You definitely don't want to 'wake the dragon', that's how the short
call came to be, and Hans uses it to eliminate inferior students. It
happens quite frequently, especially in Ireland.
-Original Message-
From: [EMAIL PROTECTED]
To: horn@music.memphis.edu
Sent: Sat, 5 Aug 2006 10:39 PM
This is mostly a repeat of what I wrote a few weeks ago, but with
some additions.
Recently a few AOL subscribers have had their horn list subscriptions
disabled by excessive bounces, meaning that AOL rejected messages as
spam and returned them to our server undelivered. Our server sent
Recently, I have been worrying about my high range, or lack thereof. I can make
a C3 sound almost 100% of the time, but I have to work very hard, my face turns
red and scrunches up, and I can feel it for about ten minutes after. Having
studied with professional players all my life, I know that
Hi
I used to have this problem until my teacher helped me to correct it.
Try relaxing the muscles in your neck more, and allowing the air to flow more
freely.
Hope it helps
Kev
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Nick wrote:
Recently, I have been worrying about my high range, or lack
thereof. I can make a C3 sound almost 100% of the time, but I
have to work very hard, my face turns red and scrunches up,
and I can feel it for about ten minutes after. Having studied
with professional players all
Someone on this list actually mentioned avoiding overtightness in the high
register just recently (I believe it was Matthew Scheffelman). Their advice
(which echoes the advice of many good teachers), is something I've done for
a couple of years to improve my own high register - to learn to stay
hey Nick- how are you doing, besides the High range?
First, don't panic. I think I could safely say that high range is a
difficult thing for everyone. I had a pretty terrible high range
myself until last winter. One day I decided I was sick of missing up
there and pinching the life out of high
Hey,
I can rifle of my .02 cents.
I have spent alot of time tweaking my high register and really trying to
decipher the problem. as we all have.
Over my time I have found these little tricks I have learned from colleagues
and such along the way have helped.
1.Think of the notes as a rise in a
If you listen to the many Long Call samples on my website, you will find out,
that Siegfried tries many ways to wake up the dragon (not vake up !!! or fake
up !! Hoh - hoh - hojotohoh !). But the loud playing comes at the end when the
full orchestra has entered allready. The climb to the high
Matt James wrote:
3. use of the BREATHING GYM!!! helped me in my endeavours.
Here's a question:
Can someone recommend a reputable dealer to buy this from? I ordered it
last *December* from www.focus-on-excellence.com (since that was the
site recommended by a list member around that time) and
The short call is just Siegfrieds signal when on the boat on the Rhine Journey,
but it comes in several variations (lengths) during Goetterdaemmerung and in
Siegfried, on stage (Goetterdaemmerung) in the orchestra (Siegfried) or both
(Goetterdaemmerung).
Most of high range problems occur due to excessive lip closure. There must be a
lip opening left, otherwise no lip vibration. The closure must be at the
corners so to prevent air escape. If air escapes at the rear while playing high
c3, dont mind; it simply happens. But keep in mind: any
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