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Birth of the Gliere Concerto

Valery Polekh Look for pictures in Horn Call: Volume XXIX, No. 3, May
1999 Reinhold Gliere was a modest, reserved, and refined person. No carelessness either in his clothes or in his manners. Thick eyebrows. A tender and friendly look in expressive brown eyes, lips ready for a smile... By 1951, the year in which Gliere wrote his concerto, I had already been a performer for ten years. I started in March 1941 after I won a prize at the Moscow competition, and, though still a student at the Moscow Conservatory, I dreamt of playing solo and performing in concerts. In the Moscow competition, I played Variations Brillantes by Henry Gottwald and Les Dernieres Penses by Weber. I had the full command of a virtuoso and was able to play with sounds as I liked, but my colleagues reproached me for insufficient care for the beauty of the sound. Because I wanted to become a solo performer, I had to learn how to sing on the horn. So I began taking vocal lessons. I mastered bel canto and strong breath, and then applied all that to the horn. I was awarded first prize at the 1949 International Competition in Budapest. By that time I had a fairly broad repertoire, but today it seems to have been just a prelude to a great composition&emdashthat superb concerto which Gliere wrote for the horn. I met Gliere for the first time at the Bolshoi Theater at a rehearsal of his ballet The Bronze Horseman. We had almost completed the ballet's musical adjustments, but I had not seen the composer at any of the rehearsals. At the Bolshoi, we were accustomed to composers never sitting calmly at rehearsals; they would dash up to say a word to the conductor and then again to the leader of the orchestra. Quite frequently this made rehearsing fairly difficult. I wondered why this composer never came to rehearsals. It turned out that he actually was sitting quietly in the hall, and discussed things with the conductor only during breaks. I was invited to take part in one such discussion. I had an impression of Gliere as a modest and very understanding person. His learnedness in music seemed quite boundless to me. He spoke in a nice and simple manner. He asked questions. He liked to know our opinions and always considered them. Our talk went on further, and not just about horn parts in the ballet. Gliere noted our expressive playing and said it was regrettable that composers rarely wrote solos for wind instruments. I took the chance to suggest that he write a concerto for the horn. He mentioned being very busy but did not reject the idea; he promised that he would work on the concerto in his free time. By this time he had already written his Nocturno and Intermezzo for horn and piano, and invited me to come to his place and discuss certain details of the future concerto. On the agreed day, I went to Gliere's home. He took me to his study and asked me to wait there while he finished his lessons with his students. Gliere brought in a tray with a silver pitcher, a glass, and some

sweets. Giving me a friendly smile, he invited me to refresh myself and went back to his students. I was alone in his study. I did not drink or eat anything because I was sure I would have to play. Later, Gliere re-entered the study and began asking questions about the instrument and my capabilities regarding range. He thoroughly wrote down my answers in a thick notebook. At the end of our talk, he asked me to play something and sat at the piano. I put the music on the holder&emdashthe Nocturno which Gliere composed in his young years&emdashand we began to play. I always included the Nocturno in my concerts, but I don't recall any other occasion when I played with such inspiration as that time with the composer himself. Then I played Mozart, Strauss, orchestral solos, instrumental miniatures, and my own arrangements. Gliere said that what he heard was an instrument absolutely new to him; that it was an instrument for solo and concerts, and that he would have to take another interesting and unexplored approach. After that meeting with Gliere, I did not see him for a year. He was working. I waited patiently. At last, late one evening, my telephone rang and I heard something I hoped for so much: "Valery, I wrote a concerto for you. Will you please come to my place?" In the winter of early 1951, in Gliere's flat, I played the just-completed concerto from the manuscript. I could feel with my entire self that the concerto was a success. The composer put his whole heart, soul, talent, and great love for the instrument into it. I felt that the concerto would become a horn player's favorite. Gliere did not even ask me about my impressions. He could see it for himself and sense it in my enthusiastic attitude. For a few days I did not touch nor try to play the concerto. I was still living through the moment of its birth. It was only when I had somewhat cooled down that I began to study the piece which was so dear to me. I studied the concerto very thoroughly and repeatedly verified my perception of it. When I had a clear idea of the final version of my edition, I went to Gliere. I played the concerto for him. He was satisfied, accepted all my suggestions, and set out to make some final changes. Adhering to tradition, Gliere let me write the cadenza myself. When the piano reduction was finally ready I started to learn the concerto. The composer gave me a very short time to prepare. I had to work really hard. The date and place of the first performance was fixed&emdashMay 10, 1951, in Leningrad. On that day I came to Leningrad with my wife. The rehearsal was to start at 11 a.m. When I came to the Grand Hall of the Leningrad Philharmonic Society, Gliere was already rehearsing with the orchestra, the Leningrad Radio Symphony Orchestra. The rehearsal went well and I did not feel nervous anymore. In the evening we met again. The orchestra was preparing to enter the stage. Everyone was a bit nervous. I looked at the hall&emdashit was full. The bell rang for the third time. Gliere took me by the hand and said, "God help us! Come on!" I played with inspiration, and everything went as I hoped it would. It was a success. We took bows several times. The audience would not let us go. Gliere was very

pleased. After the first performance he made an inscription for me on the score. I describe these recollections in such detail because I really cherish them. As I tell you about the first performance, I am once again living through one of the most wonderful, fleeting, and very rare moments of a performer's happiness. In 1952 I made a recording of the concerto with the Bolshoi Orchestra, conducted by Gliere. The matrix was sold to the US and soon a record came out. That was the start of the concerto's biography and of its performance life. I began to receive a great deal of letters. I acquired friends all over the world. Many horn players like the concerto and still perform it. I sincerely appreciate this. I am glad that the concerto and my cadenza are included in competition programs and that very interesting recordings have appeared. Dear friends, I am happy that there exists a concerto which unites us and helps us to better know and understand each other. I send my greetings to all horn players and wish good luck and success to all. Valery Polekh was born in Moscow on July 5, 1918. He began professional studies on the horn in 1933, and enrolled at the Moscow Conservatory in 1937. He was appointed as Principal Horn of the Bolshoi Theater Orchestra in 1938, a position he held for 35 years. Mr. Polekh made numerous other recordings besides the Gliere concerto, and edited a performance edition of the Mozart Concertos. texto traducido [ Atras ] [ (inicio)Casa ] [ Arriba ] [ Proximo ] El Nacimiento del Gliere Concerto Valery Polekh Buscar cuadros en Llamada de Cuerno: Volumen XXIX, No. 3, Poder 1999 Rienda sujetar Gliere era una modesta, reservado, y persona redefinida. No descuido ambas en sus ropas o en sus maneras. Cejas gruesas. Un aspecto amable y tierno en ojos marrones expresivos, labios listos para un sonrisa... Por 1951, el agno en que Gliere escribia su concerto, yo habia sido ya un artista para diez agnos. Yo empezaba en Marchar 1941 despues yo (win)ganaba un premio en la competicion de Moscu, y, aunque todavia un estudiante en el Moscu Conservatory, yo imaginaba de jugar solo y realizando en conciertos. En la competicion de Moscu, Yo jugaba Variaciones Brillantes por Henry Gottwald y Les Dernieres Plumases por Mas webes. Yo tenia el comando completo de un virtuoso y era capaz a juego con sonidos como yo queria, pero mis colegas me reprochados para cuidado insuficiente para la belleza del sonido. Porque Yo queria volver un solo artista, yo tenia que aprender como cantar en el cuerno. Asi Yo empezaba tomando lecciones vocales. Yo dominaba bel canto y aliento fuerte, y entonces aplicado todo que al cuerno. Yo era premio primero premio en la 1949 Competicion Internacional en Capullo mas mono. Por que tiempo yo tenia un repertorio honradamente ancho, pero hoy el parece haber sido justo un prelude a una composicion grande&emdashthat magnifica concerto que Gliere escribia para el

cuerno. Yo reunia Gliere para el tiempo primero en el Bolshoi Teatro en un ensayo de su ballet El Bronce hombre de Caballo. Nosotros habiamos completado casi los ajustes de ballet musical, pero yo no habia visto el compositor en algunos de los ensayos. En el Bolshoi, nosotros eramos acostumbrado a compositores nunca sentando tranquilamente en ensayos; ellos lanzarian hasta decir una palabra al conductor y entonces otra vez al jefe de la orquesta. Completamente frecuentemente este hecho ensayando honradamente dificil. Yo preguntaba por que este compositor nunca venia a ensayos. El giraba fuera que el actualmente estaba sentando silenciosamente en el vestibulo, y cosas discutidas con el conductor solo durante rupturas. Yo era invitado para tomar parte en 1 discusion tal. Yo tenia una impresion de Gliere como una modesta y muy entendiendo persona. Su learnedness en musica parecida completamente ilimitada a mi. El radio en una manera simple y agradable. El preguntaba preguntas. El queria saber nuestra opiniones y siempre se consideradas. Nuestra charla iba en mas lejos, y no justo sobre partes de cuerno en el ballet. Gliere celebre nuestro expresivo jugando y dicho el era lamentable que compositores raramente escribian asi los para instrumentos de viento. Yo tomaba el casual para sugerir que el escribe un concerto para el cuerno. El mencionaba ser muy ocupado pero no rechazaba la idea; el prometia que el trabajaria en el concerto en su tiempo (gratis)libre. Por este tiempo el habia escrito ya su Nocturno y Intermezzo para cuerno y piano, y me invitaba a venir a su lugar y discute ciertos detalles del futuro concerto. En el dia acordado, yo iba a (inicio)casa de Gliere. El me tomaba a su estudio y me preguntaba a espera ahi mientras el terminaba sus lecciones con sus estudiantes. Gliere traido en una bandeja con una plata mas armar, un vidrio, y algunos caramelos. Dandome un sonrisa amable, el me invitaba a refrescar yo mismo y iba atras a sus estudiantes. Yo era solo en su estudio. Yo no hacia bebida o come algo porque yo era segura yo tendria a juego. Mas tarde, Gliere re-entrado el estudio y empezaba preguntando preguntas sobre el instrumento y mis capacidades considerando rango. El a fondo escribia abajo mis respuestas en un libro de apuntes grueso. En el fin de nuestra charla, el me preguntaba a juego algo y sentado en el piano. Yo pongo la musica en la poseedor&emdashthe Nocturno que Gliere compuesta en sus agnos jovenes&emdashand nosotros empezabamos a juego. Yo siempre incluido el Nocturno en mis conciertos, pero yo no volver a llamo alguna otra ocasion cuando yo jugaba con inspiracion tal como ese tiempo con el compositor se. Entonces Yo jugaba Mozart, Strauss, orchestral asi los, miniaturas instrumentales, y mi propio arrangements. Gliere dicho que que el oia sido un instrumento absolutamente nuevo a lo; que el era un instrumento para solo y conciertos, y que el tendria que tomar otro inexplorado y interesante aproximar. Despues que riuniendo con Gliere, yo no via lo para un agno. El estaba trabajando. Yo esperaba pacientemente. En ultimo, tarde 1 tarde, mi telefono tocaba una campana y yo oia algo yo saltaba para tanto:

"Valery, yo escribia un concerto para usted. Luego usted gusta venir a mi lugar?" En el invierno de temprano 1951, en piso de Gliere, yo jugaba el justo-completado concerto desde el manuscrito. Yo podia sentir con mi entero auto que el concerto era un exito. El compositor pone su corazon completo, alma, talento, y amor grande para el instrumento dentro el. Yo fieltro que el concerto volveria un jugador de cuerno favorito. Gliere no preguntaba incluso mis sobre mis impresiones. El podia ver el para se y siente el en mi enthusiastic actitud. Para unos pocos dias yo no hacia toque ni prueba a juego el concerto. Yo era todavia viviendo a traves de el momento de su nacimiento. El era solo cuando yo habia enfriado algo abajo que yo empezaba a estudio el pedazo que era tan caro a mi. Yo estudiaba el concerto muy a fondo y repeatedly me comprobaba percepcion de el. Cuando Yo tenia una idea clara de la version final de mi edicion, yo iba a Gliere. Yo jugaba el concerto para lo. El era satisfacido, aceptado todas mis sugerencias, y colocar fuera hacer algun final cambia. Adhiriendo a tradicion, Gliere permitirme escribir el cadenza yo mismo. Cuando la reduccion de piano era finalmente listo yo empezaba a aprender la concerto. El compositor me daba un tiempo muy corto para preparar. Yo tenia que trabajar realmente duro. La fecha y lugar de la actuacion primera era fija&emdashMay 10, 1951, en Leningrad. En que dia yo venia a Leningrad con mi esposa. El ensayo era empezar en 11 un.m. Cuando Yo venia al Vestibulo Grandioso de la Leningrad Sociedad Filarmonica, Gliere era ya ensayando con la orquesta, la Leningrad Orquesta de Sinfonia de Radio. El ensayo iba bien y yo no sentia nervioso algun mas. En el tarde nosotros reuniamos otra vez. La orquesta estaba preparando para entrar el estrado. Todos era un bit nervioso. Yo miraba el vestibulo&emdashit era completo. El timbre tocaba una campana para el tiempo tercero. Gliere me tomaba por la mano y dicha, "Ayuda de dios nosotros! Venir en!" yo jugaba con inspiracion, y todo iba como yo saltaba el quizas. El era un exito. Nosotros tomabamos proas varios tiempos. El auditorio no nos permitiria ir. Gliere era gustado muy. Despues la actuacion primera el hacia una inscripcion para mi en el tanteo. Yo describo estos recuerdos en detalle tal porque yo realmente se amo. Como Yo le digo sobre la actuacion primera, yo soy una vez otra vez viviendo a traves de 1 de la mas wonderful, huyendo, y momentos muy raros de una felicidad de artista. En 1952 Yo hacia un grabando del concerto con la Bolshoi Orquesta, conducta por Gliere. El matrix era vendido al NOSOTROS y pronto un registro salia. Que era el principio de la biografia de concerto y de su vida de actuacion. Yo empezaba a recibir un negocio grande de letras. Yo adquiria amigos todo sobre el mundo. Muchos jugadores de cuerno como el concerto y todavia realiza el. Yo sinceramente aprecio este. Yo soy contento que el concerto y mi cadenza es incluido en programas de competicion y que muy interesante grabada ha aparecido. Amigos caros, Yo soy feliz que ahi existe un concerto que nos une y nos ayuda a mejorar saber y entendernos. Yo me envio saludado a todos jugadores de cuerno y desea

suerte de bien y exito a todo. Valery Polekh era nacido en Moscu en Julio 5, 1918. El empezaba estudios profesionales en el cuerno en 1933, y alistado en el Moscu Conservatory en 1937. El era nombrado como Cuerno Principal de la Bolshoi Orquesta de Teatro en 1938, una posicion el sujetaba para 35 agnos. Sr. Polekh hecho numeroso otro grabado ademas de el Gliere concerto, y editaba una edicion de actuacion del Mozart Concertos. It's Never too Late Kerry Geddes and Kieg Garvin I am an amateur musician whose musical experience prior to February 1996 had amounted to two years of piano lessons as a child, twenty-one years of amateur choral singing, and a university music degree in which my 'instrument' was the voice. In those days, singing was my musical passion, but I had often contemplated the idea of playing some type of brass instrument. There were various amateur choirs, both universitybased and others, which anyone with limited vocal experience could join, in order to ease themselves into a satisfying and ultimately rewarding musical activity, and this was the way I started. However there were no equivalents that I knew of in the instrumental field. As we all know, normally an instrumental musician must be of a satisfactory proficiency level before having any hope of joining an orchestra or other ensemble. Realistically then, as a mature adult I could not see myself becoming proficient enough with an instrument to be able to successfully audition for a position in any skilled ensemble, so I never acted upon my instrumental contemplations. Then in 1996, a friend who was the musical director at a local high school, in an attempt to encourage me further, gave me the chance to try out some of the school's brass instruments on my own. I was initially apprehensive about his suggestion to try the horn, because I had heard that it was a difficult instrument to learn, but I had always loved its sound, so when I was shown the rudiments of how to blow it and actually managed to produce a tentative C major scale, I was well on the way to becoming hooked. The next day, by a lucky set of coincidences, I heard that a well-known music retailer in Brisbane was running a music activity called the Adult Starters Program, where adults who wanted to learn to play a wind instrument could receive basic instruction on the playing of their instrument while performing in a learners' concert band. The program had been operating successfully for a few years with a new band being formed each year, and the latest one was due to start up the following week. Seeing it as a unique opportunity to learn an instrument with similarly minded adults in an ensemble that had nowhere to go except up, I bought a second-hand horn and became a member of the new band. Six weeks later, I played in my first concert for an enthusiastic audience consisting entirely of friends and relatives of the band members. Understandably, the music for that concert was very simple&emdashnothing too extended, either in length or in musical range, no difficult rhythms, and nothing quicker than

moderato. But all things considered, we made a good sound for a bunch of adult learners, most of whom had never played their chosen instrument before joining the band (or had perhaps played for a short time during their childhood), and some of whom had never read music before. This then was the start of my interest in concert band music, a love of the horn, and at the age of 45, the beginning of an amateur venture which may never have happened, had it not been for the existence of the Adult Starters concept and an hour in a high school music room. With the help of Philip Farkas' famous book, a good horn teacher, and a practice commitment that I still continue to look forward to each day, I improved my playing to a point where I felt confident enough to leave the original band and join an established community ensemble. Now, three years after my final procrastination about learning a brass instrument, I play in two community concert bands, and do the odd gig as a member of a brass quintet. So you can see that my story is not one of planning for a professional orchestral career as a hornist. Instead, it has been a series of fortuitous circumstances which first led to my choice of the horn and which now allows me to experience the unique satisfaction of playing that instrument, in a field of amateur music-making that I had never previously thought possible for myself. Kerry Geddes lives in Brisbane on Australia's central east coast. He completed a BA in music and psychology at the University of Queensland, graduating in 1986. Besides playing the horn, he sings in a small amateur acappella group that specialises in music of the Renaissance period. When not playing the horn or singing, he works for a telecommunications company as a data analyst. Dear Editor, On reading the enclosed clipping in this morning's paper I was moved to write you. I suggest you read the clipping before continuing to read my letter. This article appeared in the Times-News, Hendersonville, North Carolina, on January 30, 1999. 76-Year-Old in the Band (reprinted with permission of The Associated Press) Eugene, Ore. Through the blare of rowdy kids tuning their instruments, the 76-year-old man with regal white hair, a black cane, and a tarnished French horn slowly makes his way to his seat in the brass section. Retired pipe fitter John Suta is in his third year with the Roosevelt Middle School band. The eight-graders he plays with no longer see him as an oddity, but as an inspiration who plays with a passion for music and thick fingers gnarled by a lifetime of hard work. "He is exactly like a middle school band player, even though he is older," said 13-year-old Anna Richardson. "Without music I would just as soon be dead," Suta said, summing up a philosophy that through the years has led him to take up opera, the piano, and the harmonica. And it was what drove him to walk into the middle school's beginning band class and ask for a chance to learn how to play a horn he had always loved. Without hesitating, the teacher told him, "Take a seat." Since then, Suta has advanced from "Mary Had a Little Lamb" to Beethoven, from sixth-grade to eighth-grade band.

Josh Mack took over leadership of the band program this year and inherited Suta. "I just knew he had to be there," Mack said. Suta's love for music goes back to his childhood in Aurora, Ill., when his mother would sing songs in her native Hungarian. He grew up studying singin with an accompanist for the Chicago Opera and speaking German, Hungarian, Romanian, and Italian in his immigrant neighborhood. After World War II, he studied to become an opera singer, but soon discovered his love for music wasn't enough to pay the bills, so he raised two sons on a pipe fitter's wages. But music never left Suta's life. After he retired, he teamed with a friend on piano and sang at weddings, picnics, and senior centers. And on his own he even sang the national anthem at a few University of Oregon basketball games. Through the years, he always remembered the days when his brother and a friend would go house to house at Christmas, playing carols on a violin and French horn. Those memories came flooding back four years ago when he spotted an old French horn in a Salvation Army store. "I had that horn in my ear," Suta said. "I saw the tag. It said 85 bucks. I said to the lady, 'What's your best price? I don't have 85 bucks in my budget. Will you go for $75?' She said, 'Yes.'" He tried a few adult classes to learn the instrument but they were all too advanced. That's what led him to Roosevelt. Despite heart trouble and nerve damage in his legs that make it difficult to walk, Suta rarely misses practice and is at every concert. The young horn players look to him for guidance and, in turn, they help him. About a year ago, he stumbled in the small cluttered house where he lives alone, falling on his French horn and crushing the bell. He dropped the instrument off at a local music store, not knowing how he would afford to pay for the repairs. When Suta returned to the store the next day, the horn was fixed&emdashthe Roosevelt Middle School band members had pitched in to pay for the work. "It almost knocked me over," Suta said, crying. "You hear about all the things youngsters do, all this and that. But you don't hear [enough about] the beauty of children." Here is a man whose love of the horn has moved him to attempt to learn the instrument in his later years, not by studying privately, but by joining an elementary band, something that would give most of us pause. The article interested me not only because I too began to try to play the horn in my old age, but also because he grew up in Aurora, Illinois, where I began my first instruction in the instrumental program in the public schools. I began to play the trombone at that time. I was discouraged by the band leader as I was in seventh grade at the time we moved to Aurora from an area having no school instrumental program. In Aurora, instrumental instruction began in the fourth grade and the band leader felt I would be unable to compete with students who had played for three years. I told him 1 had some experience in piano and at least knew a quarter note from an eighth note. "All right, I will let you in, but you won't amount to anything." My early struggles play no part in this story, but eventually I was able to earn my living as a trombone player. Years of blaring

trumpets and crashing cymbals caused me to suffer a hearing loss and I could no longer continue to function as a playing musician. Accordingly I retired to the mountain fastness of North Carolina about 28 years ago. Back in high school, when I became first chair in the band, the band leader anointed me as a private teacher and I began to teach elementary students. The money I earned enabled me to travel to the big city and study with an eminent teacher, Jaroslav Cimera. From that time, I have always been active as a private teacher. I have now been teaching 68 years. I was in college during the Great Depression. I had to drop out for two years as I could not afford the $90 per semester for tuition. (I lived at home.) The elementary school band leader offered me a job teaching one of his seventh-grade bands. (This was the same man who said I wouldn't amount to anything.) He could not afford to pay me as he was being paid in scrip, himself. I had this school band for five days a week for a year. The experience prompted me to swear a mighty oath on a stack of Arban books, that I would dig ditches before I would become a school band leader. In consequence, when I returned to college, I never took even a single hour in education, preferring to concentrate on music courses. I did not learn to play any other instrument with the possible exception of the cello. I had to learn to play one scale on that instrument during a conducting course. I was glad I had chosen the trombone. Although I had been active as a private instructor all my life, I was astounded to find the concept of private teaching to be unknown, except for piano, when I moved to the Carolina mountains. The attitude of the citizenry was, "The band leader is paid to teach, let him teach them." Accordingly, I had difficulty in establishing myself as private teacher. I wrote about 40 letters to band leaders in the general area, offering to do a brass clinic for no pay, just to get acquainted. I got but one response. When I went out to do the clinic I found the band consisted of thirteen players! I don't believe any were trombonists, so I got no students from this school. As time went by I did have a small class of trombone and trumpet students. One day, one of my seventh-grade trumpet students came in carrying a horn and said, " The band leader wants me to play this." What was I to do? About all I knew of the horn was that it was fingered with the left hand instead of the right. How did they get off on the wrong track originally? Still, I felt I could not desert my student. There was no question of finding a teacher who actually played horn as there were none in the area at that time. I went to the nearest city of any size and asked at the music store to see all the horn music they had available. I was presented with one beginner's book. I knew a used car salesman who had played horn in high school and still had his instrument. He loaned me the horn and I began to learn to play at the age of sixty-two. While I studied with Mr. Cimera he absolutely forbade me to play on any other wind instrument. I was not even allowed to play baritone, even though I could use the same mouthpiece I used on the trombone. As long as he was alive, I always obeyed that directive, but now he

was dead, though I feared he turned over in his grave when I played the first note on my borrowed horn. It was not long before I could play a C scale. Now I knew more than my prospective student. This is a good principle to follow. One should always know more than his student. My first lesson went rather well. A couple of weeks later another trumpet student showed up with a horn. Flushed with my success, I confidently showed him how to play the scale, only to find out he could not do it no matter how hard he tried. "Let me have your horn," I said, and began to play the scale only to find out I could not play the scale either. The lesson time was almost over and I did not have time to investigate further, but I figured out a fingering for the scale which, while not correct, did make it possible for the student to play the scale, since he had to have something to practice. I called up his band leader and told him the problem. It turned out the instrument had just come back from the repairman, who knew even less than I did about horns and had strung up the valves so they worked just the opposite from the designer's intentions. I bought myself a used King horn which was much better than the model loaned me by the used car salesman. I found there were things on the horn that were easier to do than they were on the trombone. I had a great low register, and in time my high register was adequate for the music I was trying to play. The horn seemed to have much more flexibility. The notes did not "lock in" on the various partials as stiffly as they did on the trombone. I also discovered in spite of my teacher's stern warning, I was able to continue to play trombone with no apparent disadvantage due to my horn playing, probably because the mouthpieces were so very different. One day a student walked in with his new horn, a Holton Farkas model. I asked to blow a few notes on it and immediately ordered one for myself and have enjoyed it ever since. I played duets with my students, though some of them eventually developed more technique than I had. In this case, I switched to trombone. Early on, I had tired of playing trombone studies, had switched to trumpet studies, and finally began to play horn music on the trombone. This all happened before I retired. I played horn music by thinking in mezzo-soprano clef with a slight key change. Having this skill helped me a great deal in my horn playing since I could demonstrate on the trombone something I might not be able to play on the horn. One day, one of my advanced horn students announced he would be traveling to the Midwest and planned to stop in Bloomington, Indiana, and take a lesson from Farkas. I was delighted as I felt I might benefit from any suggestion Farkas might make. Farkas, at that time, charged fifty dollars while I only charged five. Considering the difference in our reputations, this seemed about right. When the student returned from his trip I was eager to hear his report. "What did Mr. Farkas tell you?" I asked. "He told me I was doing everything right." That was all I learned from the student's $50, but still it did boost my confidence in my horn teaching. "First do no harm," is what they tell the medical doctors. Certainly this dictum should be

followed by brass teachers as well. Unfortunately, I have known a few students whose career was ruined by teachers trying to change their embouchures. Naturally, early on I turned to the IHS in search of knowledge. I have been a member for many years. Reading The Horn Call has been interesting, but the articles tend toward the esoteric. I found little information for someone looking for basic knowledge. Articles on natural horn and interpretation of obscure baroque music may elevate the author's reputation in the minds of his contemporaries but do little for the high school band leader who looks toward The Horn Call for some useful information. As far as the natural horn is concerned, it may be great for aficionados but I have not as yet noticed any first chair players in major symphony orchestras eschewing their valved instruments. Even before I stumbled into horn teaching I had long considered the horn to be the most expressive of the brass instruments. It has no equal for romantic expression. The many shadings and nuances available endear it to composers and listeners alike. The enclosed newspaper article touched me. I thought you might enjoy this human interest story as well. I wonder what factory made the old instrument he uses. I should add that I do not consider myself capable of producing a finished horn student. As they approach the limits of my knowledge, I always encourage them to seek a "real" horn teacher. These days there are a few available not too far away. I have sent several to Dr.Gayle Chesboro, a teacher known to many members of IHS. Keig E. Garvin Hendersonville, North Carolina, USA HOME - TOP - IHS Online Editor: Jeffrey L. Snedeker Membership: Heidi Vogel Sponsored by: Horndog Web Design Bruce Hembd texto traducido [ Atras ] [ (inicio)Casa ] [ Arriba ] [ Proximo ] El es Nunca demasiado Tarde Kerry Geddes y Kieg Garvin Yo soy un musico de aficionado cuyo prior de experiencia musical a Febrero 1996 habido ascendido a dos agnos de lecciones de piano como un nigno, veinte-1 agnos de coral de aficionado cantando, y un grado de musica de universidad en que mi 'instrumento' era la voz. En esos dias, cantando me era pasion musical, pero yo habia contemplado a menudo la idea de jugar algun tipo de instrumento de laton. Habia coros de aficionado diverso, ambas universidad-basada y otros, que alguien con experiencia vocal limitada podida juntar, en orden a facilidad ellos mismas dentro una satisfactoria y finalmente recompensando actividad musical, y este era el camino yo empezaba. Sin embargo no habia equivalentes que yo sabia de en el campo instrumental. Como nosotros todo sabemos, normalmente una necesidad de musico instrumental es de un nivel de competencia satisfactoria antes teniendo alguna esperanza de juntar una orquesta o otra ensemble. Realistically entonces, como un maduro adulto yo no podia ver yo

mismo volviendo competente suficiente con un instrumento para ser capaz para con exito audicion para una posicion en alguna habil ensemble, asi yo nunca actuado en mis contemplaciones instrumentales. Entonces en 1996, un amigo quien era el director musical en una escuela de altura local, en un intentar alentarme mas lejos, me daba la casualidad para intentar fuera algunos de los instrumentos de laton de escuela en mi propia. Yo era inicialmente receloso sobre su sugerencia a prueba el cuerno, porque yo habia oido que el era un instrumento dificil para aprender, pero yo habia amado siempre su sonido, asi cuando yo era mostrado los rudimentos de como para soplar el y actualmente manejados para producir una tentativa C bascula mayor, yo era bien en el camino para volver enganchado. El dia proximo, por un conjunto afortunado de coincidencias, Yo oia que un detallista-de musica bien conocida en Brisbane estaba (run/ejecutar)corriendo una actividad de musica llamada el Programa de Juez de salidas Adultos, donde adultos quien querido para aprender a juego un instrumento de viento podia recibir instruccion basica en la jugando de su instrumento mientras realizando en una banda' de concierto de principiantes. El programa habido estado operando con exito para unos pocos agnos con un ser de banda nueva formada cada agno, y el ultimo 1 era merecido para empezar arriba la semana siguiente. Viendo el como una oportunidad unica para aprender un instrumento con similarmente importado adultos en un ensemble que tenido en ninguna parte ir excepto arriba, Yo compraba un cuerno-de mano segunda y volvia un miembro de la banda nueva. Seis semanas mas tardes, yo jugaba en mi concierto primero para un enthusiastic auditorio consistiendo enteramente de amigos y relativos de los miembros de banda. Comprensiblemente, la musica para que concierto era muy simple&emdashnothing demasiado prolongado, ambas en longitud o en rango musical, no ritmos dificiles, y nada mas rapido que moderato. Pero todas cosas consideradas, nosotros haciamos un sonido bueno para un ramo de principiantes adultos, mas de a quien tenido nunca jugaba su instrumento elegido antes juntando la banda (o tenido quizas jugaba para un tiempo corto durante su nignez), y algun de a quien tenido nunca leer musica antes. Este entonces era el principio de mi interes en musica de banda de concierto, un amor del cuerno, y en la edad de 45, el comienzo de una ventura de aficionado que puede tener nunca sucedido, tenido el no sido para la existencia del concepto de Juez de salidas Adultos y una hora en una musica de escuela alta habitacion. Con la ayuda de Philip Farkas' libro famoso, un profesor de cuerno bueno, y un compromiso de costumbre que yo todavia continuo para mirar adelante a cada dia, Yo me mejoraba jugando a un apuntar donde yo confidente de fieltro suficiente dejar la banda original y junta una comunidad establecida ensemble. Ahora, tres agnos despues mis finales procrastination sobre aprendiendo un instrumento de laton, yo juego en dos bandas de concierto de comunidad, y hacer la calesa impar como un miembro de un laton quintet. Asi usted puede ver que mi historia no es 1 de

planear para una profesional orchestral carrera como una hornist. En lugar de, el ha sido unas series de circunstancias fortuitas que primeras conducidas a mi seleccion del cuerno y que ahora me permite a experiencia la satisfaccion unica de jugar que instrumento, en un campo de musica de aficionado-haciendo que yo tenia nunca anteriormente pensamiento posible para yo mismo. Kerry Geddes vive en Brisbane en Australia costa este central. El completaba una BA en musica y psicologia en la Universidad de Queensland, graduando en 1986. Ademas de jugando el cuerno, el canta en un aficionado pequegno acappella grupo que especializa en musica del periodo de Renacimiento. Cuando no jugando el cuerno o cantando, el trabaja para una compagnia de telecomunicaciones como un analista de datos. Editor Caro, En leyendo el encerrado esquilando en este papel de magnana yo era movida para escribirle. Yo le sugiero leer el esquilando antes continuando para leerme letra. Este articulo aparecido en las (news)Noticias de Tiempos, Hendersonville, Norte Carolina, en Enero 30, 1999. 76-Agno en la Banda (reimpresion con permiso de La Prensa Asociada) Eugene, Mineral. A traves de el trompetazo de chicos ruidosos afinando sus instrumentos, el 76-hombre de agno con pelo blanco regio, una cagna negra, y un cuerno Frances deslustrado lentamente hace su camino a su silla en la seccion de laton. Ajustador de tubo retirado John Suta esta en su agno tercero con la Roosevelt banda de Escuela Media. El ochograders el juega con no mas largo ver la como una excentricidad, pero como una inspiracion quien juegos con una pasion para musica y dedos gruesos nudosos por unos toda la vida de duro trabaja. "El es exactamente querer un jugador de banda de escuela media, incluso aunque el es mas viejo," agno 13-dicho Anna Richardson. "Sin musica yo quizas justo como pronto soy muerto," Suta dicho, sumando arriba una filosofia que a traves de los agnos han conducido la para ocupar opera, el piano, y el harmonica. Y el era que manada lo para andar dentro la clase de banda de comienzo de escuela media y pregunta para una casualidad para aprender como a juego un cuerno el habia amado siempre. Sin vacilar, el profesor dicho lo, "Tomar una silla." Desde entonces entonces, Suta ha avanzado desde "Mary Tenido un Cordero Pequegno" a Beethoven, desde grado-sexto a banda-de grado octavo. Josh Mack tomaba sobre jefatura del programa de banda este agno y heredado Suta. "Yo justo sabia el tenia que phaber," Mack dicho. Amor de suta para musica va atras a su nignez en Aurora, Mal., cuando su madre cantaria canciones en su Hungaro nativo. El crecia arriba estudiando ginebra de pecado con un accompanist para la Opera de Chicago y hablando Aleman, Hungaro, Romanian, y Italiano en su vecindario de inmigrante. Despues Guerra Mundial II, el estudiaba para volver un cantor de opera, pero pronto descubierto su amor para musica no era suficiente a paga las facturas, asi el levantaba dos hijos en unos salarios de ajustador de tubo. Pero musica nunca izquierda vida de Suta. Despues el retiraba, el trabajaba en equipo con un amigo en piano y cantaba en bodas, excursion campestres, y centros

mayores. Y en su propio el nivela cantado el himno nacional en una poca Universidad de Oregon juegos de baloncesto. A traves de los agnos, el siempre recordado los dias cuando su hermano y un amigo iria casa para alojar en Navidad, jugando villancicos en un violin y cuerno Frances. Esas memorias venian inundando atras cuatro agnos hace cuando el salpicaba un cuerno Frances viejo en un almacen de Ejercito de Salvacion. "Yo tenia ese cuerno en mi oido," Suta dicho. "Yo serro la etiqueta. El decia 85 gamos. Yo decia a la segnora, 'Que su precio el mejor? yo no tengo 85 gamos en mi presupuesto. Luego usted va para $75?' Ella decia, 'Si.'" El intentaba unas pocas clases adultas para aprender el instrumento pero ellos eran todo demasiado avanzado. Que es que conducido lo a Roosevelt. A pesar de inquietud de corazon y deterioro de nervio en sus piernas que hacen el dificiles para andar, Suta raramente costumbre de segnoritas y estan en cada concierto. El aspecto de jugadores de cuerno joven a la para orientacion y, en girar, ellos ayudan lo. Sobre un agno hace, el tropezaba en la casa desorden pequegna donde el vive solo, cayendo en su cuerno Frances y aplastando el timbre. El soltaba el instrumento fuera de en un almacen de musica local, no sabiendo como el permitiria pagar para los reparaciones. Cuando Suta devuelto al almacen el dia proximo, el cuerno era fijo&emdashthe Roosevelt miembros de banda de Escuela Media habido armado en para pagar para el trabajar. "El casi me llamado sobre," Suta dicho, gritando. "Usted oye sobre todos los jovencitos de cosas hacen, todo este y ese. Pero usted no oye [suficiente sobre] la belleza de nignos." Aqui es un hombre cuyo amor del cuerno ha movido lo para intentar aprender el instrumento en sus agnos mas tardes, no estudiando privadamente, pero juntando una banda elemental, algo que daria mas de nosotros pausa. El articulo me interesado no solo porque yo demasiado empezaba a prueba a juego el cuerno en mi edad vieja, pero tambien porque el crecia arriba en Aurora, Illinois, donde yo me empezaba instruccion primera en el programa instrumental en las escuelas publicas. Yo empezaba a jugar la trombon en ese tiempo. Yo era desanimado por el jefe de banda como yo estaba en grado septimo en el tiempo nosotros moviamos a Aurora desde un area no teniendo programa de escuela instrumental. En Aurora, instruccion instrumental empezaba en el grado cuarto y el fieltro de jefe de banda yo seria incapaz para competir con estudiantes quien habido jugados para tres agnos. Yo decia la 1 tenida alguna experiencia en piano y al menos sabia una nota de cuarta parte desde una nota octava. "Toda derecha, yo le permitire en, pero usted no ascendera a algo." Mi juego de luchas tempranas no parte en esta historia, pero eventualmente yo era capaz para ganarme viviendo como un jugador de trombon. Agnos de pregonar trompetas y estrellando cymbals me causadas para sufrir una oyendo perdida y yo no podia mas larga continua a funcion como un jugando musico. Accordingly Yo retiraba a la montagna fastness de Norte Carolina sobre 28 agnos hace. Atras en escuela alta, cuando yo volvia silla primera en la

banda, el jefe de banda me ungida como un profesor privado y yo empezaba a ensegnar estudiantes elementales. El dinero yo ganaba me permitido para viajar a la ciudad grande y estudio con un profesor eminente, Jaroslav Cimera. Desde que tiempo, Yo he sido siempre activo como un profesor privado. Yo he sido ahora ensegnando 68 agnos. Yo estaba en colegio durante la Depresion Grande. Yo tenia que soltar fuera para dos agnos como yo no podia permitir el $90 por semestre para ensegnanza. (Yo vivia en (inicio)casa.) El jefe de banda de escuela elemental me ofrecida un trabajo ensegnando 1 de sus bandas-de grado septimo. (Este era el mismo hombre quien dicho yo no ascenderia a algo.) El no podia permitir a paga mi como el era ser pagado en scrip, se. Yo tenia esta banda escolar para cinco dias una semana para un agno. La experiencia me sugerida para jurar un juramento fuerte en un monton de Arban libros, que yo cavaria zanjas antes yo volveria un jefe de banda escolar. En consecuencia, cuando yo devolvia a colegio, Yo nunca tomaba incluso una hora simple en educacion, prefiriendo concentrar en cursos de musica. Yo no aprendia a juego algun otro instrumento con la excepcion posible del violoncelo. Yo tenia que aprender a jugar 1 bascula en ese instrumento durante un conducta curso. Yo era contento yo habia elegido la trombon. Aunque Yo habia sido activo como un instructor privado toda mi vida, yo era maravillado para encontrar el concepto de privado ensegnando a ser desconocido, excepto para piano, cuando yo movia a las Carolina montagnas. La actitud de la citizenry era, "El jefe de banda es pagada para ensegnar, permitir lo ensegnarles." Accordingly, Yo tenia dificultad en estableciendo yo mismo como profesor privado. Yo escribia sobre 40 letras a jefes de banda en el area general, ofreciendo hacer una clinica de laton para no paga, justo para obtener acquainted. Yo obtenia pero 1 respuesta. Cuando Yo iba fuera hacer la clinica yo encuentro la banda consistida de trece jugadores! yo no creo algun era trombonists, asi yo no obtenia estudiantes desde esta escuela. Como tiempo iba por yo tenia una clase pequegna de trombon y estudiantes de trompeta. 1 dia, 1 de mis estudiantes-de trompeta de grado septimo venia en llevando un cuerno y dicho, " Los faltas de jefe de banda mi a juego este." Que era yo para hacer? Sobre todo yo sabia del cuerno era que el era tocado con la mano de izquierda en lugar de de la derecha. Como obtenian ellos fuera de en la pista mala originalmente? Todavia, yo fieltro yo no podia desertarme estudiante. No habia pregunta de encontrar un profesor quien cuerno actualmente jugado como habia nadie en el area en ese tiempo. Yo iba a la ciudad mas cerca de algun tamagno y preguntado en el almacen de musica para ver todo el cuerno musica ellas tenian disponible. Yo era presentado con 1 libro de principiante. Yo sabia un automovil usado salesman quien habido jugado cuerno en escuela alta y todavia tenida su instrumento. El prestamo mi el cuerno y yo empezaba a aprender a jugar en la edad de sesenta dos. Mientras Yo estudiaba con Sr. Cimera el absolutamente me prohibia para jugar en algun otro instrumento de viento. Yo no era nivelado permitido a

baritono de juego, incluso aunque yo podia usar la misma boquilla yo usada en la trombon. Tan largo como el era vivo, yo siempre obedecido que directiva, pero ahora el era muerto, aunque yo temia el giraba sobre en su tumba cuando yo jugaba la nota primera en mi cuerno usado. El no era suspirado ante yo podia jugar una C bascula. Ahora Yo sabia mas que mi estudiante futuro. Este es un bueno principio para seguir. 1 siempre sabria mas que su estudiante. Mi leccion primera iba mas bien. Un par de semanas mas tardes otro estudiante de trompeta mostrada arriba con un cuerno. Baldeado con mi exito, yo confidentemente mostrado lo como a juego la bascula, solo para descubrir el no podia hacer el no substancia como duro el intentaba. "Permitirme tener su cuerno," yo decia, y empezaba a juego la bascula solo para descubrir yo no podia jugar la bascula ambas. El tiempo de leccion era casi sobre y yo no tenia tiempo para investigar mas lejos, pero yo imaginaba fuera un tocando para la bascula que, mientras no correcto, hacia el posible para el estudiante a juego la bascula, desde entonces el tenia que tener algo a costumbre. Yo llamaba arriba su jefe de banda y dicha lo el problema. El giraba fuera el instrumento tenido justo viene atras desde el hombre de reparacion, quien sabia incluso menos que yo hacia sobre cuernos y habido enhebrados arriba las valvulas asi ellas trabajaban justo las opuestas desde el disegnador intenciones. Yo compraba yo mismo un cuerno de Rey usado que era mucho mejora que el modelo prestamo mi por el automovil usado salesman. Yo encuentro habia cosas en el cuerno que era mas facil para hacer que ellos estaban en la trombon. Yo tenia un registro bajo grande, y en tiempo mi registro alto era adecuado para la musica yo estaba intentando a juego. El cuerno parecido para tener mucho mas flexibilidad. Las notas no hacian "cierre en" en el diverso parciales tan rigidamente como ellos hacian en la trombon. Yo tambien descubierto en rencor de mi profesor severo avisando, yo era capaz para continuar a trombon de juego con no merecido de desventaja aparente a mi cuerno jugando, probablemente porque las boquillas eran tan muy diferentes. 1 dia un estudiante andado en con su cuerno nuevo, un Holton Farkas modelo. Yo preguntaba a golpe unas pocas notas en el y inmediatamente ordenadas 1 para yo mismas y ha disfrutado el siempre desde entonces. Yo jugaba duos con mis estudiantes, aunque algun de ellos eventualmente desarrollado mas tecnica que yo tenia. En este caso, yo enchufaba a trombon. Temprano en, yo habia cansado de jugar estudios de trombon, habido enchufado a estudios de trompeta, y finalmente empezaba a musica de cuerno de juego en la trombon. Este todo sucedido antes yo retiraba. Yo jugaba musica de cuerno pensando en mezzo clave de soprano con una (llave/clave)tecla ligera cambia. Teniendo esta habilidad me ayudada un negocio grande en mi cuerno jugando desde entonces yo podia demostrar en la trombon alga yo no podia ser capaz para jugar en el cuerno. 1 dia, 1 de mis estudiantes de cuerno avanzado anunciado el estaria viajando al oeste Medio y planeado para parar en Bloomington, Indiana, y tomar una leccion desde

Farkas. Yo era deleite como yo fieltro yo podia beneficiar desde alguna sugerencia Farkas podia hacer. Farkas, en que tiempo, acusado cincuenta dolares mientras yo solo acusados cinco. Considerando la diferencia en nuestra reputaciones, esta parecida sobre derecha. Cuando el estudiante devuelto desde su viaje yo era ansioso para oir su relato. "Que hacia Sr. Farkas dice usted?" yo preguntaba. "El me decia yo estaba haciendo toda derecha." Que era todo yo aprendia desde el estudiante $50, pero todavia el me impulsaba confianza en mi cuerno ensegnando. "Primero no hacer dagno," es que ellos dicen los medicos medicos. Ciertamente este dictum seria seguido por profesores de laton como bien. Desafortunadamente, Yo tengo conocido unos pocos estudiantes cuya carrera era asolada por profesores intentando cambiar sus embouchures. Naturalmente, temprano en yo giraba a la IHS en busqueda de conocimiento. Yo he sido un miembro para muchos agnos. Leyendo La Llamada de Cuerno ha sido interesante, pero los articulos cuidan hacia los esotericos. Yo encuentro informacion pequegna para alguien buscando conocimiento basico. Articulos en cuerno natural y interpretar encion de musica barroca oscura puede elevar la reputacion de autor en las mentes de sus contemporaneos pero hacen pequegnas para el jefe de banda de escuela alta quien aspectos hacia Los Llamada de Cuerno para alguna informacion util. Tan lejano como el cuerno natural es interesado, el puede ser grande para aficionados pero yo no tengo como aun notaba algunos jugadores de silla primera en orquestas de sinfonia mayor eschewing sus instrumentos valvulas. Incluso antes yo tropezaba dentro cuerno ensegnando yo habia considerado largo tiempo el cuerno para ser el mas expresivo de los instrumentos de laton. El no ha igualado para expresion romantica. El muchos sombreados y matices disponibles oido de fin el a compositores y oyentes igual. El articulo de periodico encerrado me tocado. Yo pensamiento usted podia disfrutar esta historia de interes humano como bien. Yo pregunto que fabrica hecha el instrumento viejo el usa. Yo sumaria que yo no considero yo mismo capaz de producir un estudiante de cuerno terminado. Como ellos aproximan los limites de mi conocimiento, yo siempre se aliento para buscar un "real" profesor de cuerno. Estos dias hay unos pocos disponibles no demasiado lejanos fuera. Yo he enviado varios a Dr.Gayle Chesboro, un profesor conocido a muchos miembros de IHS. Keig E. Garvin Hendersonville, Norte Carolina, USA

Embouchure Health and Maintenance Andrew J. Pelletier

XXIII/2 (April 1993): 21-24). Instead, it will focus on ways one can avoid the risk of damage, and actually make the embouchure feel consistent from day to day. In the summer of 1994, while making a solo recording, I began to feel a sharp twinge in my face, running down the left side of my nose, and ending at the corner of my mouth. Numbness and dull pain followed. I thought nothing of it, and continued to play, not realizing until later that I was pulling, or overworking that muscle. During nine months of difficult recuperation, I discovered what had happened was completely unnecessary and avoidable. Instead of being negative about it, I chose to see it as a blessing, and set out to create some ways of keeping my embouchure consistent and injury-free. I do not claim to be a medical expert; these ideas are just suggestions that may or may not work for you. As with all suggestions of a medical nature, however, please be sure consult a doctor or appropriate specialist. The important thing is to think about the present and future health of the embouchure, with this thought leading to positive action. Basics of Embouchure Health 1) "Listen" to your embouchure. It is truly incredible how one can get used to ignoring the body. The concept of "listening" begins with the warm-up. "Listening" consists of being constantly aware of the feel of the embouchure muscles; rather than playing in an inattentive manner. One should use this "listening" at the beginning and throughout the warm-up. If the embouchure feels tight, warm-up in a manner that loosens it up. If there is a lack of center, do some stabilizing exercises; like long tones or air attacks. Be willing to experiment and do what the embouchure needs. If a burn (a tight, warm sting in the muscles, which marks the beginning of muscle cramping) begins in the corners of the embouchure, ease up for a second and allow the muscles to relax. This relaxing will prevent the build up of lactic acid, which makes the muscle less flexible, and eventually leads to cramping and damage. Take this concept of "listening" into the practice session itself, and experiment by practicing in spurts with rest; for instance 30 minutes of work with 10-15 minutes rest. Practicing in this manner is beneficial for the embouchure and your brain as well. Times of brief rest can yield great insight into a problem needing work. 2) Get enough rest. A full schedule of performing, teaching, and traveling is sometimes achieved at the expense of one's physical health. Proper rest begins with the night's sleep. It is important to get enough sleep to allow the body time to rest and repair. For most people, this is between five and nine hours per night. Obviously, there will be times when this is impossible, but the moment your schedule allows, give your body as much time to rest as necessary. Eat meals sitting down, and no, this does not include in the car! It is the small things that can make a big difference. Eating while sitting promotes better digestion and has a greater calming effect. The more relaxed the whole body is, the more relaxed the embouchure can be, thus providing more strength. Finally, when possible, set aside about 20 minutes a day to mentally rest (i.e.- read a book for

pleasure, meditate, play with your pet, etc.). We are all busy people, and the effect this can have on ones playing could be profound. 3) Water! There is no simpler path to better health as drinking at least eight glasses (eight ounces each) of water a day. Not only does it aid digestion and absorption of vitamins and minerals, it disposes of lactic acid, which helps the player to fight cramping and stiffness. I could not believe the difference this water consumption made in my own playing. I now drink between two and four liter of water a day. Extras In addition to these basic ideas, here are some additional strategies that can make a difference: Massage: After some very hard playing, massage can loosen the embouchure up to a normal feeling. Experiment with manual massage while taking a hot shower, or try a small, hand-held electronic massager on the embouchure. This can truly help the embouchure feel consistent, despite very hard playing demands. For some specific massage techniques, consult the Belfrage article mentioned earlier, as well as Paul Pritchards' section of "The Business." Diet Alteration: Some food products can affect the performance of the embouchure. Consider slowly phasing these foods out of the diet, especially during times of heavy playing. Foods like citrus, tomato, spicy food, or heavily salted food can make the lips swell, or cause canker sores. Excessive caffeine can affect muscle response and control. Careful consideration of your diet and how your embouchure responds can lead to some great discoveries. Pain Prevention If, after valiant efforts at maintaining embouchure health, there is still stiffness and mild discomfort, here are some techniques that I have found very helpful. First, definitely do some light massage of the embouchure, and place a warm, moist towel over the entire area. Follow this with some kind of anti-inflammatory drug, like ibuprofen or other as recommended by you doctor. I have found excellent results using the homeopathic remedy Arnica. It is very safe and it seems to work better with the faces smaller muscles. It can be found in many natural foods stores and some pharmacies. Continue this pattern daily, regardless of the playing demands of that day, until the stiffness and discomfort subside. Further Reading Here are some resources that can complement your embouchure health techniques. Although not all music- based, all contain great lessons. Belfrage, Bengt. "Damage due to Overstrain in Brass Players," The Horn Call XXIII/2 (April 1993): 21-24. Brussat, Frederic and Mary Ann. Spiritual Literacy. New York: Scribner Books, 1996. Bruser, Madeline. The Art of Practicing. New York: Bell Tower, 1997. Green, James. Male Herbal. Freedom, CA: The Crossing Press, 1991. Pritchard, Paul, ed. The Business. Self-produced, 1992. (ISBN #0 9520626 0 7) Conclusion Horn players can hurt and do their embouchures and the most disturbing thing is that it is preventable. If one takes time to get to know how their embouchure works and responds to symptoms, such pain could be prevented, the embouchure can feel consistent from day to day. The techniques suggested here are just a start. Once you have achieved a greater

knowledge of your own embouchure, feel free to experiment with other methods to improve and maintain your embouchure's health. My hope is that this article will help you to maintain a healthy embouchure, and enjoy consistent, pain-free performing for as long as possible. Andrew J. Pelletier is a Los Angeles soloist and freelancer on both modern and natural horn. He is currently a doctoral candidate at the University of Southern California, and maintains several scholarly interests on the horn, its history and its players. He is a graduate of the University of Southern Maine (BM, Summa Cum Laude), and the University of Southern California (MM, Highest Honors). He has won numerous solo competitions, including the Jon Hawkins Memorial Scholarship of the IHS, and the American Horn Competition University Division. texto traducido [ Atras ] [ (inicio)Casa ] [ Arriba ] [ Proximo ] Embouchure Salud y Mantenimiento Andrew J. Pelletier Introduccion El embouchure es un area extraordinariamente compleja de un fisico de jugador de cuerno. Miles de musculos diminutos son manipulados para crear los necesitados resistance contra el riachuelo de aire, que en girar crea el zumbido. No substancia como fuerte 1 vuelve, hay tambien el riesgo de lesion. Este articulo no hablara directamente al tema de deterioro (en este tema, yo altamente recomendo Bengt articulo de Belfrage, "Merecido de deterioro a Sobre tension en Jugadores de Laton" en La Llamada de Cuerno XXIII/2 (Abril 1993): 21-24). En lugar de, el enfocara en caminos 1 pueden evitar el riesgo de deterioro, y actualmente hacer el embouchure sentir consistente desde dia a dia. En el verano de 1994, mientras haciendo un solo grabando, yo empezaba a sentir una punzada afilada en mi cara, (run/ejecutar)corriendo abajo el lado de izquierda de mi nariz, y acabando en la esquina de mi boca. Entumecimiento y oscurece dolor seguido. Yo nada de pensamiento de el, y continuado a juego, no realizando hasta mas tarde que yo estaba arrastrando, o trabajo excesivo ese musculo. Durante nueve meses de recuperacion dificil, Yo descubria que habido sucedido sido completamente evitable y innecesario. En lugar de de ser negativo sobre el, yo chose para ver el como un bendiciendo, y colocar fuera crear algunos caminos de guardarme embouchure consistentes y lesion(gratis)libre. Yo no hago demanda para ser un experto medico; estas ideas son sugerencias justo que pueden o no pueden trabajar para usted. Como con todas sugerencias de una naturaleza medica, sin embargo, por favor ser seguro consultar un medico o especialista apropiada. La cosa importante es pensar sobre la salud futura y presente de la embouchure, con este pensamiento conduciendo a accion positiva. Basicos de Embouchure Salud 1) "Escuchar" a su embouchure. El es verdaderamente increible como 1 poder obtener usado para ignorar el cuerpo. El

concepto de "escuchando" empieza con el recalentar. "Escuchando" consiste de ser constantemente consciente del siente de los embouchure musculos; mas que jugando en una manera desatenta. 1 usaria este "escuchando" en el comienzo y por todo el recalienta. Si el embouchure siente leotardo, recalentar en una manera que afloja el arriba. Si hay una carencia de centro, hacer algunos estabilizando ejercicios; como tonos largos o ataques de aire. Ser servicial para experimentar y hacer que el embouchure necesita. Si un quemadura (un leotardo, aguijon caliente en los musculos, que marcas el comienzo de musculo entumecimiento) empieza en las esquinas de las embouchure, facilidad arriba para una segunda y permite los musculos para relajar. Este relajando impedira el construir arriba de lactico acido, que hace el musculo menos flexible, y eventualmente conduce para entumecimiento y estropear. Tomar este concepto de "escuchando" dentro la sesion de costumbre a si mismo, y experimento practicando en spurts con resto; para minutos 30 de ejemplo de trabaja con 10-15 resto de minutos. Practicando en esta manera es beneficial para la embouchure y su cerebro como bien. Tiempos de resto breve puede producir penetracion grande dentro un problema necesitando trabaja. 2) Obtener suficiente resto. Un horario completo de realizar, ensegnando, y viajando es logrado a veces en el gasto de 1 es salud fisica. Resto apropiado empieza con el suegno de noche. El es importante para obtener suficiente suegno para permitir el tiempo de cuerpo a resto y repara. Para mas gente, este es entre cinco y nueve horas por noche. Evidentemente, habra tiempos cuando estos son imposibles, pero el momento su horario permite, dar su cuerpo como mucho tiempo a resto como necesario. Comer comidas sentando abajo, y no, este no incluye en el automovil! El es las cosas pequegnas que pueden hacer una diferencia grande. Comiendo mientras sentando promociona digestion mejor y tiene un mayor calmando efecto. El mas relajado el cuerpo completo es, el mas relajado el embouchure poder ser, asi siempre que mas fuerza. Finalmente, cuando posible, colocar aparte sobre 20 minutos un dia para mentalmente resto (yo.e.- leer un libro para placer, meditar, juego con su animal de compagnia, etc.). Nosotros somos toda gente ocupada, y el efecto este puede tener en 1 jugando podido ser profundo. 3) Agua! No hay camino mas simple a salud mejor como bebiendo al menos ocho vidrios (ocho onzas cada) de agua un dia. No solo hace el digestion de ayuda y absorption de vitaminas y minerales, el dispone de lactico acido, que ayudas el jugador a pelea entumecimiento y rigidez. Yo no podia creer la diferencia este consumo de agua hecho en mi propio jugando. Yo ahora bebida entre dos y cuatro litro de agua un dia. Extras En adicion a estas ideas basicas, aqui es algunas estrategias adicionales que pueden hacer una diferencia: Masaje: Despues algun muy duro jugando, masaje puede aflojar el embouchure hasta un normal sintiendo. Experimento con masaje de manual mientras tomando una ducha caliente, o intentar un pequegno, mano-sujetada electronica mas dar masaje en la embouchure. Este poder

verdaderamente ayudar el embouchure sentir consistente, a pesar de muy duro jugando demandas. Para algunas tecnicas de masaje especifico, consultar el Belfrage articulo mencionado mas temprano, tan bien como Paul Pritchards' seccion de "El Negocio." Alteracion de Dieta: Algunos productos de alimento puede afectar la actuacion de la embouchure. Considerar lentamente fase estos alimentos fuera de la dieta, especialmente durante tiempos de pesados jugando. Alimentos como citrus, tomate, alimento picante, o alimento pesadamente salado puede hacer los labios hinchan, o causar llagas de grangrena. Cafeina excesiva puede afectar respuesta de musculo y controla. Consideracion cuidadosa de su dieta y como su embouchure responde puede conducir a algunos descubrimientos grandes. Prevencion de Dolor Si, despues esfuerzos esforzados en manteniendo embouchure salud, hay todavia rigidez y molestia suave, aqui es algunas tecnicas que yo he encontrado muy utiles. Primero, seguramente hacer algun masaje ligero del embouchure, y situar un caliente, toalla humeda sobre el area entera. Seguir esta con alguna clase de anti droga de inflamatorio, tan ibuprofen o otro como recomendado por usted medico. Yo he encontrado resultados excelentes usando el remedio homeopata Arnica. El es muy caja fuerte y el parece trabajar mejor con los musculos de caras mas pequegnas. El puede ser encontrado en muchos almacenes de alimentos naturales y algunas farmacias. Continuar esta modelo diaria, indiferente de las jugando demandas de que dia, hasta la rigidez y molestia subside. Mas lejos Leyendo Aqui es algunos recursos que pueden complemento sus embouchure tecnicas de salud. Aunque no toda musica basada, todas contienen lecciones grandes. Belfrage, Bengt. "Merecido de deterioro a Sobre tension en Jugadores de Laton," La Llamada de Cuerno XXIII/2 (Abril 1993): 21-24. Brussat, Frederic y Mary Ann. Alfabetismo Espiritual. Nueva York: Scribner Libros, 1996. Bruser, Madeline. El Arte de Practicar. Nueva York: Torre de Timbre, 1997. Verde, James. Macho Herbal. Libertad, CA: El Cruzando Pulsar, 1991. Pritchard, Paul, ed. El Negocio. Auto-producido, 1992. (ISBN #0 9520626 0 7) Conclusion Jugadores de cuerno puede golpear y hace su embouchures y la mas turbando cosa es que el es impedida capaz. Si 1 toma tiempo para obtener para saber como su embouchure trabaja y responde a sintomas, dolor tal podia ser impedido, el embouchure poder sentir consistente desde dia a dia. Las tecnicas sugeridas aqui son justo un principio. Una vez usted ha logrado un conocimiento mayor de su propio embouchure, sentir (gratis)libre para experimentar con otros metodos para mejorar y mantienen su salud de embouchure. Mi esperanza es que este articulo le ayudara a mantener un saludable embouchure, y disfrutar consistente, dolor(gratis)libre realizando para tan largo como posible. Andrew J. Pelletier es un Los Angeles soloist y (gratis)libre mas lanza en ambos cuerno natural y moderno. El es actualmente un doctoral candidato en la Universidad de Del sur California, y mantiene varios eruditamente interesa en el cuerno, su historia y sus jugadores. El

es un graduado de la Universidad de Del sur Maine (BM, Summa Cum Laude), y la Universidad de Del sur California (MM, Mas alto Honors). El ha (win)ganado numeroso solo competiciones, incluyendo la Jon Hawkins Beca Conmemorativa de la IHS, y la Division de Universidad de Competicion de Cuerno Americano. [ Back ] [ Home ] [ Up ] [ Next ] Advice for Amateurs Marilyn Bone Kloss Continued from The Horn Call XXIX/1 (November 1998): 65-67. Ensemble etiquette Getting along with conductors and colleagues is a matter of consideration and of being responsible. Arriving on time, stopping when the conductor does, listening (and not talking), and ways of fitting into the section are some of the standards discussed. Conductors Like it or not, conductors generally have absolute power over ensembles. More than once I have heard a conductor state, "This is not a democracy!" Professional players used to depend on conductors' good graces for their livelihood, but now many organizations have player committees to handle disputes. The conductor's power is probably more nearly absolute in amateur organizations where such committees are not the rule. In studios, where there is time pressure to get the music recorded quickly, players who cannot get along with the conductor or their colleagues are not asked back for the simple reason that disruptions cost money. It used to be that contractors had the power to hire studio players, but now it's more often the composer (and more often than not, also the conductor) who provides a list of desired players to the contractor. "Always speak to the conductor in a respectful way, whether or not you think that respect is deserved," writes Cochran Block. "Alienating the conductor is never in a player's best interest." Specifically, she recommends that "when a conductor makes a suggestion to you or your section, acknowledge that you understand by a nod of the head or some facial response (preferably not a grimace). If a conductor usually cues your

entrances, look up to acknowledge that cue." Stop playing immediately when the conductor stops. "Continuing is rude and wastes time," comments Cochran Block. Colleagues as well as conductors appreciate this courtesy. It seems as though all conductors, after saying, "Practice" say, "Don't talk." Another request is to listen so that corrections have to be made only once. "Listen even when the conductor is talking to another section," says conductor Max Hobart. "You might learn something about the music that applies to what you play, or at least increases your understanding of the work." Conductor Richard Pittman says, "Amateurs can be as professional in this regard as the professionals. For example, the New England Conservatory Children's Chorus is actually more professional in its rehearsal attitude than many professional organizations, including some of the major orchestras." Place your stand so that you can see the music and the conductor at the same time. "Know the music well enough so that your eyes don't have to be glued to the music," says Pittman. "Be able to look up when necessary, especially at the beginning and end of a movement. The conductor prepares each musical event ahead of time, and you have to be aware of the preparation." Abby Mayer, a professional player and teacher of many amateurs, writes in A Pamphlet for Self Improvement on the Horn, "Try to develop the habit of memorizing the first notes of your entrances and looking at the conductor before you enter. Your glance lets him [or her] know that you are prepared, even if he does not give a cue. Your visual attention will signal that he can depend on you, and it will also give him confidence in your performance." Asking questions of the conductor can be disruptive of the rehearsal and lead to confusion for other players. It's best to check within the section first; often the question can be resolved without involving the conductor. Rather than impede a rehearsal about a particular note, wait for the break or the end of the rehearsal to ask the conductor or check the score. However, sometimes it is appropriate to ask a quick question. In some situations (studio sessions, for example, or with certain conductors), it is customary for only the section principal to speak directly to the conductor. In most amateur orchestras, however,

if the question applies only to one member of the section, that member can ask the question directly. "If a conductor is any good," says Pittman, "the way he or she conducts is the way they want the music to be played; for example, how loud, soft, legato, articulated -- the character in general. The better the conductor, the more music shows up in the conducting style and the easier it will be to follow. And the better the orchestra, the more sensitive it will be to the conductor; an amateur orchestra struggling to play the notes is likely to be less sensitive to the conductor than a first rate professional orchestra. Assume that everything the conductor does has a meaning. Also, realize that conductors are human beings, trying to do their best; be cooperative, show good discipline, and help make rehearsals more efficient." Colleagues Getting along with colleagues contributes to the pleasure of ensemble playing. Here are some generally accepted standards of behavior regarding warming up, watching others, counting, and making comments on colleagues' playing. Warm up with exercises that get you ready to play. Avoid showing off with excerpts that are irrelevant to the works on the current schedule. A big taboo is practicing someone else's solo. "No first horn will want to have you around if you play flawlessly the solo that is giving him [or her] problems," comments Cochran Block. Don't watch others while they are playing. In fact, writes Cochran Block, "when someone in the section or sitting near you has a solo, don't make any sudden movements which might startle or distract the player. Even emptying your horn can be done slowly if it is absolutely necessary to do it at the time." Some assistants have been known to finger a solo along with the principal; this is guaranteed to drive the principal crazy and should certainly not be done. "'Lighthouse' is jargon for anyone who is always looking around," explains Jeffrey Bryant, principal horn of the Royal Philharmonic, in The Business. "Try not to turn around and look at anyone, keep your head forward -- especially if there are any mistakes being made by other players. This is an important part of orchestral

etiquette." Don't let on if you make a mistake, either, since doing so only embarrasses your colleagues. Some players pick up their instruments long before an entrance; others wait until just a few beats before. Follow the practice of the section leader as much as possible to minimize distraction. Mayer writes, "In some horn sections I have played in, all the players bring up their horns one full measure before the entrance. That confirms the count and insures time for preparation." Whether it is one measure or more or less obviously depends on the time signature and tempo. The following anecdote illustrates how timing of picking up the horn can be distracting. The principal in my amateur orchestra picks her horn up only a few beats before an entrance. It took me (the second horn) a while to get used to this and follow along, but now it's automatic. Recently I played second in another orchestra. The principal took much longer to get set, and when I didn't pick up my horn as soon as he did, I had a definite feeling that he worried whether I was ready for the entrance. Some first horns may not notice or care about this, but be prepared to adjust. Count carefully. Use fingers, but discreetly. Cochran Block recommends giving a hand or finger motion at rehearsal letters. "This allows all the players in the section to double check that they have the correct count." However, don't count aloud under any circumstances as others may have a different number of measures to count. The assistant must always know the count, ready to cue the principal at any moment if necessary. If another player turns to you, panic-stricken, and asks, "Where are we?" Bryant advises that you stay calm, keep counting, nod, and give the count as soon as possible. Don't say anything except the relevant bar number, otherwise you both will be lost. Don't tap your foot. "If you must tap," writes Mayer, "do it inside your shoe so it is not seen." Don't make comments to other players about their playing, except for section leaders making points about section playing. Pittman describes an exceptional situation with the members of the Boston Musica Viva, a small ensemble specializing in contemporary music. "They feel free to say anything to the

conductor and to each other. It is a strength of the group and works only because they are all excellent players and musicians, they are all nice, and it is done in a constructive way. It is perhaps even necessary in putting together new works for which there is no history of performance. This approach doesn't work in a larger group, especially where some members are weaker musicians but feel as though they know it all. The proscription is necessary then, and any instructions should be left to the section leader or conductor." Section leaders of professional orchestras may actually say more than leaders in amateur orchestras, contends Pittman, "because there is a higher standard of performance and more emphasis on section unity of style. They are more meticulous, and everyone is intent on 'getting it right'." Balance Balancing dynamics and sound is difficult at best, partly because the bell of the horn points backwards, often into sound-absorbing curtains. However, even under these adverse conditions, everyone should try to balance both within the section and with the rest of the orchestra. Retired Boston Symphony Orchestra player and IHS Honorary member Harold Meek was long a proponent of the lower horn parts coming up in dynamic level to support and balance the first horn. In his book Horn & Conductor, Meek discusses a section in the second movement of Debussy's La Mer in terms of balance. "Problems of balance beset many conductors during this passage. Too often it is a first horn solo accompanied by some kind of indistinct rumbling from the other two players. If Debussy's dynamics are followed and the lower voices are brought out, a satisfactory balance can be obtained, and it is up to the conductor to do this. Players do not always know how their sound is projecting. Yet, some conductors tell the musicians that it is their problem, not his! The result is blame heaped on players -- not where it belongs." Listen to the other horn players and try to achieve correct balance within the section; also seek and graciously accept help from the conductor.

Meek continues, "It is sad to report that many conductors think of the horn section as consisting of a first horn and 'the others.' Nothing is further from the truth. Each part is a specialty unto itself." He quotes from an article in the first issue of The Horn Call, at which time he was the editor. The author was Patrick Strevens, of the London Philharmonic and Royal Opera House. 'I make no apology for ensuring that our new journal puts the spotlight on that unsung hero, the fourth horn. It has even been said that one of our former British orchestra makers coined the phrase, 'Find me a good fourth and I'll build you a good horn quartet.' The purpose of the fourth horn is to provide a firm foundation for the rest of the quartet. However good the upper three players, they cannot possibly play in tune if there is the slightest wavering of the bass line.' Meek also quotes Virgil Thomson about Americans showing off the wind soloists. "We allow our first ... horn to dominate colleagues simply because he is usually a more accomplished player and able to produce by legitimate means a larger tone. All this adds to the decibel count, though not necessarily to richness of effect." Listening Playing all the right notes is not enough; they must also be in tune. Playing in tune starts with tuning up. Most large ensembles tune by section. If yours does, refrain from playing while other sections are tuning. In any case, wait for the tuning note to be sounded before playing and refrain from noodling around during tuning. "Many individuals, especially amateurs, don't even play in tune with themselves," says Pittman, "and playing in tune is one of the most difficult things to do well because there is not an absolute pitch. Players have to always adjust to others. Section players should adjust to their section leader. There is always compromise, especially in the woodwinds, who are constantly adjusting. Sometimes there is a leader to whom the others in the organization look to for the pitch during ensemble passages. The Lydian String Quartet, for example, tunes to the cellist, who reputedly has the best intonation. When Harold Wright was playing clarinet in the Boston Symphony, he was the standard. In

many orchestras, it is the first oboe. In the Concord Orchestra, it is the first flute." "Unisons and octaves have their own obvious difficulties," he continues, "but in chords, which horn sections often have together, the section members should listen to each other and tune to the section leader. If the line has been played by someone else before, it is the responsibility of the following player to match the intonation of the previous player, and of course to match style as well." "Listening plays an important part in maintaining the balance of sound in section playing," comments British freelance and studio player John Pigneguy in The Business. "The first horn is the leader, whatever you may think of his or her ability, and the dynamics of the section will be governed by how the first horn plays them. The same applies to both phrasing and note lengths. I have heard horn sections where it was quite obvious that one player was taking no notice of what was going on in the rest of the section, with the result that the balance of chords and harmony parts was complete nonsense." Pittman goes further. "Listen to the rest of the orchestra, not only to your own section," he says. "Listen to what goes before and carry on, being sensitive to how your part fits into the other parts. Match the character, react, be sensitive to what is going on around you." Professionals usually understand this to be part of their job, but amateurs often struggle just to play the notes. Good preparation can help free you to rise to the next level of musical sophistication. Attendance No one is going to miss a concert if they can help it, and most players are diligent about attending rehearsals. However, Cochran Block makes a special point about not missing rehearsals "except for very extreme emergencies. A player who is ill frequently will be avoided because he [or she] will be considered undependable." She also makes a point about fulfilling commitments: "Once you have accepted an obligation to play a concert, it is not wise to cancel that commitment, even if the opportunity to do something more important or more rewarding is offered to you. Would you be anxious to play in a group where

people honored their commitment only if nothing better came along?" Studio players juggle requests for services all the time, and they have to be careful how they handle commitments. Joseph Meyer, a busy LA studio player who is also a regular with the Long Beach and Hollywood Bowl symphonies, says that accepting jobs is mostly a matter of "first come, first served." There are special circumstances; for example, if you have a session playing in a section and are offered another job as principal, you can reasonably ask to be released from the first contract. "Timing is important," says Meyer. "There are some circumstances where you can send a substitute -- naturally someone you trust to do a good job -- and other times you contact the contractor to see if they want to find the substitute. It's all about being responsible." It is perhaps not obvious that unpaid amateurs will be avoided if they are undependable, but such is in fact the case. The group suffers when players miss rehearsals. In addition to the players themselves losing the opportunity to become more familiar with the music and improve their performance, it's not fair to the other players for voices to be missing, making it harder to learn the music. Horn sections often have an assistant and/or utility player who can fill in for a missing player; if not, and there is not a regular substitute list, the absent player should take responsibility for providing a substitute. Not only does sending a substitute help in the short term, but it is also an opportunity to assess a player for possible future emergencies. Being on time is part of responsible attendance, and it means being in your seat, warmed up, and ready to play when the rehearsal begins. "If you're not warmed up and ready to play at the downbeat, then you're late," asserts Pittman. "Always arrive early enough so that you are warmed up and ready to play at the starting time of the rehearsal," echoes Cochran Block. "And bring a pencil," says Hobart. Colleagues who are on time tend to resent those who are always late. Equipment should be in good condition, the horn oiled before leaving home, mutes and other accessories available. One way to be sure a pencil is always handy is to use the little plastic pencil clips that are available at most brass shops. These attach to a

section of tubing on the horn, and then a pencil (wooden or mechanical) fits into the clip. There are now also devices that attach to a chair and hold mutes for easy access. Music As an orchestra librarian, I have particular interest in music being handled properly. This means keeping it in your case, or in a music folder, to protect it from the elements and from being crumpled. Everyone knows not to write in ink on music, but what should you write with the ever-present pencil? Don't be afraid to make helpful notations, such as corrections (especially required in some editions), reminders of accidentals, eye-glasses and other cautionary marks, circling a dynamic to emphasize that the conductor has commented on it, changing a dynamic or articulation if necessary in accordance with the conductor or section leader's directions. All these marks should made as lightly as possible, while still being readable, and except for such things as accidentals, marks should not be made on the staff itself. For example, don't make big X's through first endings, or run cut marks across the staves. When these are later erased, some of the printing is erased as well. Be considerate of the next person reading the music. Fingerings worked out for a stopped passage or alternate fingerings for a difficult spot are appropriate, but normal fingerings should not be necessary. Sometimes you see incorrect fingerings in a part and wonder what that concert sounded like! A big no-no is writing notes on the staff for transpositions. Even writing the names of transposed notes should be done in only extreme circumstances. Many players have commented to the Internet horn discussion group how difficult it is to read the music if transposed notes are written on the staff; some have described their painstaking erasures, and their frustration at the loss of printed notes. Professionals advise writing in anything needed to avoid making mistakes; they particularly don't want to repeat any error that has caught the conductor's attention. Amateurs don't play under the same pressure; on the other hand, they may need reminders which professionals don't find necessary.

Performance etiquette The audience is the reason for the performance and should be appreciated by the ensemble members. Dress appropriately, arrive on time, and acknowledge applause graciously. Invest in the proper clothes for concerts. For men, this is usually a tuxedo with black bow tie and black shoes; sometimes a dark suit with long dark tie is required. For women, a long black outfit is the usual attire; sometime white blouses are required. The outfit can be a dress, skirt and blouse, or pantsuit, but should be appropriate; i.e., dressy but not flashy. Long sleeves are best. Jewelry should be unobtrusive. As with rehearsals, players should arrive at performances in good time to warm up, get settled, and be ready (physically and mentally) to perform at the scheduled time. Warm-ups should be focused on getting the embouchure, tongue, etc. ready for the music to come. Most ensembles rise as the conductor approaches the podium. Watch the concertmaster for cues to rise and be seated again. When the conductor gestures for the ensemble to take a bow at the end of a piece, stand immediately and smile as though you enjoyed the performance -- whether you actually did or not. The audience deserves your best performance, and it also deserves appreciation of its applause. Verne Reynolds, performer, composer, and retired professor at Eastman School of Music, writes in The Horn Handbook, "Stage deportment consists mainly of good manners." Reynolds is speaking specifically about recitals, but the sentiment applies to any performance. "The bow should communicate our thanks to each audience member for taking the time, making the effort, spending the money, leaving the comfort and safety of home, and postponing work or other pleasures just to see us and hear us. We routinely thank others for simple courtesies extended. How rude it would be, then, to respond to the applause accompanying our entrance with a curt nod of the head. How civilized it is to signify with our bow that we genuinely value their efforts made on our behalf."

In the same sense, it is rude for orchestra musicians to look disappointed, talk with their colleagues, or shuffle their music rather than graciously acknowledge the audience. "A concert is to some extent a ritual in which both musicians and audience participate," writes Paul Pritchard, an active British freelancer, in The Business. The sight of an orchestra in full evening dress is an integral part of the experience. At the end of the piece, to see them stand and bow together to acknowledge the applause is a much more impressive sight than having them lumbering hesitantly to their feet a few at a time, grinning sheepishly at the audience, or even worse, fixing them with a stony stare that seems oblivious to their presence. The general rule is to watch the leader of the orchestra and stand up when he does; at the same time, be aware of the other members of the orchestra and stand up with the majority. If you have played a solo and the conductor gestures you to stand up on your own, do so quickly and give a small bow to the audience and smile if you can. Sometimes you can get a bow even when you think that you have not played particularly well. It is times like these when you must behave as though you had turned in your best performance. This is because if there were any small slips, the audience will have noticed them a lot less than you, and your composure might just persuade them that they did not hear any mistakes at all." Conductors and soloists routinely receive audience members after a concert. You can help your amateur organization by encouraging family and friends to attend your concerts; then seek them out at the concert and make them feel welcome. This has the added benefit of making you feel as though you have fans in the audience for whom you are performing specially. Conclusion Pittman has conducted both amateur and professional ensembles. "Amateur orchestras are a little more difficult to conduct," he admits, "because they require more teaching and the players take longer to learn the music. But on the positive side, you rarely find anyone in an amateur orchestra who hates music; they are there because -- as the name implies -- they love music. Some

professionals are very unhappy. In the radio orchestras of Europe, the musicians are civil servants who cannot be dismissed, and it seems that there is always one, sometimes several, who are extremely bitter, uncooperative, and unhappy." Hobart agrees that working with amateurs is rewarding for the spirit the players bring to the music making. "On the other hand, some amateurs excuse their lack of practice on their not being professional musicians, that they work full-time at some other profession," adds Pittman. "These players have a responsibility to keep up with the level of the ensemble." So it comes back to practicing! Practicing intelligently, working out difficult passages with a teacher or colleague, and keeping up skills and level of playing are ways that amateurs can contribute the most to their organizations and also get the most out of their playing. In the ensemble, listen to colleagues and watch the conductor for balance, intonation, and style. Punctuality, cooperation, and respect for the conductor, colleagues, and audience are all part of making an ensemble work smoothly. "Being an amateur musician is not all that different from being a professional musician," concludes Pittman. "We are all striving toward good performances, toward making the best music we can." Marilyn Bone Kloss earned BME and MM degrees in horn at Indiana University, taught public school music, and freelanced. Later she earned a degree in engineering from Northeastern University in Boston while working at Raytheon Company. She now works as a technical writer, plays in a community orchestra, edits a newsletter for hornists in the New England area, and is an IHS Area Representative and Advisory Council member.
Consejo para Aficionados Marilyn Hueso Kloss Continuado desde La Llamada de Cuerno XXIX/1 (November 1998): 65-67. Ensemble etiquette Obteniendo (por)junto con conductores y colegas son una substancia de consideracion y de ser responsable. Llegando en tiempo, parando cuando el conductor hace, escuchando (y no hablando de), y caminos de colocar dentro la seccion es algunos de los estandartes discutidos. Conductores Quieren el o no, conductores generalmente tienen poder absoluto sobre ensembles. Mas que una vez yo he oido un estado de conductor, "Este no es una democracia!" Jugadores profesionales usados para depender de gracias' de bien de conductores para su sustento, pero ahora muchas organizaciones tienen comites de jugador para manejar disputas. El poder de conductor es probablemente mas casi absoluto en organizaciones de aficionado comites donde tales no son la regla. En estudios, donde hay presion de tiempo para obtener la musica grabada rapidamente, jugadores quien no pueden obtener (por)junto con el conductor o sus colegas no son preguntados atras para la razon simple que rupturas dinero de costo. El usado para ser que contratistas tenidos el poder para alquilar jugadores de estudio, pero ahora el

es mas a menudo el compositor (y mas a menudo que no, tambien el conductor) quien proporciona una lista de jugadores deseados al contratista. "Siempre hablar al conductor en un camino respetuoso, si o no usted piensa que respecto es merecido," escribe Cochran Bloque. "Alienando el conductor es nunca en un interes de jugador el mejor." Especificamente, ella recomenda que "cuando un conductor hace una sugerencia a usted o su seccion, reconocer que usted entiende por una cabezada del cabeza o alguna facial respuesta (preferiblemente no una mueca). Si un conductor normalmente entradas sus entradas, mirar hasta reconocer que entrada." Parar jugando inmediatamente cuando los stopes de conductor. "Continuando es rudo y malgasta tiempo," comentarios Cochran Bloque. Colegas tan bien como conductores aprecian estos courtesy. El parece como aunque todos conductores, tras decir, "Costumbre" decir, "No hacer charla." Otra peticion es escuchar porque correcciones tienen que ser hechas solo una vez. "Escuchar incluso cuando el conductor esta hablando de a otra seccion," dice conductor Max Hobart. "Usted podia aprender alga sobre la musica que aplica a que usted juega, o al menos aumentos sus entendiendo de los trabajan." Conductor Richard Pittman dice, "Aficionados pueden ser como profesionales en esta consideracion como la profesionales. Por ejemplo, el Inglaterra Nuevo Conservatory Coro de Nignos es actualmente mas profesional en su actitud de ensayo que muchas organizaciones profesionales, incluyendo algunas de las orquestas mayores." Situar su posicion porque usted puede ver la musica y el conductor en el mismo tiempo. "Saber la musica bien suficiente porque sus ojos no tienen que ser pegados a la musica," dice Pittman. "Ser capaz para mirar arriba cuando necesario, especialmente en el comienzo y fin de un movimiento. El conductor prepara cada suceso musical delante de tiempo, y usted tiene que ser consciente del preparacion." Abby Mas poder, un jugador profesional y profesor de muchos aficionados, escribe en Un Pamfleto para Misma Mejora en el Cuerno, "Prueba para desarrollar el habito de memorizar las notas primeras de sus entradas y mirando el conductor ante usted entra. Su mirada permite la [o su] saber que usted es preparado, incluso si el no da una entrada. Su atencion visual segnalara que el puede depender dele, y el tambien dara la confianza en su actuacion." Preguntando preguntas del conductor puede ser disruptive del ensayo y conduce a confusion para otros jugadores. El es el mejor para comprobar dentro la seccion primera; a menudo la pregunta puede ser resuelta sin implicar el conductor. Mas que impedir un ensayo sobre una nota particular, espera para la ruptura o el fin del ensayo para preguntar el conductor o comprueba el tanteo. Sin embargo, a veces el es apropiado para preguntar una pregunta rapida. En algunas situaciones (sesiones de estudio, por ejemplo, o con ciertos conductores), el es habitual para solo el principal de seccion para hablar directamente al conductor. En mas orquestas de aficionado, sin embargo, si la pregunta aplica solo a 1 miembro de la seccion, que miembro puede preguntar la pregunta directamente. "Si un conductor es algun bueno," dice Pittman, "el camino el o ella conductas es el camino ellos quieren la musica para ser jugada; por ejemplo, como alto, blando, legato, articulaba -- el caracter en general. El mejor el conductor, la mas musica muestra arriba en el conducta estilo y el mas facil el sera seguir. Y la mejor la orquesta, el mas sensible el sera al conductor; una orquesta de aficionado luchando a juego las notas son probablemente ser menos sensibles al conductor que una orquesta de proporcion primera profesional. Asumir que todo el conductor tiene un significando. Tambien, realizar que conductores son seres humanos, intentando hacer su el mejor; ser cooperativo, mostrar disciplina buena, y ayudar hacer ensayos mas eficaces." Colegas Obteniendo (por)junto con colegas contribuyen al placer de ensemble jugando. Aqui es algunos estandartes generalmente aceptados de conducta considerando recalentando, guardando otros, contando, y haciendo comentarios en colegas' jugando. Recalentar con ejercicios que le obtienen listos a juego. Evitar mostrando fuera de con fragmentos que son improcedentes a los trabajan en el horario actual. Un tabu grande esta practicando alguien otro solo. "No cuerno primero querra tenerle alrededor si usted juega correctamente el solo que esta dando lo [o su] problemas," comentarios Cochran Bloque. No hacer vigilancia otros mientras ellas estan jugando. En hecho, escribe Cochran Bloque, "cuando alguiena en la seccion o sentando cerca usted tiene una solo, no hace algunos movimientos repentinos que podian asustar o distraen el jugador. Incluso vaciando su cuerno puede ser hecho lentamente si el es absolutamente necesario para hacer el en el tiempo." Algunos ayudantes han sido conocidos a dedo un solo (por)junto con el principal; este es garantizado a conduccion el loco principal y ciertamente no seria hecho. "'Faro' es jerga para alguien quien es siempre mirando alrededor," explica Jeffrey Bryant, cuerno principal del Real Filarmonico, en El Negocio. "Prueba no girar alrededor y mira alguien, guardar su cabeza adelante -especialmente si hay algun ser de equivocaciones hechos por otros jugadores. Esta es una parte importante de orchestral etiquette." No permite en si usted hace un equivocacion, ambos, desde entonces haciendo asi solo embaraza sus colegas. Algunos jugadores cogen sus instrumentos largos antes una entrada; otros espera hasta justo unos pocos latidos antes. Seguir el costumbre del jefe de seccion tan mucho como posible para minimizar distraccion. Mas poder escribe, "En algunas secciones de cuerno yo he jugado en, todos los jugadores plantean sus cuernos 1 medida completo antes la entrada. Que confirma la cuenta y asegura tiempo para preparacion." Si el es 1 medida o mas o menos evidentemente depende de la firma de tiempo y tempo. La anecdota siguiente ilustra como cronometrando de coger el cuerno puede estar distrayendo. El principal en mis picos de orquesta de aficionado su cuerno arriba solo unos pocos latidos antes unos entrada. El me tomaba (el cuerno segundo) un mientras para

obtener usado a este y seguir (por)junto, pero ahora el es automatico. Recientemente Yo jugaba segundo en otra orquesta. El principal tomaba mucho mas largo para obtener coloca, y cuando yo no me cogia cuerno tan pronto como el hacia, Yo tenia un seguro sintiendo que el preocupaba si yo era listo para la entrada. Algunos cuernos primeros no pueden notar o cuidan sobre estos, pero ser preparado para ajustar. Cuenta cuidadosamente. Usar dedos, pero discretamente. Cochran Bloque recomenda dando una mano o toca movimiento en letras de ensayo. "Este permite todos los jugadores en la seccion para repasar que ellas tienen la cuenta de correcto." Sin embargo, no hacer cuenta en voz alta bajo algunas circunstancias como otros pueden tener un numero diferente de mide a cuenta. La necesidad ayudante siempre sabe la cuenta, listo a entrada el principal en algun momento si necesario. Si otro jugador gira a usted, panico-afligido, y pregunta, "Donde somos nosotros?" Bryant aconseja que usted permanece calma, guardar contando, cabezada, y dar la cuenta tan pronto como posible. No dice algo excepto el numero de barra pertinente, si no usted ambos sera perdido. No hacer grifo su pie. "Si usted debe grifo," escribe Mas poder, "hace el dentro su zapato asi el no es visto." No hace comentarios a otros jugadores sobre sus jugando, excepto para jefes de seccion haciendo apunta sobre seccion jugando. Pittman describe una situacion excepcional con los miembros de los Boston Musica Viva, un pequegno ensemble especializando en musica contemporanea. "Ellos sienten (gratis)libre para decir algo al conductor y a nosotros mismos. El es una fuerza del grupo y trabaja solo porque ellos son todos jugadores excelentes y musicos, ellos son todo agradable, y el es hecho en un camino constructivo. El es quizas nivelar necesario en lanzando juntos nuevo trabaja para que no hay historia de actuacion. Este aproximar no trabaja en un grupo mas grande, especialmente donde algunos miembros son musicos mas debiles pero sienten como aunque ellos saben el todos. El proscripcion es necesario entonces, y algunas instrucciones serian izquierda al jefe de seccion o conductor." Jefes de seccion de orquestas profesionales pueden decir actualmente mas que jefes en orquestas de aficionado, contiende Pittman, "porque hay un estandarte mas alto de actuacion y mas enfasis en unidad de seccion de estilo. Ellos son mas meticuloso, y todos es en tienda de campagna en 'obteniendo el derecha'." Balance Equilibrando dinamicos y sonido es dificil en el mejor, en parte porque el timbre del cuerno apunta hacia atras, a menudo dentro sonido-absorbiendo cortinas. Sin embargo, incluso bajo estas condiciones adversas, todos intentaria a balance ambas dentro la seccion y con el resto del orquesta. Retirado Boston jugador de Orquesta de Sinfonia y IHS miembro de Honorario Harold Docil era largo un proponent de las partes de cuerno mas bajo viniendo arriba en nivel dinamico a soporte y equilibra el cuerno primero. En su Cuerno de libro y Conductor, Docil discute una seccion en el movimiento segundo de Debussy La Mas mi en terminos de balance. "Problemas de balance sitia muchos conductores durante este pasaje. Demasiado a menudo el es un cuerno primero solo acompagnado por alguna clase de indistinta retumbando desde los otros dos jugadores. Si Debussy dinamicos es seguido y las voces mas bajas son traidas fuera, un balance satisfactorio puede ser obtenido, y el es hasta el conductor para hacer este. Jugadores no saben siempre como su sonido esta proyectando. Aun, algunos conductores dicen los musicos que el es su problema, no su! El resultado es culpa amontonada en jugadores - no donde el pertenece." Escuchar a los otros jugadores de cuerno y intenta lograr balance de correcto dentro la seccion; tambien buscar y gratamente aceptar ayudar desde el conductor. Docil continua, "El es triste para narrar que muchos conductores piensan de la seccion de cuerno como consistiendo de un cuerno primero y 'el otros.' Nada es mas lejos desde la verdad. Cada parte es una specialty unto a si misma." El cita desde un articulo en el tema primero de La Llamada de Cuerno, en que tiempo el era el editor. El autor era Patrick Strevens, de la Casa de Opera de Londres Real y Filarmonico. 'Yo no hago apologia para asegurar que nuestro periodico nuevo pone el foco en ese unsung heroe, el cuerno cuarto. El ha sido incluso dicho que 1 de nuestro hacedores de orquesta Britanica anterior acugnada la frase, 'Encontrarme un cuarto bueno y yo le construire un cuarteto de cuerno bueno.' El proposito del cuerno cuarto es proporcionar una fundacion firme para el resto del cuarteto. Sin embargo bueno los superiores tres jugadores, ellos no pueden jugar posiblemente en tonada si hay el mas ligero anillo de ola de la linea de bajo.' Docil tambien cita Virgil Thomson sobre Americanos mostrando fuera de el viento soloists. "Nosotros permitimos nuestro primero ... cuerno para dominar colegas sencillamente porque el es normalmente un jugador mas realizado y capaz para producir por medio legitimo un mas grande tono. Todo este suma a la decibel cuenta, aunque no necesariamente a riqueza de efecto." Escuchando Jugando todas las notas derechas no son suficiente; ellos deben tambien estar en tonada. Jugando en principios de tonada con afinando arriba. Mas grande ensembles tonada por seccion. Si sus hace, refrenar desde jugando mientras otras secciones estan afinando. En algun caso, espera para la afinando nota para ser sonada ante jugando y refrena desde fideos alrededor durante afinando. "Muchos individuos, especialmente aficionados, hacer juego no llano en afina con ellos mismos," dice Pittman, "y jugando en tonada es 1 de las cosas mas dificiles para hacer bien porque no hay un pez absoluto. Jugadores tienen que siempre ajustar a otros. Jugadores de seccion ajustaria a su jefe de seccion. Hay siempre compromiso, especialmente en los vientos de bosque, quien es constantemente ajustando. A veces hay un jefe a a quien el otros en el aspecto de organizacion a para el pez durante ensemble pasajes. El Lydian Cuarteto de Cadena, por ejemplo, tonadas a las cellist, quien supuestamente tiene la entonacion el mejor. Cuando Harold Wright estaba jugando clarinete en la Boston Sinfonia,

el era el estandarte. En muchas orquestas, el es el primero oboe. En la Orquesta de Concordia, el es la flauta primera." "Unisonos y octaves tienen sus dificultades evidentes propias," el continua, "pero en cuerdas, que secciones de cuerno a menudo tiene juntos, los miembros de seccion escucharia a nosotros mismos y tonada al jefe de seccion. Si la linea ha sido jugada por alguiena otra antes, el es la responsabilidad del jugador siguiente para emparejar la entonacion del jugador anterior, y naturalmente emparejar estilo como bien." "Escuchando juegos una parte importante en manteniendo el balance de sano en seccion jugando," comentarios lanza (gratis)libre Britanica y jugador de estudio John Pigneguy en El Negocio. "El cuerno primero es el jefe, todo lo que usted puede pensar de su o su habilidad, y el dinamicos de la seccion sera gobernada por como los juegos de cuerno primero ellos. El mismo aplica a ambas frase y longitudes de nota. Yo he oido secciones de cuerno donde el era completamente evidente que 1 jugador estaba no tomando atencion de que estaba yendo en en el resto de la seccion, con el resultado que el balance de cuerdas y partes de armonia era completada disparates." Pittman va mas lejos. "Escuchar al resto de la orquesta, no solo a su seccion propia," el dice. "Escuchar a que va antes y llevar en, ser sensible para como sus arrebatos de parte dentro las otras partes. Emparejar el caracter, reaccionar, ser sensible a que esta yendo en alrededor usted." Profesionales normalmente entender esta para ser parte de su trabajo, pero aficionados a menudo lucha justo a juego las notas. Preparacion bueno puede ayudar le libera para subir al nivel proximo de musical sophistication. Asistencia No 1 esta yendo a segnorita un concierto si ellos pueden ayudar el, y mas jugadores son diligentes sobre asistiendo ensayos. Sin embargo, Cochran Bloque hace un especial apunta sobre no perdiendo ensayos "excepto para emergencias muy extremas. Un jugador quien es mal frecuentemente sera evitado porque el [o ella] sera considerado poco seguro." Ella tambien hace una apunta sobre cumpliendo compromisos: "Una vez usted ha aceptado una obligacion a juego un concierto, el no es sabio para cancelar que compromiso, incluso si la oportunidad para hacer alga mas importante o mas recompensando es ofrecida a usted. Quizas usted es ansioso para jugar en un grupo donde gente honored su compromiso solo si nada mejora venido (por)junto?" Jugadores de estudio reorganiza pide para servicios todo el tiempo, y ellos tienen que ser cuidadoso como ellos manejan compromisos. Joseph Meyer, un ocupado LA jugador de estudio quien es tambien un regular con la Playa Larga y sinfonias de Tazon de bosque de Acebo, dice que aceptando trabajos son mayormente unos substancias de "primero venir, primero servido." Hay circunstancias especiales; por ejemplo, si usted tiene una sesion jugando en una seccion y es ofrecida otro trabajo como principal, usted puede preguntar razonablemente ser soltado desde el contrato primero. "Cronometrando es importante," dice Meyer. "Hay algunas circunstancias donde usted puede enviar un sustituto -- naturalmente alguien usted confia en para hacer un trabajo bueno -- y otros tiempos usted contacta el contratista para ver si ellos quieren encontrar el sustituto. El es todo sobre ser responsable." El es quizas no evidente que aficionados sin pagares seran evitados si ellos son poco seguro, pero tal esta en hecho el caso. El grupo sufre cuando ensayos de segnorita de jugadores. En adicion a los jugadores ellos mismas los la oportunidad para volver mas familiar con la musica y mejora su actuacion, el no es feria a los otros jugadores para voces para estar perdiendo, haciendo el mas duro para aprender la musica. Secciones de cuerno a menudo tiene un ayudante y/o jugador de utilidad quien puede rellenar para un perdiendo jugador; si no, y no hay una lista de sustituto regular, el jugador ausente tomaria responsabilidad para siempre que un sustituto. No solo envia una ayuda de sustituto en el termino corto, pero el es tambien una oportunidad para evaluar un jugador para emergencias de futuro posible. Ser en tiempo es parte de asistencia responsable, y el ser de medio en su silla, recalentado, y listo para jugar cuando el ensayo empieza. "Si usted no es listo y recalentado para jugar en el latido abajo, entonces usted es tarde," afirma Pittman. "Siempre llegar temprano suficiente porque usted es listo y recalentado para jugar en el empezando tiempo del ensayo," ecos Cochran Bloque. "Y traer un lapicero," dice Hobart. Colegas quien esta en tiempo cuida para tomar a mal esos quien es siempre tarde. Equipo estaria en condicion buena, el cuerno lubrificado antes de que dejando (inicio)casa, mudos y otros accesorios disponibles. 1 camino para ser seguramente un lapicero es siempre practico es usar los recortes de lapicero plastico pequegno que es disponible como mucho tiendas de laton. Estos pegar a una seccion de bagnera en el cuerno, y entonces un lapicero (mecanico o de madera) coloca dentro el recorte. Hay ahora tambien devices que pegan a una silla y sujeta mudos para acceso facil. Musica Como una orquesta bibliotecaria, yo tengo interes particular en ser de musica manejada correctamente. Este medio guardando el en su caso, o en una carpeta de musica, para proteger el desde los elementos y desde ser manoseado. Todos no sabe para escribir en tinta en musica, pero que quizas usted escribe con el lapicero-siempre presente? No es asustado para hacer notaciones utiles, tal como correcciones (especialmente requerido en algunas ediciones), recordatorios de accidentales, vidrios-de ojo y otro cautionary marca, rodeando un dinamico para enfatizar que el conductor ha comentado en el, cambiando una dinamica o articulacion si necesaria en conformidad con el conductor o direcciones de jefe de seccion. Todas estas marcas quizas hechas tan ligeramente como posibles, mientras todavia ser leer capaz, y excepto para cosas tales como accidentales, no marca seria hecho en la plantilla de personal a si misma. Por ejemplo, no hace grande X a traves de primero acabado, o (run/ejecutar)correr marcas de corte a traves el aplaza. Cuando estos es mas tarde borrado, algun del imprimiendo es borrado como bien. Ser considerate de la persona

proxima leyendo la musica. Tocado trabajado fuera para un pasaje parado o alterna tocado para una mancha dificil es apropiada, pero normal no tocado seria necesario. A veces usted ve incorrecto tocado en una parte y maravilla que que concierto sonado como! Un grande no-no es notas de escrito en la plantilla de personal para transpositionss. Escrito llano los nombres de transposed notas serian hechas en solo circunstancias extremas. Muchos jugadores han comentado al grupo de discusion de cuerno de Internet como dificil el es leer la musica si transposed notas son escritas en la plantilla de personal; algun haber descrito sus esmeradas era seguros, y su frustracion en la perdida de notas imprimidas. Profesionales aconsejar escrito en algo necesitado para evitar haciendo equivocaciones; ellos particularmente no hacen falta a repeticion algun error que ha cogido la atencion de conductor. Aficionados no hacen juego bajo la misma presion; en la otra mano, ellos pueden necesitar recordatorios que profesionales no encuentran necesarios. Actuacion etiquette El auditorio es la razon para la actuacion y seria apreciada por los ensemble miembros. Vestido apropiadamente, llegar en tiempo, y reconocer aplauso gratamente. Invertir en las ropas apropiadas para conciertos. Para hombres, este es normalmente un tuxedo con lazo de proa negra y zapatos negros; a veces un traje oscuro con lazo de obscuridad larga es requerida. Para mujeres, un equipo negro largo es la vestimenta normal; blusas alguna vez blancas son requeridas. El equipo puede ser un vestido, falda y blusa, o pantsuit, pero seria apropiado; yo.e., dressy pero no flashy. Mangas largas son el mejores. Jewelry seria unobtrusive. Como con ensayos, jugadores llegarian en actuaciones en tiempo de bien para recalentar, obtener establecido, y ser listo (fisicamente y mentalmente) para realizar en el tiempo programado. Calentar-arribas seria enfocado en obteniendo el embouchure, lengua, etc. listo para la musica para venir. Mas ensembles subida como el conductor aproxima la podio. Vigilancia el segnor de concierto para entradas a subida y es sentada otra vez. Cuando los gestos de conductor para el ensemble para tomar una proa en el fin de un pedazo, posicion inmediatamente y sonrisa como aunque usted disfrutaba la actuacion -- si usted actualmente hacia o no. El auditorio merece su actuacion el mejor, y el tambien merece apreciacion de su aplauso. Verne Reynolds, artista, compositor, y profesor universitario retirado en Escuela de hombre Este de Musica, escribe en La Guia de Cuerno, "Estrado deportment consiste principalmente de maneras buenas." Reynolds esta hablando especificamente sobre recitales, pero el sentimiento aplica a alguna actuacion. "La proa comunicaria nuestra gracias a cada miembro de auditorio para tomar el tiempo, haciendo el esfuerzo, gastando el dinero, dejando la comodidad y seguridad de (inicio)casa, y aplazando trabajar o otros placeres justo para vernos y nos oyen. Nosotros rutinamente agradecemos otros para simple courtesies prolongado. Como rudo el seria, entonces, para responder al aplauso acompagnando nuestra entrada con una cabezada breve del cabeza. Como civilizado el es significar con nuestra proa que nosotros genuinamente valor sus esfuerzos hechos en nuestro ser medio." En el mismo sentido, el es rudo para musicos de orquesta a aspecto desilusionado, charla con sus colegas, o barajar su musica mas que gratamente reconoce el auditorio. "Un concierto es a alguna extension una ritual en que ambos musicos y auditorio participa," escribe Paul Pritchard, un activo Britanico (gratis)libre mas lanza, en El Negocio. La vista de una orquesta en completa tarde vestido es una parte integral de la experiencia. En el fin del pedazo, para verles posicion y proa juntos reconocer el aplauso es una mucho vista mas impresionante que teniendose obstruyendo vacilantemente a sus pies unos pocos en un tiempo, sonreyendo sheepishly en el auditorio, o incluso peor, sujetandoles con una mirada fija petrea que parece inconsciente a su presencia. La regla general es guardar el jefe de la orquesta y posicion arriba cuando el hace; en el mismo tiempo, ser consciente de los otros miembros de la orquesta y posicion arriba con la mayoria. Si usted ha jugado un solo y los gestos de conductor usted a posicion arriba en su propia, hacer tan rapidamente y dar una proa pequegna al auditorio y sonrisa si usted puede. A veces usted puede obtener una proa incluso cuando usted piensa que usted no ha jugado particularmente bien. El es tiempos como estos cuando usted debe comportan como aunque usted habia girado en su actuacion el mejor. Este es porque si habia algunos resbalones pequegnos, el auditorio habra se notado un lote menos que usted, y su compostura podia justo se persuade que ellas no oian algunos equivocaciones en todos." Conductores y soloists rutinamente reciben miembros de auditorio despues un concierto. Usted puede ayudar su organizacion de aficionado alentando familia y amigos para asistir sus conciertos; entonces buscarles fuera en el concierto y se hace sentir bienvenido. Este tiene el beneficio sumado de hacerle sentir como aunque usted tiene abanicos en el auditorio para a quien usted esta realizando especialmente. Conclusion Pittman ha conducta ambos aficionado y profesional ensembles. "Orquestas de aficionado es un pequegno mas dificil a conducta," el admite, "porque ellos requieren mas ensegnando y los jugadores toman mas largos para aprender la musica. Pero en el lado positivo, usted raramente encuentra alguien en una orquesta de aficionado quien musica de odios; ellos hay porque -- como el nombre se -implican amar musica. Algun profesionales es muy desdichado. En las orquestas de radio de Europa, los musicos son civiles criados quien no pueden ser despedidos, y el parece que hay siempre 1, a veces varios, quien es extremadamente amargo, uncooperative, y desdichado." Hobart acuerda que trabajando con aficionados estan recompensando para el espiritu los jugadores traen a la musica haciendo. "En la otra mano, alguna excusa de aficionados su carencia de practica en sus no musicos de ser profesional, que ellos trabajan tiempo-completo en alguna otra profesion," suma Pittman. "Estos jugadores tienen una responsabilidad para guardar arriba con el nivel

del ensemble." Asi el viene atras practicar! Practicando inteligentemente, trabajando pasajes fuera dificiles con un profesor o colega, y guardando arriba habilidades y nivel de jugar es caminos que aficionados pueden contribuir los mas a sus organizaciones y tambien obtener el mas fuera de su jugando. En el ensemble, escuchar a colegas y guardan el conductor para balance, entonacion, y estilo. Puntualidad, cooperation, y respecto para el conductor, colegas, y auditorio es toda parte de hacer una ensemble trabaja suavemente. "Ser un musico de aficionado no es todo que diferente desde ser un musico profesional," concluye Pittman. "Nosotros somos todas procurando hacia actuaciones buenas, hacia haciendo la musica el mejor nosotros podemos." Marilyn Hueso Kloss ganado BME y MM grados en cuerno en Indiana Universidad, musica de escuela publica ensegnada, y (gratis)libre lanza. Mas tarde ella ganaba un grado en ingenieria desde Universidad Norte oriental en Boston mientras trabajando en Raytheon Compagnia. Ella ahora trabaja como un escritor tecnico, juegos en una orquesta de comunidad, edita un boletin de prensa para hornists en el area de Inglaterra Nuevo, y es un IHS miembro de Consejo de Area Asesor y Representativo.

[ Back ] [ Home ] [ Up ] [ Next ] Trashing the Valved Horn? Comments on Valved and Natural Horns from Turn of the Century England by John Q. Ericson I have long been fascinated by older sources of information because they often give a clear view into the past as seen from the perspective of people who were actually experiencing that place and time. In looking into the transition from the natural horn to the valved horn I came across several fascinating commentaries on the horn from late nineteenth- and early twentieth-century England. In short, more than a few musicians in this period "trashed" the valved horn, strongly favoring the then little-used natural horn. Many of these opinions appear in journal articles, orchestration books, and, especially in England, transcripts of various forums and association meetings. I have included several here that give us a series of "snapshots" of opinions in circulation at this time, covering 1879-1922. While the comments which follow sometimes seem quite humorous from today's perspective, they do reveal much about horn playing around the turn of the century and, reaching deeper, they say something about music perception and acculturation and at the same time raise interesting reasons as to both why some composers continued to write for the natural horn in this period and why natural horn performance is still important today. Music perception is a relatively new area of study in music, generally relating to how we hear or perceive music and sounds. For purposes of this article, acculturation will be understood as

that aspect of music perception which is conditioned by individual experiences. An example that is easily grasped by horn players of what music perception and acculturation can involve may be found in the use of fingerings on the double horn today. Some hornists can distinguish the sound of a hornist playing into the lower and middle registers on the B-flat side of the double horn very easily. American horn player and teacher James Chambers (1920-1989, principal hornist of the New York Philharmonic from 1946-1969) commented in a 1982 interview that "I am constantly surprising students by telling them, without looking, that they are playing on the B-flat horn and that it really would be better if they would consider playing it on the F horn. ... the F horn sound is preferable." As Chambers implied, other hornists seem unable to perceive the differences in tonal color between fingerings, which Chambers found so obvious, while still other hornists who can perceive the difference find the tone of the B-flat horn superior to that of the F horn. Curiously, non-horn players, and especially non-musicians, are often hard pressed to note any significant difference at all in tonal color between any fingerings on the double horn. If perceptions (and resulting choices) in this example can be so varied, is it not predictable that similar issues and arguments would appear during the period of transition from the natural horn to the valved horn? The typical valved horn of this period was nearly identical in terms of internal dimensions to the natural horns used previously-- only valves had been added to it. The following comments give us some insights into various perceptions of the relative tonal colors of valved and natural horns at the time. Our first group of comments come from the discussion following a January 6, 1879 presentation to The (Royal) Musical Association. Musical scholar and editor Ebenezer Prout (1835-1909) presented a paper titled "On the Growth of the Modern Orchestra During the Past Century." The subject of the developments in horn design and technique actually received no specific commentary in Prout's paper, but the topic was obviously on the minds of those present, as this topic was debated at great length after his presentation.

The discussion was recorded by the recording secretary at the meeting, and we begin with the comments from the chairman, composer George A. Macfarren (1813-1887). Macfarren, who had been blind since 1860, is described in The New Grove Dictionary as being "hopelessly reactionary" toward the end of his life, further noting that he "deplored almost every musical innovation of his time;" the following comments confirm this. In his extended commentary in answer to a question of Mr. Chas. Stephens, Macfarren expresses a very negative opinion of the "new" valved instruments, initially due to their inferior tonal quality, but then primarily for compositional reasons. Mr. Chas. Stephens asked if the Chairman [i. e., Macfarren] would say a word on the use of valve-trumpets in the orchestra. The Chairman said no doubt this was an important subject. In the first place, he believed the valve itself deteriorated the tone of the natural instrument, for he had heard the same player play successively on a hand-horn and a valvehorn, and it appeared to him that the tone of the latter was far inferior. That, however, was of secondary importance; the significant thing was, that by the use of these valves you obtained the entire chromatic scale .... In the scores of Mozart, Beethoven, Weber, and Spohr, it would be found that when trumpets, drums, and horns were used they gave a characteristic mark to the chords and keys in which they appeared, and when the music modulated from those keys you either lost those sounds altogether or else the instruments were employed on peculiar notes of peculiar chords, and thus gave a totally different character to the extraneous keys to that of the normal keys in which the pieces were set .... [as] was the case with the horns and trumpets in the slow movement of the C minor Symphony [of Beethoven, i. e., Sy,mphony No. 5, Op. 67 (1808)]. The movement being in A-flat, when they came in C, it was a totally new sound, and produced an effect which might be compared with that of the present gathering sitting in that room in the gaslight, and the roof being suddenly thrown

open and the sun streaming in. On the other hand, when these instruments were employed which gave the chromatic scale, the composers who used them were tempted to apply them to any loud chord that was wanted; when they were not used in the degraded sense in which waltz writers used them to play the principal melodies, in order to force out, by manifold duplication of notes through the foggy mass of multitudinous instrumentation, a rampant vulgar tone upon the otherwise imperceptive organs of the hearers. ... the orchestra with the scarce notes of the incomplete wind instruments was a far richer power in the composer's hands than when there was the terrible temptation of writing for cornets like violins, or for horns like violoncellos. Mr. Stephens then replied, generally agreeing with Macfarren, stating again a respect for the compositional usage of natural instruments over valved instruments. He also noted, however, that natural instruments sometimes failed in achieving their intended effects. Mr. Stephens was very glad to hear these remarks on the question of valve instruments. It was one deserving of consideration, and on which, no doubt, difference of opinion prevailed, for he thought instruments without valves, even in the simplest passages, sometimes caused failures in the effects intended. There were but three continuous notes of the scale on those instruments which could be used, and when you came to F on the fifth line and B-flat they were out of tune, and required modification to make them bearable. Nevertheless, the chairman's remarks were most valuable, because the great effects of those instruments [without valves] were produced by the simple use of them with their original power. He might allude to two very familiar instances-- the slow movement in Beethoven's Symphony in D [i. e., No. 2, Op. 36, of 1802], in which the horns in E were used with such grand effect, and the barcarole of Sir Sterndale Bennett in his Pianoforte Concerto in F minor. In both these works, the horns were used in the true way, and did not fail of their effect. The scores of

Schumann, on the contrary, showed an abuse of these valve instruments, because he made use of them until at last they became ordinary instruments, and the colouring which they might impart-- as in the works of Beethoven and Mozart-was lost. Another in attendance, acoustician D. J. Blaikley (1846-1936), then responded in defense of the valve as an instrument maker and designer. Blaikley was works manager for Boosey & Co, and had only one year previously (1878) introduced a compensating system for valved brass instruments, which is today regarded as the best of its type. He felt that if an instrument was well-made the valves were of little difference to the resulting tone. First, with regard to comparing a valve instrument with one which had no valves. It was not sufficient to take a valve instrument nominally of the same kind, say a French horn or a slide-trombone, and compare it with a valve-trombone; you must be perfectly certain that the calibre of the instruments in every portion, from the mouthpiece to the bell, was exactly the same, for, unless that were so, there was no guarantee that the difference which might be noticed was due to the addition of the valves. ... A man [testing instruments] was apt to base his opinion on the instrument he had played on all his life; he would take up another a little different, and at once find some difference, perhaps to the disadvantage of the new one. Ebenezer Prout, however, had the final word, standing firmly on middle ground: Mr. Prout, in reply, said .... With regard to valve instruments, on the whole, he should be most inclined to agree with the chairman; and if it came to a question whether they should use valve instruments as they were used nowadays or go back to the old ones, he should say take away the valves altogether, but happily they were not in that predicament. They had valves which were very useful in certain cases, for instance the [written] B-flat and F, and he should rather say keep the valves, but be careful not to

abuse them. Mr. Blaikley had said that there was no difference in the best instruments, whether with valves or without, and he could partly corroborate that opinion, not from his own knowledge, because he did not play a brass instrument, but he was tolerably intimate with one of the horn-players at the Crystal Palace, to whom he had spoken on this subject more than once, and he told him that he did not believe any one could distinguish the slightest difference between the open note played on a good valve-horn and on a natural horn. While this first group of quotations are, on the surface, rather humorous from our perspective today (and show much of the skill of the recording secretary!), in reality they are almost a case study in the vagaries of music perception. The "hopelessly reactionary," G. A. Macfarren, was of an older generation and was dead serious in his comments. Furthermore, he would have grown up hearing primarily natural horn and would thus be in a position to recognize its special tonal qualities and character that the natural instruments brought to music. On the opposite side, Blaikley was of a younger generation. He knew from his experience as an instrument maker that valves did not necessarily alter the tone. Prout's concluding commentary probably reflects reality in the eyes of the general public, especially when he quotes the hornist who did not believe any one could tell the difference. A presentation which Charles MacLean gave to The (Royal) Musical Association on March 12, 1895, titled "On Some Causes of the Changes of Tone-Colour Proceeding in the Most Modern Orchestra," had even more to say with respect to the valved horn and tonal colors. He suggests that part of the "problems" in tone color are related to the tuning of the valves to various crooks: As a matter of fact lengthening valves as made at present only contemplate the application of three or at most four medium crooks, and according to the best practice of valvemaking these crooks will only be G, F, E, and E-flat, of which F and E are preferable.... The consequence of this is that modern horn players who always have the valve attachment

have acquired a habit, since the beginning of the transition period, of transposing all such parts on to the crooks which suit their valves, and chiefly on to the F crook. This, though probably the best compromise under the circumstances, is not satisfactory. The tone of a horn crooked into a low key, say C, is more full, more trombone-like, than the tone of a horn crooked into F .... Whether quite correctly written for and used or not, the fact remains that the valve-horn has for modern music supplanted the mere natural-horn; and as this new instrument still retains its character of natural horn if the pistons are not put down (for the mere presence of the attachment itself does not appreciably disturb the tone), the result is a clear gain and a gain of an inestimable nature. In the discussion that followed, the chairman, Sir John Stainer, agreed, lending a wider perspective: ... I must say I do not altogether sympathize with those who are afraid of valved instruments, for the improvement in the making of this class has been enormous the last few years. As far back as 1878 I was on a jury in Paris with Mr. Gevaert. We put valved instruments to the most severe tests, we listened to them from behind screens, making the players sound the harmonic series with each valve separately and in combinations, but I thought their tone very pure, and their intonation just. At about the same time, conductor and composer Frederick Corder (1852-1932) shows how far attitudes in other quarters have changed against the hand horn in his book on orchestration, The Orchestra and How to Write for It, and cited the playing of two German-born hornists in England as examples of what could be done on the valved horn. The writer of a work on Instrumentation finds here his most difficult task. Shall he overwhelm the student with a mass of perplexing details regarding the Hand-horn, that all-butobsolete instrument?

... science comes to the aid of the musician [with the modern valved horn] ....Legato phrases can be played really legato, and even shakes and appoggiaturas (all but impossible before) are quite easy on the Valve-horn. But do you think musicians were grateful for these benefits conferred? Not a bit! They vehemently protested against the innovation; first vowing that the faulty "stopped" notes written by the old masters when they couldn't help it, were pearls beyond price; then, when it was demonstrated that with the valve-horn you could play the entire scale stopped if you liked, they declared that it was faulty of intonation and of far inferior tone to the old Hand-horn. One needs only to listen to a solo played by such men as Paersch and Borsdorf, to recognize the fact that tone and intonation on a brass instrument are matters entirely dependent upon the player. I recommend the student, then, to dismiss all the confusing particulars of the old horn from his mind... END The complete version of this article can be found in Horn Call November 1998, Vol. XXIX, No. 1 John Q. Ericson joined the faculty of the Crane School of Music, State University of New York College at Potsdam, in the fall of 1998. He performed third horn in the Nashville Symphony from 1991-98 and holds degrees from Indiana University, The Eastman School of Music, and Emporia State University. Selections of his recent historical writings on the horn may be found on the Internet at:
Basura el Cuerno Valvula? Comentarios en Cuernos Naturales y Valvulas desde Giran del Inglaterra de Centuria por John Q. Ericson Yo he sido largo tiempo fascinado por fuentes mas viejas de informacion porque ellas a menudo dan una clara ve dentro la pasada como vista desde la perspectiva de gente quien era actualmente experimentando ese lugar y tiempo. En mirando dentro la transicion desde el cuerno natural al cuerno valvula yo encontraba varios fascinando comentarios en el cuerno desde tarde Inglaterra- de centuria vigesima temprana-y decimonovena. En abreviatura, mas que unos pocos musicos en este periodo "basura" el cuerno valvula, fuertemente favoring el entonces cuerno-natural poco usado. Muchas de estas opiniones aparecen en articulos de periodico, libros de orquestacion, y, especialmente en Inglaterra, transcripts de foros diversos y asociacion reunida. Yo he incluido varios aqui que darnos unas series de "fotos" de opiniones en circulacion en este tiempo, tapando 1879-1922. Mientras los comentarios que continuacion a veces parece completamente humorous desde perspectiva de hoy, ellos revelan mucho sobre cuerno jugando alrededor el gira de la centuria y, alcanzando mas profundo, ellos dicen alga

sobre percepcion de musica y acculturation y en el mismo tiempo levanta razones interesantes como a ambos por que algunos compositores continuados para escribir para el cuerno natural en este periodo y cuerno por que natural actuacion es todavia importante hoy. Percepcion de musica es un area relativamente nueva de estudia en musica, generalmente contando para como nosotros oimos o percibir musica y sonidos. Para propositos de este articulo, acculturation sera entendido como ese aspecto de percepcion de musica que es condicionada por individuo experiencias. Un ejemplo que es agarrado facilmente por jugadores de cuerno de que percepcion de musica y acculturation puede implicar puede ser encontrada en la usa de tocar en el cuerno doble hoy. Algun hornists poder distinguir el sonido de un hornist jugando dentro los registros medios y mas bajos en el B lado plano del cuerno doble muy facilmente. Jugador de cuerno americano y profesor James Camaras (1920-1989, principal hornist del Nueva York Filarmonico desde 1946-1969) comentado en un 1982 entrevista que "yo soy constantemente sorprendiendo estudiantes diciendose, sin mirar, que ellos estan jugando en el B cuerno plano y que el realmente seria mejorado si ellos considerarian jugando el en el F cuerno. ... el F sonido de cuerno es preferible." Como Camaras implicadas, otro hornists parecer incapaz para percibir las diferencias en tonal color entre tocado, que Camaras encuentran tan evidentes, mientras todavia otro hornists quien poder percibir la diferencia encuentra el tono del B cuerno plano superior a que del F cuerno. Curiosamente, no-jugadores de cuerno, y especialmente no-musicos, es a menudo duro pulsado a nota alguna diferencia significativa en todo en tonal color entre algun tocado en el cuerno doble. Si percepciones (y resultando selecciones) en este ejemplo puede ser tan variado, es el no previsible que temas similares y argumentos apareceria durante el periodo de transicion desde la cuerno natural al cuerno valvula? El cuerno valvula tipico de este periodo era casi identico en terminos de dimensiones internas a los cuernos naturales usados anteriormente-- solo valvulas habido sidas sumadas a el. Los comentarios siguientes nos dan algunas penetraciones dentro percepciones diversas de los relativos tonal colores de cuernos naturales y valvulas en el tiempo. Nuestro grupo primero de comentarios vienen desde la discusion siguiente un Enero 6, 1879 presentacion a La (Real) Asociacion Musical. Erudito musical y editor Ebenezer Prout (1835-1909) presentado un papel titulado "En el Crecimiento de la Orquesta Moderna Durante la Centuria Pasada." El tema de los desarrollos en dibujo de cuerno y tecnica actualmente recibida no comentario especifico en papel de Prout, pero el tema era evidentemente en las mentes de esas presentes, como este tema era discutido en longitud grande despues su presentacion. La discusion era grabada por el grabando secretario en el riuniendo, y nosotros empezamos con los comentarios desde el presidente, compositor George Un. Macfarren (1813-1887). Macfarren, quien habido sido cegado desde entonces 1860, es descrito en El Diccionario de Bosquecillo Nuevo como ser "sin esperanza reactionary" hacia el fin de su vida, mas lejos no que el "deplorado casi cada innovacion musical de su tiempo;" los comentarios siguientes confirman estos. En su comentario prolongado en respuesta a una pregunta de Sr. Chas. Stephens, Macfarren expresa una opinion muy negativa de la "nuevo" instrumentos valvulas, inicialmente merecido a su inferior tonal calidad, pero entonces primariamente para compositional razones. Sr. Chas. Stephens preguntado si el Presidente [yo. e., Macfarren] diria una palabra en las usan de trompetas de valvula en la orquesta. El Presidente dicho no duda este era un tema importante. En el lugar primero, el creia la valvula a si mismo deteriorado el tono del instrumento natural, para el habia oido el mismo juego de jugador successively en un cuerno de mano y una valvula-cuerno, y el aparecia a lo que el tono del mas reciente era lejano inferior. Que, sin embargo, era de importancia de secundario; la cosa significativa era, que por el usar de estas valvulas usted obtenia la entera chromatic bascula .... En los tanteos de Mozart, Beethoven, Mas web, y Spohr, el seria encontrado que cuando trompetas, tambores, y cuernos eran usados ellos daban una marca caracteristica a las cuerdas y (llave/clave)teclas en que ellas aparecian, y cuando la musica modulada desde esas (llave/clave)teclas usted ambos perdidos esos sonidos enteramente o otros los instrumentos era empleados en notas peculiares de cuerdas peculiares, y asi daba un caracter totalmente diferente a las extraneous (llave/clave)teclas a que de las (llave/clave)teclas normales en que los pedazos eran colocados .... [como] era el caso con los cuernos y trompetas en el movimiento lento de la C Sinfonia menor [de Beethoven, yo. e., Sy,mphony No. 5, Op. 67 (1808)]. El ser de movimiento en Un piso, cuando ellos venian en C, el era un sonido totalmente nuevo, y producia un efecto que podia ser comparado con que del presente riuniendo sentando en esa habitacion en la luz de gas, y el ser de tejado de repente lanzado abre y el sol fluyendo en. En la otra mano, cuando estos instrumentos eran empleados que daban la chromatic bascula, los compositores quien usados ellos eran tentados para aplicarse a alguna cuerda alta que era querida; cuando ellos no eran usado en el sentido degradado en que escritores de vals usado ellos a juego las melodias principales, en orden a fuerza fuera, por duplicacion de multiple de notas a traves de la masa nebulosa de multitudinous encion de instrumento, un tono vulgar exhuberante en los si no imperceptive organos de los hearers. ... la orquesta con las notas escasas de los instrumentos de viento incompleto era un poder mas rico lejano en las manos de compositor que cuando habia la tentacion terrible de escrito para cornetas como violines, o para cuernos como violonchelos. Sr. Stephens entonces respondido, generalmente acordando con Macfarren, declarando otra vez un respecto para el compositional costumbre de instrumentos naturales sobre instrumentos valvulas. El tambien celebre, sin embargo, que instrumentos naturales a

veces fallados en logrando sus efectos planeados. Sr. Stephens era muy contento para oir estas observaciones en la pregunta de instrumentos de valvula. El era 1 mereciendo de consideracion, y en que, no duda, diferencia de opinion prevalecida, para el instrumentos de pensamiento sin valvulas, incluso en los pasajes mas simples, fracasos a veces causados en los efectos planeados. Habia pero tres notas continuas de la bascula en esos instrumentos que podian ser usados, y cuando usted venia a F en la linea quinta y B-piso ellos eran fuera de tonada, y requerido modification para hacerles soportable. Sin embargo, las observaciones de presidente era mas valioso, porque los efectos grandes de esos instrumentos [sin valvulas] era producido por el simple usar de ellos con su poder original. El podia aludir a dos ejemplos muy familiares-- el movimiento lento en Sinfonia de Beethoven en D [yo. e., No. 2, Op. 36, de 1802], en que los cuernos en E eran usados con efecto grandioso tal, y el barcarole de Segnor Sterndale Bennett en su Pianoforte Concerto en F menor. En ambos estos trabaja, los cuernos eran usados en el camino verdadero, y no hacia falta de su efecto. Los tanteos de Schumann, en la contrario, mostrado un abuso de estos instrumentos de valvula, porque el hacia usar de ellos hasta en ultimo ellos volvian instrumentos ordinarios, y el pintando que ellos podian impartir-- como en el trabaja de Beethoven y Mozart--era perdido. Otra en asistencia, acoustician D. J. Blaikley (1846-1936), entonces respondido en defensa de la valvula como un hacedor de instrumento y disegnador. Blaikley era trabaja director para Boosey y Co, y tenido solo 1 agno anteriormente (1878) introducido un compensando sistema para instrumentos de laton valvula, que es considerado hoy como el el mejor de su tipo. El fieltro que si un instrumento era hecho bien las valvulas eran de diferencia pequegna al resultando tono. Primero, con consideracion para comparar un instrumento de valvula con 1 que tenidas no valvulas. El no era suficiente para tomar un instrumento de valvula nominalmente de la misma clase, decir un cuerno Frances o una desliza-trombon, y compara el con una trombon-de valvula; usted debe ser perfectamente cierto que el calibre de los instrumentos en cada porcion, desde la boquilla al timbre, era exactamente el mismo, para, a menos que ese era tan, no habia garantia que la diferencia que podia ser notada sida merecido a la adicion de las valvulas. ... Un hombre [probando instrumentos] era apto para basar su opinion en el instrumento el habia jugado en toda su vida; el ocuparia otro un pequegno diferente, y en una vez encuentra alguna diferencia, quizas a la desventaja de la nueva 1. Ebenezer Prout, sin embargo, tenido la palabra final, colocando firmemente en suelo media: Sr. Prout, en respuesta, dicho .... Con consideracion a instrumentos de valvula, en el completo, el seria inclinado mas acordar con el presidente; y si el venia a una pregunta si ellas usarian instrumentos de valvula como ellas eran usada hoy en dia o va atras a la vieja 1, el diria tomar fuera las valvulas enteramente, pero felizmente ellos no estaban en que apuro. Ellos tenian valvulas que eran muy utiles en ciertos casos, para ejemplo el [escrito] B-piso y F, y el mas diria guardar las valvulas, pero ser cuidadoso no a abuso ellos. Sr. Blaikley habido dicho que no habia diferencia en los instrumentos el mejores, si con valvulas o sin, y el podia corroborar en parte esa opinion, no desde su conocimiento propio, porque el no jugaba un instrumento de laton, pero el era tolerablemente insinuar con 1 de los jugadores-de cuerno en el Palacio de Cristal, a a quien el habia hablado en este tema mas que una vez, y el decia lo que el no creia algun 1 podia distinguir la diferencia mas ligera entre la abre nota jugada en un cuerno de valvula-buena y en un cuerno natural. Mientras este grupo primero de referencias son, en la superficie, mas humorous desde nuestra perspectiva hoy (y mostrar mucho de la habilidad del grabando secretario!), en realidad ellas son casi un estudio de caso en los caprichos de percepcion de musica. El "sin esperanza reactionary," G. Un. Macfarren, era de una generacion mas vieja y era muerto serio en sus comentarios. Ademas, el tendria adulto arriba oyendo cuerno primariamente natural y asi estaria en una posicion a reconocer sus especiales tonal calidades y caracter que los instrumentos naturales traidos a musica. En el lado opuesto, Blaikley era de una generacion mas joven. El sabia desde su experiencia como un hacedor de instrumento que valvulas no alteraban necesariamente el tono. Prout concluyendo comentario probablemente refleja realidad en los ojos de los generales publicos, especialmente cuando el cita el hornist quien no creia algun 1 podia decir la diferencia. Una presentacion que Charles Mama cLean daba a La (Real) Asociacion Musical en Marcha 12, 1895, titulado "En Algunas Causas de las Cambian de Entonan Color Procediendo en la Orquesta Mas Moderna," tenido incluso mas decir con respetar al cuerno valvula y tonal colores. El sugiere esa parte de la "problemas" en color de tono es relacionado al afinando de las valvulas a ganchos diversos: Como un substancia de hecho alargando valvulas como hechas en presentan solo contemplan las aplicacion de tres o como mucho cuatro instrumento ganchos, y segun el costumbre el mejor de valvula haciendo estos ganchos luego solo son G, F, E, y E-piso, de que F y E es preferible.... La consecuencia de estos son que jugadores de cuerno moderno quien siempre tiene el accesorio de valvula ha adquirido un habito, desde que el comienzo del periodo de transicion, de transposing todas partes tales en a los ganchos que traje sus valvulas, y principalmente en al F gancho. Este, aunque probablemente el compromiso el mejor bajo las circunstancias, no es satisfactorio. El tono de un cuerno torcido dentro una (llave/clave)tecla baja, decir C, es mas completo, mas trombon-como, que el tono de un cuerno torcido dentro F .... Si completamente corregirmente escrito para y usado o no, los restos de hecho que el cuerno-de valvula tiene para musica moderna suplantada la mera cuerno-natural; y como este instrumento nuevo todavia retiene su caracter de cuerno natural si los pistones no son puestos abajo (para la presencia mera del accesorio a si mismo no

hace appreciably turba el tono), el resultado es una ganancia clara y una ganancia de una naturaleza inestimable. En la discusion que seguida, el presidente, Segnor John Mas manchar, acordado, prestando una perspectiva mas amplia: ... Yo debo digo yo no entiendo enteramente con esos quien es asustado de instrumentos valvulas, para la mejora en la haciendo de esta clase ha sido enorme los ultimos pocos agnos. Tan lejano atras como 1878 yo estaba en un jurado en Paris con Sr. Gevaert. Nosotros ponemos instrumentos valvulas a los pruebas mas severos, nosotros escuchabamos a ellas desde tras pantallas, haciendo el sonido de jugadores las series armonicas con cada valvula separadamente y en combinaciones, pero yo pensamiento su tono muy puro, y su entonacion justo. En sobre el mismo tiempo, conductor y compositor Frederick Mas cuerda (1852-1932) muestra actitudes como lejanas en otras cuarta partes han cambiado contra el cuerno de mano en su libro en orquestacion, La Orquesta y Como Escribir para El, y cited el jugando de dos Aleman-nacido hornists en Inglaterra como ejemplos de que podian ser hechos en el cuerno valvula. El escritor de una trabaja en encion de Instrumento encuentra aqui su tarea mas dificil. Luego el arrolla el estudiante con una masa de perplexing detalles considerando el cuerno-de Mano, que todo-pero instrumento obsoleto? ... ciencia viene a la ayuda del musico [con el cuerno valvula moderno] ....Legato frases pueden ser jugadas realmente legato, y sacudidas llanas y appoggiaturas (todo pero imposible antes) es completamente facil en el cuerno de Valvula. Pero piensa usted musicos era agradecidos para estos beneficios conferidos? No un bit! Ellos vehementemente protestado contra la innovacion; primero jurando que el defectuoso "parado" notas escritas por los segnores viejos cuando ellos no podian ayudar el, era perlas mas alla precio; entonces, cuando el era demostrado que con el cuerno-de valvula usted podia jugar la bascula entera parada si usted queria, ellos declaraban que el era defectuoso de entonacion y de tono lejos inferior al cuerno de Mano-vieja. 1 necesita solo para escuchar a un solo jugado por hombres tales como Paersch y Borsdorf, para reconocer el hecho que entona y entonacion en un instrumento de laton es substancias enteramente dependiente en el jugador. Yo recomendo el estudiante, entonces, para despedir todo el confundiendo particulares del cuerno viejo desde su mente... ACABAR La version completa de este articulo puede ser encontrado en Llamada de Cuerno November 1998, Vol. XXIX, No. 1 John Q. Ericson juntaba la facultad de la Escuela de Grua de Musica, Universidad de Estado de Colegio de .ueva York en Potsdam, en la caida de 1998. El realizaba cuerno tercero en la Nashville Sinfonia desde 1991-98 y sujeta grados desde Indiana Universidad, La Escuela de hombre Este de Musica, y Emporia Universidad de Estado. Selecciones de sus escritos historicos recientes en el cuerno puede ser encontrado en la Internet en:

The Horn for Hella and Hermann Baumann One horn announces birth and death, Heralds joy and strife, One horn that sings with living breath, One horn that sings with life. The alphorn sounds and trees resound, Emerging life draws air. The hills in blissful prayer abound, The hills in blissful prayer. The shofar blares with youthful dares, Maturing egos soar, Oh taste the fruit Olympus bears, For those who dare explore. The conch shell blasts and life is past, Subsiding spirits fail, As storm wracked souls below deck massed, Across the chasm sail. One horn then blazes joyful praises, "Life will never cease," Reechoing canonic phrases, "Live in love and peace" One horn announces birth and death, Heralds joy and strife, One horn that sings with living breath, One horn that sings with life. by Keith McCaughin Originally published in HORN CALL Vol. XI No. 2. Hella Baumann, wife of Hermann Baumann, died on the 14th of June, 1997. The funeral was on the 20th of June at the Evangelical Kirche am Markt in Essen-Kettwig. She is survived by her husband, Hermann, four children, and seven grandchildren. Her classic lecture presented during the XIIth International Horn Workshop, "The Horn as a Symbol," is published in HORN CALL Vol. XI No. 2. texto traducido

[ Atras ] [ (inicio)Casa ] [ Arriba ] [ Proximo ] El Cuerno para Hella y Hermann Baumann 1 cuerno anuncia nacimiento y muerte, Heralds alegria y lucha, 1 cuerno que canta con viviendo aliento, 1 cuerno que canta con vida. Los alphorn sonidos y arboles resonan, Emergiendo aire de empates de vida. Las colinas en oracion dichosa abunda, Las colinas en oracion dichosa. Los shofar trompetazos con juveniles osan, Maduro egos crecen, Oh gusto el fruto Olympus osos, Para esos quien osar explorar. Las conch explosiones de cascara y vida es pasada, Subsiding falta de espiritus, Como tormenta wracked almas abajo cubierta reunido, A traves el vela de hendidura. 1 cuerno entonces alabanzas de llamaradas alegres, "Vida nunca parara," Re repetir canonic frases, "Vivir en amor y paz" 1 cuerno anuncia nacimiento y muerte, Heralds alegria y lucha, 1 cuerno que canta con viviendo aliento, 1 cuerno que canta con vida. por Keith McCaughin Originalmente publicado en LLAMADA de CUERNO Vol. XI No. 2. Hella Baumann, esposa de Hermann Baumann, moria en el 14th de Junio, 1997. El funeral estaba en el 20th de Junio en el Evangelico Kirche es Markt en Essen Kettwig. Ella es sobrevivida por su marido, Hermann, cuatro nignos, y siete grandchildren. Su conferencia clasica presentada durante el XIITH Taller de Cuerno Internacional, "El Cuerno como un Simbolo," es publicado en LLAMADA de CUERNO Vol. XI No. 2.