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Øvepausen

Her ser vi stort på det, der er skrevet med småt.
Meget er for stort, men intet er for småt.


Sidste nyt – udsigt til medaljer til musikerne i AALBRA
Efter den veloverståede parade for de udsendte til Mali, kom oberst Karsten Fledelius Jensen hen for at takke orkesteret for dets indsats.
Herunder fortalte han om en tilsvarende parade i samme flotte opsætning, som han havde deltaget i dagen forinden i Karup.
Problemet var bare, at i Karup var der desværre ingen musikledsagelse, og det gjorde en væsentlig forskel på helhedsindtrykket, udtalte han.

Webmaster spurgte, om obersten virkelig mente, at vores orkester havde været med til at gøre en væsentlig forskel, – og det kunne han bekræfte.
Så er det måske lige før, at musikerne står til at få en medalje, når vi også er med til at gøre en forskel, spurgte nu den ivrige webmaster igen.
Ja, naturligvis, svarede obersten. Med flødeskum på toppen.


Mangler du et nodeskrivningsprogram?
Der findes et godt alternativ til Sibelius og andre nodeskrivningsprogrammer.
Et program som i øvrigt er gratis. Find det her:
http://musescore.org/da


Hvordan man spiller på valdhorn er sommetider en udfordring at forklare
På valdhornet er et C nemlig et G hvis du er i F – og det er du, hvis du spiller valdhorn.
Og hvis man spiller et E er det et A på klaveret, fordi klaveret er i C, og hornet som nævnt er i F.
Men hvis man spiller E, når musikken er skrevet i D, skal man faktisk spille et G som er et C på klaveret.
De fleste valdhorn er dobbelthorn. Som regel sammenbygger man et F-horn og et Bb-horn, men andre kombinationer forekommer.
Fælles for de fleste hornister er, at noderne læses som var de skrevet i F – også selvom man spiller på Bb-hornssiden eller på et single Bb-horn, – så læses noden alligevel som om den er noteret i F.
Noderne der skrevet i Es – som de altid er til horngruppen i brass bandet – spilles ofte på Bb-hornet, noden læses som var den i F, og transponeres ned til Es. Og fordi noden læses som F, skal der kun ændres 2 fortegn, og ikke 3 som man umiddelbart kunne tro.
Så er det hele meget enklere.


Vil du læse artikler om musikteori?
Så finder du relevante sager her:
http://www.musikipedia.dk/


Brass alloy is made from a combination of Copper and Zinc. The more copper you add, the redder the brass color is. Cartridge brass (what we commonly refer to as yellow brass and the same composition as the old rifle cartridges) is about 70% copper, 30% zinc

Nickel Silver (occasionally referred to as German Silver in the older books) is regular brass with about 17% pure Nickel.

Brass has an interesting property: For those not used to thinking metallurgically (sp?), these metals are mixed and dissolve into each other like sugar dissolves into water, not like chlorine combines with sodium to give us table salt. They can be separated using physical, not chemical means. “Red Rot” is what you get when the zinc comes out, Green hands is what you get when the copper comes out. It all leads to pitting.
There are literally hundreds of ways of combining this alloy, leading to an industrial standardization code. This code classifies brass by its tensile strength, not hardness.

Higher Copper content leads to a softer alloy, usually characterized by musicians as “warmer.”

Higher Zinc content leads to a more robust alloy. There is no consistent characterization by musicians that I have heard.

Nickel is a brittle metal and added to brass produces a disproportionate increase in tensile strength. This is why many craftsmen HATE to work with it; it requires more work and frequent annealing. It is frequently characterized as “bright.”

And speaking of annealing, the rigidity that is left in the instrument has as great of an effect on the tonal characteristics of the instrument as the actual alloy used.

Bronze is a completely different animal in function although it is remarkably similar in composition.


Quote from Sir Simon Rattle
“Actually you never eyeball a horn player. That’s one of the real rules. You just don’t. They’re stuntmen. You don’t eyeball stuntmen just before they’re about to go near death. That’s really true. You also never tell a horn player you played beautifully last time just before a concert. You see that look. They look at you and they’re always thinking, I could die now. And you know there’s something else behind the eyes. That’s really a truth. And so you have to let them do their very difficult thing without too much disturbing.”


Rehearsal etiquette doesn’t seem to get much press, so I’m wondering if we ought to give it some. Here we go…
Don’t sit there and wiggle your valves or keys, or if you’re a percussionist, play with the toys.
There is no need to talk. The only ones in an ensemble that should be talking are the conductor and the principals. If you have a question, ask the principal first, and if the answer is not forthcoming, the principal will address the conductor. Believe it or not, there is a hierarchy that should be respected. There is plenty of time to socialize before and after the rehearsal.
Turn your **** cellphone off, or put it on silent. There is nothing more irritating than a cellphone playing the Macarena in the middle of rehearsal.
Practice at home.
If the conductor stops conducting, that is your cue to stop playing. It is not your cue to start practicing, and it most certainly is not your cue to start talking.
If your colleague makes a mistake, don’t laugh, snicker, giggle, snort, guffaw, make a joke, or anything. Trust that your colleague is well aware that there was a mistake, and they will do everything in their power to not make the same mistake again.
You can only sightread a piece of music once. After that, you are expected to be able to play the piece. Coming to rehearsal unprepared wastes time, and delays the progress of the ensemble.
Don’t argue minutiae. When the conductor asks you to play softer or louder, don’t quibble over how much louder mf is than mp. Or the other way around. Dynamics are relative. Just do it.
If your colleague is working something out, don’t play along unless invited to do so.
If you are a soloist, never address the ensemble with other than a greeting, salutation, or a thank you. Direct your observations, concerns, or suggestions to the conductor.
Watch your mouth during breaks. Musicians are a temperamental bunch, this writer included. If you don’t watch your mouth, that gig might be your last. It doesn’t matter how good you are if you don’t practice selective judgement in the expression of your thoughts. Remember what Thumper’s mother told him…”if you can’t say something nice, don’t say nothing at all.”
Until you are given permission by your conductor, you are not on a first-name basis. Maestro, Mr, Mrs, Ms, sir, m’am, or madam is far more desirable until you have established a relationship that will support something less formal.
Don’t show up to rehearsal looking like a bag of rags. Don’t wear a hat, and for God’s sake don’t wear it backwards. If you look professional, you are far more likely to act professional.
Unless you are really good at politics, stay away from the board of directors. Get really good at politics so you don’t have to avoid the board of directors.
Questions, comments, insults, or rebuttals are invited.