A Horn Player's Study
by Thomas Bacon
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
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.
Tuckwell -- Horn
LEVEL 3 - ETUDES AND STUDIES
Horner-Meek -- Exercises and Etudes
Kopprasch -- 50 Etudes, opus 6
Pottag-Andraud 335 Selected Melodious and Progressive Technical Studies, Book II (the
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
Henning -- 59 Duets
Mayer -- Suite No. 2
Schubert/Voxman -- Three Songs
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
Levels: Intro | One | Two | Three | Four | Five | Six
"JAZZ CAFE, Vol. 1"
music for horn and piano