Oh, this excerpt has given me so much grief over the years. Luckily, at DePaul we have to play the 2nd horn part for every single chair placement audition. Needless to say, I've been working on it basically everyday. When putting this recording together, I was happy that my first take of the 2nd horn part turned out well, and is actually what I ended up using in this final recording.
The piece of advice I can offer with putting this section together is to focus on two part harmonies. If I tried to record against two of the parts the cleanliness of the attacks got extremely fuzzy and everything sounded like it went through a blender. I ended up trying to recording both the 1st and 3rd horn parts separately against the 2nd and then hoped it would work out. The result I got from this was the best of all the options I had tried. Because the chords are mainly inversions of the one chord as long as the two part harmonies sound in tune, it will sound good overall. What this means is that if you're playing this in a section is that it would probably be best to concentrate mainly on the person to your left so that you are surely in time.
The piece of advice I can offer with putting this section together is to focus on two part harmonies. If I tried to record against two of the parts the cleanliness of the attacks got extremely fuzzy and everything sounded like it went through a blender. I ended up trying to recording both the 1st and 3rd horn parts separately against the 2nd and then hoped it would work out. The result I got from this was the best of all the options I had tried. Because the chords are mainly inversions of the one chord as long as the two part harmonies sound in tune, it will sound good overall. What this means is that if you're playing this in a section is that it would probably be best to concentrate mainly on the person to your left so that you are surely in time.
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