems.
However, not for all, especially, I think, for those with very thin lips. The
harder skin on the edge of the lips doesn't vibrate so well, and you get no
speakies.
Herb Foster
--- Valerie WELLS [EMAIL PROTECTED] wrote:
Old notation.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of Greg Campbell
Sent: Wednesday, August 22, 2007 1:46 AM
To: Horn List - Memphis
Subject: [Hornlist] music question - Koetsier
I have a question about Jan Koetsier's Divertimento No. 2
for wind
I have been playing around with a horn design based on a valve that I
thought up. The primary goal of this design is to have an constant
bore size through out the entire horn. Never having a crimp or pinch
anywhere throughout the horn. Current horn designs rotary valve
clusters are a
Most people have problems stopping middle c (= c1) by hand.
But why dont you read my posts where I explained how to do
it:
Do it with 12 on F horn mute it down. It is not as edgy
as with the stop mute but better audible. But when will you
need it ? How often ? As an amateur ? Why you amateurs,
What if you don't have access to any type of high horn. An F or
Bflat or descant or natural horn. I got asked to do it without one
once. It was a nightmare because it was right after I had spent a
year off the horn, but I did it anyway. I just wanted to play, and I
really didn't have any
Sorry, this has been done before. Ask Engelbert Schmid. His
valves are designed that way. Does it help the weak player ?
No ! Definitely no ! Does it help the top players ? Perhaps,
do get still an improvement. But those struggling with the
single notes may never feel the improvement, but they
It is definitely insane to do such. After one year hiatus
without a high horn even another still higher symphony -
which one ?
If one has no access to a high horn, one should decline
accepting such a task. It would be better for the player,
the audience the music last for Mozart.
Declining
http://www.youtube.com/watch?v=r4Zc8FoMd0U
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post: horn@music.memphis.edu
unsubscribe or set options at
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The opening horns here are amazing.
http://www.youtube.com/watch?v=oDUTTRGOJdEmode=relatedsearch=
Valerie WELLS [EMAIL PROTECTED] wrote:
Jeremy,
I'd like to recommend you check out Jeff Smiley's book, The Balanced
Embouchure, for help with your embouchure frustrations. His
I'm sure that Smiley's method works for many and solves high range
problems. However, not for all, especially, I think, for those with very
thin lips. The harder skin on the edge of the lips doesn't vibrate so well,
and you get no speakies.
Thank you for your comment, Herb. Meaning no
Try this exercises, play written G (second Line in staff) Close your hand like
a gate or door, not stuffing your hand in the bell. Students I have with small
hands I find are usually trying to get their hand too far in the bell. For me
(very large hand), I keep my regular hand position and
Robert, did you ever read my messages ? I think, you did
never. Robert, do you know that there is a difference in
technique between hand stopped and hand muted ?
Obviously you dont. I might recommend reading an old hand
horn methode or one of the earlier methodes for valve horn
where all this is
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