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This is version 0.54 of the Horn Players' FAQ, last [Yamaha YHR667D]
modified on 03 Sep 97, 16:21:32 CDT. Maintainer of the
FAQ is Ron Boerger, rboerger@io.com, aka TheHornist@aol.com .. this document
is copyrighted; see here for more information.
First, a note about what this FAQ is, and is not. It is a collection of
commonly-asked questions about the French Horn. It does NOT represent the
views of the International Horn Society (IHS), although I am a member of
that group. Originally, this FAQ was designed to handle questions that
cropped up frequently on what used to be the IHS' Horn e-mail list.
Nowadays, it is just the Horn mailing list, as membership is open to any and
all. In a like vein, once you have joined the mailing list, you are NOT a
member of the IHS! To join the IHS, please see the entry below on the IHS
itself.
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Changes since last major revision [0.50, 10 Apr 96]:
* 0.54: made manufacturer listings, etc. tabular, added some links, "So,
you want to buy a new horn" link, etc.
* 0.53: Added sections on double horn, descants, wraps
* 0.52: Major maintenance update; info on the NWHS, etc.
* 0.51: No changes to the FAQ, but a version incorporating frames is now
available at http://www.io.com/~rboerger/hornfaq.html. Thanks to Bill
Muth for the html!
* 0.50: [Image] I will use this icon (thanks to Yahoo) to indicate things
that have changed since the last numbered release.
* 0.50: Incorporated a lot of piddly changes, added a section for summer
horn camps, etc.
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FREQUENTLY ASKED QUESTIONS about the Hornists' Mailing List, and the horn:
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2. Is it "french" horn?
Only in the United States, Canada, and the U.K. is the horn known as the
"french" horn. Most European literature deems the instrument simply "horn"
[cor, etc.] and most purists follow that nomenclature. It's a sad fact,
however, that in the US, outside of the music community, telling someone
that you play horn will usually elicit a "Oh? What kind of horn,
trumpet?"-type response. We won't even go into the disgusting habit that
saxophone players have of calling their instruments "horns". Look, guys,
this is a reed, and therefore it's not a horn of any kind!
For what it's worth, the International Horn Society's official opinion is
that it is the Horn that we all play.
> I thought it was in Britain where the term originated, of course carried
> over here. I agree with your writer that it is frustrating and annoying
> that people in general don't know what a "horn" is. Actually, try talking
> to the general public about "English horn" and see what you get!
> The name for the instrument in English speaking countries, meaning England,
> came from the fact that hunting horns differed greatly from England to the
> continent, France in particular. While French hunting horns were large,
> worn over the shoulder, and looked roughly similar to what we now call
> simply a "hunting horn", British hunting horns were much smaller, say ten
> inches in diameter, held in a single hand, and pitched signifigantly higher.
> Thus, to differentiate between what the Brits' called a "horn" and the
> larger thing we call a "horn", the larger modern instrument was given the
> prefix "French", as it reminded them of the continental hunting horn.
> This also explains why the continental types don't call it anything but a horn.
> 1. The Horn, often incorrectly referred to as the "French Horn" was not
> developed in France, but in the Alps of the Germanic countries, commonly used
> to warn animal intruders who threatened the shepherd's flock. The instrument
> was constructed entirely of wood and straw, and the conical designed
> mouthpiece was also wooden. Since those sparse beginnings, the Horn went
> through a miriad of changes in order to make it more appropriate to play
> diatonically, but , for some unknown reason, kept its conical bore design
> which gave it the unique tone quality we identify as the Horn sound. Since
> the French dominated most of the Alpine region during this developmental
> stage of the horn, the term "French Horn" became a popular term which has
> stuck with us 'til this day. Bottom line, the "Horn" should never be called
> a "French Horn," unless you are speaking with the uninformed public, or don't
> want to get involved in a heated discussion because you are busy dumping out
> the spit, and only have 8 measures of rest to do so.
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3. What is a FAQ?
Among the Usenet and Internet community, it soon became obvious after the
first common mailing lists/newsgroups were established, the same questions
would come up over and over again. This becomes annoying after a while .. so
the tradition of the FAQ evolved. A FAQ (which stands for Frequently Asked
Questions) is a list of commonly asked questions and answers to those
questions, and is sent out periodically to the mailing list membership. This
reduces traffic to *new* and hopefully *exciting* questions.
This FAQ is sent out on the 1st of each month. Comments should be sent to
Ron Boerger, rboerger@io.com. THIS IS NOT WHERE YOU SUBSCRIBE TO THE LIST;
see item 4 below.
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The International Horn Society (IHS) has, for a period of time, "sponsored"
this list as a means for horn players to communicate with one another on
topics of interest to the horn community in general. Any sort of question,
announcement, or posting that involves the horn is appropriate for this
group. It is NOT, however, a place to discuss general music theory, brass
ensembles, or other topics that do not have relevance to horn players.
Although membership was originally (Feb 1994) limited to those hornists who
were members of the IHS, that restriction was lifted in May, 1994. Now, all
you have to do is be interested in horn to be added to the email list.
Rumour has it there's even a saxophone player on the distribution somewhere.
You will also get more information when you subscribe to the list. A copy of
this info may be obtained by sending the text "info horn" as the body of a
message to " majordomo@spock.nlu.edu".
subscribe horn
end
After you send this message, you will receive a reply from the list server;
after this point, you're on the horn mailing list!
A digest form of the list is now available! This lets list subscribers
receive a single message per day with all postings for that day concatenated
together. Many people find digests less obtrusive than 10 or 20 messages
daily, especially if they are getting their email at work. To subscribe to
the digest, send the message below to majordomo@spock.nlu.edu:
subscribe horn-digest
end
If you're already signed up for the horn list, you'll need to unsubscribe
from it first, and then resubscribe as the instructions above state
(actually, you can just send one message with three lines; one to
unsubscribe from horn, one to subscribe to the digest as above, and an end
line).
If you have friends that might be interested, PLEASE GIVE THEM THIS
INFORMATION; administrative requests such as this should NOT go to the horn
distribution itself.
Compose your message with your choice of mailer, then send it to:
horn@spock.nlu.edu
If you think of it, putting HORN: in the subject line might help some people
filter the messages. Your subject line should be descriptive so that those
of us who receive literally hundreds of messages per day can easily decide
if they want to take the time to look at the body.
If you have questions about how the list is administered, whether or not you
are getting mail, or other administrative questions, they should go to Dr.
Greene (MUGREENE@ALPHA.NLU.EDU). Questions about the FAQ should go to
rboerger@io.com. Questions about postings to the list should be directed to
the originator of the posting, unless you feel that your question has
interest to the entire group; in this case, post your question to
horn@spock.nlu.edu.
d. Can I send mail about other musical instruments to this mailing list?
Again, we ask that you do NOT send a cancel request to the horn mailing list
itself.
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5. The IHS
The Society has something to offer every player or Horn enthusiast. For
those interested in technique, there are articles in the HORN CALL (the IHS
Journal), and lectures, master classes, and clinics at its workshops. For
those interested in literature and performance, there are music and record
reviews in the HORN CALL plus recitals and exhibits at the workshops. If you
are someone interested in knowing more about the physical aspects of the
instrument, there have been several major acoustical studies reported in the
HORN CALL, and it is possible to speak directly with many of the Hornmakers
who exhibit at the workshops.
Payment must be by U.S. Check, U.S. Bank Draft, or International Money Order,
made payable to "International Horn Society". Send with this completed
application to: Heidi Vogel, Executive Secretary, IHS
8180 Thunder Street
Juneau AK 99801
USA
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The 1998 International Horn Summit will be held 2-8 June, 1998, in Banff,
Alberta, Canada. The triumvirate of Froydis Ree Werke, David Hoyt (Edmonton
Symphony), and Isobel Moore Rolston (Banff Centre) will co-host the event.
http://www.banffcentre.ab.ca/Music/horn.html
The 1999 Conference will likely be held somewhere in Europe, although there
is a certain amount of sentiment for it to be held in China. The IHS is
actively seeking bids from those interested in hosting the event.
For those wondering why seemingly many of the IHS conferences are held in
North America, it has been because bids from other locations to hold the
conference have been few and far between. Want to have a conference in your
country? Contact the IHS.
What goes on at an IHS conference? Follow this link to read "Reports from
Rochester", an unofficial summary of each day's goings-on at the 1997
conference.
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There are several yearly horn conferences, held both in the US and in other
countries. As more information becomes available, it will be posted here.
The only conferences I have solid information on are:
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subscribe tubaeuph
Tuba-Euphonium: to
listproc@u.washington.edu
majordomo@parnassus.dana.edu
listproc@lists.missouri.edu
Trombone:
with the message:
majordomo@austx.tandem.com
subscribe community-music
Community Music: end
subscribe community-music-digest
end
Saxophone: When will you sax people get it through your head that
the Sax is NOT A BRASS INSTRUMENT! :-)
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There are many "usenet news groups" on the topic of music. As of May 1995,
here is a list of some "music" related newsgroups:
rec.music.cd
rec.music.christian
rec.music.classical
rec.music.classical.performing
rec.music.compose
rec.music.info
rec.music.makers
rec.music.makers.bands
rec.music.makers.marketplace
rec.music.makers.percussion
rec.music.makers.french-horn
rec.music.makers.trumpet
rec.music.marketplace
rec.music.misc
rec.music.movies
rec.music.reviews
rec.music.video
Please note: These are just a few of the groups that are available.
There are also mailing lists available for other instruments. As we find out
about them, they will be added to the list.
The canonical USENET list of musical mailing lists can be obtained by any of
the following methods:
It's really beyond the scope of this document to tell you how to get the
newsgroup, because there are so many different systems. If you are using a
newsreader such as rn, trn, etc, you can subscribe by entering the command,
"grec.music.makers.french-horn". If you are on AOL, you will have to use the
"Expert Add" command under "Newsgroups", and just enter
"rec.music.makers.french-horn" at the prompt. Other news browsers should
have similar mechanisms.
If, after entering the correct subscription command, *and* the correct
newsgroup name, you get a message stating something like "no such
newsgroup", talk the the people responsible for administering your system
about manually adding the group. Some sites do not automatically add all
newsgroups, even ones validly created such as r.m.m.f-h.
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If you are thinking about buying a new horn, and are unsure where to start,
you may want to look at "So, you want to buy a new horn?", a somewhat
irreverent but hopefully useful compendium on information on the topic.
There are many fine local music stores which can give you the chance to try
out horns, and it is not the intent of this item to direct you away from
those. However, for a major purchase such as a horn (which can easily exceed
US $5000), mail order shops may give you a substantial discount, since at
least taxes are not usually payable from them. You may want to consider them
for this reason. Some of these include:
International Musical
Suppliers Osmun Music
105 West Prospect Avenue 5 Forest Street
Mount Prospect, IL 60056 Arlingtion, MA 02146
1 800 762-1116 +1 617-646-5756
+1 708 870-1112 1 800 223 7846
Fax: +1 708 870 1767 email: sales@osmun.com
Email: home page: http://www.osmun.com
73543.1004@compuserve.com
Ken Pope
(used German horns, e.g.
Schmidts, Geyers, Kruspes, Reunion Blues
Alexes) (gig bads & accessories)
+1 617 522-0532 http://www.reunionblues.com
email hornrx@aol.com
TrumCor
(mutes) Ward's Mutes
3456 Mockingbird Lane 2476 Bolsover St. #548
Dallas, TX 75205 Houston, TX 77005-2518
Phone:+1 214 521-0634 +1 (713) 668-0836
Fax: +1 214 521-1174 home page: http://www.dxs.com/wardmutes/
Bernhard Schmidt
Zimmerstrasse 4
William Hopson 9659 Markneukirchen
(Alphorn Maker) GERMANY
1629 Broadview Rd. N.W. Phone: +49 37422-2178
Calgary, Alberta
Canada T2N 3H2 Manufacturer of horn mouthpieces,
+1 403 283-4468 esp. German mfrd horns - Moenning,
Hoyer, Kruspe, Schmidt, Alexander
- and US and Yamaha horns in the
Geyer and Schmidt styles.
Tapestry Music Bob Tucci
home page: Horn and Tuba Center
http://domar.bc.ca/tapestry.html Hauptstr. 17-19
D-82223 Eichenau
Online brass catalog. GERMANY
email: BobTucci@aol.com
Additionally, some manufacturers will let you tour their plant and try out
whatever's currently in stock if you are seriously considering a purchase.
[NB - I will try to secure non toll-free numbers for those of you who cannot
take advantage of them]
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Canadian
Music Centre
(specializ
es in music by
Thunderlip
Canadians)
23 Benlamond
Chalmers House
Ave. Ward Music 20 St.
Joseph Street
Toronto 412 West Hastings Street
Toronto, ON
Ontario M4E Vancouver, BC, CANADA
M4Y 1J9
1Y8 V6B 1L3 +1 (604) 682-5288
CANADA
CANADA +1 416
961 6601
FAX: +1
416 961 7198
Home
page:
http://www.ff
a.ucalgary.ca/cmc
June Emerson
(Wind Music) American
Horn Quartet
Ampleforth, N Studio Music Company (Music,
CDs of the AHQ)
Yorkshire 77-79 Dudden Hill Lane
Schulstrasse 3
Y06 4HF London NW10 1BD
Oberdrees
ENGLAND ENGLAND 53359
Rheinbach
Fax: +44 1439
GERMANY
788715 +49
2226-7302
Phoenix Music
Publications
(Kerry
Turner/AHQ,
and others) Hanz Pizka Edition
Jacob Postfach 1136 B.
Schott's Soehne
Obrechtstraat D-85541 Kircheim
Weihergarten 5
23 GERMANY D-
55116 Mainz
7512 DG Fax: (49) (89) 903-9414
GERMANY
Enschede email, or to obtain catalogue: phone:
(06131) 2460
THE 100524.735@compuserve.com fax:
(496131) 246250
NETHERLANDS home page:
phone: +31 53 http://ourworld.compuserve.com/homepages/PizkaHans/
432.38.64
fax : +31 53
430.92.12
Alphonse Leduc
Editions Green Bay Music
Musicales, 28 Dolbear Street Green Bay, Auckland 1007, NEW
ZEALAND
175, Rue
http://ourworld.compuserve.com/homepages/Green_Bay_Music
Saint-Honore' email: 100243.2322@compuserve.com (David Woodcock)
Paris FRANCE phone: +64 9 817 3295 fax: +64 9 849 4642
[many more...email them to me and I'll include them here]
See also the WWW entry for the Norwegian Music Information Centre.
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You name it, someone's likely to have transcribed it. The key is to find
it... the above can usually send you a catalog.
In addition, it's often pretty easy to transcribe music written for brass
ensemble to horn ensemble; of course, you should contact the copyright owner
of the brass ensemble arrangement for legal specifics.
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Tel: +1 512-476-6757
email: rboerger@io.com
home page: http://www.io.com/~rboerger/AHE.html
The Los Angeles Horn Club comprises many of the professional hornists
working in film studios on the West Coast. The home page contains
a photo of the group, work opportunities, the Los Angeles Horn
Club Library, and info about the International Video Audition
Service.
The Spokane Horn Club has been in existence since about 1974 and has
between
20 and 30 adult members varying in ability from amateur to experienced
professionals. We meet monthly and perform frequently at a variety of
ommunity events ranging from Oktoberfest to Christmas and MPTF gigs of
various kinds. We have sponsored work-shops including one in 1991 with
Phil
Farkas, and have an annual weekend camp-out during the summer at South
Lake
Skookum in a national forest north of Spokane.
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The Northwest Horn Society exists to promote the horn and horn playing in
the Northwest region of North America. The Northwest Horn Society
encourages concurrent membership in the International Horn Society.
Trivia fact: Your FAQ maintainer was a contemporary of AHQ's Kerry Turner
when both were growing up in San Antonio, Texas.
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[...]
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Oh, boy. Is THIS a loaded question, or what? We'll, let's give it a shot ..
For more major repairs (overhauls, dent removal, etc.) you probably want to
take your instrument to a known reputable repair shop, as improper repairs
can severely damage the instrument, sometimes irrevocably. If you are
fortunate enough to have a "custom" horn, you may want to either send the
instrument back to the manufacturer, or ask the manufacturer for a referral.
Many of the more skilled repair shops listed below will have some degrees of
familiarities with many makes of horns - you might ask them if they've ever
worked on an Alexander, for example.
As everything else in the FAQ, these listings have been provided by your
fellow musicians and are provided without any warranties, express, implied,
or otherwise.
Many thanks to Carol Schurr for suggesting this section.
Dick Ackright
Best Instrument Repair
? 14th Street
Oakland, CA
Ken Pope
Pope Instrument Repair
80 Wenham St.
Jamaica Plain, MA 02130
+1 617 522-0532
email hornrx@aol.com
Osmun Music
5 Forest Street
Arlingtion, MA 02146
+1 617-646-5756
1 800 223 7846
email: sales@osmun.com
home page: http://www.osmun.com"
Sarah Strickland
Strickland's Instruments & Repair
5570 Hidden Harbor Landing
Gainseville, GA 30504 [Atlanta area]
+1 770 536-7105
Ron Partch
Band Instrument Services
6 Magnolia Avenue
Scarborough, Ontario
Canada M1K 3K1
+1 416 261-2230
Groenemans
Dirk Heziuslaan 8
5591 AB Heeze
The Netherlands
phone: +31 40 22.64.287
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* range: Practice.
* endurance: Practice lots.
* tone quality: ??
* technique: Practice lots of hard stuff. :-)
At one point, I was soliciting suggestions for this section, but it's now my
opinion that you should find a horn instructor to work with you on these
items. Each player is different, and it's rare that any pat advice will work
for all people. A teacher can listen to your current playing, evaluate it
for strengths and weaknesses, and make suggestions based on their training
and experience. As I am just a player "at" the instrument, rather than a
student/teacher of it, I'm not qualified to offer real advice here. In any
case, young students may find this fingering chart useful. Also, Robin
Moffatt's Horn Mailing List Archive has a number of suggestions on improving
your playing ability.
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[Image] ClassicWeb Horn Jobs contains a detailed list, with links, of horn
positions. It seems to be primarily non-US, but that may just be all they
had when I visited.
[Image] Another good site containing many links to general music jobs is
that of Indiana University's "Worldwide Internet Music Resources" Music Jobs
page. You can find all sorts of positions through the links listed here.
Subscriptions for non-AFM members are US$20, CDN$25, and US$30 for all other
"foreign".
One-shots are largely a function of (a) how well you play, (b) how available
you are, often on short notice, and (c) who you know. Churches are a
starting point as they always seem to need brass players on short notice,
and often are willing/able to pay for non-members to come in and play. Don't
underemphasize the importance of networking with your fellow musicians.
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Most of the following four sections were inspired by a question from Karen
Comer.
Most modern horns are known as "double" horns - not because there are two of
them, but because they are equipped with a "trigger" valve (usually at the
thumb) which changes the pitch of the instrument from F to Bb. In actuality,
most horn players merely learn alternate fingerings for the "Bb side" and
continue to read parts in F, without realizing that what they are actually
doing is a rather difficult transposition!
The Bb instrument allows more security in the upper register, and most
teachers of the horn recommend playing on the Bb side on all notes above 2nd
line G. The trigger also allows the seven lowest notes, C to F below the
bass clef staff (new notation), to be played, if the hornist has developed
that register. [Note - these are pitches "as written" in F, not concert
pitches].
The standard double horn is a "full" double, meaning that there are two
complete paths for air to flow, including separate tubing for the three
normal valves. Older "compensating" doubles share paths through the three
valves and are much more difficult to tune and generally play. A couple of
horn manufacturers even make "triple" horns, with two thumb valves to chose
between the keys of F and Bb, found in a double, and F alto, found in
descant horns (c.f.). Such horns are quite heavy and are rarely used today.
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"'Descant horn' generally refers to any horn shorter than 8.5 foot Bb,
typically the 6 or so foot 'high F' horn. Much as the Bb side of a
double adds security in the high range, going another step to a high F
horn makes very high parts just a bit less treacherous. It seems
these instruments are often used for the extremely high parts
sometimes found in baroque or goofy modern literature.
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"Natural" horns are horns with no valves. The notes the horn can play are
restricted by the harmonics corresponding to the key the instrument is in,
modified by "stopping" the horn as well as those produced by the "hand mute"
technique; said techniques allow the production of notes that are on half
step higher and lower, respectively. Until the 1800s, almost all horns were
of the valveless variety. The horn player of that era had to be a master of
stopping and hand muting, and could produce notes outside the normal
harmonic range by changing the key of the instrument. This was done by
changing "crooks" - basically, a slide attachment that added or subtracted
length from the instrument. This is one reason for the multitude of keys
that modern horn players have to contend with - composers would mark
sections for "horn in D" when those notes were called for, "horn in G" when
a moderation from D to G might occur, etc.
Natural horns still see some use today, mostly in academic surroundings and
at conferences. "Villanelle", by Paul Dukas, is probably the most well-known
modern work composed for natural horn.
A seminal work for the study and performance of the natural horn is:
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There is no "standard" horn design, but two major designers who have
influenced modern horn design are Geyer and Kruspe. The Geyer design puts
the fourth ("trigger") valve away from the player on the far side of the
valve stack. The Kruspe design, which is favored by more manufacturers,
places the trigger closest to the player, and may have more tuning options
than a Geyer wrap. Other than the tuning differences, each type of wrap has
its proponents, advantages, and disadvantages, which often relate more to
the individuals' playing style as much as anything else.
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Often, the only way to tell the age of a horn is by checking it's serial
number against a manufacturer's list. These are a bit long to put in the
faq, but I will put links to html pages with the info here.
http://www.io.com/~rboerger/bach.html Bach
http://www.io.com/~rboerger/besson.html Besson
http://www.io.com/~rboerger/boosey.html Boosey & Hawkes
http://www.io.com/~rboerger/conns.html Conn [updated 26 Sep 96; how to find
Texas horns]
http://www.io.com/~rboerger/holton.html Holton
http://www.io.com/~rboerger/king.html King/Cleveland
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Robert Ward, of the San Francisco Symphony Orchestra, is working on his home
page, including a work-in-progress, "The Horn Warm Up Book".
Harlan Feinstein's home page includes such fun things as information about
jazz horn players.
The Music Publishers' Association of the United States web site may be of
interest to horn players. It includes a listing of officers, MPA Sales
Agency List, a copyright reshourse center, and more.
[Image] Speaking of jazz horn players, see John Clark's Hidden Meaning Music
site for an example of someone who is very successful as a hornist in this
field.
Dennis Brain lovers probably want to check out Ivan Wong's Dennis Brain
Homepage and the Dennis Brain Discography.
Mary Keezer sent out a survey to the amateur hornists on the list and has
compiled some of the replies to the questions. The responses give quite a
bit of insight into why amateurs continue to play; see Stories from an
Amateur Hornist Survey for more.
Prof. Thomas Bacon's Thomas Bacon Horn Page is extremely well-done and
offers a wealth of information to both the amateur and professional hornist.
THE web site for the Horn, it includes Prof. Bacon's study guide, audio
clips, and more.
[Image] Christopher Cornette's Horn Pages are a new and welcome addition to
the family of horn pages. An incredibly comprehensive collection of horn
links is just the starting point on this site, which includes a weekly MIDI
clip (and substantial ones at that), links to the Northwest Horn Society,
CMU Horn Club Online, the 560th ANG Band, a bio, and more. He even rates the
sites (giving this FAQ a generous **** rating; I'm not so sure). Well worth
an afternoon or evening's visit, but be prepared to spend some time here.
The British Horn Society Home Page is of interest to more than UK hornists.
Included here is Horn News, information on BHS publications, and more.
The Swedish Horn Society Home Page looks to be of interest to those versed
in Swedish. There appear to be links, stories on the horn, performance tips,
book reviews, and more. I wish I could read the pages!
The Historic Brass Society World Wide Web Site is a must for anyone
interested in the history of their instrument.
I've given up on Windplayer magazine ever adding horn to their site. Over a
year now, same five "popular" instruments they've always had. OK, guys, try
playing "Star Wars" with just flute, clarinet, sax, trumpet, and trombone.
The FAQ author's home page will have links to WWW horn sites as time permits
and as info comes in. Point to http://www.io.com/~rboerger for more. [there
is a pointer to this FAQ off this page]
Again, if you know of any horn sites that you'd like to have listed here,
send me a note.
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Thanks to David Goldklang for compiling the following list, which arose from
a thread started by K. T. Franson.
Although I can't remember whose idea this thread was, A. M. Lorraine Fader
collected all the replies, for which I thank her most greatfully.
Unfortunately, much of the information is anecdotal in nature, and there are
not a whole lot of names and addresses to go along with the camp names. If
you have more information about any of these, please email me with the
details.
Jim Kluesner
(540) JMU-6650
kluesnjf@jmu.edu
2nd season; pianists, instrumentalists, and
singers;
Southampton actually over three weekends, Jul 11-14, 18-
21, 25-28.
Chamber Long Island "Our goal is for each person to play as
beautifully as
Music Jul 11-28 NY their skill permits."
Festival Annabel Gordon: (212) 496-5092 [East coast]
Johnathon Bley: (415) 664-5464 [West coast]
email: bjbley@aol.com
? ? Valpariso Jun 22-Jul 20, 97
Again, please email if you have more information about these, or other,
camps.
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27. What are some good books, et cetera, for beginning horn students?
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For more info about usenet news, you might want to subscribe to the news
group news.announce.newusers and news.newusers.questions. These are groups
devoted to people who are new to using usenet news.
Be aware that in some newsgroups, people are not very tolerant of "new user"
mistakes or questions. It's usually a good idea to ride along and just read
postings for a while, to get a feel for how the particular newsgroup works.
After you're familiar with what goes on, feel free to post. Also, if you use
America Online, the greater usenet community will be less likely to tolerate
mistakes you make just because of your address. Sad, but true.. There are
many good books on the Internet. Some recommendations:
Yes, the FAQ maintainer is partial to O'Reilly books, but has no financial
interest in the company ;-)
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Many, many thanks to all of you who have contributed; besides those people
listed below (who have "literal" contributions that are actually in the
FAQ), a heartening number of you have sent more general comments,
suggestions, and attaboys. The 'net really can be a wonderful place ..
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