Strange but true. Though sometimes I don't actually practise somthing between one rehearsal and the next, having the music in my possession always makes me feel more secure.
Thus, the fact that I now have a copy of Dom Eugene Cardine's 'Gregorian Semiology' makes me feel a whole lot better. All I have to do is read it, understand it and internalise it all and I'll be able to cope in Solesmes. In the meantime, I shall put it in my rucksack and take it to work and back everyday.
I must say the copy of Mozart 25 has been out every day. We had a horn section humorous 'domestic' at the back on the rehearsal on whether it's horn in Bb alto or basso at the w/e. Alto, alas which means that me mere low horn player has to go all clarino suddenly and play top Bbs. My basic approach to not splitting notes is practice, breath, punch from the diaphram and apply a large quantity of bloody mindedness. (I don't go for the betablocker approach to performing.)What I like to think of as a trumpet player mentality, which is apt because Bb alto is the same transposition as a Bb trumpet. Tim, section principal, will no doubt bring his Bb/f-alto horn ( a dual bore double descant horn, no less,) but I have two of the bog standard full doubles and will use my old one because it feels safer. The Alex, see below, will have the night off.
If that all makes no sense to you, worry not, we horn players spend our time essentially playing a different note to the one in front of us, putting things up and down fixed amounts. This concert includes horn in D, E, Eb, Bb alto. The important thing is to remember which key you are transposing into otherwise accidents occur. The rest of the world, particularly string players, think it's crazy. Ah well.
You'll be happy to know that we have lunch in the pub as a section and talk about oo, horns, music, but only the horn parts, horns, mouthpieces, cases, mutes, valve oil, bikes (everyone else is into cycling,) and horns.