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A Horn Player's Study uide is intended to direct horn players at all le!els of de!elopment
towards appropriate study materials and repertoire. "usic educators and studio teachers can
use it for repertoire ideas# and horn players from beginner to ad!anced and e!en professional
le!els can use it to assess their own le!el of achie!ement.
$his uide represents si% le!els of ability from beginner to professional. Players de!elop
di&erent strengths at di&erent times: one player may ha!e the range of a 'e!el 6 but the tone
and techni(ue of a 'e!el ) player. Another might ha!e a 'e!el 6 tone and techni(ue# but the
range of a 'e!el ) player. Still another# through diligence and de!oted practice might achie!e
an acceptable performance of a 'e!el 6 piece# but lac* many of the other s*ills such as sight+
reading ability# or the e%tensi!e *nowledge of repertoire and styles that a real 'e!el 6
achie!ement re(uires.
$he fact is# we can all bene,t greatly from mi%ing up our practice routines to include
selections from more than one le!el. "ost professional players# in addition to practicing
repertoire for their ne%t recording or concert tour# also still practice tone building and scale
e%ercises similar to what beginners must wor* on.
A Horn Player's Study uide does not pretend to be all inclusi!e. $he uide lists only a small
portion of the a!ailable 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 uide is not intended to replace a pri!ate lesson teacher.
$here is no boo* that can substitute for a (uali,ed teacher# one with the ability to
demonstrate and inspire# and the *nowledge to guide the student according to his/her
indi!idual needs# desires and special talents.
At whate!er age one begins study of the horn# the de!elopment of tone is of utmost
importance. Proper breathing techni(ue# posture and hand position# as well as the player's
physical attributes all play an important part in de!elopment of tone. As a beginner we
de!elop 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.
-asic technical studies should include tone building# scales# inter!als# tonguing and slurs. As
we progress through 'e!el . we also de!elop an understanding for !ery basic theoretical
aspects: reading notes in the treble clef# *ey signatures# meters# rhythms# and dynamics + the
basic building bloc*s of music.
/or most beginners# daily practice sessions should probably be ,fteen or twenty minutes.
Soon howe!er# as the player progresses# two practice sessions of ,fteen minutes 0or more1
should be attempted each day.
$hough basic technical studies are certainly important in de!eloping good habits# practice
should not be limited solely to long tones and scale e%ercises. 2!en at the ,rst lesson
students can be introduced to playing simple melodies. As soon as possible simple duets with
the teacher should be attempted# and wor* should begin on basic solos.
3uring 'e!el .# the player should:
de!elop range to at least .4 octa!es# and *now chromatic ,ngerings throughout that range5
play ma6or scales and arpeggios in 7# /# # - 8at# and 3 in eighth notes at 69 beats per
minute5
be able to read: treble clef and ledger lines5 *ey signatures5 basic time signatures5 rhythms
including whole# half# (uarter# eighth and si%teenth notes# dotted rhythms and triplets# all
terms and indications used in music at this le!el
wor* on obtaining a full warm sound within the dynamic range of p to f.
'2:2' . "2$H;3S:
etchell# <obert =.: /irst -oo* of Practical Studies
<obinson# =illiam 7.: >llustrated "ethod for /rench Horn
S*orni*a# ?.2.: <uban* 2lementary "ethod
$here are many beginning method boo*s for Horn. $hey can be used in con6unction with each
other to pro!ide balance and interest for the student.
S@PP'2"2A$A<B
>rons# 2arl 3.: Horn 2%ercises with Solos and 3uets
7ontains scale and arpeggio e%ercises in !arious *eys# rhythmic and inter!alic e%ercises#
beginning duets# and solos that progress from 'e!el l to 'e!el C.
'2:2' . S;';S:
7aldara# Antonio: Sebben 7rudele from DSelected Songs# :ol..# $homas -acon# editor D0the
other pieces in this !olume will probably be too diEcult for a 'e!el . player. >t is a collection
that will ser!e the student for years and pro!ide pieces for all occasions.1
SchwartF# eorge: >nternational /ol* Suite
$elemann/Stou&er: "enuett
=ilder# Alec: /our 2asy Pieces
-y 'e!el G# players possess the s*ills necessary to play in the school band or orchestra# and
they should ha!e already performed in public in solo and ensembles. $he sense of
accomplishment can be great# but with it should come more awareness of what needs to
happen for continued impro!ement.
Practice should be thirty to forty+,!e minutes e!ery day# in addition to ensemble rehearsals.
$he practice session should include these three di&erent types of playing:
$one+building# scales and other technical e%ercises.
2tudes or other assignments from method boo*s.
Solo and ensemble music.
$he amount of time spent on each may !ary depending on upcoming performances or other
factors# but it is important to practice e!erything each day. As the player progresses in 'e!el
G# practice should increase to one hour each day.
$he student should also ta*e ad!antage of e!ery chance to hear other horn players. 'istening
to ,ne players is the best way to de!elop a concept of sound and styles# and to de!elop
awareness of the di&erence between good and bad playing.
'e!el G is a good time to begin playing in horn ensembles. $he studio teacher should organiFe
group lessons to wor* on ensemble pieces and help the players de!elop the important s*ills of
ensemble playing: leading# following# intonation and playing together.
3uring 'e!el G# the player should:
de!elop range to at least two octa!es# and *now chromatic ,ngerings throughout that range5
*now ma6or and minor scales and arpeggios up to three sharps and three 8ats5
increase tonguing capabilities to include e&ecti!e staccato# tenuto and marcato articulations5
e%pand dynamic abilities to include pp and & while maintaining good sound and steady
intonation.
'2:2' G "2$H;3S
Pottag+Ho!ey: "ethod for /rench Horn + -oo* G
'e!el > method boo*s can still be used to good ad!antage by the 'e!el G player# and technical
e%ercises learned at 'e!el > will be useful in 'e!el G.
S@PP'2"2A$A<B
Pottag+Andraud: ))C Selected "elodious and Progressi!e $echnical Studies# -oo* > 0the H-lue
-oo*H1
7ontains scale and arpeggio e%ercises adaptable to any *ey# etudes by Iopprasch# allay#
Artot and others# and solo pieces by many composers. $his boo* will pro!ide practice material
for the player through 'e!el 6.
'2:2' G S;';S
-ur*hardt: 'ittle <ondo
3atsh*o!s*y: 'ullaby for Ale%andra
rieg: Sol!e6g's Song from Selected Songs :ol. .# $homas -acon# editor
Handel//itFgerald: $hus =hen the Sun
Hor!it: 7haconne and -urles(ue
"olina: >nterlude
Schudel: 2tchings
Solomon: Aight Song
Solomon: Ao!ember Aocturne
Solomon: =altF $heme
'2:2' G H;<A 2AS2"-'2S
3@2$S
/ranF .99 3uets + -oo* .
'.A. Horn 7lub 69 Selected 3uets
-oth of the abo!e collections gradually increase in diEculty and will ser!e the player well into
'e!el J or C.
K@A<$2$S
di 'asso/Howe: 2%audi 3eus
'i!ely: $hree Short Pieces
Solomon: >n A "inor "ood
Solomon: >n 2%celsis 3eo
Solomon: $wo /esti!e Songs
-y 'e!el )# a player should be practicing at least one hour each day# in addition to ensemble
rehearsals. As we learned at 'e!el G# practice is most e&ecti!e when di!ided into three
di&erent areas of concentration:
$one+building# scales and other technical e%ercises.
2tudes or other assignments from method boo*s.
Solo and ensemble music.
Some of the same e%ercises used at 'e!els . L G can still be !ery e&ecti!e in furthering
de!elopment of tone and techni(ue. -ut remember to practice for impro!ement# not 6ust to
get through the e%ercise. $echnical e%ercises that we memoriFe and play e!ery day# i.e. long
tones# slurs# arpeggios# scales# etc. can easily become nothing more than a se(uence of notes
that we ha!e to get through before we can practice our real music. $he danger then comes in
playing these e%ercises with the same mista*es e!ery time# thereby reaErming those
mista*es. <emember that practice ma*es perfect# and if you practice with mista*es# you will
perform with mista*es.
$o progress from 'e!el ) to 'e!el J# the player must not only increase the amount of time
spent practicing# but also increase the e&ecti!eness of the time spent. 7oncentration le!els
need to be raised and each note should be played with utmost con!iction and scrutiny. Bou
should as* yourself about e!ery note: H>s that e%actly the way > want it to beMH
3uring 'e!el )# the player should:
de!elop range to at least G4 octa!es# and *now chromatic ,ngerings throughout that range5
*now ma6or and minor scales and arpeggios up to four sharps and four 8ats5
be introduced to and begin practicing: lip trills# double and triple tonguing# stopped horn#
transposition# and bass clef 0old and new notation15
de!elop dynamics still further so that e!en at e%tremes of pp and & tone is still warm# full# and
rela%ed sounding.
<27;""2A323 <2A3>A
$uc*well: Horn
'2:2' )+ 2$@32S AA3 S$@3>2S
Horner+"ee*: 2%ercises and 2tudes
Iopprasch: C9 2tudes# opus 6
S@PP'2"2A$A<B
Pottag+Andraud: ))C Selected "elodious and Progressi!e $echnical Studies# -oo* >> 0the H<ed
-oo*H1
7ontains warm+up e%ercises# technical studies# etudes by allay# ugel# Hoss and others# and
solo pieces by many composers including the solo part to all four "oFart 7oncertos. $his boo*
pro!ides material for the player through 'e!el 6.
'2:2' ) S;';S
-eetho!en/Andraud: Adagio 7antabile
3anburg: Poeme
3ubois/:o%man: 7a!atina
raFioli/<eynolds: Adagio
"oFart/Sansone: Adagio
"oFart/Sansone: 7oncerto Ao.)
Perrini: 'egend
Schumann: =anderer's Song from Selected Songs# :ol..# $homas -acon# editor
Solomon: Sonatina
Strauss# /ranF: Seaside >mpressions
@ber: Summer Aocturne
'2:2' ) H;<A 2AS2"-'2S
3@2$S
Henning: CN 3uets
"ayer: Suite Ao.G
$<>;
Schubert/:o%man: $hree Songs
K@A<$2$S
-acon# editor: OO erman Kuartets
3a!is: Andante and /anfare
Ho&man: 7ornocopia
"ayer: /our 'ittle Pieces for Horn Kuartet
"endelssohn/<eynolds: /our Kuartets
"endelssohn/:o%man: $hree 7horuses
"ichiels: <e!erie
"oFart/Howe: 3i!ertimento Ao.O
Schubert/<eynolds: Si% Kuartets
Stout: /ol* Song Suite
$o ha!e ad!anced this far the player displays a high le!el of dedication and talent. 2!en
though many attempt 'e!el J repertoire# !ery few high school players reach this le!el. $hey
are probably the section leaders and may be members of the All+State band and orchestra.
$here is also a good chance they will get music scholarships for college.
Along with these achie!ements comes responsibility though# for if the player is to continue
de!eloping# practice and in!ol!ement with the horn and the horn world must become a
priority. >t's time to really get serious.
=hether in high school# college# or not in school at all# a 'e!el J player should be practicing
.4 + G hours e!ery day in addition to ensemble rehearsals. A basic routine should be
de!eloped that includes technical e%ercises addressing e!erything the player has to do. >t
should include high and low range# loud and soft dynamics# scales and arpeggios# !arious
articulations and slurs# lip trills# and multiple tonguing. Problem areas should no longer be
a!oided.
3uring 'e!el J# the player should.
de!elop range to at least ) octa!es# and *now chromatic ,ngerings throughout that range5
*now all ma6or and minor scales and arpeggios5
begin using lip trills# double and triple tonguing# transposition# and bass clef 0old and new
notation1 whene!er needed5
become familiar with standard orchestral e%cerpts5
become familiar with the techni(ue of the natural horn and understand the harmonic series5
6oin the >nternational Horn Society 0>HS1# if not already a member5
begin building a library of recordings of ,ne players# and become familiar with names and
styles of great players of the past and present.
<27;""2A323 <2A3>A
/ar*as: $he Art of /rench Horn Playing
'2:2' J + 2$@32S AA3 S$@3>2S
Iling: J9 7haracteristic 2tudes
S@PP'2"2A$A<B
Pottag+Andraud: ))C Selected "elodious and Progressi!e $echnical Studies# -oo*s > L >> 0the
H-lue -oo*H L the H<ed -oo*H1
'2:2' J S;';S
Ioch: Sound Pictures
Iron*e: $wo Hunting Pieces
'orenF: /antasie
"oFart/2phross: Andante 0from Kuintet I.J9P1
"oFart/Sansone: 7oncerto Ao..
"oFart/Sansone: 7oncerto Ao.G
"oFart/Sansone: 7oncerto Ao.J
;ldberg: Serenade
Pessard: >n $he /orest
Purcell/-acon: >'ll Sail @pon the 3ogstar from Selected Songs :ol.G
Schumann/-acon: He# the "ost "agni,cent of All from Selected Songs :ol..
Strauss# /ranF: 7oncerto# opus O
$elemann/7hidester: Adagio and Presto
'2:2' J H;<A 2AS2"-'2S
3@2$S
/ranF: .99 3uets + -oo* G
"ayer: Suite Ao.)
$<>;S
"ayer: $ricinium
<eicha: 6 $rios from ;pus OG
K@A<$2$S
-acon# editor: OO erman Kuartets
/ranc*/=ienandt: /our 3ances
io!annini: $hree "oods
"itushin: 7oncertino
Schumann/<eynolds: Si% Kuartets
;7$2$S
<eynolds: 7antos Ao. .
<eynolds: 7antos Ao. G
<eynolds: 7antos Ao. )
Study at 'e!el C 0if not already at 'e!el J1 should be under a master teacher. >f at a
conser!atory or uni!ersity# the student should select the school itself based on the strengths
of that teacher. >n choosing a teacher# there are many important (uestions to consider5
3oes this teacher# help me play betterM
7an this teacher help me o!ercome all of my wea*nesses on the instrumentM
>s this teacher open to many ideas and styles of playing# or is there only one way to do things
correctlyM
3o > respect this teacher as a person as well as what he or she has accomplished
professionallyM
3oes this teacher ha!e the necessary e%perience# wisdom# and contacts to guide me towards
the goals that > want to achie!eM
3oes this teacher inspire me to be the best that > can beM
7ontinue de!eloping and re,ning the practice routine to achie!e ease in all areas of playing.
Aot only is it important for maintaining the abilities that we ha!e achie!ed# but one of the
best ways to ,% fundamental problems is in basic e%ercises + musical calisthenics + some of
which we might ha!e learned at 'e!el . or G.
3uring 'e!el C# the player should:
de!elop range to four octa!es with consistent tone at all dynamics throughout the range5
become pro,cient in sightreading# and be able to transpose and read di&erent clefs at sight5
be 8uent with lip trills# hand stopping# multiple tonguing# and 8utter tongue# and be able to
use these techni(ues easily5
ha!e an understanding of music theory and be able to analyFe di&erent musical forms5
study music history and understand di&erent periods and styles and be able to perform them
appropriately.
<27;""2A323 <2A3>A
/ar*as: $he Art of -rass Playing
Schuller: Horn $echni(ue
'2:2' C + 2$@32S AA3 S$@3>2S
ugel/umbert: .G /rench Horn 2tudes
Pottag+Andraud: ))C Selected "elodious and Progressi!e $echnical Studies# -oo*s > L >> 0the
H-lue -oo*H L the H<ed -oo*H1
Schuller: Studies for @naccompanied Horn
'2:2' C S;';S
-eetho!en: Sonata# opus .P
-e!ersdorf: Sonata
-usser: 7oncert Piece in 3
abelles: 7oncertino
Hor!it: 7ircus Suite
"oFart: 7oncert <ondo# I.)P.
"oFart/Sansone: Sonata :>
Strauss# <ichard: 7oncerto# opus ..
@ber: Sonatina
:erdi/-acon: 7aro Aorne from Selected Songs :ol.G
'2:2' C H;<A 2AS2"-'2S
3@2$S
-ach# ?.S./"iller: -rass 3uet Aoteboo*# :ol.G
-ach# =././"iller: -rass 3uet Aoteboo*# :ol..
/ranF: .99 3uets + -oo* G
K@A<$2$S
-acon# editor: OO erman Kuartets
allay: rand Kuartet
Handel/"artinet: "usic for <oyal /irewor*s
<ichter: Si% Pieces for 7ors de 7hasse
=agner/=ilco%: Siegfried's /uneral "arch
;7$2$S
-ach# ?.S./;ldberg: Prelude
-ach# ?.S./Shaw: Prelude and /ugue in a minor
:erdi/"artinet: "anFoni <e(uiem
$he player at 'e!el 6 is on the !erge of a professional career# probably a senior in college or
studying at the graduate le!el# and no doubt already somewhat in demand as a free+lance
player in the area. >t is li*ely that he/she is# or will soon be# loo*ing for a performing or college
teaching position.
>f performance is the goal# then practice is the way to achie!e it. "a6or orchestras and other
,ne professional ensembles are loo*ing only for players of e%ceptional ability# ones who can
display these important (ualities:
total mastery of techni(ue5
the ability to play all styles of music e%pressi!ely and appropriately5
the ability to read and transpose at sight anything from the standard repertoire5
performance e%perience5
a broad *nowledge of repertoire5
a high le!el of professionalism and dedication5
the ability to wor* with other people.
>f a college teaching position is your goal# the necessary (ualities are no less important# but
ta*e on a slightly di&erent focus:
e%ceptional playing ability and performance e%perience5
masters or doctoral degree or e(ui!alent in professional
e%perience 0many schools re(uire the degrees regardless of e%perience15
teaching e%perience5
broad *nowledge of pedagogical methods5
broad *nowledge of all the repertoire for horn5
a high le!el of professionalism and dedication5
the ability to wor* with other people5
administrati!e s*ills.
$he music business is highly competiti!e and 6ob openings fre(uently ha!e hundreds of
applicants. $o win the position of your dreams re(uires initiati!e# diligence# hard wor*# and a
little bit of luc*. So go practice your horn# and good luc*Q
<27;""2A323 <2A3>A
-ellamah: Sur!ey of "odern -rass $eaching Philosophies
/ar*as: $he Art of "usicianship
Dregory: $he Horn
D"orley+Pegge: $he /rench Horn
0DA!ailable in most libraries1
'2:2' 6 2$@32S AA3 S$@3>2S
-ach# ?.S./Hoss: Suites 0from the 7ello Suites1
allay: .G 2tudes for the Second Horn
Hill: 2%tended $echni(ue
<eynolds: JO 2tudes
'2:2' 6 S;';S
3u*as: :illanelle
liere: 7oncerto# opus N.
ossec/-acon: $ambourin from Selected Songs :ol.G
Handel/<eynolds: )rd Sonate
Iling: 7oncerto -rillante
<eynolds: Partita
Strauss# <ichard: 7oncerto RG
=eber: 7oncertino
=ilder: /irst Sonata
'2:2' 6 H;<A 2AS2"-'2S
K@A<$2$
Hindemith: Sonata for /our Horns
'eclaire: Kuartet
$ippett: Sonata
S2S$2$
Her!ig: -lue Horns
;7$2$
"ayer: /estmusi* fur acht Horner