New Additions in Online Music Sales
More of the Music of Douglas Hill has been added to Online Music Sales:
These pieces for horn quartet are loosely based upon the odd numbers of each of the titles (i.e., the first movement is titled "Ones"; second movement "Fives"; third movement "Threes"; fourth movement "Nines"; fifth movement “Sevens/Elevens”). They are all "for the fun of it", pure and simple (though not necessarily easy). A jazz-like feel, in its many guises, is always prominent throughout each of these songs and dances.
Throughout these five compact, fun-loving, cartoon-like duets for horns both players share equally the numerous twists and turns as well as harmonic, melodic, metric, and rhythmic stops and starts. The two outside duets invite the players to deal with differing dance styles. Keep On Keepin’ On begins as a lightly swung melody in 5/4 which coasts smoothly into and out of a gentle jazz waltz. In Doodah we finally arrive at our destination, a square dance tune at the hoe down. Along the way, in Round About, we travel through a maze of chromaticism which feels like driving in circles. In Stop and Go we are jostled back and forth amidst whole-tone scales, between machine-like progress, and periodic sudden ‘stopping’ (wordplay intended). Changing Lanes returns to a maze of melodic chromaticisms, this time shifting meters as we move on down the road. ENJOY!
Jazz Sonata for Horn and Piano began as three separate original melodies which morphed into a set of solos for horn titled “Three (Jazz) Fantasies for Horn Alone”. From there the sonata evolved and expanded, adding the piano’s range, percussive powers, and tonal capabilities, which greatly enhanced the melodic materials. Each melodic character is presented, after a brief intro, and is then freely and fully developed. Included in the horn writing are some of the more common extended techniques typical in jazz, including those most effective on the horn, such as vibrato, trills, smears, half-stopped, full-stopped, glissandi, bends, flutter-tongue, and doinks.
Movement I is both playful and soulful, with some “cool” walking bass lines coming in and out of a loping and flowing swing feel notated in 12/8. Movement II revolves freely around a simple song, but then finds itself halting, questioning, shifting somewhat awkwardly between muted and open timbres. Movement III is a light-hearted and sometimes rambunctious jazz waltz in 9/8, dancing through angular melodies, dialoguing between stopped and open horn.
Three (Jazz) Fantasies for Horn Alone is a set of unaccompanied solos for the horn based upon three original melodies. The tunes are presented after brief introductions and then freely developed, including some of the most common extended techniques typical in jazz and so very effective on the horn. Each “Fantasie” lasts approximately three minutes. ENJOY!
Blueberry Soup is both playful and soulful, with some “cool” walking bass lines coming in and out of a loping and flowing swing feel notated in 12/8. Not So Sure revolves freely around a simple song, but then finds itself halting, questioning, shifting somewhat awkwardly between muted and open timbres. Jelly Jam is a light-hearted and sometimes rambunctious jazz waltz in 9/8, dancing through angular melodies, dialoguing between stopped and open horn.
2016 Survey Results
In 2016, the Advisory Council decided to solicit input from members on a range of subjects related to services that the society performs. Around 250 people participated, and a pdf of the statistical results is linked below. On behalf of the AC, I want to thank all who participated. We will offer additional surveys in the future, so please be on the lookout for them and let us know what you think.
New Column "Horn Tunes"
Greetings, and welcome to Horn Tunes!
The goal of this new column is to provide a library of pieces free for use by and for members of the International Horn Society. I am Anna Leverenz, the first editor of this new column. I am a Sergeant in the US Army, currently stationed in Germany with the US Army Europe Band. I earned my DMA from the University of Cincinnati in 2011, and have been performing with the Army since 2010.
The intention of HornTunes is to collect short, light pieces that can be enjoyed by students, casual players, and professionals. Submissions for solo horn, horn with accompaniment, and chamber music are all welcome. I want to use this opportunity to encourage original compositions and arrangements of public domain works. Consider submitting music with flexible instrumentation, arrangements or new compositions that are appropriate for worship settings, or chamber music to be enjoyed by friends.
Unlike the IHS Online Music Library, submissions to HornTunes will be considered donations to the IHS and will be made available free of charge to members. The composers or arrangers will retain rights to their works. Arrangements of works that are not in the public domain will be considered, but the arranger must obtain the appropriate permissions.
New Addition #2 to "The Music of Douglas Hill" in OMS
Jazz-Mix for 2, Set 2 is a light-hearted group of duets for horns that explore various jazz stylings not typically enjoyed by horn players. The arrangements of these original melodies are written with both parts sharing the tunes and harmonies equally.
Each duet deals with specific performance traditions.
Cha Cha Cha is a Cha Cha. It is also the first melody this composer can actually remember having created back in junior high school. The performance should be quite playful with even eighth notes, crisp staccatos, and a strong Latin dance-like feeling throughout.
Echo Horn Blues makes full use of an extended technique that distinguishes horns from all other instruments; the ability to bend the pitch with the right hand in the bell. Often called “echo horn”, the motion of covering with the hand should lower the pitch only a half-step. The effect is like the “do- wah” common to harmon mutes from trumpets and trombones. Enjoy!
Distant Dawn is a simple, lovely ballad which emphasizes the vibrant warmth of two horns singing together, sharing thoughtful, legato melodic lines and luscious sustained harmonies.
Faulty Waltz is a somewhat typical jazz waltz, notated in a compound meter to advocate for a swing feel. The cool quality and sassy use of dissonances weave through this duet. A few glissandi, aggressive articulations, and twos-over-threes, and fours-over-nines add to the fun.
New Addition #1 to "The Music Of Douglas Hill" in OMS
Jazz Mix for Two, Set 1 is a light-hearted group of duets for horns that explore various jazz stylings not typically enjoyed by horn players. The arrangements of these original melodies are written with both parts sharing the tunes and harmonies equally.
Each duet deals with specific performance traditions.
Ramblin’ Rag is to be performed with even eighth notes, with a tendency toward shorter, accented syncopations, and a frolicking sense of fun.
Full Circle Blues gets down and dirty with a slow swing feel. It is notated in 12/8 to add to that lazy sensation. The full circle of fourths is the form of this somewhat unique 12 bar blues design.
Begin Again is to be felt as a beguine, or lightly laced Latin dance. The eighth notes are performed evenly with accents placed gently on the syncopations, as suggested, along with some lush, lyrical lines.
Swing’s the Thing harkens back to the swing era and that loping feel of nearly a compound meter. Added here is a “walking bass line”, and some additional fall-offs, glissandos, and smears.