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The article discusses the Laney LFSUPER60-112 combo amp from the Lionheart Foundry Series, a solid-state amplifier designed to replicate the tone of valve amps. The amp features two channels, footswitchable boost, reverb, chorus/tremolo effects, and a speaker-emulated XLR output for recording. Reviewers found the amp to be lightweight, responsive, and capable of producing valve-like tones at high volumes, making it a versatile and portable option for musicians. The Laney LFSUPER60-112 combo amp is priced at £349 and is manufactured in China. [Extracted from the article]

The article focuses on the challenges faced by musicians with Embouchure Overuse Syndrome (EOS) and the impact of performance injuries on mental health and identity. Topics include the personal journey of recovery from an embouchure injury, the importance of proper diagnosis and rehabilitation, and effective exercises for regaining playing abilities.

The article focuses on improvements in tone quality in horn players using Alexandrian-Based Instructions (ABI) and the ERGObrass (EB) system. Topics include the impact of posture on tone quality, the methodology of using surface electromyography (sEMG) to measure muscle activity, and the role of expert judges in evaluating the tone quality changes across different playing conditions.

The article focuses on the relationship between native languages and brass playing, specifically examining how linguistic backgrounds influence horn pedagogy and technique. Topics include the differences in horn playing between native English and Mandarin speakers, the impact of language on articulation and phrasing, and teaching methods designed to leverage these linguistic influences to enhance horn performance.

Kamasi Washington, a saxophonist, composer, and bandleader, has released his new double album titled "Fearless Movement" after a two-year break due to the pandemic. The album features a diverse range of music and includes contributions from over two dozen musicians. Washington's experience of becoming a father during the album's creation influenced its energy and marked a new chapter in his music. The album showcases the talents of Washington's close-knit group of musicians, some of whom have known each other since childhood. It also includes guest vocals from George Clinton and rapper D Smoke, as well as a flute performance by André 3000. Described as dance music, but not in the traditional sense, the album represents the forward motion Washington has experienced since becoming a father and is more akin to modern ballet. It features intense saxophone work, impressive trombone and trumpet solos, and dense, propulsive tracks. Some have compared the album to spiritual jazz from the mid-60s to 80s, while others see similarities to Weather Report. Washington prefers to work in a physical studio space with other musicians, as he believes there is a special magic that happens when they are all together. Despite his success, Washington remains focused on the future and discovering new places and ideas in his music. [Extracted from the article]

The article focuses on the life and musical career of Barry Berse Benjamin, a dedicated horn player and educator. Topics include his early fascination with the horn, his time performing with various ensembles in New York City, and his later role as a professor at the University of Wisconsin-Milwaukee, where he impacted many students before his passing in June 2024.

Deram, a subsidiary of Decca Records, was established in 1966 as a hip label for a younger market. While some of their early releases were easy-listening albums, Deram soon became known for launching psychedelic and progressive rock acts. The label signed a variety of bands, including Caravan, The Moody Blues, and Camel, and gave them the freedom to experiment and explore their musical styles. Although not all of the bands achieved commercial success, Deram and Decca provided a platform for inventive and eccentric talent during the psychedelic and progressive era. [Extracted from the article]

Jump blues is a music style that emerged in the 1940s and gained popularity in dance halls. It combined elements of jazz, boogie, and blues, featuring smaller bands with vocals, drums, upright bass, piano, and a small horn section. The electric guitar played a prominent role in jump blues, with guitarists incorporating blues and jazz lines into their solos. Notable jump blues guitarists include T-Bone Walker, Tiny Grimes, and Duke Robillard. This document offers guitar licks and soloing techniques for major and minor keys, focusing on jump blues and rockabilly styles. The licks incorporate chordal approaches, double-stops, chromatic lines, and blues scales to create a vintage and jazzy sound. The document also includes photos of influential musicians in the genre, such as Louis Jordan, T-Bone Walker, and Brian Setzer. These techniques can be used to enhance and add excitement to blues styles. [Extracted from the article]

This article provides information about the Horned Clubtail dragonfly species found in the Ottawa-Gatineau region. The author describes their personal encounter with the dragonfly and highlights its distinctive features, such as stunning blue eyes and large appendages. The article also mentions the difficulty in identifying female dragonflies and provides tips for observing Horned Clubtails in their natural habitat. Additionally, it discusses possible confusion with other dragonfly species, such as the Lilypad Clubtail and the Black-shouldered Spinylegs. The article concludes by emphasizing the importance of careful identification, especially during the early stages of adulthood. [Extracted from the article]

An interview with horn player Jose Zarzo on Crystal Records, is presented. Topics include Zarzo's background growing up in a musical family, his association with Crystal Records, and his latest solo release embracing a variety of music. Zarzo discusses his European upbringing in Mexico and Holland, his studies at The Hague Royal Conservatory with his father and Martin van de Merwe, and his transition to becoming the principal French horn of the Gran Canaria Philharmonic in Spain.

The article focuses on exploring the concept of "getting in the flow" during horn playing, delving into Flow Theory and its application in music performance. Topics include the origins of Flow Theory, defining Flow in the context of horn playing, and strategies for achieving a Flow state in performance, emphasizing the importance of intrinsic motivation, clear goals, and matching challenges to skill levels.

In this article, the author gives some quick ideas and tips for simplifying songs while helping to keep the authenticity and the integrity of those songs intact. He gives specific tips for guitarists, drummers, keyboard players, bass players, and even horn players. Some ways to help the band fit into the range of the singers through transposing are briefly discussed. [ABSTRACT FROM AUTHOR]

These are presented symmetrically as well, with two sonatinas for organ and English horn interspersed with works for organ and string instruments. [Extracted from the article]

An interview with Laura Klock, a former horn player and professor, discusses Frederick C. Tillis's Spiritual Fantasy No. 5, an underrepresented and challenging piece for advanced horn players. Topics include his compositional style, the fusion of spirituality and jazz, and the emotional impact and challenges of performing the piece.

The article focuses on Vincent Chancey, a respected jazz horn player with a 50-year career, and examines various improvisational techniques he uses in his solos, providing valuable insights for horn players interested in jazz improvisation. Topics include challenges faced by jazz hornists, the scarcity of teaching materials for horn improvisation, and specific improvisational techniques such as pitch bends, appoggiaturas, and free acceleration, as demonstrated in Chancey's solos.

The article focuses on creative techniques for practicing horn fundamentals using Kopprasch exercises. Topics include the importance of varying practice methods to prevent burnout, the specific goals of scalar kinesthetics and pitch muscle memory, and the use of a drone and tuner for improving intonation and rhythmic accuracy.

The article focuses on enhancing breathing and core support for playing musical instruments, particularly the horn. Topics include the importance of diaphragm function and the serratus anterior muscle in breathing, the role of core muscles in providing support during playing, and the integration of physical and mental exercises to improve performance and reduce anxiety.

The article focuses on Martin Hackleman's reflections on his decades-long journey as a horn player and the challenges he faced in later years. Topics include his initial passion for the horn, the emotional connection he developed with music, and his struggle with dystonia, which ultimately led him to put the instrument away after a fulfilling but complex relationship.

The article focuses on a conversation with Staff Sergeant Joao Gaspar, covering topics such as the structure and duties of military bands in Portugal, the perception of military musicians, and Gaspar's experiences as a horn player, composer, and conductor. Gaspar discusses the evolving prestige of military bands, the importance of education in music, and his diverse career interests beyond performance.

The article focuses on an interview with Daniel Bourgue, a renowned horn player, highlighting his intellectual approach to music influenced by his upbringing and philosophical studies. Topics include Bourgue's mastery of both horn and cello, his perspective on the evolution of music preferences in France, and his contributions to horn pedagogy and repertoire expansion through publications and arrangements.

An interview with Richard Seraphinoff, a horn player and horn maker, is presented. Topics include information on his journey of starting as a trumpet player and later falling in love with the horn; Seraphinoff discusses his teachers, including Lowell Greer and Philip Farkas, and how he became interested in natural horn playing and instrument making; and his early stages of building natural horns and the process of copying original horns.

The article provides information about Max Hess, a relatively unknown figure in American horn playing. Hess gained recognition as Mahler's first horn during the premiere of his Fifth Symphony and is known for his remarkable accuracy. The article delves into his biography, including his career path, personal tragedies, and his decision to move to the United States.

The article discusses the choice of the C major scale in demonstrations of hand stopping on the natural horn. It explains that while C major is a common and convenient scale in other contexts, it is not representative of the characteristic features of the natural horn and contains notes that are difficult to produce on the instrument. The article explores the basics of hand stopping and how it affects the pitch of the horn.

The article offers information on integrating music theory into the teaching and practicing of horn skills and fundamentals. It emphasizes the importance of understanding music theory concepts and applying them on the instrument to enhance musical learning and performance. The article also provides examples of exercises and patterns that help horn players develop fluency and application of theoretical concepts in their playing.

The article focuses on the historical context of Empress Maria Leopoldina's arrival in Brazil in the early 19th century and the influence of European musicians and culture in Rio de Janeiro during that period. Topics include the role of musicians like José Maurício Nunes Garcia, the instruments and music of the time, and the curious story of Emmanuel Rio, a horn player in Vienna, Austria.

The article discusses the importance of singing exercises to enhance the musical imagination and offers exercises to help establish that foundation. Topics include how the biological mechanism of the body can become overlooked as an equal partner in tone production by horn players; intersection between singing and playing is the breathing mechanism; and the role of second and third exercises to establish a healthy foundation for breath support.

This article from Fanfare magazine features an interview with horn players Bruce Bonnell and Andrew Pelletier, discussing their recent recording project of various contemporary compositions for the French horn. The musicians provide insights into the pieces and their techniques, highlighting the challenges and unique qualities of each composition. They also discuss the British horn tradition and its influence on the music, as well as the use of electronic elements in one of the compositions and the recording process. Overall, the interview showcases the versatility and expressive capabilities of the French horn. [Extracted from the article]

The article focuses on the journey of a recent music graduate navigating life after college and rediscovering her passion for music. Topics include her transition from performance burnout to enjoying community orchestras, the unexpected variety of musical opportunities available, and the importance of self-motivation in pursuing music outside of formal education.

The article focuses on the author's experience at the 56th International Horn Symposium, highlighting their enthusiasm for learning and connecting with fellow musicians. Topics include the engaging amateur sessions led by Marilyn Kloss, inspiring masterclasses from prominent horn players, and valuable insights into technique and performance practices that enriched the author's musical journey.

The article focuses on recent horn congresses and festivals held in Spain. Topics include the International Horn Congress Guadassuar (CITGUAD) featuring various horn artists, the 13th Catalan Horn Meeting organized by the Catalan Association of Horn Players in Barcelona, and the upcoming International Horn Congress CITCASTELLÓ 2024 scheduled for May in Castellón.

The article presents the discussion on tribute giving to Gail Williams. Topics include Gail being an internationally recognized horn player performing with the world's great orchestras and presenting concerts, masterclasses, recitals, and lectures; and incarnation having different articulations, pitch, vibrato, and phrasing.