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Podcasts at a Glance

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 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

Welcome to The MelloCast -- a Podcast dedicated to the Mellophone, French Horn, Alto Horn, Tenor Horn, Circular Alto, and any and all other middle brasses, their players and fans. Each week we hope to deliver a discussion about these instruments and its players, answer any of your questions, and present both rare and familiar Mellophone and Middle Brass audio clips and recordings!

You can E-mail us with any questions or comments to questions@mellocast.com.  (Don't forget your name and town so we can mention you on air!)

Help Mark Taylor record his new CD!   He can't do it without YOU!  Follow this link to Kickstarter and make a pledge to help fund his new Horn and Mellophone project!!
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

Episode 100:  Secrets

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

  • We finally made it to Episode 100!!
  • Mark has finally written us theme music!  It's called "Wednesday Nights at 8," which is usually when we record.  It has 5 Mellophone parts, and Mark is playing all of them on his Yamaha 203 with the new IYM mouthpiece.
  • We did not get nominated for a Podcast Award.  Try again next year.
  • Chris is having the Renegade Mellophone section use the new System Blue mouthpiece.
  • We all talk about our first Mellophone experience.
  • Chris says we should go on YouTube to find Mike the Ripper.
  • We all reminisce fondly about the 16E, except for Mark who's never played one.
  • Listening Assignment: "God Rest Ye Merry Gentlemen" from A Merry Christmas by Stan Kenton
    • See previous MelloCasts for information about this album.
    • Chris was hired once to play it, and made the mistake of trying to do it on French Horn.
    • JD Shaw still does a version of it.

Running Time: 31:29

Episode 99:  Coping with the Tenor Horn as a French Hornist

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Hosts:  Al Perkins, Chris Nalls, Mark Taylor

  • Before we get started, Mark Taylor is trying to raise funds to record his new CD.  Go to this website if you want to help out.
  • Like the Mellophone, Tenor Horn seems to attract French Horn players.  As we'd mentioned, both Mellophone and Tenor Horn are not related to the French Horn.  Additionally, with the Mellophone you have many mouthpiece options while with Tenor Horn you really need to use a real Tenor Horn mouthpiece.  As a horn player, this can cause problems as they're so radically different and, sadly, impact both your Tenor Horn AND French Horn playing.
  • The first key difference is that due to the fact that the Horn mouthpiece is a funnel and the Tenor Horn mouthpiece is a cup, your oral cavity has to adjust accordingly.  That will impact tongue placement as well.  The result could hurt your Horn tone and attack.
  • Beware of plateaus in your progress.
  • Everything is a coordination between tongue, lips, fingers and AIR.
  • Change of gear (like a mouthpiece) can also help.  Or hurt.  Mark likes the Moosewood T-Rex for horn players who double on Tenor Horn.
  • Warm-up becomes critical.  If you're going between instruments, each warm-up session becomes even more important as it focuses you on that instrument.
  • According to Greg Monks, you can successfully play different horns if you make practicing all of them part of your daily regiment.
  • Listening Assignment: "Meiso" by John Golland from the CD "The Essence of Time" by The Black Dyke Mills Band
    • This features a Tenor Horn and Baritone duet.  Sandy Smith is the Tenor Horn soloist, and Peter Christian is the Baritone soloist.
    • This was written for the Black Dyke's tour of Japan in 1990.

Running Time: 32:08

Episode 98:  Horn Hacks

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

  • This episode is inspired by this YouTube video.  Watch it now.  Really.
  • So the topic is about non-invasive hacks you can do to your horn (Mellophone or French Horn) that can impact your playing.
  • The first obvious thing is the mouthpiece.  Curry is now touting the HitMan trumpet mouthpiece.  But since the Curry 1HTF is an optimal Mellophone mouthpiece,  you should be able to get one.
  • There are also now heavy mouthpieces, such as the IYM and Hammond.
  • There are also CCaps and Sound Sleeves.  Many feel Sound Sleeves are not as effective as heavy mouthpieces because they're not all one piece.  By the way, Wick makes Sound Sleeves (called "Tone Boosters") for the French Horn.
  • AcoustiCoils are also supposed to be good at centering pitches.  There are many major endorsements.  You can use the AcousitCoil on any brass instrument.
  • Toneblobs are basically CCaps for the French Horn.  They're pricey!  Patterson also makes the Magic Disk, which does similar.
  • BTW, here's Chris on YouTube!  Nice shake!

Running Time: 34:41

Episode 97:  Listener Questions 5

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Hosts:  Al Perkins, Chris Nalls, Scooter Pirtle, Mark Taylor

  • Andrew is a horn player with a bad tone.  Chris says have good equipment, make the right embouchure and have a good concept of the sound in your head.
  • Jackie wants advice in getting into the corps of her choice.  Chris says to go to their website and get their audition packet.  Have a positive, upbeat attitude.  Expect that everyone who shows up can play.  Let your personality sell it.  Scooter says don't wear paraphernalia from your high school or from another corps.
  • Zontise is going into the 9th grade and is going to play Mellophone for the first time and wants to know what is a good Mellophone to start with is?  Also, where can you find a mouthpiece?  In truth you're going to be stuck with whatever the school has.  Don't discount them -- try them all to see which one is best for you (and don't go by looks).  If you're going to buy one, there is no such thing as a starter line.  If you're going to buy one, buy a Yamaha, Dynasty, King or Jupiter.  As for mouthpieces, go to Mouthpiece Express or Woodwind and Brasswind.
  • Spencer is asking about using the Bach Megatone Flugelhorn mouthpiece.  Scooter says go for it.  You may need to use some tape as an adapter.
  • A jazz trumpet player (and acquaintance of Mark's) wants to add Mellophone to his arsenal.  He has sensitive chops and wants to find the right mouthpiece.  Blessing 5 is an option.
  • Listening Assignment: "Timefield" from the CD "QuietLand" by Mark Taylor
    • There is a video of Mark on YouTube!
    • Mark was inspired by rows of clocks in a train station.

Running Time: 33:58

Episode 96:  Patterson Hornworks Mellophone Leadpipe

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Hosts:  Al Perkins, Chris Nalls, Scooter Pirtle, Mark Taylor

  • Patterson Hornworks has made a lead pipe for the Yamaha Mellophone that has the taper and receiver of a French Horn leadpipe.  They have made them for a number of schools so far.
  • There is not much about it on their website, but there is some stuff on their Facebook page.
  • This is a significant change to the instrument.  The Mellophone is not a French Horn -- it's more of a Cornet.
  • It could be good in a high school setting when you're trying to grow some Horn players.
  • The Marching French Horn has a more gradual flare from the valves to the bell than the Yamaha, making this hybrid a completely different instrument.
  • There has been so many developments in Mellophone mouthpieces, that they are now considerate of the French Horn player -- in particular the IYM and Hammond.  It almost becomes unnecessary to worry about the mouthpiece.
  • Listening Assignment: "Dance Five" by Arkady Shillkloper from the CD Pilatus.
    • We love this guy!

Running Time: 29:46

Episode 95:  Humboldt State University Brass Chamber Music Workshop

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Hosts:  Al Perkins, Chris Nalls

  • Starting last year Chris started attending the Humboldt State University Brass Chamber Workshop.  It's in a rural setting with 70 other brass players.
  • The first interview is with Tony Clements, the executive director of the Workshop.
  • The workshop started in 1974.
  • The purpose is for brass players to get together to share their love of chamber music.  Attendees age from 16 to 90 and come from all over the country.
  • The second interview is with Scott Hartman, a horn coach form the workshop.  He explains the purpose of the coach and the work he does for the workshop.
  • Due to the lack of brass sextets and septets, they sponsor a composition contest each year.  The winner gets $2,000!
  • Listening Assignment: "Homage to the Noble Grape: IV. Fundadore" by Goff Richards, performed by Walter Hilgers & Young German Brass
    • This is representative of the music that gets played at the workshop.

Running Time: 31:55

Episode 94:  The Mouthpiece Wheel of Doom

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

  • First off, Mark has posted a YouTube video from his CD re-launch performance.
  • Meanwhile, John had a visit at ASU from J.D. Shaw!
  • And now for the Mouthpiece Wheel of Doom.  This is a situation where you spend all your time testing mouthpieces.  We've all been caught there from time to time.
  • The Wheel of Doom isn't necessarily a bad thing.  It can keep things interesting.
  • The Wheel of Doom is for all brasses, not just French Horn or Mellophone.
  • Speaking of Mellophone and mouthpieces -- please avoid using trumpet mouthpieces on the Mellophone.  It will have ugly results.
  • There is a difference between using several mouthpieces and constantly trying different mouthpieces.  The Wheel is about the search.  You don't get any practicing done -- you're always just trying mouthpieces.
  • Keep in mind that mouthpieces can be mismarked.  Also, two mouthpieces of the same model can have differences.
  • Listening Assignment:  First movement from "Deja View" performed by 2009 Star United Mini-Corps, written by Frank Sullivan.
    • All four movements are heavily dependent on percussion.  All the brass players had to play percussion some time during the show.  The book calls for 8 percussionists, and they pulled it off with 3.
    • On Mellophone are Sean Conley, Scooter Pirtle, Mike Chromik, Angie Medford and, for this performance, Angela Zoss.

Running Time: 31:21

Episode 93:  Single Horns

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

  • Single horns come in F and Bb.  The Bb single horn has a lot of good applications.  The F single, not so much.
  • Farkas feels a single F horn is good for beginners.  Al disagrees.  John feels a single F horn for a beginner sets them up for failure.
  • Single Bb horns are light, responsive and easier to play.  Dennis Brain recorded on a single Bb horn.
  • Double horns, as opposed to single Bb horns, have a bigger overall sound.  But if the horn is too heavy it will sound dull.
  • Remember, a Bb single horn plays in F, not in Bb.
  • Using Bb fingerings from middle C to G can sound a little harsh, but it can sometimes be more desirable and give better results.
  • Listening Assignment: "Kennebrew's Dance" from the CD "QuietLand" by Mark Taylor
    • This was Mark's first CD and was just reissued.
    • Make no mistake -- Mark is VERY talented.

Running Time: 32:50

Episode 92:  Horn Matters Website

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

  • John's Horn Notes Blog is going into a new phase.  Along with Bruce Hembd, author of the Horndog Blog, they are going to create a new website called Horn Matters.
  • Horn Matters will contain content from both the Horn Notes Blog and the Horndog Blog.
  • John is a fan of Google Reader for reading blog posts.
  • They're hope is to present something unique to all other blog sites, music-related or otherwise.
  • This WILL take the place of the Horn Notes Blog.  All of the previous information will be imported in.  The Mello Zone will stay where it is.
  • Both John and Bruce are in the Phoenix area.  It's a hotbed of horn activity!
  • Listening Assignment: The Y2K Bug Blues by Ray Burkhart
    • The Renegades Brass Ensemble will be playing this at the DCA I&E competitoin.
    • The Renegades will not present a mini-corps this year, but Chris has put together a brass sextet for this.

Running Time: 24:51

Episode 91:  Marching With French Horns

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

  • Sometimes you just have to do it.  John marched with a French Horn all through High School and College.
  • Yes, French Horns don't project forward like a Mellophone (or marching French Horn).  In John's experience, the band director would often write the drill with the horns facing their bells to the audience if it was a passage that featured them.
  • At the Bands of America 2003 championships, one band had 12 French Horns standing on risers behind Plexiglas with microphones (they didn't march).
  • John says it's not necessary to use a different mouthpiece when marching.  It probably is a good idea to use a rim with more width to it, as opposed to the Giardinelli.
  • You can hold the horn with your right hand in the bell OR holding the bracing in the right hand (pulling out the main tuning slide a LOT) and try to play in tune.
  • Remember, French Horns are more fragile and more expensive.
  • Military bands march with French Horns all the time.
  • Listening Assignment: Free from the CD "State of the Art."
    • You're not going to hear French Horns, but you'll hear 2-valve Marching French Horns.
    • You should still be able to get this CD from the Blue Devils' website.
    • This CD is a combined recording of the Blue Devils and SCV.
    • Chris is playing on this, and listen for the metered lip trills.

Running Time: 19:50

Episode 90:  DCI 2009 with Kevin Gamin

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Hosts:  Al Perkins, Chris Nalls, Kevin Gamin

  • As of this recording, the DCI finals are about a week and a half away.
  • If last year has taught us anything, it ain't over til it's over.
  • Blue Devils have been out front almost all season -- at least a point ahead of everyone else.  Crown is on the rise, which is exciting.  And don't rule out Vanguard, who is becoming an audience favorite.
  • From the other end, the Troopers have a shot at being in the top 12!  Colts, Spirit and Academy are on their heels, though.
  • We're also excited the Cascades are back!  Also, newcomers Jersey Surf is making a good showing
  • As for Open Class, shout-out to Blue Devils B, who are dominating Open Class.  Capital Regiment is also back and coming on strong.
  • We're predicting a Blue Devils sweep in both classes.  Chris thinks the Cavies could challenge them.  Al is rooting for Vanguard and Crown.  Kevin thinks the Cadets could also surprise us.
  • Phantom is a surprise.  They're rewriting most of their show right now, which has hurt them some.  They're brass scores are good.
  • Listening Assignment:  2nd Movement from Phantom Regiment's 2009 show "The Red Violin."
    • They're using the new Jupiter horns!  They sound good, but Kevin misses the King sound in the contras.
    • Scooter did an update on the modifications to the Jupiter Mellophones.
    • We love the big Mellophone push at the end of this clip!

Running Time: 29:02

Episode 89:  French Horn Nation 2009

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

  • On June 21 around the country is the Make Music festival, a festival of outdoor music.  In New York City Mark hosted French Horn Nation.
  • This year in Make Music NY there were between 800 and 900 performances.
  • Turnout was admittedly light (more like French Horn Neighborhood).  The final count was 7.
  • Mark's goal was to have a good time.  Fortunately, they did!
  • The group was located in Columbus Circle (Merchant's Gate).  They played for 3 hours.
  • Mark would eventually like to develop this into an event that involved the location more.
  • Mark was recommended to do this by Amie Margoles (Amie Amis).
  • Listening Assignment:  "I Got it Bad, and That Ain't Good" performed by French Horn Nation.
    • This is the ONLY clip from the group!
    • This is one of Marshall Sealy's charts.

Running Time: 16:44

Episode 88:  2009 International Horn Society Symposium Report

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

  • We're back!  After a long hiatus, we're finally back!  (You can see what I've been doing by clicking here.)
  • We had some forum problems, but hopefully they're fixed now.  But whoever is spamming us, please stop!
  • In June, John attended the 2009 International Horn Society Symposium in Macomb, Illinois (Western Illinois University).  John did a great job documenting it in his blog.
  • John let a session entitled "Instruments Your Teacher Didn't Tell You About," where he talked about single F horns, single Bb horns, natural horns, descant horns, triple horns, Wagner tubas, alto/tenor horns and Mellophones.
  • John got to play some of the London Horn Sound arrangements, as well as in some recitals.  He played Wagner Tuba on some of the London Horn Sound arrangements.
  • He got to hear Annamia Eriksson play.  Check out her YouTube video!
  • At the banquet, John played "Misty" on the Mellophonium.  He actually got booed when he came out!  By the end he had won them over.
  • Listening Assignment:  "Caseoso" from the London Horn Sound CD "Give It One."
    • John got to play this at the symposium.
    • He also played earlier arrangements, which were very different in their writing.
    • The London Horn Sound brings something new to the table.

Running Time: 29:49

Episode 87:  Tenor Horns on YouTube

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Hosts:  Al Perkins, Chris Nalls

  • Clip 1: Variations on a Tyrolean Song."
    • The clip doesn't mention the soloist.
    • You can find this solo in the back of the Arban book.
  • Clip 2: Owen Farr plays "An Untold Story."
  • Clip 3: Owen Farr shares the secret to learning triple tonguing and gives us a demonstration.
    • This is an instructional video.
    • He ascribes to the Ta-Ta-Ka approach.
    • He is a BEAST!
  • Clip 4: "Georgia on my Mind" - Moreland City Brass Band
    • This is done in a documentary sort of way.
  • Clip 5: 11 Tenor Horn Solo Funk by Allen Vizzutti
    • Soloist is Heidi Dyer, recorded at the William Parker School
    • Allen Vizzutti is featured on a video podcast by Yamaha.  Hunt it down on iTunes - it's great!
  • Clip 6: Winton SA Band Tenor Horn Soloist David Ramsay - Demelza
    • The view isn't the best.
    • His vibrato is a little bit much.
  • Clip 7: Metropole Brass Band Antwerpen - The Piper O' Dundee - Kenneth Downie - Francis Impens
    • The soloist's tone is a little trumpety.
    • This is on Sheona White's CD (which all of you should have).
  • Clip 8: Abide With Me
    • This is done by William "Waldo" Wassik
    • He multi-tracks the Tenor Horn, Baritone, French Horn and Tuba
  • Clip 9: Hans Boschma
    • On 26 April the Dutch broadcasting studio TVL ("Blaosmeziek" made by Wim Cremers) broadcasted the World record attempt of Hans Boschma. Title: "World Champion All-around Brass Player All Styles."
    • How about the right-handed French Horn playing!
    • This guy plays EVERY Brass instrument in this clip.
  • Clip 10: Dick Cary and the Climax Jazz Band - Magnolia's Day
    • This is from a TV show in 1978.
    • Apparently Dick didn't know the tune ahead of time and went in cold.
    • His mouthpiece seems a bit small.
  • And here's the bonus link we promised.  Give it a viewing.  You'll be glad you did!

  • Listening Assignment:  "An Untold Story" from the CD An Untold Story by Owen Farr and the Cory Band.
    • This CD is very accessible.

Running Time: 28:20

Episode 86:  Listener Questions 4

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Hosts:  Al Perkins, Chris Nalls

  • Court asks if anyone has tried the Amati AMP 203, which is similar to the Conn 16E.  Sadly, none of us have, but we'd sure like to!
  • Olof asks about the marks on his valve tuning slides.  Either the horn was meant to play in Eb, or they were marked by a previous owner.  Marking valve slides is a common practice.
  • Erika wants to know if 3rd valve is a viable alternate fingering to 1&2. Yes, it is.  It's good to not only know the good alternate fingerings, but when to use them and if they help with intonation.
  • Misael is playing along with a trumpet but the notes aren't lining up.  The key here is to get your head around the relative keys.  All brass function the same way, but their fundamental pitch is different in some cases.
  • John A. is a trumpet player and wants to play a Mellophone but have it sound as close to a French Horn as possible.  We recommend using a traditional Mellophone with the largest mouthpiece possible.  Also, Chris has some recording tips to do with a Bellfront Mellophone.
  • Justin wants to form a Brass trio, but nobody plays French Horn.  Can they substitute a Mellophone or Mellophonium?  The answer is HECK yes!  Just make sure the parts don't get too low.  There are a number of groups (like St. Paul's Brass Quintet) who do just that.  It makes the group more unique!
  • Listening Assignment:  Suite from The Ogre, Movement 2 - "Meeting the Moose" by Dave Lee from the CD Under the Influence.
    • Chris considers this contemporary chamber music.

Running Time: 28:04

Episode 85:  Interview with Gino Cipriani, Brass Caption Supervisor for The Cadets

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Hosts:  Al Perkins, Chris Nalls, Gino Cipriani

  • Gino and Chris met in the Blue Devils.  Gino started trumpet in the 6th grade.  In the 9th grade he joined the Florida Vanguard, which became the Florida Wave.  When he graduated High School he marched with the Blue Devils in 83, 84 and 85.
  • He then moved to Los Angeles and went to Cal State Northridge to play, but took on teaching.  He then worked with Blue Devils B in 1989.  He taught B corps through 93, but starting in 1990 he also helped the A corps, starting with the Mellophones.
  • After his B corps duties were complete, he would work with the A corps.  In 1994 he was full-on A corps with no B corps.  He worked with the A corps through 1999.  He was offered to teach with The Cadets in 2000 and 2001.  02 and 03 he worked with Magic of Orlando.  In 04 he worked with Santa Clara Vanguard, and has been with the Cadets since 2005.
  • The Cadets' Mellophones are considered the "Golden Section" as Jay Bocook writes for the section.  In truth, the Mellophone really has a limited speakable range on the field of about an octave.
  • The 2000 Cadets were the first to use B-flat horns.  They were also the first to have a contract with Yamaha.
  • 2004 with SCV was also a "magical" year.
  • Gino feels the horn line takes on his passion and personality.  There are many YouTube clips of Gino conducting that shows his energy and personality.
  • Gino started working with DCA in 2001 with the Syracuse Brigadiers.  He also assisted the Caballeros and the Reading Buccaneers.
  • His biggest influence was Wayne Downey, who he worked under for 11 years.
  • As far as brass technique in general, breaking down sub-captions can take a long time.  Gino takes all aspects and puts them into one exercise.  He has a book where you can see a lot of this in action.  Flexibility always seems to need the most work.
  • He ascribes to the "Brass Triangle" - breathing, embouchure/aperture and tongue placement.  All problems can be broken down to these three areas.
  • Over time Gino has seen piston/rotors go to 3 valves, G to B-flat, addition of voice and electronics, and now the addition of sampling and keyboards.
  • He has his sections work extensively on the B.E.R.P. because it truly simulates playing.
  • For those interested in pursuing a similar path, he offers this advice:
    • Be patient.
    • Be persistent.
    • Don't be afraid to pay your dues.
  • Listening Assignment:  "Rocky Point Holiday" by the 2000 Cadets recorded at an encore performance
    • The Cadets always play Rocky Point last thing before going on the field.  Once they play it, they know they're ready to go on the field.
    • This has the "golden" parts.
    • There are lots of videos on YouTube of Gino conducting Rocky Point Holiday (like here and here).

Running Time: 56:32

Episode 84:  A Complete Guide to Brass ... Almost

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

  • Many music educators use the book A Complete Guide to Brass Instruments and Technique by Schott Whitener in their methods classes.  There are chapters on almost everything.
  • They seem to like Gordon Higginbottom.  He was the first Tenor Horn virtuoso.
  • It gives some information on the Tenor Horn.
  • They mention that the Hindemith Althorn Sonata was written for the oval-shaped Althorn, not the Circular Alto as some may think.
  • After covering a LOT of obscure brass, it talks about Brass in the Marching Band, which takes up all of 2 pages (out of 400).
  • The Altonium gets a mere footnote.  The Altonium is a variation of the Trombonium, and it is not the same as an Alto Horn.  They became quite popular in marching band before the Mellophone was used.
  • The book comes right out and says the Eb Alto Horn was a marching substitute for the French Horn.  We feel it's a bit vague.  This contradicts Greg and Kenton in that the Alto Horn and French Horn co-existed for many years.
  • It then mentions instruments like Alto Trumpets, which had their problems.  They were followed by the Mellophonium and the Frumpet, which both had intonation problems.  Greg posted information on the Frumpet on Al's Mellophone Page.
  • They say the most widely used instruments are the Marching Mellophone in F and the Marching French Horn in Bb, though they do make them in F.  Chris LOVES them!
  • He says intonation is the biggest problem.  We feel there are other problems, such as tone quality and evenness of tone.
  • He suggests using a French Horn mouthpiece with an adapter or the mouthpiece that comes with the horn.  We disagree.
  • As little information as they give, we're at least glad they have SOMETHING, whereas many texts ignore the Mellophone completely.
  • Listening Assignment:  Fourth movement, "Lebhaft" from Sonata for Alto Horn in E-flat and Piano by Paul Hindemith, recorded by Summit Brass, featuring Larry Strieby on horn and Theodor Lichtmann on piano
    • There is text before this movement that is to be read by the pianist and the soloist.
    • The horn part is deceptively tiring, and the piano part is crazy!

Running Time: 36:35

Episode 83:  Mellos on YouTube 3

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Hosts:  Al Perkins, Chris Nalls, Mark Taylor

  • Clip 1: Lino Patruno and his Blue Four is back, featuring Michael Supnick with "I'm Through With Love."
    • We love these guys!
  • Clip 2: University of Wisconsin's Mellophones performing "Layla"
    • These folks have a great presence on YouTube.
    • We want their arrangements!
  • Clip 3: Billy Taylor Explains Cool Jazz - Ladybird
    • Another golden clip!  This one rocks on so many levels.
    • This clip features Don Elliott, which is always great!
    • We'll play the whole audio for a future Listening Assignment.
    • Billy Taylor has a website full of clips!
  • Clip 4: The Cavaliers Mellophones I&E 2008 playing "Till Eulenspiegel"
    • The video isn't that great, unless you like watching the backs of people's heads.
  • Clip 5: Bluecoats Mellophones practicing their parade tune
    • Short but fun.  Bluecoats have a great Mellophone section.
  • Clip 6: The Bassoonahorn
    • When the bassoon and Mellophone collide.  Be afraid.
  • Clip 7: Basin Street Blues
    • I give this guy credit for his enthusiasm, plus the reference to Al's Mellophone Page (though he did kind of misread it)
  • Clip 8: Al playing Jingle Bells on the Circular Alto
    • Okay, it's a little off-season.
    • No, my hair is not that white.
  • Clip 9: Spirit Mellophones I&E 2008 playing "The Barber of Seville Overture."

  • Listening Assignment:  "The Barber of Seville" by the 2008 Spirit Mellophones.
    • This is not on YouTube, but you can find it on MySpace Video.
    • These guys do a GREAT job!  We want a copy of the arrangement!
    • They won the 2008 I&E Brass Ensemble with this.

Running Time: 34:39

Episode 82:  Identifying Old Horns with Kenton Scott

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

  • Most of the E-mails we get are for I.D.'ing old horns.  I always refer them to Kenton Scott.
  • A common question is whether the horn is a Mellophone or a French Horn.  Same goes for trumpets and cornets, as well as baritones and euphoniums.
  • A bad indicator is looking at the mouthpiece.  This is a bad plan as most people keep the original mouthpiece if they like it.  Another bad indicator is reading the case, as the case wears out before the horn does.
  • Most people are interested in how old their horn is, and how much it's worth.
  • Serial numbers are useful only with certain makers.  The serial number's purpose was for the manufacturer to keep track of parts.  Some may have two numbers - one on the valve section and one on the bell.
  • Engravings are also maker-specific.  Some give more information than others.  Some will have a number in it, the year it was made and where it was made.  Also, company names in the engraving can help narrow the date.
  • The valves can also be an indicator, as there are various types of piston and rotary valves.  Finger buttons, valve caps, water keys and finish can also be indicators.
  • If you want help from Kenton, take photos of both profiles of the horn, the engraving, and anything stamped on the valves or mouthpiece receiver.
  • Listening Assignment:  "Canto Serioso for Horn and Piano" by Carl Neilsen, from the CD "Canto," performed by Dr. John  Q. Ericson.
    • This is not an often performed piece.
    • It's written for low horn.
    • This was the first piece John recorded.
    • John has recorded 2 CD's so far, but there is not a third one in the works yet.

Running Time: 28:34

Episode 81:  Mellophone History Revisited with Kenton Scott

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

  • In the early 1800's there were many families of instruments.  Saxhorns were the instruments sold to the military.
  • Around the American Civil War there was a standardization of instrumentation. Many bands used Over-The-Shoulder instruments, which were handy when marching but not good when giving a concert.  At this point, the lead voice was the Eb Cornet.
  • The Professional Band and the Community Band then came into play.  Community bands had 2/3 brass to 1/3 woodwinds, and the professional bands were the opposite.  The mid-voice was the Alto Horn (or the British Tenor Horn), as well as the B-flat Tenor Horn.
  • French Horns got its foothold in the Professional bands, which also still used Alto Horns.  When the French Horn made its way into the Community Band, it was in E-flat.
  • The Mellophone finally came onto the scene, and because it played in F and E-flat it could work as a French Horn or an Alto Horn.  (We're not sure why it also came in D.).
  • Eventually the instrumentation of the band consolidated more, eliminating some of the more obscure instruments.  Parts no longer were labeled "Alto" but "Eb Horn."
  • In truth, pointing the bell down makes no real sense unless it was trying to cover as a French Horn.
  • The peak years for the Mellophone were possibly in the 1930's.  This corresponds to the school and community band movement.
  • They faded out until Stan Kenton came along and changed the Mellophone's role completely.  The Conn 16E's, by the way, were E-flat instruments, but everyone played them in F.  That's why it's more in-tune when the E-flat crook is in.
  • Listening Assignment:  "Maria" arranged by Stan Kenton from the CD Kenton's West Side Story.
    • The Mellophonium work on this CD is outstanding.
    • Apparently the Bernstein camp was going to stop this CD until they heard it.  Then they not only supported it, but they let Kenton use a picture from the movie on the cover.

Running Time: 39:25

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