When I was acquiring my horns in the early 1970's, there were relatively
few Geyer wrap horns around. Geyer had recently retired, Yamaha was just
starting to enter the American marketplace and Steve Lewis was a
beginning apprentice at Schilke. The dominant horns in the midwest
marketplace were
With the recent activity on the list, I'm a little scared to post but here
goes...
Hornists,
Will some of you please discuss your rationale for fingerings in
the Low C#- F register? I know there are no absolutes, but I was taught to
primarily use B-flat fingerings in that
I've used the Dufransne warm up routine, so this may not be the same as the
method you are asking about. Anyway, I *loved* it [past tense emphasized].
By the time I was done with the whole 45 minute thing, my lips were like
rubber bands, so flexible I could play any note do anything with
--- G [EMAIL PROTECTED] wrote:
Hi,
I would like to hear (read) some opinions regarding a few method books:
Singer
Dufrasne
Schantl
I already know what I think of them. I'm curious what others think.
Gary
_Joseph Schantl-_
I utilize the Grand Theoretical and
Will some of you please discuss your rationale for fingerings in
the Low C#- F register?
In terms of scales, in my opinion students should practice in three ways
1. Everything on the F side
2. Everything on the Bb side except for notes that can't be reached on
the Bb side
3.
Hi Gary,
I don't know much about the Singer and Schantl books, but I do use the
Dufrasne book every day. I have found that it is quite effective in
promoting a relaxed/flexible lip and the right speed of air. The only fault
that I have found with it is that it does not have any articulation
Prior to orchestra rehearsal today, I was approached by a conducting
student with a question in regards to a particular notation in the
Ravel orchestration of /Pictures at an Exhibition/:
In the first movement, meaning Gnomus, there is an indication in
the second horn part of hauteur réelle above
Jonathan, don't you think for a sixth grader, that's asking too much? I
know my son's teacher wanted him to learn a single fingering for every note
on the horn to avoid confusion. Once the repertoire started to get more
difficult, he began to introduce different fingers for particular passages
Googling the french phrase cited, came across this hit:
http://books.google.com/books?id=jYTiK1bwjqICpg=RA1-PA76lpg=RA1-PA76dq=ha
uteur+r%C3%A9elle+musicsource=webots=d7gpzc6l8Vsig=Q_ExHKSQqcgPeVFxX8D8Wl
VtRfs
Within this page, hauteur reelle is translated as the actual pitch.
Fred
This is meant more in answer to Jonathan and the methodology he advocates
rather than to the original question, but as I happen to be thinking about
this right now, thought I'd throw this out there...
Some years ago, I fell in love with a recording of the Brahms 'German
Requiem' by John Gardiner
On 25/09/2007, Steve Freides [EMAIL PROTECTED] wrote:
Jonathan, don't you think for a sixth grader, that's asking too much?
No I don't. Of course, 6th graders wouldn't be expected to practice
all the more obscure scales, but if they have a double horn, then I
think that it is reasonable that
I use whichever fingering sounds best, in keeping with
the demands of the music. I'm playing fourth on 1812,
and it's all B side, baby.
The opposite is true as well...there are times when I
use the F side in the treble staff. If it sounds
better, then that is what I do. Like Mr Baucom said,
Are there any Rauch Model 1 owners out there who have some insight as
to the differences between Rauch's standard model 1 pipe and his
model G pipe with regard to the effects on playing and sound, and
also technical knowledge? Thank you!
Aleks Ozolins
Aleks,
Some information taken from some supplemental information supplied by
Daniel Rauch.
R1 Mouthpipe - This mouthpipe has been the standard model on the Rauch
horn from the beginning. It's features include a well-centered tone
with good projection characteristics. A reasonable amount
Extremely helpful. Thank you!
Aleks Ozolins
On Sep 25, 2007, at 11:37 PM, Rick Nadeau wrote:
Aleks,
Some information taken from some supplemental information supplied
by Daniel Rauch.
R1 Mouthpipe - This mouthpipe has been the standard model on the
Rauch horn from the beginning. It's
True, BERP's used to be made of metal. The new ones are now made of
plastic that can be clamped to one's leadpipe. I have one of the old
ones, which I prefer much better. In fact, I don't like the new model
at all.
Instead of the BERP, I recommend getting a 'buzzing aid' made for horn
at:
YES!
I had one of the older metal BERPs, but lost it
somewhere. I bought one of the clamp-on ones (I call
it a Borg Implant), and I don't like it. Thanks for
the tip!
Gary
--- Eldon Matlick [EMAIL PROTECTED] wrote:
True, BERP's used to be made of metal. The new ones
are now made of
plastic
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