from Johns' questions:
>>> I am working on the mozart 2nd horn concerto 3rd mov.
>sugesstions on how to get them I am find them quite diffcult right now.
May I ask which side of the horn you are playing them on? It may seem like
an unecessary question but I haven't been able to keep up with all of the
list lately.
On the F side there is the choice of lip slurs that can help.
On the Bb side what works for me is basically putting the quarter notes
into triplets that fit into the beat. It is just what has come to work
best for me. You can still get a bit of a trill and not loose time.
I am only making a comment on fingerings because of "Looking" at the
music to explain why it works. This is assuming your horn part is in the
key of Bb and you are playing on the Bb side of the horn.
The first Bb in triplet is 1-open-1 (Bb, C, Bb). Then the next eigth note
C (open) comes easily.
The D in triplet is 12-1-12 (D, Eb, D). The next Eb eigth note then comes
easily being a 1.
The F is 0-0-0 (lip slur : F, G, F) back to the (Eb) 1 on the next eigth
note.
And, with anything, whatever way you chose to play it, practice it slow
until you have it like you want then work it up to speed. If you don't
have "days" to do this before you need to play it, then spend a lot of a
practice time just doing that one passage.
>> On the 2 recording I have of this. Denis Brain makes a huge deal a
very
>classical powered wig feeling. and on the other John Cemenairo seems to
>almost some how not play them but still play them *if that even works?*
>>like a said I find it better to play it with no trills that way the line
>>comes out or at least that is what my accompinest says
Deciding as to whether or not you should do the the trills depends on the
reasons as to why you are learning this piece. Are you just learning it to
advance in your studies and improve your playing? Then they can probably
wait until you know the piece better.
Are you learning for a recital or for an audition somewhere? Then, knowing
others will be "listening" closely to everything you do and will know the
music, it might be wise to learn them.
You can listen to other horn players and they will sound different. You'll
get other opinions from the list too. The two most important things,
though, are how Mozart intended them to be played and your own
interpretation of it in YOUR style of playing. You might not have the
exact type of instrument Mozart wrote the music for. But, you should be
aware of how music was played back then and do your best to interpret it.
We are all individuals and you want to be known by how you play your music.
If you just "copy" how someone else plays then you will lose out on how to
enjoy music within yourself.
Dawn Marie
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