Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Horn Playing from the Inside Out, Third Edition
This book is a result of Eli Epstein's 18 years in the Cleveland Orchestra and 30 years of Conservatoire teaching. It breaks down into four parts, dealing with Technique, Musicianship, Warm up and Exercises and finally Applying the Method. It is both innovative and inspiring and presents his theories in a clear and understandable way, which gives the reader much to think about and practical ideas to help improve one's playing. An excellent addition to any horn enthusiast's collection.The third edition presents MRI images and data of an elite group of horn players, including Stefan Dohr, Fergus McWilliam, Sarah Willis, Stefan Jezierski (all of the Berlin Philharmonic), Marie-Luise Neunecker, ...
The Art of French Horn Playing
First to be published in the series was The Art of French Horn Playing by Philip Farkas, now Distinguished Professor Emeritus of Music at Indiana University. In 1956, when Summy-Birchard published Farkas's book, he was a solo horn player for the Chicago Symphony and had held similar positions with other orchestras, including the Boston Symphony, Cleveland Orchestra, and Kansas City Conservatory, DePaul University, Northwestern University, and Roosevelt University in Chicago. The Art of French Horn Playing set the pattern, and other books in the series soon followed, offering help to students in learning to master their instruments and achieve their goals.
Blowing on the Changes
Introduces some of the most famous jazz horn players, focusing on trumpet and saxophone players.
Horn
None
The Horn
"From the earliest beginnings of the horn as a primitive tool of man to the sophisticated valve instruments of today, the authors trace the development of the horn and its uses" --google.books.com.
Horn Player's Audition Handbook
The Horn Player's Audition Handbook provides a handy, one-volume reference guide to the literature, especially for those players preparing for an imminent auditions, containing, as it does, the repertoire most frequently asked for by American orchestras. Since audition lists almost always include a few "non-standard" works, the well-versed student will also want to have employed the more comprehensive collections of excerpts in the course of his/her general preparation for an orchestral career. However, the advantages of having the most "important" audition material under one cover will readily be appreciated and makes this book a welcome addition to the literature.
The Horn and Horn-playing
Fitzpatrick plays examples of horn music by Handel, Bach, Fux, Haydn, Mozart, Danzi, Beethoven and Weber. Eash example on recording consists of a few bars only from the work ilsted. Instruments used include Baroque horns, valve horns, 1770 hand horns, 1795 hand horns, 1811 orchestral hand horns and 1827orchestral hand horns.
I Found My Horn
At the age of 39 and three quarters, Jasper Rees fished his French horn out of the attic and took it to the British Horn Society festival. Along with 69 other horn players, he stood onstage and played Handel's Hallelujah Chorus. There and then, despite severely limited ability, he set himself a near impossible target: to stand up in front of a paying audience in twelve months' time and play a Mozart concerto. Alone.I FOUND MY HORN is the story of a midlife crisis spent with 18 feet of wrapped brass tubing. It is also the story of man's first musical instrument, and its journey from the walls of Jericho to Sgt Pepper's Lonely Hearts Club Band, from the hunting fields of aristocratic France to the heart of Hollywood. Along the way, Jasper Rees seeks expert advice as he prepares to stand up in front of a packed London auditorium and perform a Mozart concerto on this notoriously treacherous instrument. Everyone says the same thing. Don't do it.
The Horn
A rich and fascinating account of one of music history’s most ancient, varied, and distinctive instruments From its origins in animal horn instruments in classical antiquity to the emergence of the modern horn in the seventeenth century, the horn appears wherever and whenever humans have made music. Its haunting, timeless presence endures in jazz and film music, as well as orchestral settings, to this day. In this welcome addition to the Yale Musical Instrument Series, Renato Meucci and Gabriele Rocchetti trace the origins of the modern horn in all its variety. From its emergence in Turin and its development of political and diplomatic functions across European courts, to the revolutionary invention of valves, the horn has presented in innumerable guises and forms. Aided by musical examples and newly discovered sources, Meucci and Rocchetti’s book offers a comprehensive account of an instrument whose history is as complex and fascinating as its music.
A Singing Approach to Horn Playing
""A Singing Approach to Horn Playing" trains hornists to play with greater accuracy and musicality by developing the ear. Horn players learn to actively hear the notes on the page through singing and playing the instrument. Each example includes solfège, inner hearing, transposition, and rhythmic training, as well as polyphonic exercises for learning to hear and read in multiple parts. These exercises can be done independently or with a partner. The book begins with folk songs to develop fundamental pitch and solfège skills, starting with three and four note melodies. These songs are followed by canons, solfeggio (vocal etudes transcribed for horn), and standard horn literature. The horn selections enable hornists to apply their musicianship skills to performance, with examples from standard etudes, orchestral excerpts, and solos. The horn parts also include significant orchestral and accompaniment lines to sing and play on horn, so that horn players can perform with practical knowledge of the score"--
