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Podcasts at a Glance

Episode 126 - Live at IHS 2011
Episode 125 - Summer Camps
Episode 124 - First Horns
Episode 123 - Cool Cases
Episode 122 - Gordon Higginbottom
Episode 121 - Dream Horns
Episode 120 - How Much Practice?
Episode 119 - Top 5 for 2010
Episode 118 - Oil!
Episode 117 - Back to School
Episode 116 - French Horns on YouTube
Episode 115 - 2010 IHS Symposium
Episode 114 - Patterson Shoot-Out
Episode 113 - French Horn Nation Live
Episode 112 - Alto Horn Advocate
Episode 111 - Double Descants
Episode 110 - Ascending Horn
Episode 109 - High Notes
Episode 108 - Mouthpiece Recommendations
Episode 107 - Beyond Farkas
Episode 106 - Embouchure Tools
Episode 105 - Vienna Horns
Episode 104 - James Peterson
Episode 103 - N.A.M.M. 2010
Episode 102 - Mike McCool
Episode 101 - Top 5 for 2009
Episode 100 - Secrets
Episode 99 - Coping with the Tenor Horn
Episode 98 - Horn Hacks
Episode 97 - Listener Questions 5
Episode 96 - Patterson Leadpipe
Episode 95 - Humboldt Workshop
Episode 94 - Mouthpiece Wheel of Doom
Episode 93 - Single Horns
Episode 92 - Horn Matters
Episode 91 - Marching w/ French Horns
Episode 90 - DCI 2009
Episode 89 - French Horn Nation 2009
Episode 88 - 2009 IHS Symposium
Episode 87 - Tenor Horns on YouTube
Episode 86 - Listener Questions 4
Episode 85 - Gino Cipriani
Episode 84 - Complete Guide to Brass
Episode 83 - Mellos on YouTube 3
Episode 82 - ID'ing Old Horns
Episode 81 - History Revisited
Episode 80 - Quick Horn Changes
Episode 79 - Limited Practice Time
Episode 78 - John Meehan
Episode 77 - History of the Mellophone
Episode 76 - Getting It Back
Episode 75 - N.A.M.M. 2009
Episode 74 - Must-Have CD's
Episode 73 - Nirschl and Monette
Episode 72 - Pimp My Horn
Episode 71 - Top 5 for 2008
Episode 70 - Fingerings
Episode 69 - 4 Christmas Clips
Episode 68 - Gifts '08
Episode 67 - What We're Playing Now
Episode 66 - St. Paul's Brass Quintet
Episode 65 - CN's Tenor Horn Adventure
Episode 64 - Bonnie Ott Thompson
Episode 63 - Improv for Dummies
Episode 62 - All-American College Band
Episode 61 - Mellos on Facebook
Episode 60 - See the Girls Dance
Episode 59 - Marching French Horns
Episode 58 - Piston/Rotor Horns
Episode 57 - Bb Marching Horns
Episode 56 - Getting Back In Shape
Episode 55 - Vibrato
Episode 54 - Listener Questions 3
Episode 53 - Blazing Technique
Episode 52 - Range
Episode 51 - Tonguing & Articulation
Episode 50 - Flexibility
Episode 49 - Drum Corps Minis
Episode 48 - Holly Marino
Episode 47 - Chris Nalls
Episode 46 - The Brass Gym
Episode 45 - Carmel Kenton Project
Episode 44 - First Year Anniversary
Episode 43 - 3 Listening Assignments
Episode 42 - Music Librarian Karen Smith
Episode 41 - Kevin Gamin
Episode 40 - Intonation
Episode 39 - Jupiter Quantum 5050
Episode 38 - Churches and Pits
Episode 37 - Karl Hammond
Episode 36 - Griffin Gunter
Episode 35 - A Mello Catechism
Episode 34 - Mellos on YouTube 2
Episode 33 - Listener Questions 2
Episode 32 - Top 5 for 2007
Episode 31 - Corps Auditions
Episode 30 - Gifts
Episode 29 - Kelly Smith
Episode 28 - From the 50 Yard Line
Episode 27 - Coping as a Trumpet Player
Episode 26 - Summer With Teal
Episode 25 - What's In Your Case?
Episode 24 - G Mellos
Episode 23 - Mello for Woodwinds
Episode 22 - Listener Questions 1
Episode 21 - Mini Corps 2007
Episode 20 - Mutes
Episode 19 - The IYM Mouthpiece
Episode 18 - J.D. Shaw
Episode 17 - DCI Finals 2007 Recap
Episode 16 - Descants & Triple Horns
Episode 15 - Coping as a French Hornist
Episode 14 - Music in Motion
Episode 13 - Buying Mellos on eBay
Episode 12 - Mellos on the Web
Episode 11 - Warm-Ups
Episode 10 - The Great Mouthpiece Debate
Episode 9 - Yamaha Mellophones
Episode 8 - New Horns at WW&BW
Episode 7 - Mark Taylor
Episode 6 - The Mellophonium
Episode 5 - Mellos on YouTube
Episode 4 - Paula Hyman
Episode 3 - French Horns & Tenor Horns
Episode 2 - Our Horns
Episode 1 - Introductions

NOW AVAILABLE!

Buy John's Book! Mello Catechism

A Mello Catechism: A Guide to the World of Mellophones and Marching Horns.

A slightly irreverent but highly practical tome on all things Mellophone. Includes information on Mellophone history, mouthpiece choices, tone quality, intonation, coping with marching, and much more. 30 pages.

Available from
Horn Notes Edition

 Episode 120:  How Much Should We Practice?

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Hosts:  Al Perkins, Dr. John Q. Ericson, Chris Nalls, Mark Taylor

  • Chris found an article in Wired Magazine about how much we should practice.  The crux of it is this: There was a study about practice.  The first group did nothing but practice.  The second group practiced part of the time and thought about practicing part of the time.  The third group practiced part of the time but experienced stimuli related to what they were practicing the other part of the time.  It turns out the third group did best.
  •  Practicing something is not enough. You need to listen to it as well.  Seek out different interpretations of it, too.
  • Don't limit your stimuli to listening to what you are practicing.  Expose yourself to related music as well.
  • At one time the only way to learn Jazz is to experience Jazz.
  • The Suzuki method also ascribes to playing AND listening.
  • Base how much you practice on how much playing you're going to do that day.  If you're going to do a lot of playing, you don't need to practice too much.  A good warm-up should be enough.
  • 10 to 20 minutes early in the day of nothing but long tones can do a world of good.
  • Listening Assignment: "Farewell to Red Castle" by Kerry Turner from the CD Take 9 by The American Horn Quartet and the Horns of the New York Philharmonic.
    • According to Chris, this demands to be listened to in depth!
    • Every horn player should have this CD.
    • Here's a YouTube video of the Horns from the Berlin Philharmonic performing this piece.
Running Time: 31:07

Episode 119:  Top 5 for 2010

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Hosts:  Al Perkins, Mark Taylor

  • At the end of each year we look back a the top 5 most significant events in the Middle Brass world.  They can be good or bad, as long as they're significant.
  • BTW, Al says you should get a Snark tuner!
Running Time: 36:37

Episode 118:  Oil!

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Hosts:  Al Perkins, Dr. John Q. Ericson, Chris Nalls

  • First, there are many different kinds of oil and they all have their respective functions.  John likes Al Cass and Hetman, Al likes Parvo.
  • Older French Horns will need a slightly heavier oil on the bottom bearings.  Al has used 30-In-One on the bottom bearings, but now uses Heavy Duty Key Oil.  John says use Singer Sewing Machine Oil.  Lawson recommends Sears Light Machine Oil.  The top bearings should always use light oil.
  • There is Minearal-Based (petrolium-based) and Synthetic valve oil.  Stick with one or the other.  If you change, you need to clean your horn first.
  • Also oil your springs once a month.  Any moving surface needs a little oil.  This includes the joints on mechanical-action valves, and it needs lightly heavier oil than valve oil.
  • A drop or two of valve oil down the lead pipe can help keep your horn clean.  Oil will not damage your horn.
  • For piston valves, if you're indoors you can take out the valve and put oil on the sides.  If you're outdoors, use the ports on the bottom.
  • For rotory valves, put the oil down each valve slide.  There are videos on YouTube about oiling your rotory valves.  One school of thought is to NOT depress the valve lever when pulling the slide out (to force out any crud on the rotor) and to not depress the valve when putting the slide back in (to force the oil into the rotor).
  • Some horns, like Besson Tenor Horns, have extremely tight valves and need to be oiled constantly.
  • Listening Assignment:  "It Isn't Right" by the Lawrence Welk Orchestra.
    • Once again we have Mellophonist George Thow with Trumpet player Norman Bailey.
    • This time he's playing a Mellophonium, but it doesn't look like a Conn.

Running Time: 20:52

Episode 117:  Back to School

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Hosts:  Al Perkins, Dr. John Q. Ericson, Chris Nalls

  • School is back in session, so it's time to take out the horn and prepare it for a new season!
  • It's time to unstick those valves.  Don't oil them outside.  Consider "lapping," but be very careful with it.  The horn may need a shop visit.
  • Come up with a good cleaning schedule.  Get a mouthpiece brush and brush it out once a week.  Also snake out your lead pipe once a week.  Oil your valves weekly, if not more often.
  • Bathe your horn monthly.  Also grease your slides monthly.  Try for an anual Ultrasonic cleaning.
  • It's a good idea to make up a cleaning kit This should include a mouthpiece brush, snake, slide grease, valve or rotor oil, and a microfiber cloth.
  • Horn Matters has a few articles about keeping your horn clean.
  • It's also a good idea to make up a repair kit, including a small screwdriver, tape, a small rubber sheet or a piece of a bike tire (for taking out valves), zip ties, a glove (for pulling slides), and some spare parts (stops, corks, string, felts, etc).
  • Keep an extra playable mouthpiece with you as well.  You never know when you'll need one.
  • Chris has heard that a piece of chalk in your case can keep a silver horn from tarnishing.
  • Listening Assignment:  "S'wonderful" by the Lawrence Welk Orchestra.
    • This is the introduction of Mellophonist George Thow and singer Larry Dean.
    • He's playing a traditional Mellophone in this clip, and it's in Eb! He's also using the correct mouthpiece for the traditional Mellophone.

Running Time: 23:24

Episode 116:  French Horns on YouTube

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Hosts:  Al Perkins, Chris Nalls

  • Clip 1: Annamia Eriksson plays Siegfried's Horn Call by Wagner
    • This clip is quite interesting artistically.
    • She is also an incredible player!
  • Clip 2: Giovanni Hoffer "Brasylvia"
    • Hoffer is one of the most relaxed jazz players we know.
    • It's cool to watch him.
  • Clip 3: Frank Lloyd playing Toccata and Fugue in D minor (or in this case F minor).
    • This was recorded at the 2008 International Horn Symposium in Denver, Colorado.
    • He is a BEAST! (and can play some crazy low notes)
  • Clip 4: Marc Papeghin's John Williams Tribute
    • Not only is he an awesome player, but he's an awesome arranger.
    • The multi-tracking is insane!
  • Clip 5: "When Dream and Horn Unite" - French horn Tribute to Dream Theater
    • Marc Papeghin is at it again!
    • His video skills have improved with this video
  • Clip 6: Amie Amis - "I Smell"
    • Amie Amis is an Alternative/Pop singer AND plays French Horn.
    • Her songs (and CD's) are great!
  • Clip 7: Blue Devils Alumni and Friends Horn Ensemble - "La Fiesta"
    • This is an amazing group who plays some amazing arrangements.
    • The lead on this is Sandra Clark (see Episode 110).  Chris is playing, too!
  • Clip 8: Mark Taylor - "At What Age"
    • We couldn't do this episode without including some Mark Taylor!
    • Help him finance his latest CD!
  • Clip 9: Vienna Horns - "Jurassic Park"
    • This is from their "Director's Cut" CD.
    • There are a number of cuts that were filmed and put on YouTube.
  • Clip 10: The Piston Horn Quartet - "Beer & Baroque"
    • Four Piston French Horns! How cool!
    • It helps that these guys can really play!
  • Clip 11: The Berlin Philharmonic Horn Ensemble - "Farewell to the Red Castle"
    • Composed by Kerry Turner, who writes some excellent horn ensemble music.
  • Do you have a clip we should play? Let us know!


  • Listening Assignment:  "Scherzo for Horn and Band" by Charles Fernandez.
    • This is performed by the Los Angeles Pierce Symphonic Winds.  Soloist is Jennifer Bliman (whom we interviewed in Episode 62).
    • Jennifer is an incredible player!  This piece is quite difficult and she kicks its butt!
    • There are so very few pieces written directly for Horn and Band.  This one needs to be added to that short list.

Running Time: 35:59

Episode 115:  2010 IHS Symposium Recap

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Hosts:  Al Perkins, Dr. John Q. Ericson, Mark Taylor

  • The 2010 International Horn Society Symposium was held in Brisbane, Australia, this year, and John attended!
  • The symposium was basically 2 1/2 weeks worth of stuff packed into 5 days.
  • John was able to deliver his "Beyond Farkas" seminar.  He also go tto perform the Neuling Bagatelle.
  • He got to hear some players who were freakishly talented, including J.D. Shaw!
  • One popular item was the Paxman student horn, which is a 2/3 size horn.
  • There are lots of logs from the trip on Horn Matters.
  • Next year the symposium will be in San Francisco.
  • Listening Assignment:  "Interstellar Call" by Olivier Messiaen, performed by Jean-Jacques Justafré.
    • David Thompson peformed this live (and from memory) at the IHS symposium.
    • Here's a link to a Horn Matters page about it.
    • This work is actually the sixth movement of the piece Des canyons aux étoiles… [From the Canyons to the Stars...], a work commissioned in 1971 and subsequently inspired greatly by a trip by the composer to Utah in 1972, especially by Bryce Canyon.

Running Time: 34:53

Episode 114:  Patterson Shoot-Out

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Hosts:  Al Perkins, Dr. John Q. Ericson, Chris Nalls, Mark Taylor

  • MelloCast listener Doug Divelbiss has a Yamaha 202 with the Patterson leadpipe, and has generously allowed the four of us to give it a try.
  • First and foremost, the comparison was not apples-to-apples as the lead pipe is on a 202 and we were comparing it to the 203 or 204.
  • Next, it's clear that the lead pipe makes the horn a unique instrument -- more of a Marching French Horn.
  • Don't be mistaken, though.  Kanstul still makes a similar horn.
  • Mark has recorded a number of videos on YouTube discussing and demonstrating the horn.
  • Bottom line is we all love the Patterson leadpipe.  Though it makes the Mellophone more of a Marching French Horn, we still feel there is much value to it.
  • Listening Assignment:  This week we will listen to one of Mark's clips.  First he is playing the 202 with the Patterson leadpipe, and second he is playing the 203 with a Hammond mouthpiece.

Running Time: 33:47

Episode 113:  French Horn Nation 2010 LIVE!

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Hosts:  Al Perkins, Mark Taylor

  • French Horn Nation made its 2010 appearance on June 21st as part of Make Music NY, and Mark and Al were there LIVE!
  • This week's episode features a few clips of the group playing (or sightreading, actually) a few numbers on the streets of New York.

Running Time: 23:20

Episode 112:  Advocate for the Alto Horn

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Hosts:  Al Perkins, Dr. John Q. Ericson, Mark Taylor

  • French Horn Nation is back on June 21st for part of Make Music NY.  If you're a horn player and in New York City, come on by!
  • John recently published an article on Horn Matters called "An Advocate for the Alto Horn in 1968" based on an article "Brass Bibliography: Sources on the History, Literature, Pedagogy, Performance, and Acoustics of Brass Instruments" by Mark J. Fasman.
  • The basis of the aritcle is that French Horns in school bands are impossible, and that they should use more Alto Horns.
  • One issue the article states is that the instrumet is too easy to play, so people tend to not progress.  Right.
  • It goes on that many bands use French Horns, even though they're weak and don't fill out the middle of the band.
  • John says you can dream good accuracy all you want -- on a French Horn you won't be able to get it.
  • After playing French Horn for a while, all other brasses are so much easier!  So hornists, pick up a Tenor (Alto) Horn!
  • We are starting to wonder if the author was thinking about Alto Horns or Altoniums, as Altoniums are more directional.  There are also "solo alto horns" or "tenor flugels," including the PhatterBoy by Pip Eastop.
  • Chris brought up that corps also used various alto horns before going exclusively with the Mellophone.
  • Listening Assignment:  "Joshua Fit de Battle of Jericho" from Sandstorm Brass's only CD "Flash" by Alan Fernie.
    • Sandstorm Brass was short-lived, but Sandy Smith is a Legend of the Tenor Horn.  He's played for many of the top Brass Bands in England.
    • This is a Must-Have CD.
    • You can find British Brass Quintet music on Just Music.

Running Time: 31:30

Episode 111:  Double Descants as a Primary Horn

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Hosts:  Al Perkins, Dr. John Q. Ericson, Chris Nalls, Mark Taylor

  • We've discussed in the past Descants, Triples and Single Bb horns.  But many players have used Double Descant horns as their primary horn (including Al & Mark).
  • Always remember there are difference between the different horns.  A single Bb horn is lighter and often has a thinner bore than a double horn.  As a result, it CAN have a thinner or lighter sound.  This, of course, is not necessarilly a problem depending on what you're doing.
  • Mark made the move to a double descant many years ago.  For Jazz it has a different clarity of sound.
  • The advantage of a Double Descant over a single Bb is the weight of a double horn with all the advantages of a double horn.
  • Al likes it for symphonic band playing as it's got better accuracy, more facile and it's a little brighter than a double horn, though it takes a little more effort to fill it out.
  • Bb horn fingerings will kick your butt.  John says it can take up to 2 years.
  • If you play primarilly low parts, this may NOT be the choice for you.
  • If you go the single Bb or double descant route, go for a slightly smaller (or smaller cup) mouthpiece.  It will add some clarity to the tone.
  • Listening Assignment: "Mvt. 3 - With Good Humor" from Nonet for Brass by Alec Wilder from "Mirafone presents Deskants and Tubens, featuring Members of the Horn Club of Los Angeles (Mirafone SZB-3216 7" for demonstration only, excerpted from LP Angel S-36036) Conducted by Gunther Schuller"
    • This piece was written in 1969 and it's for 2 Descant Horns, 2 regular Horns, 4 Wagner Tubas and one Bass Tuba.
    • The record was a demo distributed by Miraphone.  It's available on one other CD.

Running Time: 27:06

Episode 110:  Sandra Clark and the Ascending French Horn

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Hosts:  Al Perkins, Chris Nalls, Mark Taylor, Sandra Clark

  • Aside for being the co-principal Horn with the Toledo Symphony, Sandra is also an old friend of Chris's, having marched with him in the Blue Devils.
  • Sandra uses what's known as an "ascending horn."  In a nutshell, the 3rd valve is the same length as the first, and air is always flowing through it unless it's pressed.  So, when you hit the 3rd valve, the horn "ascends" to a different horn length.  So yes, the fingerings are different.
  • This is a French system, which is why many of the ascending horns you might find are piston horns.  Still all manufacturers will make them,, but they're always a custom order.
  • So, why play an ascending horn?  For starters it fixes many of the problems that plague all double horns (like T12 notes).  It also makes some fingering pitfalls a little more smooth.
  • It's interesting that there is such a variety of instruments out there.
  • Listening Assignment: "La Fiesta" from the CD "Blue Devils Alumni and Friends."
    • The arrangement is by Bob Higgins.
    • Sandra has a fiendish solo in the middle.

Running Time: 38:46

Episode 109:  High Notes

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Hosts:  Al Perkins, Dr. John Q. Ericson, Chris Nalls, Mark Taylor

  • John refers to the book "The Balanced Embouchure" by Jeff Smiley (which is a trumpet book).  In the book, Smiley advocates finding the high notes and working down, in lieu of working your way up.
  • Chris confirms it's all about lip rolling.  Once you roll the lips and find the notes, you find the transition between embouchure sets.  Chris advocates siren slurs.
  • John also advocates siren slurs. Don't worry about the corners - they'll take care of themselves.  From there you can smooth out the breaking points.
  • The rest is mental.  Don't consider notes above a high G as high notes.  Most players hit a wall with a high C because they're trying to make a mid-range setting work.
  • And then there's tongue placement.  Think of whistling.  Oral cavity and airstream can impact range.
  • Check out this blog about the Balanced Embouchure for Horn.
  • Sometimes placement can help as well.  Mark tried a little more upper lip and it opened up all of his registers.
  • Listening Assignment: "Mvt. 1 - Moderate" from Nonet for Brass by Alec Wilder from "Mirafone presents Deskants and Tubens, featuring Members of the Horn Club of Los Angeles (Mirafone SZB-3216 7" for demonstration only, excerpted from LP Angel S-36036) Conducted by Gunther Schuller"
    • This piece was written in 1969 and it's for 2 Descant Horns, 2 regular Horns, 4 Wagner Tubas and one Bass Tuba.
    • The record was a demo distributed by Miraphone.  It's available on one other CD.

Running Time: 29:26

Episode 108:  Mouthpiece Recommendations

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Hosts:  Al Perkins, Dr. John Q. Ericson, Chris Nalls, Mark Taylor

  • We get lots of questions about which mouthpiece to use.  There are two key rules: don't use the mouthpiece that came with the horn, and don't use a trumpet mouthpiece (with a few small exceptions).
  • Next, it's important to know the difference between a mouthpiece for the Marching Mellophone and the Traditional Mellophone.  Marching Mellos have a trumpet-sized receiver and Traditional Mellos have a cornet-sized receiver.
  • Mouthpiece Express sells mouthpieces for Traditional Mellos.  Their Bach Mellophone Mouthpieces are the only Traditional Mellophone mouthpieces you can still find easily.
  • Chris is a big fan of the Hammond.  Mark likes the IYM.  Al likes the Curry 1HTF and the Blessing 5.  John says ASU uses the Curry as well.
  • For serious players, you might want to invest in a Hammond or IYM.  For the more casual player, the Curry (if you're a trumpet player) or the Blessing (if you're a low brass player) are inexpensive options.
  • Using a French Horn mouthpiece is not the worst option.  It's not the best for the field, but if you do, use a small-bore horn mouthpiece.
  • We're all eager to try the super-secret Jupiter hybrid mouthpiece.
  • Listening Assignment: "Something's Coming" arranged by Stan Kenton from the CD Kenton's West Side Story.
    • Kenton + Bernstein + Mellophones .... what more do you need?

Running Time: 19:34

Episode 107:  Beyond Farkas

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Hosts:  Al Perkins, Dr. John Q. Ericson, Chris Nalls

  • This weekend John is attending the Mid-South Horn Workshop, and he will be presenting this subject as a full lecture.  The purpose is to discuss beyond the Farkas pedagogy.
  • Historically, Farkas's teachings are at one end of a spectrum.
  • John wants to make it clear that he has no axe to grind with Farkas at all.
  • The Farkas book and teachings have always been revered as Gospel, but life goes on and things change.
  • The first main point is the tongue touching the lips.  Farkas teaches AGAINST the tongue touching the lips at all, though the reality is that it may work in concept, but not in practice.
  • Another example is air stream direction.  Farkas describes the stream going straight, which is also not accurate.  There are videos on YouTube with X-rays of trumpet players that show us many things, including tongue movement.
  • Another example is mouthpiece pressure.  Though Farkas is against mouthpiece pressure, the reality is that some pressure is very necessary.
  • He also mentions "lip curling," which Farkas is against.  Farkas's description of aperture may not be best.  Chris feels that lip curling definitely has its place, especially with extreme high notes.
  • There is definitely more information we can explore here, and we'll definitely revisit this topic after John makes his presentation.
  • Listening Assignment: "Canon in Octave" by Jean Francaix from the CD "Shared Reflection - The Legacy of Philip Farkas."
    • Farkas only recorded two albums, the first is so far only on vinyl.
    • Some of the tracks from his first album made it on this one, including this clip.

Running Time: 31:05

Episode 106:  Embouchure Strengthening Tools

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Hosts:  Al Perkins, Chris Nalls, Mark Taylor

  • There are a number of tools out there to help in strengthening your embouchure when you can't practice.  Keep in mind that nothing beats practice.  But in a pinch there are a few tools that can help.
  • The first device. manufactured by Warburton Music Products, is P.E.T.E. (Personal Embouchure Training Exerciser).  It's a portable device that is used to promote isometric exercises to improve power and stamina.
  • Second is B.E.R.P. (Buzz Extension Resistance Piece).  There is now a second version of the B.E.R.P. that ads resistance.  The device clamps on to your leadpipe and allows the player to buzz while holding the horn and moving the valves.  They now make newer versions that are longer and provide more resistance.
  • The third device is the BuzzzMaster, also made by Warburton.  It's similar to the B.E.R.P. but it's meant to work just with the mouthpiece, not the instrument.  It's supposed to add realistic resistance to buzzing, which makes it an excellent practice tool when you can't practice your horn.  It's great for driving, but possibly not on the subway!
  • Other good tools include practice mutes.  Best Brass keeps getting great marks.
  • Listening Assignment: "The Taker" from the CD "Hoffer Quattro" by Giovanni Hoffer
    • Here is a video of them on YouTube!
    • Hoffer plays a Lewis horn and a custom made heavy mouthpiece.
    • He's no Mark Taylor, but he's smoooooooth!
    • Mark brings up how to record French Horn.

Running Time: 28:40

Episode 105:  Vienna Horns

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Hosts:  Al Perkins, Dr. John Q. Ericson, Chris Nalls

  • Vienna horns have become quite popular and have numerous clubs, like this one in Scotland.
  • A Vienna horn is an early to mid 19th century horn that takes crooks, pitched in F, and have "Vienna valves," which are a double-piston design.  Here's a website that shows some diagrams.
  • Remember, these are SINGLE F HORNS.  The way the valves work prohibit them from becoming double horns.  There are other brasses with Vienna valves, but it's most popular on Horns.  They're supposed to be very fluid.
  • There is a great video on YouTube that compares the Double Horn with the Vienna Horn.
  • The horns themselves are like Natural Horns, which are smaller than modern horns.
  • These are used in the Vienna Philharmonic, and they are difficult to play.  The mouthpiece is also very different -- it's very deep.  A modern mouthpiece would not work on it.
  • The group "The Vienna Horns" are a chamber group from Vienna who have been around for about 10 years and have recorded a number of CD's.
  • Listening Assignment: "Dancer in the Dark" and "On Dangerous Ground" from the CD "Director's Cut" by the Vienna Horns.
    • You won't find this in iTunes.  You'll have to go to Pope Repair.
    • There are lots of videos of these folks online.  Here's one.  Here's another.
    • These arrangements are available.  They're for 12 horns and percussion.

Running Time: 23:21

Episode 104:  Film Composer James Peterson

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Hosts:  Al Perkins, Chris Nalls, James Peterson

  • James started on clarinet but switched to trumpet.  He played soprano for the Freelancers, then Santa Clara Vanguard.  Chris drafted him to play Mellophone in 1986.
  • James started composing while in High School.  He majored in Music Education at UCLA, where he arranged for the marching band and wind ensemble.  By his third year of college composing had eclipsed playing.
  • He gets inspiration from other art, not necessarily music.  Visual art is inspiring.  Travel is also inspiring.
  • Composing for film is very different than composing for Drum Corps.  Film composing is more supportive.
  • James composed the SCV Cadets 2008 show.  It was the first Drum Corps show he'd ever written.  He was actively involved during the course of the season in shaping the music.
  • This year he's writing for the Renegades.  It's a variation on "Mars."
  • The hardest step in scoring a film is getting the job.
  • His biggest score is "The Red Canvas," a martial arts film.  He's been nominated for 3 International Film Music Critics Association Awards.  He's also scored a number of shorts, television and commercials.  His next upcoming film is called "Submission."
  • Gear-wise, his indispensible tools include Sibelius, 3 - 30" Apple displays, the Apogee Symphony system, a digital master clock and sample libraries, among other things.
  • He got to conduct his own scores in the United States, but not in other countries.
  • He recommends to all aspiring composers to get an education.  It is critical to study Music Theory.  Also, find a mentor who is doing the kind of work you want to do.
  • Listening Assignment: Sampler from "The Red Canvas."
    • This contains three sections: Moving Images Fanfare, Jungle Rumble and Jazz Cafe.
    • He uses a huge brass section, including 8 horns spelling out a harmony based on the octatonic scale in "Ballet for Brawlers, "Jungle Rumble" and "Out of the Darkness."
    • He definitely called on his experience in Drum Corps in his use of large brass sections.

Running Time: 53:53

Episode 103:  N.A.M.M. 2010

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Hosts:  Al Perkins, Chris Nalls

  • Every year in Anaheim is the National Association of Music Merchants' trade show, where they show off all of the new instruments.  Chris and Scott Hartman went and made some audio for us.
  • First was Anthem, who is an Asian manufacturer.  Their horn is an 8D copy.  They also make a good 3/4 sized horn.
  • They paid a visit to Best Brass, who makes mouthpieces and mutes, including an excellent non-transposing stopping mute.
  • Next was York.  They make a very good Tenor Horn.  Next was the Blessing Marching French Horn and Mellophone.
  • Next came the Conn/Selmer booth, where they tried their new vintage 8D.  From Holton they tried the Merker-Matic and the H105, which they both loved.
  • Next they visited the Kanstul booth, where he ran into his friend Matt Anderson, and tried their new series of French Horns.  No news on the 16E.
  • Jupiter was a big surprise with their 752L single F horn.  They also saw the "mystery horn," which is excellent.  It's actually the J.D. Shaw horn, which should be available next year.  Their Mellophone has also been re-engineered, and how Chris is a believer.
  • There is no audio, but he got to play the new Besson Prestige Tenor Horn, which is outstanding in every way.  It plays like a dream.
  • Yamaha had only 2 horns and the 204.  Their French Horns, though, are excellent.
  • If that wasn't enough, after the show they went to the Atkinson shop.
  • Best in Show: The J.D. Shaw Prototype.  Love also goes out to the Besson Prestige, the Jupiter 752L, the Holton 105, and the Hoyers (of course).
  • Listening Assignment: "Mr. Jums" from the Cats Suite by Chris Hazell, from the CD "Just for Fun" performed by Walter Hilgers and Young German Brass Soloists
    • This movement is the best known of the Cats Suite.
    • There are many arrangements of it, including for brass band, brass quintet and 10-tet.

Running Time: 34:52

Episode 102:  Mike McCool, Program Coordinator for the Santa Clara Vanguard

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Hosts:  Al Perkins, Chris Nalls, Mark Taylor, Mike McCool

  • Mike started on French Horn.  In 1971 he saw the Anaheim Kingsmen perform in a parade, which changed his life.  He promptly joined them on Mellophone.
  • Mike and Chris taught with the Velvet Knights in 1982.  Mike helped bring humor to the VK.
  • Mike was originally hired by SCV to be a unifying force, utilizing his experience coordinating music for Winter Guard.  His philosophy is to make SCV all about the music.
  • We follow the evolution of the Mellophone during Mike's experiences.
  • Listening Assignment: "Rudy Wants to Buy Yez a Drink" by Frank Zappa from the album Chunga's Revenge.
    • This song and this album was significant in shaping Mike's musical background and attitude.
    • Frank Zappa's music had a direct influence on many of us.

Running Time: 44:05

Episode 101:  Top 5 for 2009

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Hosts:  Al Perkins, Dr. John Q. Ericson, Chris Nalls, Mark Taylor

  • At the end of each year we look back a the top 5 most significant events in the Middle Brass world.  They can be good or bad, as long as they're significant.
    • #5 - Marc Papeghin's John Williams Tribute for 12 Horns -- all multi-tracked!  This is awesome!  We hope to someday get him on the show.
    • #4 - Phantom going to Jupiter/Blue Devils going to King.
    • #3 - System Blue Mellophone Mouthpiece, which has not been released to the public yet.
    • #2 - The Patterson Hornworks Mellophone Leadpipe
    • #1 - Horn Matters.  It's the daily source for any musician.  It's educational AND entertaining!

Running Time: 23:11

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