Luke Zyla <[email protected]> wrote:
I ordered a non-transposing stop mute a couple of years ago to give it a
try. (Best Brass)
I returned it for two reasons. The most important reason was that I was not
happy with the sound. It did not sound like stopped horn to me. Secondly,
I could not get used to not transposing when using the mute. Old habits die
hard. Personally, I always prefer to use hand stopping. That is the sound
that composers have in mind, with the exception of some modern composers. I
have a stop mute, but I use it very rarely.
You are forgetting the most important use of the brass stopping mute:
Suppose your horn has become mushy and you suspect a leak somewhere.
You can place a small square of plastic wrap (e.g. "Saran Wrap" in the
U.S.) over the wide end of the stopping mute, insert it tightly in the
bell, and it will form a very tight seal. Blow into the lead pipe and
you can either hear any escaping air, or else fill the horn with
cigarette smoke before inserting the mute (but _don't_ inhale) and look
for escaping smoke when forcing air into the leadpipe end.
==========
Concerning audition preparation, here is a way to keep an advantage.
Horn components can be confusing. When you arrive at a particularly
particularly stressful audition and open your case there is danger of
misidentifying all those component bells and whistles and mutes.
Beginners might want to copy the following rules onto a slip of paper
and paste it inside the horn case:
(1) The _narrow_ end of the mouthpiece should be inserted into the
_narrow_ end of the horn.
(2) When needed, the _narrow_ end of the straight mute should be
inserted into the _wide_ end of the horn.
(3) When needed, the _wide_ end of the stopping mute should be
inserted into the _wide_ end of the horn.
(4) Rule (1) is always applicable, but rules (2) and (3) are only
necessary for certain marked passages.
(5) In any case, remember rules (2) and (3) cannot be effectuated
successfully at the same time. Some composers have occasionally
missed this limitation, but you are supposed to be a professional
horn player, so you cannot be forgetful about this.
(1) (2) and (3) are the only wide/narrow combinations that work, except
for rare special effects. Reviewing these rules before being called on
stage will help get the beginner through the most stressful audition.
I'm sure all members of the VPO could rederive these rules without even
having to glance inside their cases -- but these are especially
experienced and gifted players.
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