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Transitioning from single to double horn

Hey guys, I'm a trumpet player who was also a self-taught horn player for a year. I haven't played in a while but I'm thinking of picking it up again. I know most beginners start off with a single F horn, and that's the route I plan on taking. For those of you who have switched from single to double F/Bb horn, was it difficult in terms of learning the new fingerings? I know they are very different, does anyone have any way to learn the new fingerings quickly? Thanks!

Help!

I have a solo I need to do and I get to choose a song, now I haven't played clarinet for very long so I'm trying to find an easy song but not too easy like a twinkle little star. I need something impressive but easy to play if you guys can help me out that would mean alot thanks. 

River Fantasia, Feedback wanted

 I am writing a fantasia where I am representing the flow of a river from a little stream out to sea(I even nicknamed the piece River Fantasia), and because it is a fantasia, I'm not really focusing on the themes, motives, etc. like I would for a sonata. I'm just improvising the melody and bass as I go along. But I do have an arc for my fantasia which goes like this: 

Little stream - High pitched, even the "bass" is in the treble clef here, slow, quiet, feels like it is starting to flow

Like how a stream gets bigger, my melody becomes more ornamented and my bass becomes more rich(going from a single melodic line with more scales towards more arpeggios and chords), gradually sinking down from the treble clef into the bass clef(contrary motion being part of how the bass line sinks), and my dynamics gradually get louder(I mean, even at the beginning, there are forte moments, but like the average dynamic gets louder)

Rapids - Lots of bass motion, especially in fast octaves, to get across the turbulence, changes from major to minor, lots of loud dynamics, faster notes in general 

As you get further away from the rapids, the turbulence leaves behind  a grandiose sound to the bass and the melody, it changes back to major, and the notes slow down

Widening river - Grandiosity, left hand continues to play in the bass clef, rapid, turbulent motion(along with the change to minor and everything else in the first instance of the rapids) may or may not come back(I haven't decided yet, I will decide when I get there), overall note speed slows down, even if the tempo doesn't budge 

River gets quite wide - The grandiosity that was there before starts  diminishing, dynamics get quieter, notes get even slower, music heads  towards a final cadence

Out to sea - The diminuendo continues, if the tempo hasn't already slowed down, a ritardando occurs, music ends at least as quiet, possibly even quieter than it began, the final cadence has an extensive arpeggio that is played by both hands and then a final chord


As you can see, the contrary motion is part of how the bass line sinks from the treble clef into the bass clef, and scales are used more  towards the beginning of the piece. I have reached my first Rapids moment of the piece. And as you can see, in the 6 measures before, I prepare the major to minor motion with downward moving chromaticism. And since the Rapids moment has a lot of octaves, loud  dynamics, and faster notes in general, I decided to do an accellerando in the 3 measures before the Rapids moment. What do you think of what I have written so far? And also, what do you think of the F major to C minor motion? And what do you think of my mid-piece Picardy Third in a ritardando to represent moving away from the turbulence of the rapids?