Hehehe I like that one Hans, I'm definately going to keep that in mind. As to muting, I find that you can get so many different colors by leaving the mute partially out of the horn when you play. Also for really low passages in muting (4th horn part of the Bozza quartet for Horns) it sure does help for the sound and clarity to have the mute halfway out.
Also in rapid muting changes if you play the open notes with just enough mute to keep the pitch the same there isn't much of a difference when it's in an ensemble setting. In addition, most conductors will never notice :P -William In a message dated 12/23/2003 11:34:10 AM Pacific Standard Time, [EMAIL PROTECTED] writes: > I do neither use Ions mute nor John�s mute, so I cannot comment. > > But I might mention here, that the perfect mute does not exist, but many > good mutes. To adapt the mute to ones needs &to satisfy (?) the > conductors sound imaginations (the do have clear imaginations rarely > !!), it might be necessary to lift the mute up a bit or more, a bit out > of the tight in-bell-position. Try it &find out about the > possibilities. > > Further, if there is a two-voice stopped passage, it might be enough if > the one voice does the stopping - usually the higher voice - while the > other voice uses the cone mute. The "snaring" comes true anyway, if the > higher voice produces it. You can get a very nice result, by fooling the > conductor - professionally. _______________________________________________ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
