Kajin The passage immediately following shown below can be quite loud, but also controlled, with a bit of vibrato if you like. Lasting about four minutes, Hunding is named after the brutish and bitter woodsman in Wagners Valkurie, memorable for the blood-curdling ewpana of his horn calls. Espanaa following are just a few ideas that have helped me prepare this solo for performance. These Suites offer an extensive opportunity to improvise with the elements of melody, harmony, rhythm, and the application of tone quality and dynamics.
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Additionally, a fifth piece Russian Song is included at the end. Petersburg Conservatory, and produced several original and transcribed works for horn. The first time I programmed the piece I was an undergraduate, and simply making it through in one piece was a challenge! The following are just a few ideas that have helped me prepare this solo for performance. The first two are general comments, and the rest deal with specific passages. Read the instructions.
See the quote below for her comments. I like crisp, ringing articulations, paying attention to the subdivisions, hemiolas, etc. Use a metronome! I also like a bit of crescendo here. The passage immediately following shown below can be quite loud, but also controlled, with a bit of vibrato if you like.
Next comes one of the two cadenzas in this short piece. Take your time, and experiment with different stopped horn fingerings to find out what will give the best facility on the accelerando passages. For me, this was the least awkward of the available fingerings. The repeated notes in the molto piu mosso following this cadenza work pretty well with T2, which gives a nice distinct front to each articulation. The Andante section afterward is similar in character to the molto espressivo, spagnuolo section shown above.
The second cadenza can be even more expansive than the first, taking care that even with rubato we hear the syncopations. On the accelerando this basically becomes a stopped tremolo, and I like using the same fingerings for both the upper and lower note — 23 on the F horn. The important thing in the final section is rhythmic drive and clarity of articulation.
Plan on working out all the triple tonguing see the passage below quite slowly, giving each gesture a small crescendo as you descend. This really made a big difference for me in getting the tonguing clean and up to speed. I highly recommend all B-flat horn here. Take every opportunity to relax, especially the left hand, and release some residual tension.
A great place to do this is right before the final molto vivo section. In the last four measures, try to keep a good middle register setting even as you descend down to the low E — this will do wonders for the gliss. If you let everything go and try to crush the low E it can be problematic getting back into the middle and upper register right after.
One last tip is to finger the glissando — for some reason this just felt much more comfortable to me. Well there you have it — hopefully a few tips and ideas to help you get going on this piece. Have fun, and happy practicing! Share this:.
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