Here's good practice for blending your low chops with your high chops:
Kopprasch #23, #56, #32.
{ David Goldberg: [EMAIL PROTECTED] }
{ Math Dept, Washtenaw Community College }
{ Ann Arbor Michigan }
___
post: horn@music.memphis.edu
uns
it. If you have more questions, please,
ask again.
Greetings through the language barrier.
Hans
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of Valerie WELLS
Sent: Monday, January 21, 2008 11:30 PM
To: horn1 list
Subject: [Hornlist] Tuning a double horn(p
Hans, thank you for your comments. However, I'm not sure I understand what you
are trying to tell me. Do you mean that when I work on low horn parts, I'm
setting in the lower lip too deeply (Einsetzen?) pulling the lips apart too
much and it is causing cramping? Do you mean that I should be
.
-Original Message-
From: [EMAIL PROTECTED]
[mailto:[EMAIL PROTECTED] On
Behalf Of Valerie WELLS
Sent: Monday, January 21, 2008 5:17 AM
To: horn1 list
Subject: [Hornlist] Tuning a double horn(playing sharp)
Everytime I start to have trouble playing chronically sharp
Everytime I start to have trouble playing chronically sharp, all I have to do
to correct the problem is to spend an appreciable amount of time working on low
horn work, & I mean VERY LOW horn work. My favorite low horn part to honk
around on is Kerry Turner's Quartet # 1. I can't play the fou
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