Using Musical Games and Aural Pedagogy Techniques as a Dynamic Supplement for Teaching Piano
Why don’t classical musicians improvise? Why do jazz players get to have all the fun? And how do they develop such fabulous technique and aural
The famous Kopprasch etudes for horn (ca. 1830) are, like almost all etude collections, for horn alone. As useful as they are in developing technique,
Why don’t classical musicians improvise? Why do jazz players get to have all the fun? And how do they develop such fabulous technique and aural
Conventional horn wisdom has always been that one simply doesn’t go exploring with the horn. It simply isn’t done. You play the ink. Basta! Other
