I have virtually no idea how to make a blog look good, a fact that hasn't changed since I began this blog almost ten years ago. So please forgive the mess that is maintained while I begin a new chapter for the Depot. Riotgear Depot is to become a dyslexic musician's resource.
The first thing to be actualized will be a set of transposed parts for french horn from standard rep. These parts will be of an easy-to-read color and format. Later, there will be a forum for tips and tricks for and from dyslexic musicians who are in stressful situations (eg. preparing for auditions, playing principal for an overbearing conductor).
Bach cello suites transposed for horn (concert pitch) will be appearing shortly.
Or, I might keep this blog as a brain dump and create a dyslexic musician's site elsewhere. Either way, I need to be editing music.
Wednesday, May 30, 2012
Thursday, November 17, 2011
St Paul Chamber Orchestra Principal Horn List
Prepared solo
Britten Serenade for Tenor, Horn and Strings
Mozart Concertos 2&4
Excerpts
Bach Branderburg 1
Beethoven Symphonies 2,7,8
Berg Chamber Concerto
Brahms Violin Concerto
Haydn Symphony 31
Honegger Pastorale d'Ete
Kodaly Dances of Galanta
Mendelssohn Nocturne from Midsummer Night's Dream, Italian Symphony
Mozart Cosi Fan Tutti, Symphony 40
Ravel Piano Concerto in G, Pavane
Schoenberg Chamber Symphony 1
Schumann Symphony 2
R. Strauss Le Bourgeois Gentilhomme
Stravinsky Dumbarton Oaks Concerto, Pulcinella Suite
Britten Serenade for Tenor, Horn and Strings
Mozart Concertos 2&4
Excerpts
Bach Branderburg 1
Beethoven Symphonies 2,7,8
Berg Chamber Concerto
Brahms Violin Concerto
Haydn Symphony 31
Honegger Pastorale d'Ete
Kodaly Dances of Galanta
Mendelssohn Nocturne from Midsummer Night's Dream, Italian Symphony
Mozart Cosi Fan Tutti, Symphony 40
Ravel Piano Concerto in G, Pavane
Schoenberg Chamber Symphony 1
Schumann Symphony 2
R. Strauss Le Bourgeois Gentilhomme
Stravinsky Dumbarton Oaks Concerto, Pulcinella Suite
Monday, March 07, 2011
East Ky Youth Symphony is a Go!
By way of introduction: the letter I have distributed.
Hi, I am jody hurt, an alumnus of the district 9 music program (prestonsburg high school). I have believed for some time that students in and around the district 9 area have far too few opportunities to perform in a full band / wind ensemble and to perform standard rep for these ensembles. I am creating a youth symphony band program the region to address this issue.
As a youth symphony, the group is open to anyone *Under* the age of 21; attendance of a district 9 school is *Not* required to participate (students of other districts are welcome). The ensemble will be (eventually, though it may not start out as) an auditioned group, much like a district honor band. Rehearsals will be twice a month, on the 2nd and 4th Sundays of the month, from 3 - 7pm, and we will perform 3-4 concerts per year. Ensemble members will participate in masterclasses for their instruments, sectionals led by professional musicians and educators, and clinics on various topics (auditioning, stage fright, etc).
The first rehearsal will be at Pike Central High School, on March 13 at 3pm in the band room. Further rehearsal information and performance dates / locations will be given at the first rehearsal.
If you would be interesting in participating, or would like more information on the youth symphony, please email me, Jody Hurt, at RiotGearMD@gmail.com . You can also find me on Facebook.
Thank you,
jody
Hi, I am jody hurt, an alumnus of the district 9 music program (prestonsburg high school). I have believed for some time that students in and around the district 9 area have far too few opportunities to perform in a full band / wind ensemble and to perform standard rep for these ensembles. I am creating a youth symphony band program the region to address this issue.
As a youth symphony, the group is open to anyone *Under* the age of 21; attendance of a district 9 school is *Not* required to participate (students of other districts are welcome). The ensemble will be (eventually, though it may not start out as) an auditioned group, much like a district honor band. Rehearsals will be twice a month, on the 2nd and 4th Sundays of the month, from 3 - 7pm, and we will perform 3-4 concerts per year. Ensemble members will participate in masterclasses for their instruments, sectionals led by professional musicians and educators, and clinics on various topics (auditioning, stage fright, etc).
The first rehearsal will be at Pike Central High School, on March 13 at 3pm in the band room. Further rehearsal information and performance dates / locations will be given at the first rehearsal.
If you would be interesting in participating, or would like more information on the youth symphony, please email me, Jody Hurt, at RiotGearMD@gmail.com . You can also find me on Facebook.
Thank you,
jody
Monday, October 27, 2008
LA Phil Audition: Principal Horn Audition -- In Review
The audition committee was not screwing around. They clearly wanted nothing less than a world-class performer. Clearly, then, one was not to be found in the first audition for the principal horn, held on October fourth through sixth of this year. There was no winner.
I do not know how many individuals applied for the audition, but I do know that only thirty actually took the audition. Apparently, almost every resume was rejected. Of the thirty that played a first-round, two (I have been told) were invited to play a second-round audition. Neither of these candidates was advanced to the final round, therefore, only the acting-principal (I cannot at the moment discover his name) played a final-round audition. He was offered a (second consecutive) one-year contract, instead of the winner’s open-ended contract.
This may be a recurring West Coast theme: grandfathering-in players to high-profile positions, instead of leaving the job open to the chances of auditions. On the other hand, things may have been far less scripted. The candidates may have simply under whelmed the audition committee; as far as I know there weren’t any superstars of the horn world in the running. Either way, that means that there will, in all likelihood, be LA Philharmonic Principal Horn Audition, Round II in one year’s time. I plan to be even more ready for this one than I was the first time around, and it will be fun getting there
**Edit**
Just for the record, the orchestra did hold a second audition which was invite-only. The winner was Erik Ralske, of the New York Philharmoinc. It was clear he would win from the first round of this audition, when an audition committee person remarked that he "sounded really great" (coming from this person, this was a great compliment). In a twist of fate befitting the professional orchestral musician world, the LA Phil made their chosen player wait so long before offering a final contract that he was able to take another audition and win it too. This latest orchestra position happens to be the Metropolitan Opera Orchestra, the highest paid orchestra in the country. It's also in New York, of course. Ralske accepted his contract with the Met, and LA Phil is once again holding a pricipal horn audition.
Looking back on it, I really think the suggestions I heard that folks were being grandfathered in are way overblown. This might be happening in smaller / regional orchestras, but in light of the cost of holding an audition, major organizations are simply being very careful about their selections.
I do not know how many individuals applied for the audition, but I do know that only thirty actually took the audition. Apparently, almost every resume was rejected. Of the thirty that played a first-round, two (I have been told) were invited to play a second-round audition. Neither of these candidates was advanced to the final round, therefore, only the acting-principal (I cannot at the moment discover his name) played a final-round audition. He was offered a (second consecutive) one-year contract, instead of the winner’s open-ended contract.
This may be a recurring West Coast theme: grandfathering-in players to high-profile positions, instead of leaving the job open to the chances of auditions. On the other hand, things may have been far less scripted. The candidates may have simply under whelmed the audition committee; as far as I know there weren’t any superstars of the horn world in the running. Either way, that means that there will, in all likelihood, be LA Philharmonic Principal Horn Audition, Round II in one year’s time. I plan to be even more ready for this one than I was the first time around, and it will be fun getting there
**Edit**
Just for the record, the orchestra did hold a second audition which was invite-only. The winner was Erik Ralske, of the New York Philharmoinc. It was clear he would win from the first round of this audition, when an audition committee person remarked that he "sounded really great" (coming from this person, this was a great compliment). In a twist of fate befitting the professional orchestral musician world, the LA Phil made their chosen player wait so long before offering a final contract that he was able to take another audition and win it too. This latest orchestra position happens to be the Metropolitan Opera Orchestra, the highest paid orchestra in the country. It's also in New York, of course. Ralske accepted his contract with the Met, and LA Phil is once again holding a pricipal horn audition.
Looking back on it, I really think the suggestions I heard that folks were being grandfathered in are way overblown. This might be happening in smaller / regional orchestras, but in light of the cost of holding an audition, major organizations are simply being very careful about their selections.
Tuesday, October 14, 2008
First thing to do after I graduate? Read!
While a student I barely managed to read anything. Even weekly readings for classes were a chore. I think the amount of rehearsals that persisted for ten years was to blame. After all, who wants to concentrate with all their might on reading (the norm for dyslexics) after having weighed tone, pitch, volume, and character for 8 hours.
Perhaps I shouldn't be surprised, then, at my achievements since finishing school this May. I have read more in four months than I had previously read in a year. Here's a list of the things I've finished so far...
Barack Obama The Audacity of Hope
Larry J. Sabato A More Perfect Constitution
Kurt Vonnegut Slaughterhouse Five
Thomas Mann The Magic Mountain
Stephen R. Covey Seven Habits of Highly Effective People
Perhaps I shouldn't be surprised, then, at my achievements since finishing school this May. I have read more in four months than I had previously read in a year. Here's a list of the things I've finished so far...
Barack Obama The Audacity of Hope
Larry J. Sabato A More Perfect Constitution
Kurt Vonnegut Slaughterhouse Five
Thomas Mann The Magic Mountain
Stephen R. Covey Seven Habits of Highly Effective People
Sunday, October 05, 2008
LA Phil Audition: Principal Horn (Updated)
This evening I played my first round audition for the Principal horn of the Los Angeles Philharmonic. As there are first rounds again tomorrow, I will not post the music requested at this time, and will simply say "excerpt one," etc.
I was well prepared for the day. All the training that you are led through really pays off under high pressure situations. Most useful to me, I believe, was Don Greene's audition techniques. Also, Robin Graham's advice to simply "Hit the first note," and let the rest of the excerpt take care of itself was huge.
The audition took place on the stage at Disney Hall, a stage I have performed on several times through CalArts. I even had the chance to play a bit by myself back during the "Slim And Beaten Dreamers" performance. When I played my test notes, therefore, I was familiar with the sound that I got back from the hall. The audition would be over in less than three minutes.
I began with the first excerpt, and nailed it. Halfway through I almost lost concentration, as I had a fleeting observation that "Wow, screwing up right now would be really bad." After putting this tangent in its place, I regained focus on the task at hand. Robin had told me of her experience in auditions, where she was able to enjoy her sound, and the process. I managed this for the last twenty seconds of the excerpt. It was great. No pressure. No nervousness. I was able to concentrate on hearing the whole piece being played around the piece I was playing.
I took perhaps ten seconds between excerpts one and two. Two began well, but my bit of nervous breathing struck soon after. I struggled with one and a half or two seconds of the excerpt, then was back on track. The end was just as good as the beginning. While I was getting the pitch of the next excerpt in my head, the proctor said "Thank you, that will be all." I knew that the jury had heard something to let them know right away whether or not to advance me. Alas, they didn't.
No one in my group advanced, in fact, a group of about fifteen people. I hope they all had as good experience as I did, but that I cannot know. On the whole, I think that there must have been many factors besides whether or not I nailed the rhythms and intonation, which I did, that determined one's advancement to the second round.
I can imagine several of these other factors, such as color, I play with a much brighter sound than the current section, and time / volume of applicants. I'm sure there are others. Then again, maybe I just need to keep on the ball and hit the excerpts for the next year, in order to be in top shape when auditions come up, and not have to work like crazy for four months.
***Edit***
The first round of the audition is over, so I can post the excerpts. The first round list for the audition was posted in the warmup rooms. It was as follows.
Brahms 3
Beethoven 7
Brahms 1 Mvt IV
Stravinsky Fairy's Kiss
Ein Heldenleben (opening through 1)
Schoenberg Chamber Symphony 1 (63 - 71)
I was well prepared for the day. All the training that you are led through really pays off under high pressure situations. Most useful to me, I believe, was Don Greene's audition techniques. Also, Robin Graham's advice to simply "Hit the first note," and let the rest of the excerpt take care of itself was huge.
The audition took place on the stage at Disney Hall, a stage I have performed on several times through CalArts. I even had the chance to play a bit by myself back during the "Slim And Beaten Dreamers" performance. When I played my test notes, therefore, I was familiar with the sound that I got back from the hall. The audition would be over in less than three minutes.
I began with the first excerpt, and nailed it. Halfway through I almost lost concentration, as I had a fleeting observation that "Wow, screwing up right now would be really bad." After putting this tangent in its place, I regained focus on the task at hand. Robin had told me of her experience in auditions, where she was able to enjoy her sound, and the process. I managed this for the last twenty seconds of the excerpt. It was great. No pressure. No nervousness. I was able to concentrate on hearing the whole piece being played around the piece I was playing.
I took perhaps ten seconds between excerpts one and two. Two began well, but my bit of nervous breathing struck soon after. I struggled with one and a half or two seconds of the excerpt, then was back on track. The end was just as good as the beginning. While I was getting the pitch of the next excerpt in my head, the proctor said "Thank you, that will be all." I knew that the jury had heard something to let them know right away whether or not to advance me. Alas, they didn't.
No one in my group advanced, in fact, a group of about fifteen people. I hope they all had as good experience as I did, but that I cannot know. On the whole, I think that there must have been many factors besides whether or not I nailed the rhythms and intonation, which I did, that determined one's advancement to the second round.
I can imagine several of these other factors, such as color, I play with a much brighter sound than the current section, and time / volume of applicants. I'm sure there are others. Then again, maybe I just need to keep on the ball and hit the excerpts for the next year, in order to be in top shape when auditions come up, and not have to work like crazy for four months.
***Edit***
The first round of the audition is over, so I can post the excerpts. The first round list for the audition was posted in the warmup rooms. It was as follows.
Brahms 3
Beethoven 7
Brahms 1 Mvt IV
Stravinsky Fairy's Kiss
Ein Heldenleben (opening through 1)
Schoenberg Chamber Symphony 1 (63 - 71)
Tuesday, September 30, 2008
Ramp up Part II : WotLK (aka "Sidetrack 1.0)
In an effort to keep me from being productive, Blizzard has decided to release the new class talents for the "Wrath of the Litch King" expansion to WoW. I suppose I will have to do a bit more listening to the music than I had planned, and a bit less reading of "To Kill a Mockingbird."
My main interest here is in their changes to the Priest's Shadow abilities. A Shadow priest has been fun, albeit frustrating, to play in pvp for the last year; the shadowpriest can't prevent taking damage in any real way. Blizzard is trying to fix this in today's patch. It remains to be seen whether they have really addressed the issue by balancing the shadow build with other classes' abilities, or if they have tweaked the others too much (Blizzard is introducing three to five new abilities in each class's three talent tree), in effect placing one class at a clear disadvantage in pvp.
My main interest here is in their changes to the Priest's Shadow abilities. A Shadow priest has been fun, albeit frustrating, to play in pvp for the last year; the shadowpriest can't prevent taking damage in any real way. Blizzard is trying to fix this in today's patch. It remains to be seen whether they have really addressed the issue by balancing the shadow build with other classes' abilities, or if they have tweaked the others too much (Blizzard is introducing three to five new abilities in each class's three talent tree), in effect placing one class at a clear disadvantage in pvp.
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