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Cheers

Naturally! How's it going?

Hi, I set the embouchure this way when I was a kid. It helps with moving across registers. My dad taught me and took the best advice, even from the book by Farkas.

@@TheBrassWhisperer oh .. sort of the opposite , very interesting Ill reconsider all that. Does the lower lip function any differently? I'll look around at Farkas again. Thanks!

The placement is usually different from all the other brass. I think lower lip generally functions better for horn playing when the mouthpiece is higher, partly due to the downward angle of the leadpipe. People often refer to better flexibility over the large range of the horn and the small size of the mouthpiece. That in itself is due to the relation to the narrow bore, which needs to be narrow to achieve the tone character. You could also check out: www.hornmatters.com/category/embouchure/

Excellent

@TheBrassWhisperer I don't tho :(

I'm sorry I missed spell the word but the song is really good

Cheers, thanks.

@@TheBrassWhisperer man that's ok

Thank you for you comment, much appreciated

Hi, the full closing brings pitch to one semitone above the harmonic below the starting point. This works on the F side for each valve so when we blow harder the result is a semitone above.

a mouthpiece?

Yep😊

@@TreyjRandolph Super

Thanks

The 11th harmonic sits right between major and minor, so blues indeed.

10-11 and 12-11 is where I am hearing Miles

Thanks!

Thanks

Thanks

Interesting, I haven't used them much. They do have a similar response to the low F of the B-flat horn. More of a 'clean' and 'easy' sound and feel than I usually want from those notes!

@@TheBrassWhisperer wow that's really interesting thanks! What do you mean you don't want a "clean and easy" sound?

@@somebody9033 Cheers. I generally like the tone of the long F horn (or low C horn playing the written G, for example). The short horn sounds a bit smooth, maybe due to the overtones. Not sure how to explain this. The longer horn sounds a bit grittier!

@@TheBrassWhisperer thanks! I've never owned a triple horn so this is really interesting. I've always found Heldenleben quite hard (obviously) and am wondering whether it's any easier just played on the high Eb (with the first note as a pedal on open Eb, then the second note as second harmonic on Bb, and then continue using standard fingerings on Eb)?

It certainly works that way. The tone colour might not be obviously different on the short horn, within the mix of the cello section!

Hi, thanks for asking. Yes, I played harmonics 1-13 (with the highest note being a 15th harmonic) and just three chords: G series (B-flat 1,2); E series (F 2); C# series (F 23). 9 horn parts in the ensemble (all multi-tracked) and the solo horn line.

Schmid triple. Short E-flat doesn't get used much, though did play Handel's Samson early this year using it.

Hi, mine is from Seraphinoff Horns. The body is US$4000 and each crook has a price. The couplers can go with crooks, so it can work buying the most used crooks, couplers and tuning slides.

These are natural horns that used crooks to put them into different keys. This predates the horns with keys. It helps to know the history of the instrument you pursue. This is common knowledge among horn players.

Thankyou

My pleasure

Thanks for playing along

Thank you

Aye, the fascination of intersecting harmonic series!

Cheers

Yes it is. Engelbert Schmid F, B-flat, E-flat

Steady work does wonders, but changes aren't always noticeable at first

Hi, I'm using a Laskey GW

@@TheBrassWhisperer Oh! Really thank you very much indeed

I just recorded myself playing the horn C and played it back whilst doing the video.

An Engelbert Schmid. I also have a very nice Paxman Single F and a Seraphinoff Classical horn.

Glad you enjoyed it!

Wonderful!

Hi, thanks for the suggestion. I've had a quick look, can't find it yet, so I'll have another look later.

Thank you. I do think playing the horn is not easy. Cheers.

Hi Nathan, I have a very flexible approach. Currently I'm playing a single F horn in the Opera La Traviata. In some pieces/programs I like to play F horn up to the D (4th line treble clef) then play the Eflat on 2+3 of the Bflat horn, E on 1+2, F on 1, F# on 2 and G open. Other times I'll vary the horn side to suit articulation and dynamics. I like the rich possibilities of all the tube lengths we have available.

@@TheBrassWhisperer I’m sorry, but why would you play the single horn when you have a double one already?

@@aycc-nbh7289 Hi, sometimes I just enjoy the simplicity of the choices. I'm a big fan of the F horn sound and encourage others to enjoy using their F horn.