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This is probably the best Etude in the Kling book. It's not just a good study in legato playing, but it's also a simple and beautiful melody (so you should play it like that).

Lips slurs using natural harmonics, focusing on smoothly moving between every partial are curial to being able to play these leaps and arpeggios beautifully.

You may have noticed that there is no dynamic at the start of this etude,
but in the second phrase there is a mezzo forte. It's up to you to decide what that means, but I think it means we should play a little louder and maybe a bit more moving forward too.

The low scale is especially difficult because it covers the "break" range of the horn. Most players will have to change the angle of their horn or the structure of their embouchure to move smoothly throughout this low range.

Throughout this etude, you'll notice that I am breaking some slurs to take additional breaths. I find these breaths emphasize the musical
phrasing of the piece while also giving me enough air to blow through the technical challenges.

This etude also has a lot of moments to experiment with rubato, or being flexible with the tempo. If it makes musical sense to do so, you should feel free to play with the time!

In the final phrase, emphasize the first note in each triplet, but do not overdo the accents. We do not want to break the character of the piece with an aggressive articulation.

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