Begin forwarded message:
From: [EMAIL PROTECTED] Date: Sat Oct 4, 2003 7:27:01 AM America/Chicago To: [EMAIL PROTECTED] Subject: Re: [Hornlist] Yamaha horns
This mail is probably spam. The original message has been attached
along with this report, so you can recognize or block similar unwanted
mail in future. See http://spamassassin.org/tag/ for more details.
Content analysis details: (5.30 points, 5 required)
NO_REAL_NAME (1.0 points) From: does not include a real name
EMAIL_ATTRIBUTION (-0.5 points) BODY: Contains what looks like an email attribution
PENIS_ENLARGE (2.8 points) BODY: Information on getting a larger penis or breasts
HTML_FONT_FACE_ODD (0.1 points) BODY: HTML font face is not a commonly used face
HTML_TAG_BALANCE_BODY (0.4 points) BODY: HTML has unbalanced "body" tags
HTML_MESSAGE (0.1 points) BODY: HTML included in message
HTML_00_10 (1.4 points) BODY: Message is 0% to 10% HTML
HTML_FONT_COLOR_UNSAFE (0.1 points) BODY: HTML font color not within safe 6x6x6 palette
HTML_FONT_COLOR_BLUE (0.1 points) BODY: HTML font color is blue
QUOTED_EMAIL_TEXT (-0.5 points) BODY: Contains what looks like a quoted email text
MIME_LONG_LINE_QP (0.3 points) RAW: Quoted-printable line longer than 76 characters
The original message did not contain plain text, and may be unsafe to open with some email clients; in particular, it may contain a virus, or confirm that your address can receive spam. If you wish to view it, it may be safer to save it to a file and open it with an editor.
From: [EMAIL PROTECTED] Date: Sat Oct 4, 2003 7:27:01 AM America/Chicago To: [EMAIL PROTECTED] Subject: Re: [Hornlist] Yamaha horns
In a message dated 10/3/2003 5:32:29 PM Pacific Standard Time, [EMAIL PROTECTED] writes:
I agree- with robob.� I think it is very possible to be more versatile on a geyer yellowbrass small belled horn.� All you have to do is blow to be big- I'm actually trying to prove this to my horn teacher who has been an 8d lawson player for years.� When it comes to bigness on a horn you either got it or you don't there is no middle ground on whatever instrument you play.� I do believe certain things are easier on seperate horns though and this is what Bill is getting at.� Paxman is well for high and soft while the kruspe wrap is a monster orchestral horn.� Isn't it true we try to do things that come unnatural to our respective horns?� Geyers always want to be bigger and Kruspe's always want to be softer- pretty big generalization so take it with a grain of salt.
Once, when I was in Oakland, at Best Music, I had an opportunity to play a single Bb horn, and my son commented that as a listener, he thought the horn was both nimble and lyrical at the same time (He was and is, a superb brass player, he plays them all at a professional level, except French horn.� He says "that's what French horn players are for").� Since they were only asking $210 for it, I bought it to fool around with.� It needed some work done, so I walked it over to Dick Ackrights shop.� He gave me such a deal on an Atkinson pipe he had, I couldn't resist.� Someday, maybe, I'll find out what model.� When I played the modified horn, it had a much bigger sound than I remembered, and I had Dick change it back.� Since the pipe was all bent with its own tuning slide receiver, I taped it onto the horn so I could compare them the two by shifting the tuning slide.� This gave me an arsenal of three different horns.� With the Atkinson pipe on, I found the little sucker had plenty of power to play in the San Jose Wind Symphony.� I don't think anyone noticed I was playing a single horn, there were certainly no disparaging comments.� I was playing third part, the principal played an Alex 103, and the second horn had a really nice Elkhart 6D, silver, if I recall correctly.� I had been playing the Reynolds heavy bell.� Either of my horns fit in, but completely differently.� It had never occurred to me that my change would influence the whole section.� The nature of the pieces being played dictated which horn worked better.� Either horn was acceptable on any given piece.� I never changed horns between pieces, but I would use both horns at reading sessions, then decide which horn matched best to the concert.� I wouldn't advocate telling your fellow players that you are now in control of the section.� It is far more subtle than that.� You become more conscious of the group sound, and your own role in making it.� Once you become aware of individual contributions, you realize there are small things you can do to influence the section.� There is a means of communication.� This is old hat to anyone who plays improvisation.� I'm just trying to find a way to introduce the concept to those who still play strictly to the beat, but I'm getting off the subject.
The point is, the instrument you play has a real part in defining the end product, by having two choices, you can stack the deck a little.� It really adds to the enjoyment, and takes your personal sophistication up a notch just by adding to your awareness.
_______________________________________________ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
