Steve, you seem to imply that the fault of that trombone-like sound is
of the cut bells. But I could make many examples of players using cut-
bell horns, whose sound nobody would dare to criticize in that way.
By the way, in your original post (which I have not conserved) you
also seemed to imply a sort of statistical proof that cut-bell is bad
("of all the horns I've owned..." or something like that). However,
that could be meaningful only if you was speaking of hundreds of horns
of all types, provided you made some seriously devised tests...
All the best,
Daniel Canarutto
dedicated amateur & lifelong learner
On 13Apr 2011, at 20:35 , Steven Mumford wrote:
>
>
> A careful reader might wonder if Hans might be arguing out of
> both sides of his keyboard at the same time. So is there minimal or
> no effect from the screwbell ring, or does it "prevent it from
> blaring". Why would one bother adding a kranz if THE ENCLOSING
> METAL CHANNEL has no effect?
> The point is well taken that the great artist makes the sound.
> But my position is that a great artist can make a really good horn
> sound better than a dead horn, otherwise why shouldn't we all just
> play Chinese horns? They all have screw bells. Some horns have a
> beautiful natural resonance that makes it easy to penetrate in a
> richly satisfying way to the last seat in the back of the hall, even
> at a pianissimo dynamic with the rest of the orchestra playing. I
> wouldn't change a thing to a horn like that. The thing is, that
> kind of sound has mostly disappeared, even from the top professional
> world. I went to a concert of a VERY good orchestra last year and
> several times as I was looking down I thought, "oh the trombone
> section sounds good". Ooops. But that's why people aren't bothered
> if you make their horn dead as a doornail. That's the prevailing
> aesthetic these days.
> Yes, changes in sound, response, pitch etc. can be made from the
> outside of the horn, not even having to tamper with the air column.
>
> - Steve Mumford
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