My understanding is that a StroboConn is a type of
Tuner. Maybe I was wrong? 

We used a StroboConn extensively in our wind classes
in college. Donald MacCourt (Bassoon of New York Wind
Quintet, forever) had one and really believed in its
use. Don always explained it was a tuner.

 With the premise that if someone takes on the Art of
playing the horn, they understand the basic
fundamentals of a "characteristic horn expression"
then the focus should always be music and making
music.
 With that premise, all this talk about tone/sound is
very well and good, but making music and striving for
expression is much more important.  
 If one does not have these basic fundamentals at
heart, then one could play any instrument and it would
not matter, or play any music on the horn, with what
ever tone they want, and it WOULD NOT BE HORN music.
If I am not explaining that properly, its late and
figure it out.
 Furthermore, one has to evolve their horn playing
(and sound) through the proper pacing of learning
repertoire. You are not ready to play Strauss 1 until
you can grasp (sound, style, pacing) a bit of Mozart.
Same goes for orchestral music. Developing the heroic
horn ability (and sound) does not come from studying
hard and practicing over and over again. If you try to
fast track it, you are just performing a type of 
mental masturbation.

On the Subject of sound.....
I have heard a big name American orchestra play
Gershwin. The horn section sounded like trombones, not
horns. The music was not represented properly, and the
performance suffered greatly. They might as well had
been playing Trombone, because they did not care to
blend with the winds or create the proper overtones to
help color the strings. They sounded like they were
tuning with a piano and they built chords like a
computer. The trumpet may set the intonation of a
orchestra, but the horns are the soul....

Matthew Scheffelman


 
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