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From: Jim Hammerlemailto:[EMAIL PROTECTED]
To: Yoshi Nakamuramailto:[EMAIL PROTECTED] ; Vanessa Phillipsmailto:[EMAIL
PROTECTED] ; Tricia Perrymailto:[EMAIL PROTECTED] ; Ted
Bissettemailto:[EMAIL PROTECTED] ; Stuart Holomanmailto:[EMAIL PROTECTED] ;
Steve
Which country?
Lawrence
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[EMAIL PROTECTED] wrote:
Which country?
Don't stop there! What city?
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[EMAIL PROTECTED] wrote:
Which country?
Don't stop there! What city?
Looks like it is Durham NC. USA
Regards
Jonathan West
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Hello again,
Can anyone offer insights into muting practice in Gershwin? In the Piano
Concerto in F (ed. F. Campbell Watson) there are passages marked muted,
closed and also some notes marked with a +. It was suggested that
closed means something different than the + sign since both appear
I was wondering about this aria since it was recently in the posts. The
Allegro con brio tempo is really fast for me. Do good players single-tongue
this?
I really have a hard time single-tonguing this up to speed.
Thanks.
William Lynn
If you have to use double tongue, you will ruin the aria
perfectly. The tempo should never exceed 192/96 for 1/4
respectively 1/2. There is no need for double tongue. All
works with single tongue. Think about the singer, the mood
she is (Fidelio)in to understand the music. Some singers do
it
Bear,
I would not limit yourself to one note, or a
sustained one note passage.
Push the limit of the horn and the player there is
no reason why a horn player should not be able to play
anything possible in the mind for the instrument.
unless you are writing for a community player, or
older
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