Practise one octave jumps tongued and slured, practise the
same way for nineth, tenth, eleventh, twelvth, thirteenth,
fourteenth, fifteenth finally double octaves. It is a
technical study, not practising a certain piece or a certain
passage, which makes you master a certain difficulty. And
that
At 9:36 PM +0100 2/24/07, hans wrote:
Practise one octave jumps tongued and slured, practise the
same way for nineth, tenth, eleventh, twelvth, thirteenth,
fourteenth, fifteenth finally double octaves.
Would practicing intervals larger that two octaves give a greater
margin of safety?
--
Try starting with a 1 octave (or smaller) jump at a tempo slow enough that
it can be done reliably. Then, slowly increase the speed to the
performance tempo. Next, increase the size of the interval, and slow the
tempo.
I 'think' it would be possible to find an embouchure / jaw position that
None of the excellent responses so far have addressed the possibility of
fingering issues in this death-defying clef-hanger of a double-octave
leap. It might to an extent turn out to be horn-specific what change of
fingering will best allow for both a smooth transition and a high
probability
Who knows ? Do you recall the Nile act of Aida ? The violin
introduction ? I do that on the horn occasionally : low c,
c1, c2 , c3, c3, c2, c1, c - one half step lower, a full
step lower, etc. - but not legato, but tongued. Good
targetting exercise.
F-horn on the low (23) Bb-horn (23) for the high note.
Here the double is of great advantage.
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From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of David
At 10:21 PM +0100 2/24/07, hans wrote:
Who knows ? Do you recall the Nile act of Aida ? The violin
introduction ? I do that on the horn occasionally : low c,
c1, c2 , c3, c3, c2, c1, c - one half step lower, a full
step lower, etc. - but not legato, but tongued. Good
targetting exercise.
What
Yes - this is in Farkas, The Art Of French Horn Playing - legato pg38,
staccato pg42. No chocolate until you get it right.
hans wrote:
Who knows ? Do you recall the Nile act of Aida ? The violin
introduction ? I do that on the horn occasionally : low c,
c1, c2 , c3, c3, c2, c1, c - one half
The seventh annual Bar Harbor Brass Week will take
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Hello all,
Dave Meichle offered:
I know a few students in my ear-training class who can tell (quite
reliably) what key something is in by its color. I don't mean color as
in sound timbre, I mean actual visual color. F major is blue, A major is
Yellow, like that.
From the little I
Hello--I own a 1978 H-180 which is okay, but plays sharp (it's tuned to 442, I
understand). What are some improvements (not too $$$) that can be done to the
horn? A typical one is a new lead pipe (Lawson?). Others?Jonathan
YoderCentral Illinois
Hi, Mr D--
I'm glad you are ok. If interested about more on synaesthesia, may I recommend
The Man Who Tasted Shapes? Sorry, can't remember author's name. With best
wishes, Dave Kaslow
University of Denver Horn Professor Emeritus
Web site: www.du.edu/~dkaslow
Home: 2707 Valmont Rd #111D,
I have just put up for sale a mint condition Weimar C.F. Schmidt double
horn. Photos and a full description of this wonderful instrument are at:
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItemih=005sspagename=STRK%3AMESE%
3AITviewitem=item=150095657905rd=1rd=1
Cheers,
Steve
Steven Ovitsky
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- Original Message -
From: Steven Ovitsky [EMAIL PROTECTED]
To: 'The Horn List' horn@music.memphis.edu
Sent: Saturday, February 24, 2007 7:29 PM
Subject: [Hornlist] Schmidt Double Horn For Sale
I have just put up for sale a mint condition Weimar C.F.
It sold very quickly.
Steve
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On Behalf Of
Paul Manly
Sent: Saturday, February 24, 2007 10:32 PM
To: The Horn List
Subject: Re: [Hornlist] Schmidt Double Horn For Sale
Item has already been removed.
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