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A Horn Player's Study Guide

by Thomas Bacon

Introduction

A Horn Player's Study Guide is intended to direct horn players at all levels of development
towards appropriate study materials and repertoire. Music educators and studio teachers can
use it for repertoire ideas, and horn players from beginner to advanced and even professional
levels can use it to assess their own level of achievement.

This Guide represents six levels of ability, from beginner to professional. Players develop
different strengths at different times: one player may have the range of a Level 6 but the tone
and technique of a Level 3 player. Another might have a Level 6 tone and technique, but the
range of a Level 3 player. Still another, through diligence and devoted practice might achieve
an acceptable performance of a Level 6 piece, but lack many of the other skills such as sight-
reading ability, or the extensive knowledge of repertoire and styles that a real Level 6
achievement requires.

The fact is, we can all benefit greatly from mixing up our practice routines to include selections
from more than one level. Most professional players, besides practicing repertoire for their
next recording or concert tour, also still practice tone building and scale exercises similar to
what beginners must work on.

A Horn Player's Study Guide does not pretend to be all inclusive. The Guide lists only a small
portion of the available methods, etudes, horn ensembles, orchestra, band, chamber music
and solo repertoire for horn. Study of all such material is important and should be included in
your daily practice routine. Also, this Guide is not intended to replace a private lesson teacher.
There is no book that can substitute for a qualified teacher, one with the ability to
demonstrate and inspire, and the knowledge to guide the student according to his/her
individual needs, desires and special talents.

All musical materials in The Horn Player's Study Guide are available from your local music
dealer or from:
A Horn Player's Study Guide

by Thomas Bacon

Level 1

At whatever age one begins study of the horn, the development of tone is of utmost
importance. Proper breathing technique, posture and hand position, as well as the player's
physical attributes all play an important part in development of tone. As a beginner we
develop habits, good and bad, which determine how far we will be able to progress on the
instrument, so it is important to build good habits right from the start.

Basic technical studies should include tone building, scales, intervals, tonguing and slurs. As we
progress through Level 1 we also develop an understanding for very basic theoretical aspects:
reading notes in the treble clef, key signatures, meters, rhythms, and dynamics - the basic
building blocks of music.

For most beginners, daily practice sessions should probably be fifteen or twenty minutes. Soon
however, as the player progresses, two practice sessions of fifteen minutes (or more) should
be attempted each day.

Though basic technical studies are certainly important in developing good habits, practice
should not be limited solely to long tones and scale exercises. Even at the first lesson students
can be introduced to playing simple melodies. Soon, simple duets with the teacher should be
attempted, and work should begin on basic solos.

During Level 1, the player should:

1) develop range to at least 1 1/2 octaves, and know chromatic fingerings throughout that
range;

2) play major scales and arpeggios in C, F, G, B flat, and D in eighth notes at 60 beats per
minute;

3) be able to read: treble clef and ledger lines; key signatures; basic time signatures; rhythms
including whole, half, quarter, eighth and sixteenth notes, dotted rhythms and triplets, all
terms and indications used in music at this level;

4) work towards obtaining a full warm sound in all dynamics from piano to forte.

LEVEL 1 METHODS:
Getchell, Robert W. -- First Book of Practical Studies
Robinson, William C. -- Illustrated Method for French Horn
Skornicka, J.E. -- Rubank Elementary Method

There are many beginning method books for Horn. They can be used in conjunction with each
other to provide balance and interest for the student.


SUPPLEMENTARY

Irons, Earl D. -- Horn Exercises with Solos and Duets. Contains scale and arpeggio exercises in
various keys, rhythmic and intervalic exercises, beginning duets, and solos that progress from
Level 1 to Level 5.

LEVEL 1 SOLOS:

Caldara, Antonio -- Sebben Crudele (from *Selected Songs, Vol. 1, Thomas Bacon, editor)
*The other pieces in this volume will probably be too difficult for a Level 1 player. It is a
collection that will serve the student for years and provide pieces for all occasions.

Schwartz, George -- International Folk Suite

Telemann/Stouffer -- Menuett

Wilder, Alec -- Four Easy Pieces
A Horn Player's Study Guide

by Thomas Bacon

Level 2

By Level 2, players possess the skills necessary to play in the school band or orchestra, and
they should have already performed in public in solo and ensembles. The sense of
accomplishment can be great, but with it should come more awareness of what needs to
happen for continued improvement.

Practice should be thirty to forty-five minutes every day, in addition to ensemble rehearsals.
The practice session should include these three different types of playing:

1. Tone-building, scales and other technical exercises.

2. Etudes or other assignments from method books.

3. Solo and ensemble music.

The amount of time spent on each may vary depending on upcoming performances or other
factors, but it is important to practice everything each day. As the player progresses in Level 2,
practice should increase to one hour each day.

The student should also take advantage of every chance to hear other horn players. Listening
to fine players is the best way to develop a concept of sound and styles, and to develop
awareness of the difference between good and bad playing.

Level 2 is a good time to begin playing in horn ensembles. The studio teacher should organize
group lessons to work on ensemble pieces and help the players develop the important skills of
ensemble playing: leading, following, intonation and playing together.

During Level 2, the player should:

1) develop range to at least two octaves, and know chromatic fingerings throughout that
range;

2) know major and minor scales and arpeggios up to three sharps and three flats;

3) increase tonguing capabilities to include effective staccato, tenuto and marcato
articulations;

4) expand dynamic abilities to include pp and ff, while maintaining good sound and steady
intonation.

LEVEL 2 METHODS

Pottag/Hovey -- Method for French Horn - Book 2

Level 1 method books can still be used to good advantage by the Level 2 player, and technical
exercises learned at Level 1 will be useful in Level 2.


SUPPLEMENTARY -

Pottag-Andraud -- 335 Selected Melodious and Progressive Technical Studies, Book I (the "Blue
Book")

Contains scale and arpeggio exercises adaptable to any key, etudes by Kopprasch, Gallay, Artot
and others, and solo pieces by many composers. This book will provide practice material for
the player through Level 6.

LEVEL 2 SOLOS

Burkhardt -- Little Rondo

Datshkovsky -- Lullaby for Alexandra

Grieg -- Solvejg's Song (from Selected Songs Vol.1, Thomas Bacon, editor)

Handel/Fitzgerald -- Thus When the Sun

Horvit -- Chaconne and Burlesque

Molina -- Interlude

Schudel -- Etchings

Solomon -- Night Song

Solomon -- November Nocturne

Solomon -- Waltz Theme

LEVEL 2 HORN ENSEMBLES

DUETS

Franz -- 100 Duets - Book 1

L.A. Horn Club -- 60 Selected Duets. Both of the above collections gradually increase in
difficulty and will serve the player well into Level 4 or 5.


QUARTETS

di Lasso/Howe -- Exaudi Deus

Lively -- Three Short Pieces

Solomon -- In A Minor Mood

Solomon -- In Excelsis Deo

Solomon -- Two Festive Songs
A Horn Player's Study Guide

by Thomas Bacon

Level 3

By Level 3, a player should be practicing at least one hour each day, along with ensemble
rehearsals. As we learned at Level 2, practice is most effective when divided into three
different areas of concentration:

1. Tone-building, scales and other technical exercises.

2. Etudes or other assignments from method books.

3. Solo and ensemble music.

Some of the same exercises used at Levels 1 & 2 can still be very effective in furthering
development of tone and technique. But remember to practice for improvement, not just to
get through the exercise. Technical exercises that we memorize and play every day, like long
tones, slurs, arpeggios, scales, etc. can easily become nothing more than a sequence of notes
that we have to get through before we can practice our real music. The danger then comes in
playing these exercises with the same mistakes every time, thereby reaffirming those
mistakes. Remember that practice makes perfect, and if you practice with mistakes, you will
perform with mistakes.

To progress from Level 3 to Level 4, the player must not only increase the amount of time
spent practicing, but also increase the effectiveness of the time spent. Concentration levels
need to be raised and each note should be played with utmost conviction and scrutiny. You
should ask yourself about every note: "Is that exactly the way I want it to be?"

During Level 3, the player should:

1) develop range to at least 2 1/2 octaves, and know chromatic fingerings throughout that
range;

2) know major and minor scales and arpeggios up to four sharps and four flats;

3) be introduced to and begin practicing: lip trills, double and triple tonguing, stopped horn,
transposition, and bass clef (old and new notation);

4) develop dynamics still further so that even at extremes of pp and ff, tone is still warm, full,
and relaxed sounding.


RECOMMENDED READING

Tuckwell -- Horn


LEVEL 3 - ETUDES AND STUDIES

Horner-Meek -- Exercises and Etudes

Kopprasch -- 50 Etudes, opus 6


SUPPLEMENTARY -

Pottag-Andraud 335 Selected Melodious and Progressive Technical Studies, Book II (the "Red
Book")

Contains warm-up exercises, technical studies, etudes by Gallay, Gugel, Hoss and others, and
solo pieces by many composers including the solo part to all four Mozart Concertos. This book
provides material for the player through Level 6.


LEVEL 3 SOLOS

Beethoven/Andraud -- Adagio Cantabile

Danburg -- Poeme

Dubois/Voxman -- Cavatina

Grazioli/Reynolds -- Adagio

Mozart/Sansone -- Adagio

Mozart/Sansone -- Concerto No. 3

Perrini -- Legend

Schumann -- Wanderer's Song (from Selected Songs Vol.1, Thomas Bacon, editor)

Solomon -- Sonatina

Strauss, Franz -- Seaside Impressions

Uber -- Summer Nocturne


LEVEL 3 HORN ENSEMBLES

DUETS

Henning -- 59 Duets

Mayer -- Suite No. 2


TRIO

Schubert/Voxman -- Three Songs


QUARTETS

Bacon, editor -- 88 German Quartets

Davis -- Andante and Fanfare

Hoffman -- Cornocopia

Mayer -- Four Little Pieces for Horn Quartet

Mendelssohn/Reynolds -- Four Quartets

Mendelssohn/Voxman -- Three Choruses

Michiels -- Reverie

Mozart/Howe -- Divertimento No. 8

Schubert/Reynolds -- Six Quartets

Stout -- Folk Song Suite
A Horn Player's Study Guide

by Thomas Bacon

Level 4

To have advanced this far the player displays a high level of dedication and talent. Even though
many attempt Level 4 repertoire, very few high school players reach this level. They are
probably the section leaders and may be members of the All-State band and orchestra. There
is also a good chance they will get music scholarships for college.

Along with these achievements comes responsibility though, for if the player is to continue
developing, practice and involvement with the horn and the horn world must become a
priority. It's time to really get serious.

Whether in high school, college, or not in school at all, a Level 4 player should be practicing 1
1/2 - 2 hours every day besides ensemble rehearsals. A basic routine should be developed that
includes technical exercises addressing everything the player has to do. It should include high
and low range, loud and soft dynamics, scales and arpeggios, various articulations and slurs, lip
trills, and multiple tonguing. Problem areas should no longer be avoided.

During Level 4, the player should:

1) develop range to at least 3 octaves, and know chromatic fingerings throughout that range;

2) know all major and minor scales and arpeggios;

3) begin using lip trills, double and triple tonguing, transposition, and bass clef (old and new
notation) whenever needed;

4) become familiar with standard orchestral excerpts;

5) become familiar with the technique of the natural horn and understand the harmonic
series;

6) join the International Horn Society (IHS), if not already a member;

7) begin building a library of recordings of fine players, and become familiar with names and
styles of great players of the past and present.

RECOMMENDED READING

Farkas -- The Art of French Horn Playing


LEVEL 4 - ETUDES AND STUDIES

Kling -- 40 Characteristic Etudes


SUPPLEMENTARY -

Pottag-Andraud -- 335 Selected Melodious and Progressive Technical Studies, Books I & II (the
"Blue Book" & the "Red Book")


LEVEL 4 SOLOS

Koch -- Sound Pictures

Kronke -- Two Hunting Pieces

Lorenz -- Fantasie

Mozart/Ephross -- Andante (from Quintet K.407)

Mozart/Sansone -- Concerto No. 1

Mozart/Sansone -- Concerto No. 2

Mozart/Sansone -- Concerto No. 4

Oldberg -- Serenade

Pessard -- In The Forest

Purcell/Bacon -- I'll Sail Upon the Dogstar (from Selected Songs Vol.2)

Schumann/Bacon -- He, the Most Magnificent of All (from Selected Songs Vol.1)

Strauss, Franz -- Concerto, opus 8

Telemann/Chidester -- Adagio and Presto


LEVEL 4 HORN ENSEMBLES

DUETS

Franz -- 100 Duets - Book 2

Mayer -- Suite No. 3


TRIOS

Mayer -- Tricinium

Reicha -- 6 Trios from Opus 82


QUARTETS

Bacon, editor -- 88 German Quartets

Franck/Wienandt -- Four Dances

Giovannini -- Three Moods

Mitushin -- Concertino

Schumann/Reynolds -- Six Quartets


OCTETS

Reynolds -- Cantos No. 1

Reynolds -- Cantos No. 2

Reynolds -- Cantos No. 3
A Horn Player's Study Guide

by Thomas Bacon

Level 5

Study at Level 5 (if not already at Level 4) should be under a master teacher. If at a
conservatory or university, the student should select the school itself based on the strengths of
that teacher. In choosing a teacher, there are many important questions to consider:
Does this teacher help me play better?
Can this teacher help me overcome all of my weaknesses on the instrument?
Is this teacher open to many ideas and styles of playing, or is there only one way to do things
correctly?
Do I respect this teacher as a person as well as what he or she has accomplished
professionally?
Does this teacher have the necessary experience, wisdom, and contacts to guide me towards
the goals that I want to achieve?
Does this teacher inspire me to be the best that I can be?

Continue developing and refining the practice routine to achieve ease in all areas of playing.
Not only is it important for maintaining the abilities that we have achieved, but one of the best
ways to fix fundamental problems is in basic exercises -- musical calisthenics -- some of which
we might have learned at Level 1 or 2.

During Level 5, the player should:

1) develop range to four octaves with consistent tone at all dynamics throughout the range;

2) become proficient in sightreading, and be able to transpose and read different clefs at sight;

3) be fluent with lip trills, hand stopping, multiple tonguing, and flutter tongue, and be able to
use these techniques easily;

4) have an understanding of music theory and be able to analyze different musical forms;

5) study music history and understand different periods and styles and be able to perform
them appropriately.


RECOMMENDED READING

Farkas -- The Art of Brass Playing (now available through Wind Music)

Schuller -- Horn Technique

LEVEL 5 - ETUDES AND STUDIES

Gugel/Gumbert -- 12 French Horn Etudes

Pottag-Andraud -- 335 Selected Melodious and Progressive Technical Studies, Books I & II (the
"Blue Book" & the "Red Book")

Schuller -- Studies for Unaccompanied Horn


Philip Farkas
and
His Horn

Special
Book and CD offer

More info here




LEVEL 5 SOLOS

Beethoven -- Sonata, opus 17

Beversdorf -- Sonata

Busser -- Concert Piece in D

Gabelles -- Concertino

Horvit -- Circus Suite

Mozart -- Concert Rondo, K.371

Mozart/Sansone -- Sonata VI

Strauss, Richard -- Concerto, opus 11

Uber -- Sonatina

Verdi/Bacon -- Caro Nome from Selected Songs Vol.2


LEVEL 5 HORN ENSEMBLES

DUETS

Bach, J.S./Miller -- Brass Duet Notebook, Vol. 2

Bach, W.F./Miller -- Brass Duet Notebook, Vol. 1

Franz -- 100 Duets - Book 2


QUARTETS

Bacon, editor -- 88 German Quartets

Gallay -- Grand Quartet

Handel/Martinet -- Music for Royal Fireworks

Richter -- Six Pieces for Cors de Chasse

Wagner/Wilcox -- Siegfried's Funeral March


OCTETS

Bach, J.S./Oldberg -- Prelude

Bach, J.S./Shaw -- Prelude and Fugue in a minor

Verdi/Martinet -- Manzoni Requiem
A Horn Player's Study Guide

by Thomas Bacon

Level 6

The player at Level 6 is on the verge of a professional career, probably a senior in college or
studying at the graduate level, and no doubt already somewhat in demand as a free-lance
player in the area. It is likely that he/she is, or will soon be, looking for a performing or college
teaching position.

If performance is the goal, then practice is the way to achieve it. Major orchestras and other
fine professional ensembles are looking only for players of exceptional ability, ones who can
display these important qualities:
total mastery of technique;
the ability to play all styles of music expressively and appropriately;
the ability to read and transpose at sight anything from the standard repertoire;
performance experience;
a broad knowledge of repertoire;
a high level of professionalism and dedication;
the ability to work with other people.

If a college teaching position is your goal, the necessary qualities are no less important, but
take on a slightly different focus:
exceptional playing ability and performance experience;
masters or doctoral degree or equivalent in professional experience (many schools require the
degrees regardless of experience);
teaching experience;
broad knowledge of pedagogical methods;
broad knowledge of all the repertoire for horn;
a high level of professionalism and dedication;
the ability to work with other people;
administrative skills.

The music business is highly competitive and job openings frequently have hundreds of
applicants. To win the position of your dreams requires initiative, diligence, hard work, and a
little bit of luck. So go practice your horn, and good luck!

RECOMMENDED READING

Bellamah -- Survey of Modern Brass Teaching Philosophies

Farkas -- The Art of Musicianship

*Gregory -- The Horn

*Morley-Pegge -- The French Horn

(*available in most music libraries)


LEVEL 6 ETUDES AND STUDIES

Bach, J.S./Hoss -- Suites (from the Cello Suites)

Gallay -- 12 Etudes for the Second Horn

Hill -- Extended Technique

Reynolds -- 48 Etudes


LEVEL 6 SOLOS

Dukas -- Villanelle

Gliere -- Concerto, opus 91

Gossec/Bacon -- Tambourin from Selected Songs Vol.2

Handel/Reynolds -- 3rd Sonate

Kling -- Concerto Brillante

Reynolds -- Partita

Strauss, Richard -- Concerto #2

Weber -- Concertino

Wilder -- First Sonata


LEVEL 6 HORN ENSEMBLES

QUARTET

Hindemith -- Sonata for Four Horns

Leclaire -- Quartet

Tippett -- Sonata

SEXTET


Hervig -- Blue Horns


OCTET

Mayer -- Festmusik fr acht Hrner