technique

asin: B0013YW1PY binding: Paperback

335 SELECTED AND MELODIOUS PROGRESSIVE and TECHNICAL STUDIES for French Horn, Book 1, compiled and revised by Max Pottag and Albert Andraud includes studies by Artot, Bach, Bellolo, Cugnot, Franz-Kopprasch, Gallay, Gugel, Handel, Hoss, Kling, Michiels, Mozart, Paudert, Haydn, Saint-Saens and others. This book along with Book 2 form a complete and progressive course that will enable the student to build and develop

how do i do the lip trills and how can i practice correctly on them?

Hey guys...
This is my fourth year on the horn. I am apparently talented (to some extent...) but I do have a problem. My embrochure.

My first year on the horn, my band instructor told me, "Move your mouthpiece up on your face," but I never did, and I guess he gave up and I forgot about the whole incident. It didn't come up again for three years, and I didn't know there was a problem until I got a new lesson teacher, who said that I should move my mouthpiece up. I'm currently playing with only a small bit of mouthpiece on my upper lip. I'm playing fine this way, but they say if I change it, I'll have more endurance and range.

It's so hard. I can play, but I sound...well, like a beginner all over again! Usually I just play with the old mouthpiece placement, especially lately because of preparations for a huge concert/convention. When I do try the new one, I don't have ANY range...high or low.

I suppose I could try with more discipline...but,
Any suggestions?!?

I have been playing the French horn for approximately seven years. I am having trouble playing with tone in technical parts of my music. My director tells me i have a good sound but that i need to emphasize my tone more. It is easier said than done. How can i play and make my tone more apparent in fast parts of music? Is tone even a major part in the judging process?

author: Michael Hoeltzel asin: 3795757975 binding: Paperback list price: $24.95 USD amazon price: $24.95 USD

Mastery of the French Horn is for intermediate to advanced players, for improving technique and finding new levels of musical expression. Includes chapters, most with exercises or musical excerpts: Advanced Daily Technical Exercises; The Art of Practicing; The Way to an Individual Tone; Shaping the Music; Which Horn for Which Music?; The Horn and Horn Playing over the Centuries (a short manual of style); The Cadenza in the Solo Literature; Competitions, Juries, Auditions and Solo Performances; Horn Playing as a Profession; Literature about the Horn.