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What happened to your Kruspe yellow brass double?

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That was great!!!👏👏👏

Is that a bflat French horn@.

Many years ago (70 or so) my father transitioned from Euphonium to French Horn (single F with crook to Eb) and I loved the sound. A few years later I started on Eb Alto for a few months then received a school owned French Horn. I wish I had payed more attention to the instrument but nowhere have I seen anything like it (your programs or several by Anneke Scott or Mr. Hamilton's wall of many instruments). It was a piston valve instrument with tuning slides (having "hash" marks allowing the instrument to be played in F all the way down to D (as I recall-it was long ago). It was very old when I used it and I have no idea of the builder. Ring any bells for you?

Bordogni? No, quella melodia é di Bellini!

I don't agree with what you said about Farkas and points of resistance . As an opera singer I can see very clearly what she is doing versus unengaged laryngeal position it seems very clear to me that she is using various parts of the vocal tract as resistance points . Before she plays a note the larynx lowers to its inspiration point and the hyoid is forward the larynx is relatively large . She then raises the larynx a lot and closed the throat with hyoid and possibly epiglottis going so far back, much more than what singers do, and there is no question that singers use various parts of the glottis as resistance points . The angle of the MRI makes it hard to see exactly what she is doing in terms of her actual vocal tract though but the laringoscopic study that was done of Schneider on the same dvd shows clear ariegpiglotic narrowing and a lot of laryngeal movement during pitch variation and lip trills . Unfortunately the laryngoscope study doesn't seem to be available on RUclips, but it's on the original dvd

Hi John, I've just acquired a Fritz Petzold compensating horn, which I believe to be a predecessor possibly to Knopf? It's a compensating horn with a stop valve. Not too much info online about Petzold but they are from Markneukirchen. Any thoughts as to its quality level? And also thanks for all you do! Your articles are invaluable sources of information, and I for one am most grateful 🙏

The slurs on the piston horn snapped a lot better than the rotary valves horns. I like the snap and smoothness.

Great video John

This is the only warm-up that works day after day, although I still break away from it every few weeks in favor of something else, then return a few weeks later. It also works when I'm in feeble shape, probably because it's front-loaded with stuff that's not super-strenuous but still forces you to stay loose and move air. The lip flips and bugles kicked my playing up a notch. The text is unclear about Brruummmm!! - both the slurred and 16th not versions. Does anyone really play all of them through? Is that the intent, or are only 1-3 meant to be played each, such as 5595 and 6 5's and then on to something else? (I have played them both straight through a few times, each time with a strong foreboding that this was not something I should repeat soon.)

Thank you. Ordered

John - these look interesting. Will get a copy. Thanks.

Thanks Erik after all these years I finally have my own Wagner Tuba and its like learning Horn all over again.

¡Excelente!

Hi John, I've heard of brass allergies but not silver. Could you describe what some of your silver rim allergy was like? Thanks

Who is the horn player performing?

I'd note that the book referenced is now in a second edition and available in print or as a Kindle book from Amazon

I'd note that the book referenced is now in a second edition and available in print or as a Kindle book from Amazon

I'd note that the book referenced is now in a second edition and available in print or as a Kindle book from Amazon

I'd note that the book referenced is now in a second edition and available in print or as a Kindle book from Amazon

I'd note that the book referenced is now in a second edition and available in print or as a Kindle book from Amazon

I learned from one of the masters of low horn playing, Kazimerez Machala while he was teaching at Georgia before he went to Illinois. There were three key things that he taught me that I still use today: 1) pushing a button down or relying on a different horn isn't going to fix it, 2) the real key is adjusting the position of the lower jaw so that you anchor the low register on your lower jaw and open up the aperture, and 3) it is physical playing down there that requires dedicated hard long work to strengthen your chops to do it. I also learned when I was in middle school from another teacher to use a tad more upper lip in that register so that after just playing for six months, I was playing a three octave scale. I didn't know that was unusual at the time. Machala studied with James Chambers at Juilliard, but what is unusual is that he came from Eastern Europe with that heavy vibrato almost all B-flat playing style, but he also came equipped with a bionic ear and a work ethic. He auditioned for Juilliard while in Canada studying/staying with Eugene Rittich the principle of the Toronto Symphony and maker of that wonderful mute. So as Machala told me in a lesson one time, he played, and the Philharmonic players couldn't understand why Eugene wanted them to hear him. Then one of them went to the piano and began to pluck out notes, and Machala matched every single one of them on his horn. That was enough for them. He studied with Chambers, which meant, no playing on the B-flat horn anymore until he learned how to do everything on the F-side of the horn. Also, he was taught how to really play in the low register, but he also sat next to John Cerminaro as his assistant in the NYPO listening to him play, and you talk about a person with a low register...wow. Anyway, Machala went on to play principle with the Sydney National Orchestra in Australia before coming back to the US in 1986. I remember my Wind Ensemble director, Mr. Albert F. Ligotti (a student of William Vacchiano and former member of the NYPO himself) told me I would be excited by who they hired to teach horn. I was. It took some getting used to because he was intense...very intense, but he was funny and talented at the same time. He made me smarter by making me want to be better. All the books you mentioned and more...all on the F-side first. What he taught me was something Chamber taught as well, do it the hardest way first and get better at that first and use that so when you do get tired, you can rely on Plan B if necessary. I still use the F-side quite a lot depending on the piece of music much like DeRosa used a Vienna Horn in certain movie music pieces to get a certain sound. To me, the low register is the horn. Every group I play in now wants me to stick with fourth horn because I can, and that doesn't bother me. I can do principle as well, but I like playing in bass clef if necessary or playing in the basement when no one else can eek out one of those notes. I hope this comment helps. By the way, whenever Chamber played in another group outside of the NYPO, he would always play fourth chair.

Thank you this helps so much!

Hello From Finland ! Good video and great sound ! I am french horn player. I'm interested and want to buy the same kind of Jinbao Wagner tuba. I want to ask, Where can I buy? New or used good condition.I couldn't find Europe. What engraving text on the horn bell-side? my e-mail: atempo126@gmail.com

what horn is that??

The First measures of the Siegfried's trauermarsch from götterdämmerung

I don't know if the ASU on that case stands for Arizona State University or elsewhere, but the lighting and decoration inside made me think Arizona State.

I think, perhaps, you needed to drain that horn before playing. Does the Wagner tuba have the same water issues the french horn has?

I was taught by Dr. Manners, absolute unit

Having trouble hitting the low e, I keep going an octave too low, have any suggestions?

it worked at the 3 try to get down

Thanks John for these insights! Here is the link to Sarah Willis MRI scan: ruclips.net/video/MWcOwgWsPHA/видео.html

Sounds awesome!

Saved by the bell at 4:57!

Link: hornoperaproject.org/

Would love to see the video of the tonging

What was that excerpt at the end?

Hi! I loved hearing so much mention of Crane! I currently go there now and to answer your question, no they don't have sight reading on their levels.

Thank you John and Derek, and for the prior podcast you made. If a student of professional quality wanted to sound like the late John Barrows (who played a yellow brass C.F. Schmidt and a Dell'Osa mouthpiece of his design [14 drill]) which current/modern horn and current/modern mouthpiece combination would you recommend?

I have an Alex 90 single Bb with stopping valve. I took it to Houghton Horns in Keller Texas, near Dallas/Fort Worth, for some work. While there, I played the Dennis Brain Alex 90 which they had hanging on their wall of Horns. It played differently from my relatively more modern Alex 90. It's difficult to describe, but it had a slightly more raw or primitive sound and feel. The Franken-crook on the stopping-valve slide was fun. The horn has two thumb valves to activate horn in A, and the other to open the F-attachment which is put in the stopping-horn slide. There's a manual dial on the F crook to change it to a stopping slide without having to change the whole slide out for the original. A particularly peculiar thing about this odd Horn is that the mouthpiece receiver is made for a very narrow shank mouthpiece. Even though this is a German Horn, my European shank went in only about 5mm. The photo that is on my Google+ page shows the horn with the original stopping slide in place. plus.google.com/+DannODonnell/posts/hLzXo3AAxLW

A comment on the original version: "Thank you for you podcast/video. What do you suggest for a first or second year horn student to improve the low register?" My reply: There will be another episode soon that looks at a new publication by Rose French, Rangesongs for Horn. This is an excellent publication for range development and the younger student, available from Mountain Peak Music

Noting that actually I did not pronounce Houghton correctly .... But a great series of mouthpieces

Given the variety and expectation of accuracy today,it is understandable that many players resort to descant and triple horns. For interest and comparison, listen to Harry Berv in the NBC Symphony Berlioz Queen Mab, on a Conn 8D.

his sound on the MAHLER is somewhat...

WHAT IS THAT BACH TUNE? SO FAMILIAR!!!

The Wagner tuba is something of a novelty in America. We Europeans (even in Britain) know all about it!

You Defintely should try out the new Stomvi Titan Horns from Spain.. They are BEAUTIFULLY MADE

Which movement is that Mahler 1 excerpt from?

I knew Arthur briefly during about 1969-1971.He was still playing excellently in probably what was his early to mid sixties.He then played a brass Kruspe.As a younger man he used a Schmidt for a while. I know that Harry played wonderfully on the background music of many TV shows of the post NBC Sym. era.But I will say that I heard a recorded live performance of Harry playing Mozart K412 with an Ohio high school band in about 1965.The band was pretty bad, and Harry had a bad day (don't we all?).