A First Book Of Exercises For French Horn

A collection of exercises, for French Horn, composed by Max P. Pottag.

This book is a result of Eli Epstein's 18 years in the Cleveland Orchestra and 30 years of Conservatoire teaching. It breaks down into four parts, dealing with Technique, Musicianship, Warm up and Exercises and finally Applying the Method. It is both innovative and inspiring and presents his theories in a clear and understandable way, which gives the reader much to think about and practical ideas to help improve one's playing. An excellent addition to any horn enthusiast's collection.The third edition presents MRI images and data of an elite group of horn players, including Stefan Dohr, Fergus McWilliam, Sarah Willis, Stefan Jezierski (all of the Berlin Philharmonic), Marie-Luise Neunecker, Jeff Nelsen, and others. MRI films confirm that what we do internally, inside the mouth, pharynx, and thoracic cavity is just as important as what we do externally. And, just as there are hallmarks of healthy embouchures that most professional horn players employ, there are many consistent internal movement patterns among the elite group. Epstein presents tried and true methods to learn and teach these exemplary biomechanics. "Without a doubt the most physiologically correct book ever published on horn playing." ~John Ericson, Horn Matters

First to be published in the series was The Art of French Horn Playing by Philip Farkas, now Distinguished Professor Emeritus of Music at Indiana University. In 1956, when Summy-Birchard published Farkas's book, he was a solo horn player for the Chicago Symphony and had held similar positions with other orchestras, including the Boston Symphony, Cleveland Orchestra, and Kansas City Conservatory, DePaul University, Northwestern University, and Roosevelt University in Chicago. The Art of French Horn Playing set the pattern, and other books in the series soon followed, offering help to students in learning to master their instruments and achieve their goals.

Welcome to Brass in Color! French Horn Book One of the Brass in Color Beginner Method Series introduces a color-coded tablature (Color Fingerings) to help students learn the fingerings of the French horn and apply them to notes in the Middle Range. In this beginner method series students will first learn the note’s pitch by listening to his or her instructor, and then by using the Color Fingerings students will be able to easily match the note’s pitch with the fingerings of the French horn. Standard music notation has also been included with each lesson to help the instructor know which notes to play, and to teach students how to read the notes as they match them with the fingerings of the French horn. Breath marks, articulation, dynamics and tempi are not noted in the lessons and may be added by the instructor as needed. Also, key signatures are not used so that students will focus primarily on listening and learning the fingerings associated with the notes. There are three main sections in Brass in Color. The first section is Lessons that introduces new fingerings, notes and music concepts. The second section is Technique Exercises that consists of two-measure exercises to help students practice and review the material. The third section is Songs that gives students the opportunity to practice playing longer melodies. This beginner method series for French horn also has a companion website (www.brassincolor.com) On the website you will find audio for each lesson as well as different activities, videos and other resources to help students learn to play the French horn.

Primary attention was given to the selection of melodies and the writing of exercises which, when properly presented, will develop in the beginning student the most desirable musical habits, particularly in the matters of melodic taste, and instinctive feeling for correct phrasing.

Preparatory Melodies to Solo Work for B-Flat Cornet, selected from the Famous Schantl Collection (for French horn).

This book has been compiled to aid teachers and students in the development of the French Horn embouchure, particularly in the important period following elementary development. It is based upon the theory that, mechanically, nearly all of the problems to be met by the player in the orchestra, band, chamber ensemble, etc., can be covered by a comprehensive daily routine of practice. Various drills have been devised, with no claim to originality, to cope with the various mechanical problems of embouchure with which the player is faced in the field.

Daily Routines for the Student Horn Player is a systematic approach to help student hornists develop and maintain fundamental horn skills. Designed to challenge students but not overwhelm them, there are eight routines: Beginning, Air, Overtone Series, Intermediate, Ear Training, B-flat Horn, Duet/Intonation, and Advanced Routine. Each routine incorporates the following skill categories: long tones and mouthpiece buzzing, crescendo/diminuendo, lip slurs, accuracy and dynamic changes, alternating tongued and slurred between intervals, articulation and technique, high and low playing. By applying these skill categories as a template to each routine, students are sure to develop all of their skills equally.