The embouchure, which is the cooperative mechanism of a ring muscle (you have
two of those, one at the upper front end of the digesting apparatus the other
at the rear end) in the face (front end) with the controlling nerve system
the commanding centre in the brain, also the teeth as firm
No, not understood. You gave me way too many mechanical/scientific details and
an ego I'd like to smack. I've gotten a new teacher this year and she is
having me change my embouchure complete, so I have been experimenting and
trying to figure out many different things in my practicing. I'd
I've gotten a new teacher this year and she is having me change my
embouchure complete, so I have been experimenting and trying to
figure out many different things in my practicing. I'd also like
to believe after 6 years of college, I'm not that stupid.
Mara,
I wonder whether we have a
They sell pull throughs on the Paxman website. Mine is very very good, but I
had a bit of a shock the first time I used mine with all the gunk that came
out! I use mine regularly, and have no problems.
From: Loren Mayhew [EMAIL PROTECTED]
Reply-To: [EMAIL PROTECTED], The Horn List
Mara Cushion wrote:
When people say, If you can play low, you can play high or
whatever, what is meant by that? What physical part of
playing enables one to play well in such ranges?
If you'll permit a response from a novice player, the main physical part of
playing is the mastery of
If you as a student would dare to say such to me inside my studio, I
would kick you out physically (just because of the age difference; do
you have any idea with whom you are speaking ? I doubt that. So I
explain it to you: 64 years of age, playing at principle chair at a
world major opera house,
Well Milton is finally gonna chime in with his two cents worth.
Many, and I do mean many, years ago the New York Woodwind quintet gave a
concert at Centenary College where I was working on my music degree.
The horn player was Johnny Barrows, and at intermission he was kind
enough to speak
In a message dated 4/4/06 7:34:53 AM, [EMAIL PROTECTED] writes:
I'd also like to believe after 6 years of college, I'm not that stupid.
Hello Mara,
It is not a question of being stupid, it is a question of having enough
awareness and the correct knowledge to be able to self diagnose and
A! Now I see why they don't get along, and rightly so.
From Mara's blog:
12:32 am
I hate Mozart. He's the only reason I can read Norman Del Mar's Anatomy of
the Orchestra.
Sunday, March 12th, 2006
Regards,
Joe
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
I (adult amateur player) think the low/high benefit comes from
developing a large / strong /controlled air-flow and embouchure via the
low range. Keeping a good / forward-moving air-flow is also necessary for
high range.
Jay Kosta
Endwell NY
Hi all ,
I have been playing my double horn for about twenty years now , and I intend
to buy a new triple horn.
A) what is your ABC when you check up a new horn ?
B) Are there any shops in Germany where a wide range of instruments, from
several firms , can be found?
thanks ,
Alon
Updates to hornplayer.net since 26th March 2006:
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Conn
How can a person like Mara put most private thoughts feelings public
by putting them in her blog on the web ??? It might reveal a paranoic
desire to build up a often met unsound EGO.
Insulting public figures severely, giving names to public figures openly
(so everybody can read it - and the
Mastery of the low range does not necessarily mean
that the upper range will work well. What playing
well in the extreme low range and playing well in the
extreme high range have in common is mastery and
control of the embouchure with good air support.
While a low C will not need the strength
Can anyone recommend a good recording of the Hary
Janos Suite?
thanks,
Scottye Hall-Rackley
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Obviously, you'll want to find that old Hungarian George Szell and his
Cleveland Orchestra recording of the Hary Janos Suite. Which should still be
available on a CBS/Sony budget CD with Pictures at an Exhibition and The Lt.
Kije
Suite. That's three great recordings for not a lot of money.
If you think that your lower register could benefit from some attention,
try playing through the Kopprasch Book 1 etudes transposed 1 octave
down; try particularly (as up-to-speed as possible) #14, 17, 18, and 24
- it is like trying to run in deep mud. Really, any familiar tunes
played low
Who is Jim Gray, why is he reading my blog and why does he care so much as to
search for it?
~Mara
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