I am reminded of Ken Pope's experiment where he played three different horns for a blind panel and just about no one could tell them apart.
-William -----Original Message----- From: Milton Kicklighter <[email protected]> To: The Horn List <[email protected]> Sent: Thu, May 13, 2010 11:06 am Subject: Re: [Hornlist] Non-Transposing stop mute/more like audition prep O for Gods sake!!!! Do you want to embarrass the audition committee, or God forbid the conductor!!!! :) Milton Have been on many audition committees ________________________________ From: "[email protected]" <[email protected]> To: [email protected] Sent: Wed, May 12, 2010 11:45:19 PM Subject: Re: [Hornlist] Non-Transposing stop mute/more like audition prep Thanks! You know it just occurred to me. I wonder if an experiment could be conducted where there is a set list of audition pieces, a set blind panel, and instead of using live players one uses a high fidelity recording of only two or three players to see if the audition committee can tell a difference. Or use the same player who doesn't miss notes but plays things only slightly differently or on a different horn. Psychology tells me the results might be interesting. -William -----Original Message----- From: Luke Zyla <[email protected]> To: The Horn List <[email protected]> Sent: Wed, May 12, 2010 11:10 pm Subject: Re: [Hornlist] Non-Transposing stop mute/more like audition prep I recommend that everyone visit the website of Roger Rocco. He has excellent advice regarding audition preparation and brass playing in general. I had the pleasure of observing him give a lesson to my son recently. It was a very memorable experience. http://www.rogerrocco.com/ Luke Zyla ----- Original Message ----- From: <[email protected]> To: <[email protected]> Sent: Wednesday, May 12, 2010 9:53 PM Subject: Re: [Hornlist] Non-Transposing stop mute > > Considering the following: > > * There are usually 50x as many qualified players as there are jobs, if > not more so > * Playing perfectly does not guarantee you win an audition > * And that little things like when you play, who you hear, and how you > prepare can trip you up if you're not careful > * AND that even if you do play well the order which you play and who you > are next to can have a psychological impact on the listening committee > > I don't think that this level of sarcasm is particularly funny. We play a > difficult instrument. No matter how good you are, you are never guaranteed > a job at any audition. This is reality. I've seen it happen with players > that could probably play the phone book if it was possible. > > Hans seems to think that I don't know how to prepare without even asking > how I'm preparing. > Now you're assuming I'm such a beginner that I don't know which end to > blow on? > > I'm pretty sure there are some real studies out there regarding > performance anxiety, etc. > > My post was assuming that ceterus parabus you show up well prepared to an > audition and that you don't miss. > > Also, am I odd in that I actually prepare for an audition? Am I on the > wrong planet? > > Let's face it. A lot of work has been done to make auditions as fair as > possible. But they are not and NEVER WILL BE strictly objective. There is > absolutely no way to remove all subjectivity from any audition. And, until > you can you will always have to look at aspects that can affect subjective > decisions. My point is (whether people admit it or not) that we are never > going to avoid the psychological aspects of playing or auditions - and > they DO have an effect on results. > > -William > > PS: If you were just being silly, I apologize. But it's very hard to gauge > context over the internet. > > PPS: I also apologize for any "high-school slang" - since Hans complained > about it and never once told me specifically what he was referring to. I > probably won't drop that :) > > > 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: > > > > > > > > > > > > -----Original Message----- > From: Steve Haflich <[email protected]> > To: The Horn List <[email protected]> > Sent: Wed, May 12, 2010 8:56 pm > Subject: Re: [Hornlist] Non-Transposing stop mute > > > 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. > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/valkhorn%40aol.com > > > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/lzyla%40suddenlink.net > _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/valkhorn%40aol.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/kicklighgter%40yahoo.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/valkhorn%40aol.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
