Controlling wide intervals on the horn, is something that worry a lot of horn players, specially because as the intervals get wider, increases the changes to miss a note. This is a nice exercise based on the equal division of the octave. Not all music is based on major and minor scales, so that's why symmetric interval based exercises are important! In this exercise you will practice chromatic scales, whole tone scales, diminished 7th arpeggios, augmented arpeggios, tritones and octaves.

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A simple but effective exercise for practicing left hand dexterity on the horn. It is based on interval sequences, doing all the possibilities within the same interval, starting from a specific note. If you pick a different note each day, doing all the intervals starting from that note, after 12 days you will be repeating the same exercise again. Or you can choose specific intervals during a week...
Monday - Major 2nd
Tuesday - minor 3rd and Major 3rd
Wednesday - Perfect Forth, Augmented 4th
Thursday - Perfect 5th
Friday - minor 6th, major 6th
Saturday - minor and major 7th
Sunday - random interval or pick other like octave ore even wide intervals

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Having a good attack and clear articulation on the horn it's a very complex subject since our bell is turned backwards. So, it depends on the object behind us. If we have a curtain or a wall, we will get a different feeling. The same goes for our felling as a performer or as a listener...
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Every horn student is different, and each one improves faster on some aspects and slower on others. Conditioned Practice is a concept that guides my way of teaching and composing, because my compositions are mostly pedagogical. No one can improve if everything if too difficult nor if everything is too easy! So, the idea of conditioned practice consists in making one aspect more difficult and other easier on the same time. This way, over time, different students will be able to practice the same exercise, on a conditioned way, improving every aspect, but respecting their own learning sequence.
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Horn players use a relatively small mouthpiece for playing on a very large range. By doing some buzzing exercises with and without the mouthpiece we will better understand how it works. It isn't rocket science, but isn't easy to understand either. These exercises help to better understand how it works, and by doing yourself, you will explore your own embouchure, and then try to apply those discoveries while playing. As I say on the end of the video, there are different approaches. Some teachers recommend only doing mouthpiece exercises, because buzzing on the lips is different. Then there is an other approach: Doing lip buzzing but assuming that is different! An athlete doesn't necessarily needs to practice how to do a slip, because won't need to do a split while running. But, by doing it, will increase his flexibility and better understand how the muscles work.

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