EAR and AIR: Horn Playing for the Musician - John Little II. $14.99.
Playing ones best does not require that the performer be aware of the many contortions and acrobatics that the face and breathing mechanisms are performing. Actually, it is a great hindrance to performance in almost every parameter of good horn playing. This is not to say that one should not focus on good technical habits in the early stages of learning. That is of course a critical point for developing the basic framework that will guide us and allow us to free ourselves later. It is analogous to a composer understanding the rules of counterpoint to later free themselves from the rules and to truly create.
Here I will delve into the ways in which I find most helpful in getting the physical thoughts out of the way and concentrating on proper forward, flowing air concepts, combined with the ear or aural component and how to hear with inensity and intention. In short, making music through hearing music, clearly defined in our mind. This elevates the most important part of performing. It is a part of what I refer to as the "musical IQ."