A former teacher long ago used to regularly remind me that musicians are like actors. Music is full of character and a good musician worth merit can change styles at the drop of a hat.
In order to be understood from the audience perspective, French horn players are very much like stage actors. They need to speak with clear diction and with an intensity that can be heard clearly in the back row.
I recently saw a post by Alecia Bateson at Professional Auditonee and noted some excellent bullet points about character in acting.
- Work to further ratchet up the stakes. It increases tension and drama.
- Search more deeply to find a way to connect to something that may be foreign to personal experience.
- Establish a deeper internal comprehension of the character. Spend more time “in” the scene.
- Don’t allow the drama of one’s life to overshadow the instructional functionality of class for others.
- Argumentative behavior can be ineffective and damaging.
- Listen. Don’t talk (unless acting).
- Watching others can be an excellent ordered exercise.
Expanding on this a bit for musicians:
Work to further ratchet up the stakes. It increases tension and drama.
Sometimes in a concert, the group’s energy level get raised a notch or two. The tempo might be a little faster or slower than before, the dynamics might be louder or softer. A prominent line may get stretched or morphed in some other way that constitutes a risk with a big reward.
In order to be on this bandwagon, you need to be musically flexible and able to play prominent passages under extreme circumstances. In opera, this happens almost on a nightly basis – singers are wont to stretch and pull depending on their vocal strengths at the moment.
Most importantly, be alert for change and go with the flow. In other words:
Establish a deeper internal comprehension of the character. Spend more time “in” the scene.
and
Listen. Don’t talk (unless acting).
Even when not playing, or in long tacets I enjoy watching other musicians perform. Why not? I have the best seat in the house!
Watching others can be an excellent ordered exercise.
This is one thing that I enjoy about chamber music, attending concerts, watching YouTube or playing in group lessons – watching other musicians at play can be as educational as listening.
Search more deeply to find a way to connect to something that may be foreign to personal experience.
When I first heard traditional French hunting horns for example, I was not immediately enamored. These days, I wonder about trying out Rossini’s Le rendez-vous de chasse in this style.
Being open-minded to new things might a open door to new way of expression.
Besides, why speak in the same manner and dialect all the time?
He included as an example this graphic from the original edition of the Kopprasch etudes; 
Bristled hairs may look manly but inside the mouthpiece they irritate my vibrating lips – it feels like cactus needles.
In this spirit, I firmly pledge:
To respect 
I was able to read one of the first copies off the press thanks to one of my students who went to Brevard this past summer, Derek Wright. My first impression is this is a book that is certainly worth reading. In several ways Deane thinks out of the box and presents things with a different angle than that seen in other books. A focus for Deane is developing a balance of what he calls “the three technical cornerstones of great horn playing: air pressure, embouchure support, and resonating space inside the mouth.” Topics covered include especially the embouchure and breathing, and he presents at the end a daily routine.
by Mirafone. 
It did not. They wrote back again, I explained more about the topic. As I said, it is just two different ways to notate the same pitches, the treble clef part being played just like a trumpet part but with sounding pitches an octave and a step lower than written.