Jay:
Thanks for the interesting information. I, too, have a Kruspe New Symphony
model, identical in layout to yours, but in nickel-silver. It was purchased in
1961 in Stuttgart from a retiring hornplayer through the good offices of Otto
Stoesser. The bore is large, as you stated, but I always
Steve Mumford:
Don't forget, we put air into the horn at what? maybe 30 miles an hour
let's say, but the sound goes through the horn at something like 700 miles an
hour. It's not the air that's making the sound. With a little practice, you
can play by sucking in instead of blowing out (who needs
It's not just the speed of the bow but how lightly or heavily the bow
presses against the string as the horsehair rubs the catgut.
As my old horn teacher used to say, The motion of the air into the horn is
like the movement of the violinist's bow across the strings. More air!
His short
It might be instructive to hear from those who understand the science of
music and the horn to explain the difference between the volume of air moved
through the horn and the velocity, how they are related and what each
contributes to the music a horn produces.
But not blowing more air through the horn !!! Just releasing
more air or less air. If forte is requested, get the air a
bit precompressed inside the body, so it escapes with more
tension speed.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of
James Ray Crenshaw
Sent: Friday, April 29, 2005 10:02 AM
To: horn@music.memphis.edu
Subject: [Hornlist] Holton's German Design team
[. . .]
Anywhoo, I know why the tubing is oval in the bends, but I
Whats up everyone
I have a mouthpiece with only few markings and was
wondering if anyone would know the maker/history. It
may be quite a Mystery.
The markings are; PT-04G
Not to lead one on the wrong brain train, it looks
JUST a little like a Mirafone Decker model on the
OUTSIDE (as you
Thanks to Jay Sewell for the great pics of his New Symphony model Kruspe.
The horn I saw was listed in that 1930 catalog:
http://www.geocities.co.jp/MusicHall-Horn/2569/kruspe/krusp.html
as the Modell Horner, Philadelphia The one pictured is different from
some of the other Horner models
From: matthew scheffelman [EMAIL PROTECTED]
I have a mouthpiece with only few markings and was
wondering if anyone would know the maker/history. It
may be quite a Mystery.
The markings are; PT-04G
Not to lead one on the wrong brain train, it looks
JUST a little like a Mirafone
Over the years, my experience with Holton has never been as an owner, but I
have played a lot of them. The first I remember playing was the original brass
model 77, and It compared favorably with Kruspes and Alexanders prevalent in
Boston at the time. Since then, there have been a string a
message: 3
date: Fri, 29 Apr 2005 07:07:20 -0600
from: Steven Ovitsky [EMAIL PROTECTED]
subject: RE: [Hornlist] Kruspe/Holton (was Holton's German Design
team)
Jay Sewell wrote:
As best as I can measure with my calipers, it has a
.472 bore (i.e. large bore, a la 8D)..
Steve:
BINGO! The DRGM number engraved on my horn is 1027194! Thanks for the
information and confirmation.
Richard in Seattle
- Original Message -
From: [EMAIL PROTECTED]
To: horn@music.memphis.edu
Sent: Friday, April 29, 2005 9:48 AM
Subject: [Hornlist] Re: Kruspe/Holton
Hi Bill,
I used to own an H178 and, with a valve rebuild, Lawson .020 nickel silver
flare, and FB210.125 mouthpipe, it was one of the most satisfying horns I
ever owned. Lovely sound, good pitch, and capable of as much noise as I ever
needed to make. Naturally, I decided to change it to a wide
Phil had gone to Indiana and ended his tenure with the CSO when the Farkas line
of horns began coming forth. I saw Phil at a large number of the IHS symposia
and on a number of other occasions over a period of about 20 years. He always
was carrying one or two of the Holton horns with him and
My point was, that it's not the air traveling through the horn that makes
the sound, rather setting up a resonance of the air column within the horn.
Excessive air speed can actually interfere with that resonance, the sound wave
has to travel forth AND back. It is actually possible to play
On Friday, April 29, 2005, at 02:52 PM, [EMAIL PROTECTED] wrote:
message: 3
date: Fri, 29 Apr 2005 07:07:20 -0600
from: Steven Ovitsky [EMAIL PROTECTED]
subject: RE: [Hornlist] Kruspe/Holton (was Holton's German Design
team)
Jay Sewell wrote:
As best as I can measure with my
This weekend I'm off to hear my favorite Viennese Opera. I'm sure you're
all familiar with it. It's about a small rodent that roams the city biting
pneumatic tires on cars and bicycles. It's call DEFLATOR MOUSE.
___
post: horn@music.memphis.edu
- Original Message -
From: Bill Gross [EMAIL PROTECTED]
To: 'The Horn List' horn@music.memphis.edu
Sent: Friday, April 29, 2005 5:50 PM
Subject: [Hornlist] Warning Read at Your Own Risk
This weekend I'm off to hear my favorite Viennese Opera. I'm sure you're
all familiar with it.
My son has a 500 year old antique hammer. It's had 16 head changes and 20
new handles, and it improves with age.
I bought an old Cronlein horn on eBay that showed up with a very recent valve
job and the same Lawson pipe. The original Cronlein pipe worked better, so I
put the Lawson on my
At 7:53 PM -0500 4/29/05, Karl Feinauer wrote:
Any advice on how to get back in the trill scene and maintain them so that
I don't have to build them up again if I don't use them for a month or so?
My daily trill exercise is the first line of Kopprasch #5, starting in A
basso going up to Bb
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