A Comprehensive Beginner Method for

French Horn
An adaptation of Essential Elements Book 1: Texas Edition

American Band College of

Central Washington University
MUS 616.002 Seminar: Pedagogy
KELLY CONNELL
 Table of Contents
About the Author 5
About the Artist 5
Preface 6
Double Horns Only! 6
How to Use this Method Book 7
Getting Started! 9
Music Theory 10
What is Ear Training? 12
Ear Training 101: Try this! 12
Posture 14
Breathing 15
Embouchure Development 16
Articulation 18
Parts of the French Horn 19
Instrument Assembly 20
Hand Placement & Horn Position 21
Horn Position Pitfalls & Solutions 22
Supply Check 23
Horn Maintenance 24

2
 Table of Contents
Emptying Water from the French Horn 27
Let’s Play! 29
Lip Slurs 31
Performance Warm-Ups 44
Tone & Technique Workouts 51
Scale Studies 57
Resources 59
Recommended Horn Players 61
Recommended Double Horns 61
Recommended Mouthpieces 63
Continuing Method Books 64
Fingering Chart 66
Works Cited 67

3
4
 About the Author
Kelly Connell, Assistant Band Director at Aldine Middle School
(Houston, TX), is currently in her sixth year of teaching, and her fourth
year at Aldine Middle School. Connell conducts symphonic band, be-
ginning woodwind classes, and assists the honor band. Under her di-
rection, the AMS Concert Band received superior ratings at the UIL
Concert and Sight-Reading Contest 2017-2019.

Prior to working in Houston, Connell served two years as Music Direc-

tor at Holyoke Community Charter School (Holyoke, MA) where she
built the school’s inaugural music department. During that time, Con-
nell was also the founder and director of the Pioneer Valley Beginner
Band Camp (South Hadley, MA) and a member of Leap of Faith Jazz Combo (Springfield,
MA).

Connell graduated with honors from the University of Dayton (Dayton, OH) where she
received dual degrees: a Bachelor of Music degree in Music Education with concentra-
tions in Urban Education and Instrumental Music; a Bachelor of Arts in Human Rights
Studies; and a Minor in Philosophy. She was principal flutist of all performance ensem-
bles while at UD.

Connell has won several awards in her field, including most recently the Sigma Alpha
Iota Professional Development/Education Grant (March 2018). She is an active member
of Sigma Alpha Iota, the National Association for Music Education, the Texas Music Edu-
cation Association, the National Flute Association, and the Texas Bandmasters Associa-
tion.

Connell is currently pursuing a Master of Music Education in Band Conducting through

the American Band College of Central Washington University (Ashland, OR).

About the Artist

Mark Collado is currently the principal horn player with the Sympho-
ny of Southeast Texas and also performs with the Woodlands Con-
cert Band, Bayou City Winds, and Regal Brass Quintet. Collado also
served as the Ceremonial Bugler with "The Commandant's Own"
U.S. Marine Drum and Bugle Corps in Washington DC. In addition to
performing, Collado is the Technical Trainer/Writer for Securus
Monitoring Solutions. In his spare time, Collado enjoys traveling and
eating sushi.

5
 Preface
Most method books for French horn are designed to be taught in a full band setting. They
often start in a register too high or too low, making it challenging for beginner horn play-
ers to develop a characteristic tone and embouchure. This method book is designed for
beginner horn players, specifically for horn students in Aldine Independent School District
(Houston, TX). The entire district of AISD provides exclusively Holton double horns to all
student horn players; thus, this method book is designed to reflect double horn pedagogy
while based on the Essential Elements Book 1: Texas Edition. The approach starts in an
appropriate horn range twhile also including ear training exercises, warm ups, and ex-
plaining horn specific subjects.

DOUBLE HORNS ONLY!

The fingerings used throughout the exercises in this book are intended for students who
are playing a double F/Bb horn. As the name suggests, the Double Horn has two sets of
tubing, one in F and a smaller one in Bb. There are four rotary valves, one being the trig-
ger valve.

Trigger valve PRESSED = Bb horn

Trigger valve NOT PRESSED = F horn
F Bb

French horn is unique because the overtones of its musical range are so close together.
Overtones are a series of notes that can be played on an open tube. To play notes in-
between those in the overtone series require different valve combinations are pressed,
rerouting the air through different lengths of tube producing new series of overtones.
The overtones on the F side of the horn allow more open and in tune partials in the low
range, while the Bb side produces secure intonation in the higher range. The combina-
tion of both the F and Bb sides in one instrument allows for better intonation across the
whole range of the French horn.

 X
6
 How to Use this Method Book
Read Cover-to-Cover
This method was designed to be read
and followed sequentially. Do not con-
tinue until you have mastered each
concept!

Horn Help!
Look for the horn icons throughout playing tips
and reminders as you go!

Listen to the audio recordings!

Listen and play along with provided instructional record-
ings to assist in your ear training, tonguing, note length,
counting, and tone development!

All recordings can be found online at:

[Link]
comprehensive-beginner-method-for-french
-[Link]
(or click on the QR code!)
Password: 860K203C

Have a horn instructor!

This method book is a tool designed for ho-
mogenous horn classes and does not replace
the need for a horn instructor!

7
8
Getting Started!

9
 Music Theory
The music staff has 5 Ledger lines extend the
lines and 4 spaces where music staff. Notes on
Staff Ledger Lines
notes and rests are ledger lines can be above
written. or below the staff.

Measure Measure Measure

Bar Line Bar Line Bar Line Bar Line

Bar lines divide the music staff into measures.

Whole note Whole rest

Notes tell us
how high or low
to play by their
placement on a
line or space of
the musical staff,
and how long to
play by their
shape. Rests tell Whole note = 4 beats
Half rest
us to count Half note Whole rest = 4 silent beats
silent beats.
Half note = 2 beats
Half rest = 2 silent beats
Quarter note Quarter rest
Quarter note = 1 beat
Quarter rest = 1 silent beat

10
 Music Theory
Treble Clef
Treble Clef indicates the Time Signature indicates
position of note names = 4 beats per measure how many beats per
on a music staff: Second = Quarter note gets one beat measure and what kind
line is G. of note gets one beat.
Time Signature

Sharp raises the note and remains in effect

for the entire measure.
Flat lowers the note and remains in effect
for the entire measure.
Sharp Flat Natural
Natural cancels a flat (b) or sharp (#) and
remains in effect for the entire measure.

Each note is on a line or space of the staff. These note names are indicated
by the Treble Clef.

Double Bar Line indicates the end of a

piece of music.
Double Bar Line

Repeat sign signals musicians to play

once again from the beginning without
stopping.
Repeat Sign

11
 What is Ear Training?
Ear training or “aural skills” are musical listening skills that develop your ability to hear. Developing
your aural skills benefits you in a number of ways including improving memory, increased musical con-
fidence, developing your ability to improvise, and exercising your voice and intonation.

Ear Training 101: Try this!

Try these activities to get your ears in shape! As you continue through this book, you will be utilizing
these skills and concepts in your horn playing.

Audiation Clap Back

1. Go onto youtube or spotify and 1. With a steady pulse, clap 4
find a familiar song. beats of rhythm and have a
partner clap it back. Take
2. Listen to the song for a few turns alternating.
minutes.
2. To add a challenge, have your
3. Pause the video or recording. partner not clack back the
4. Can you imagine hearing the identical rhythm, but instead
melody in your head? add a quarter rest on a given
beat.
5. Try to hum the melody out
loud.

12
 Ear Training 101: Try this!

Interval Training
An interval is the difference in pitch between two sounds. A common way to recognize
intervals is to associate them with songs that you know. Below is a list of pitch inter-
vals and familiar songs you can hear them in. Try to sing the interval in each song!

Interval Ascending Descending

Minor 2nd Jaws (theme) Jurassic Park (theme)

Major 2nd Happy Birthday Mary Had a Little Lamb

Minor 3rd O Canada Hey Jude (Beatles)

Major 3rd Kumbaya Swing Low Sweet Chariot

Perfect 4th Amazing Grace Oh, Come All Ye Faithful

Tritone The Simpsons I Hope I Get It (A Chorus Line)

Perfect 5th Twinkle Twinkle Little Star Flintstones (theme)

Minor 6th We Are Young (Fun) Call Me Maybe (Carly Rae Jepsen)

Major 6th Dashing Through the Snow (Jingle Bells) Man in the Mirror; chorus (Michael Jackson)

Minor 7th Somewhere (West Side Story) An American in Paris (Gershwin)

Major 7th Take On Me (A-Ha) I Love You (Cole Porter)

Octave Somewhere Over the Rainbow (Wizard of Oz) The Lonely Goatherd (The Sound of Music)

13
 Posture
Good posture equates to comfortable playing and a good sound. Follow these steps to achieve
excellent posture on horn.

1. Begin standing in front of

your chair. Feet are shoul-
der-width apart. If you take
two fists between the
arches of your feet, that is
about the width of your
shoulders!
2. Slowly sit back on the front
edge of the chair. Shoul-
ders stack on top of hips.
Back should not be touch-
ing the back of the chair.
Chin is parallel to the floor
with hands on thighs. Gaze
is relaxed and forward.

3. If seated properly, you

should be able to stand
back up without having to
readjust body or feet!

14
 Breathing
The secret to a deep breath? YAWNING! When you yawn, three things happen: you drop your jaw, it
opens your throat, and it fills your entire lungs. Here are some exercises to test out these concepts.

Simple Breathing Sip, Sip!

Yawn first to get the feel of the 1. Breathe in for 4 beats, filling
open mouth, open throat, and a up as much as you can, hold
full intake of air, and then try the your breath for 2, take in 2 sips
following exercise: of air, then breathe out for 2. If
you were able to take in those
1. Breathe in for 4 beats, out for
2 sips easily, you did not take
4 beats.
in enough air to begin with!
2. Breathe in for 4, out for 8.
2. When you take in air during the
3. Breathe in for 2, out for 6. first 4 beats, fill up your lungs
4. Breathe in for 2, out for 12. as if you were yawning, and
repeat the exercise. The sips
5. Breathe in for 1, out for 16
should be a little more difficult
to take in.

Use these deep breathing techniques when you later learn to buzz and play on your horn! When you breathe relaxed and deeply it
allows for a effortless and open sound.

15
 Embouchure Development
Free Playing:
Playing without the mouthpiece

1. Sit up tall with 2. Lick your lips. Make

good posture. sure they’re moist!

3. Say “Emmmm” and 4. Take a deep breath

freeze! Lips should in through the
be closed and mouth, say “em”
slightly folded and exhale a steady
with teeth slightly and consistent
separated. Practice stream of air
this concept a few through the center
times. Resetting the of the lips. Lips will
lips in-between naturally part in the
takes. center.

16
 Embouchure Development
Mouthpiece Playing:
Playing with the mouthpiece

1. Sit up tall with 2. Lick your lips. 3. Hold the mouth 4. Center the edge of
good posture. Make sure they’re piece from the the cup to the
moist! shank with your edge of your lip
thumb, index and where it meets
middle finger with your skin.
the cup of the
facing up.

Shank Cup

5. Fold the mouth 6. Inhale through the corners of the

piece up over the lips, say “em” and exhale a steady
top lip so the cup air stream through the shank, allow-
covers both lips. ing the lips to naturally part. If a
The top lip should consistent vibration occurs, great!
cover 75% of the If a consistent stream of air is heard
cup and bottom lip that is okay too as long as the em-
25%. bouchure placement is correct.

17
 Articulation
Articulation refers to the way horn players use their tongue (or not) as part of musical phrasing.
Tonguing is a musical technique that involves interruption of the air stream by moving the tongue .

How to Tongue:

TUESDAY
TOMORROW
TACOS
TEXAS
TURKEY
1. Say “TOO,” and no-
tice how the tip of
the tongue natural- 2. Transition from say- 3. Transition from whisper-
ly points behind the ing “TOO” to whis- ing “TOO” to just using
back of the top pering it. Continue air alone. No audible
teeth. Practice this to feel the tip of the sound should be heard
with a variety of tongue touch the with the exception of
words that begin back of the top air flow and the
with the letter “T.” teeth. “T”sound at the front of
each “TOO.” Air should
be continuous from one
“TOO” to the next. The
tongue energizes the
sound.

Step-by-step tonging instruction

available online!

5. Use the audio re-

4. Apply the concept cordings for addi-
to the mouthpiece. tional assistance
Set the mouthpiece and for echoing ex-
on your embou- ercises. All notes
chure and go re- should energized
peat steps 1-3. by the tongue!

18
 Parts of the French Horn

Bell

Second Slide

First Slide

F Slide
Third Slide

Main Slide

First Rotary Valve

Mouthpiece

Fourth Rotary Valve

Leadpipe
Third Rotary Valve

Second Rotary Valve Trigger valve

First lever
Third lever
Pinky Rest Second lever

19
 Instrument Assembly

1. When assembling the French 2. Open the case and take out the
horn, ALWAYS open the case on mouthpiece. Place your left hand
the floor—never on your lap or around the bell and your right
on a chair! Before opening the hand on the lead pipe.
case, make sure the case is fac-
ing up. This can often be indicat-
ed by the brand label facing up
or the latches facing right side
up.

3. With both hands on the horn, 4. Place the shank of the mouth-
lift the horn directly UP from piece into the lead pipe and
the case and gently turn it gently twist it a quarter clock
to your lap so the bell is facing turn. The mouthpiece should
your right. be in the lead pipe firmly
enough that it doesn’t easily
fall out but not too tight that it
gets stuck!

20
 Hand Placement & Horn Position
Left Hand: Right Hand:

1. Cup your right hand

slightly as if you were
to shake someone’s
Place your left thumb hand. Fingers are to- 2. Thinking of your
inside the thumb ring gether with thumb bell as a clock,
with fingertips resting resting on index fin- place the back
on the valves. Left ger. of your right
pinky should rest inside hand on 2:00 on
the pinky rest. the inside edge
of the bell. The
hand should be
completely in-
serted to the
second thumb
Horn Position: joint.

1. Keeping your left 2. Bring the 6:00 side of 3. Bring the mouth-
and right hand in po- the bell to the top of piece to your lips.
sition, sit up tall with the right knee. Some adjustment of
good posture. the bell placement
may need to occur
for this to feel com-
fortable.

21
 Horn Position Pitfalls & Solutions

X X
Keep head straight and fac- Allow shoulders and elbows
ing forward. Chin stays par- to stay relaxed. A relaxed
allel to the ground. Main- body equates to relaxed
tain good posture and bring playing.
the mouthpiece to you.

  

If the mouthpiece is If the mouthpiece is If it is more com-

TOO LOW, prop the TOO HIGH, bring the fortable, try sit-
right leg up on your right leg back to low- ting on the right
chair leg to elevate er the horn. corner of the
the horn. chair. This allows
for more space
for playing.

22
 Supply Check
It is recommend to have the following supplies on hand in your case in order to be successful in your
horn playing. As you continue though this book, we will be referencing these materials. These items
can be purchased online or at your local music store.

Rotor Oil
Helps keep rotary valves lubricated so
they don’t freeze or get stuck.

Slide Grease
Thicker lubricant that keeps slides air-
tight and moving smoothly.

Berp
Helps develop proper breath support by blowing into re-
sistance, letting you buzz your mouthpiece while you
hold your instrument in the normal playing position.

Mouthpiece Brush
Brushes out plaque buildup in the mouthpiece.
Important part of a good instrument hygiene
regimen!

Metronome Tuner
A metronome is a practice tool that produces a
steady pulse (or beat) to help musicians play rhythms
accurately. A tuner detects and displays the pitch of
musical notes played and whether a pitch is lower,
higher, or equal to the desired pitch. A Metronome
Tuner allows you to use both tools simultaneously.

23
 Horn Maintenance
Applying Slide Grease:

1. Pull out each 2. Apply a line of

slide one-at-a slide grease
time, wipe down the un-
them clean lacquered part
with a soft of the slide.
cloth.

3. Work one side 4. Carefully in-

of the slide at sert them
a time to even- back into the
ly distribute French horn.
grease.

24
 Horn Maintenance
Lubricating Rotary Valves:

1. Pull out each 2. Carefully in- 3. Remove the ro-

slide one- at-a- sert the slide tor valve caps
time, and in- back into the one-at-a-time.
sert 2-3 drops horn. Press the Place a drop of
of rotary oil valve of the oil in the center
into the slide. corresponding of the valves.
slide to work Replace the
the rotary oil valve cap and
into the rotary gently tighten
valve. down. Press
the valve of the
corresponding
rotor to work
the rotary oil
into the rotary
valve.

4. Place a drop of
oil in the seam
in the small
gap between
the stationary
valve plate
and the turn-
ing rotor post.

25
 Horn Maintenance
Restringing Rotary Valves:

1. Cut yourself a 2. Loosen the 3. Pull the new 4. Pull the string
piece of nylon two small string through up and over the
string—about string screws the bottom hole large rotor
6 inches—and and remove the in the arm, screw and
tie a knot old string. leaving the knot down the other
close to one on the opposite side.
end. side of the ro-
tor.

5. Loop the string 6. Lightly tighten 7. Bring the end of the 8. Loop the string
around the the screw. string back toward around the screw at
small string the arm and the top of the arm, be-
screw, bring- through the arm’s ing sure to keep the
ing the end out top hole, being sure end of the string
underneath. to stay underneath passing under. Hold
when passing the tense and lightly
string that goes up tighten this string
Restring rotary valves one at a time so you
can use the older rotary valves as guides around the rotor screw.
while restringing! screw.

26
 Emptying Water from the French Horn
When playing the French horn, condensation will accumulate causing a bubbling sound when playing.
Learning to empty water from your horn is important in instrument maintenance.

1. Remove tuning slide and F 2. Pressing down on all four

slide. Place them some- valves, cross right arm
where safe (i.e. in your over left and turn horn
case or on a flat surface). clockwise until water emp-
ties from the bell.

3. Release valves and rotate 4. Reattach the tuning slide

the horn counter and F slide and turn the
clockwise until the water horn clock wise and coun-
empties from the leadpipe. ter clockwise once to
empty any remaining
water.

NOT ALL HORNS ARE CREATED EQUAL!

The methods to emptying water vary based on the wrap of the
individual horn. Talk to your horn instructor first to understand
which method is best for your horn!

27
28
Let’s Play!

29
30
 Lip Slurs
Our lips are a muscle, and an important one when it comes to playing horn. In the same way a football
player lifts weights, we have to keep our embouchures conditioned, too. We are using our lips to do
something they were never designed to do. The idea behind lip slurs is simple: change notes without
changing fingerings, relying on our lips and air to do the work. Lip slur exercises are like a multivita-
min—they’re good for us and should be taken (played) everyday! Follow the exercises below starting
with mouthpiece on berp and eventually on the full instrument. Use the audio recording provided to
match the tone quality, note length, and articulation of playing.
Descending 5’s

Ascending 5’s

Horseshoe 5’s

Rainbow 5’s

8-5-1’s

8-5-1’s Extended

All of these exercises are played on the F side of the

horn—don’t press down on the trigger valve!

31
 1. THE FIRST NOTE

G
2. COUNT AND PLAY

Count: 1 2 3 4 (1) (2) (3) (4) 1 2 3 4 (1) (2) (3) (4)

Tap: ↓↑ ↓↑ ↓↑ ↓↑ ↓↑ ↓↑ ↓↑ ↓↑ ↓↑ ↓↑ ↓↑ ↓↑ ↓↑ ↓↑ ↓↑ ↓↑

3. A NEW NOTE

F
The black circles tell you which valves to push down. “F” is played with 1st valve.

4. TWO’S A TEAM

Count & Tap: 1 2 3 4 (1) (2) (3) (4) 1 2 3 4 (1) (2) (3) (4)

5. HEADING DOWN

E
BE STILL! Keep your mouthpiece on your face until you reach the double bar line.

32
6. MOVING ON UP

Count & Tap: 1 2 3 4 1 (2) (3) (4) 1 2 3 4 1 (2) (3) (4)

7. THE LONG HAUL

D
8. FOUR BY FOUR

9. TOUCHDOWN

C
10. THE FAB FIVE

11. FIRST FLIGHT

Watch out for that new symbol at the end of the exercise. If you forgot what it means, go back to page
11 for review!

33
 12. HORN QUIZ
Write in the note names beneath each note (including rests), sing the line using
note names, then play along.

13. ROLLING ALONG

Reading music is a lot like reading a book. Keep reading to the next line until you reach the double bar.

14. RHYTHM RAP

Count, tongue, buzz, then play on G. Watch out for the repeat sign!

15. THE HALF COUNTS

16. HOT CROSS BUNS

Try this song with your mouthpiece only, focusing on trying to
match pitch. Then play it on your horn.

34
17. GO TELL AUNT RHODIE American Folk Song

18. EAR TRAINING

Use the audio recording and rhythm guide provided to write out the music!

BREATH MARK ‘ Take a deep breath through your mouth after you play a full
length note.

19. THE WHOLE THING

20. SPLIT DECISION—DUET

A

The audio recording for this song plays both the top and bottom line separately. If you don’t have a partner to play with, play along
with the recording!

21. MARCH STEPS

35
 22. LIGHTLY ROW

A FERMATA Hold the note or rest longer than normal.

T
23. REACHING HIGHER

On your fingering chart T = Add the trigger valve. Make sure you have it pressed for the entire time
you’re playing the note

24. AU CLAIRE DE LA LUNE French Folk Song

25. REMIX

26. LONDON BRIDGE—DUET English Folk Song

36
27. A MOZART MELODY Adaptation

28. HIGH OR LOW?

Listen to the audio recording provided. For each pitch interval, circle whether the second pitch
is higher ↑ or lower ↓ than the first. Check your answers at the bottom of the page.

1. ↑ ↓ 2. ↑ ↓ 3. ↑ ↓ 4. ↑ ↓ 5. ↑ ↓ 6. ↑ ↓

B Count  Sing note names in rhythm  Air tongue  Play!

29. DEEP POCKETS

30. DOODLE ALL DAY

31. JUMP ROPE

Continue to tap your toe to the quarter note pulse. Tapping your toe helps internalize the pulse of the music so you play at a
steady speed through the entire exercise.

1. ↑ 2. ↑ 3. ↓ 4. ↑ 5. ↓ 6. ↓

29 Answers:

37
 PICK-UP NOTES One or more notes that come before the first full measure. The beats of pick
-up notes are subtracted from the last measure.

32. REACHING HIGHER—NEW NOTE

4 1— 3 4

DYNAMICS f = forte (full sound with lots of air)

mf = mezzo forte (medium full sound with regular air)
p = piano (soft sound with less air)

33. FULL AND SOFT

Air tongue, changing your air volume with each dynamic change, then play on G.

34. JINGLE BELLS

Play on your mouthpiece first and try to match pitch. J.S. Pierpont

35. MY DREYDL
Watch for the pick up note and take full breaths to support all dynamic changes.
Traditional Hanukkah Song

38
 EIGHTH NOTES Each eighth note = 1/2 beat

1 + 2 Eighth notes = 1 beat

36. EIGHTH NOTE JAM

Count: 1 + 2 + 3 4 1 + 2 + 3 (4) 1 + 2 3 + 4 1 + 2 + 3 (4)

37. SKIP TO MY LOU American Folk Song

38. LONG, LONG AGO

39. OH, SUSANANA Stephen Collins Foster

40. HORN QUIZ

First sing through the pitches and finger along then play. Check how you did with
the audio recording! Hint: Your first pitch is the same as the last pitch in #39.

Gioacchino Rossini

When learning this exercise, first practice with counting. There is a pick up measure so start your counting on 4 +.

39
 41. RHYTHM RAP

Count: 1 2 1 2 1 + 2 + 1 2 + (1) 2 + 1 + (2) 1 + 2 + 1 2

42. TWO BY TWO

43. HIGH SCHOOL CADETS—MARCH John Philip Sousa

A
44. HEY, HO! NOBODY’S HOME

DYNAMICS
Crescendo (gradually fuller) Decrescendo (gradually softer)

45. AIR TONGUE THE DYNAMICS

When you crescendo, gradually increasing your air stream. To decrescendo, gradually decrease your
airstream.

40
46. PLAY THE DYNAMICS

FLAT A flat sign lowers the pitch of a note by a half step. The note B-flat sounds a half
step lower than B, and all B’s become B-flats for the rest of the measure where they occur.

Bb
47. SWEET AND LOW

48. MAJESTIC MARCH

Bb
T

49. HIGH FLYER

During a breath mark, breathe in time with the music.

41
 KEY SIGNATURE The key signature tells us which notes to play with sharps
(#) or flats (b) throughout the music.

50. ALOHA OE Queen Liliuokalani, Hawaii

51. AMERICAN FOLK SONG William Billings

C
T
52. HIGH SEAS

Use your air to have the notes touch. Eighth notes should be long and connected like any other note!

53. MARIANNE Jamaican Folk Song

42
54. BILL GROGAN’S GOAT American Folk Song

Breathe in time with the rests. This will help your counting and sense of pulse!

D A French horn is like a car and requires regular maintenance. Turn to page
24 to understand how to maintain proper care of your horn.

55. HI-DEE-HO

56. THE GREAT GATE OF KIEV—DUET Modeste Moussorgsky

43
 Performance Warm-Ups
Warm-ups are exercises that help us prepare physically to play our best. They also help us be mentally
aware of the musical elements we need to execute as we play the instrument. Below are warm-ups
that can be incorporated everyday before playing your horn.

TONE BUILDER

Take a relaxed breath at the beginning of each quarter note measure. Notes should connect and touch the rests.

RHYTHM ETUDE

CHORALE

You might notice a bubbling sound in your horn after playing a while. That means there is condensation build up in your valves that
needs to be released. Turn to page 27 to learn how to empty it!

44
57. AURA LEE—DUET
Part A = Melody, Part B = Harmony
George R. Poulton

58. FRÈRE JACQUES—ROUND

When group A reaches ②, group B begins at ①.
French Folk Song

Ludwig van Beethoven

59. ODE TO JOY (FROM SYMPHONY NO. 9) Arr. by John Higgins

45
 60. HARD ROCK BLUES—ENCORE John Higgins

TIE A curved line connecting notes of the same pitch. Play one note for the
combined counts of the tied notes.

61. FIT TO BE TIED

62. ALOUETTE French-Canadian Folk Song

1——— 4 1—- 2—-

DOTTED HALF NOTE A dot adds half the value of the note.

63. ALOUETTE—THE SEQUEL French-Canadian Folk Song

64. CAMPTOWN RACES Stephen Collins Foster

46
65. NEW DIRECTIONS

When playing high notes, keep the embouchure relaxed. Avoid tension or pinching!

66. THE NOBLES

67. FADING AWAY

68. RHYTHM RAP

1 2 3 1 (2) 3 1 2 + 3 + 1 (2) (3) 1 2 + 3 1 2+ 3 1 + 2 3 1———-

69. THREE BEAT JAM

1 2 3 1 (2) 3 1 2 + 3 + 1 (2) (3) 1 2 + 3 1 2 + 3 1 + 2 3 1———-

70. BARCAROLLE Jacques Offenbach

71. MORNING (FROM PEER GYNT) Edvard Grieg

47
 ACCENT An accent adds special
emphasis to a note.

72. ACCENT YOUR TALENT

When accenting on horn, tongue firmly and add more air to the front of the note. Practice air tonguing this exercise then play it
on G!

73. MEXICAN CLAPPING SONG (“CHIAPANCECAS”) Latin American Folk Song

SLUR A curved line which connects notes of different pitches.

Tongue on the first note in a slur.

74. INTERVAL STUDY

Focus on making the second note in each slur sound stronger than the first note.

Eb ACCIDENTAL Any sharp, flat or natural sign which appears in the

music without being in the key signature is call an accidental.

75. HOT MUFFINS

48
76. COSSACK DANCE

Eb
T
77. BASIC BLUES

1st & 2nd Endings Play through the 1st ending.

Then play the repeated section
of music, skipping the 1st ending and playing the 2nd ending.

78. HIGH FLYING

79. UP ON THE HOUSETOP

80. JOLLY OLD ST. NICK—DUET

49
 F Don’t pinch the embouchure! There should never be tension when playing. The higher the note, the faster the
T air speed.

81. THE BIG AIRSTREAM

82. WALTZ THEME (THE MERRY WIDOW WALTZ) Franz Lehar

83. AIR TIME

84. HOW GOOD IS YOUR EAR?

Use the audio recording to get your first pitch. Go through your playing checklist and
try your best to play. Play along with the second recording to see how well you did!

85. DOWN BY THE STATION

50
 TONE & TECHNIQUE WORKOUTS
These exercises are great additions to Performance Warm-Ups as part of a regular warm-up routine.

TONE BUILDER

When playing, think about pushing your air through the notes all the way to the breath mark. Connect the notes using your air.

RHYTHM BUILDER

TECHNIQUE TRAX

CHORALE (Adapted from Cantata 147) Johann Sebastian Bach

Take a big breath in time with the music after the first fermata.

51
 86. VARIATIONS ON A FAMILIAR THEME

D.C. al Fine At the D.C. al Fine play again from the beginning, stopping at the Fine.
D.C. is the abbreviation for Da Capo, or “to the beginning,”
and Fine means “the end.”

87. BANANA BOAT SONG Caribbean Folk Song

B NATURAL A natural sign cancels a flat (b) or sharp (#) and remains in
effect for the rest of the measure.
T

88. RAZOR’S EDGE

89. THE MUSIC BOX

52
90. EZEKIEL SAW THE WHEEL African-American Spiritual

91. SMOOTH OPERATOR

92. GLIDING ALONG

93. TROMBONE RAG

94. LISTEN AND PLAY

Listen to the audio recording and finger and air tongue along.
After, see how accurate you pitch centers can be on your own.

E
T Set your metronome tuner to a F drone and practice going back and forth between high F and E to center
your tone.

95. TAKE THE LEAD

53
 96. THE COLD WIND

97. PHRASEOLOGY

Remember to only tongue the first note of slurs! The notes that follow under the slur are connected with air.

Multiple Measure Rest The number above the staff tells you
how many full measures to rest. Count
each measure of the rest in sequence.

98. SATIN LATIN

1234 2234

Johann Sebastian Bach

99. MINUET—DUET
A

100. NATURALLY

54
101. MARCH MILITAIRE Franz Schubert

Ab
T

102. THE FLAT ZONE

103. ON TOP OF OLD SMOKEY American Folk Song

104. BOTTOM BASS BOOGIE—DUET

55
 DOTTED QUARTER NOTE
A dot adds half the value of a quarter note. = 1+2

105. RHYTHM RAP

Count  Air tongue  Play!

1 2 + 3———-- 1———— + 3———— 1——— + 3———— 1———- + 3————

106. THE DOT ALWAYS COUNTS

1 2 + 3——-- 1———— + 3——— 1——— + 3———— 1———- + 3————

107. ALL THROUGH THE NIGHT

108. SEA CHANTY English Folk Song

109. SCARBOROUGH FAIR English Folk Song

56
 SCALE STUDIES
HORN KEY OF F (CONCERT Bb)

HORN KEY OF Bb (CONCERT Eb)

HORN KEY OF C (CONCERT F)

57
58
Resources

59
60
 Recommended Horn Players
When practicing horn it is important to listen to other musicians who play with a characteristic horn
sound to help develop a good ear and tonal concept. Below are a list of recommended horn players to
listen to.

Dennis Brain Dale Clevenger Phillip Myers

William Caballero John Cerminaro Gail Williams
Chris Castellanos Hermann Baumann Eric Ruske
Randek Baborek Lowell Greer William VerMeulen

Recommended Double Horns

CONN 6D
MSRP $3299.00 at [Link]
• Brass. Compact and light
• Durable
• Has a tendency to play below pitch center
• Very acceptable for beginners

CONN 8D
MSRP $4349.00—$4559.00 at [Link]
• Nickel silver large bore horn - Typically
darker sound with less defined grooves
for the notes
• Requires more air control and more
strength to play
• Heavier than other brands
• Very durable

61
 Recommended Double Horns

Yamaha YHR-667VL
MSRP $7636.99.00 at [Link]
• Considered a professional horn
• Free blowing
• Excellent response and pitch adjustability
• Valves and slides are fussy and need to be
maintained daily with valve oil
• Designed to be played in the US and in EU
• Very thin metal, not durable

Yamaha YHR-668NII
MSRP $4469.99 at [Link]
• A little heavier than the Yamaha 667
• Thin and not durable metal
• Has a quick response

Holton H179 Farkas Series

MSRP $4349.00 at [Link]
• Nickel silver with bad finish
• Valves are mediocre because they are poorly designed
They do not stop bending when the valve is open
• Smaller wrap and therefore lighter
• No pitch bends in the harmonics
• Less durable than Conns, but more durable than Yamahas
• Plays above pitch center
• Acceptable for beginners, and definitely better than a single
horn

62
 Recommended Mouthpieces
Generally, beginners will have thinner, smaller lips , so smaller rims, smaller inner cup diameters,
moderate cup shape and depth, moderate bore size and a moderate backbore contour will allow them
sufficient ease of playing and flexibility.

Yamaha 30C4
MSRP $34.99 at [Link]
• Easy response
• Good balance between endurance and flexibility (moderate rim contour)
• About halfway point between dark and bright tone qualities

Schilke 30 Silver
MSRP $56.00 at [Link]
• Easy response
• Produces darker tone sooner
• Good balance between endurance and flexibility (moderate rim contour)

Stork C8
MSRP $60.99 at [Link]
• Easy response
• More direct sound (straighter cup shape)
• Good flexibility (flatter rim)

Holton MDC (Medium-Deep Cup)

MSRP $59.00 at [Link]
• Easy response across the entire range
• More direct sound (straighter cup shape)
• Small diameter for smaller lips

63
 Continuing Method Books
Kopprasch: 60 Selected Studies by G. Kopprasch
MSRP $11.95 at [Link]
• Contains etudes that may be used for TMEA All-State French horn music
• Technical studies
• Lyrical studies

H. Kling: 40 Characteristic Etudes for French Horn

by H. Kling
MSRP $10.95 at [Link]
• Contains etudes that may be used for TMEA All-State French horn tech-
nical audition music

Grand Theoretical and Practical Method

for the Valve Horn by Josef Schantl
MSRP $15.00 at [Link]
• Scales and arpeggios in every key
• Interval exercises in various keys

Parès Scales by Gabriel Parès

MSRP $6.50 at [Link]
• Scales and arpeggios in various keys

335 Selected Melodius, Progressive, and Technical

Studies for French Horn by Max P. Pottag and Albert J.
Andraud
MSRP $30.00 at [Link]
• Contains etudes that may be used for TMEA All-State French horn music
• Technical studies
• Lyrical studies
• 2 volumes

64
 Continuing Method Books
Melodious Etudes for Trombone by Joannes Rochut
MSRP $16.35 at [Link]
• Used for lyrical playing and phrasing
• Great for bass clef instruction

Deux cents Études Nouvelles Mélodiques et

Progressives pour Cor by Maxime-Alphonse
MSRP $26.60-$37.35 at [Link]
• Includes lyrical and technical studies
• Beginner to virtuoso level studies
• 6 volumes of varying difficulty

The Breathing Book by David Nesmith

MSRP $19.99 at [Link]
• Rigorous book for diagnosing and fixing breathing issues

Flow Studies by Nancy Sullivan

MSRP $19.99 at [Link]
• Studies emphasizing breath control

The Art of French Horn Playing by Philip Farkas

MSRP $18.99 at [Link]
• The essential French horn technique book
• The French horn “Bible”
• Covers 99% of all horn techniques
• Directs proper embouchure development

65
 Fingering Chart
= Open
= Pressed down
T = Trigger valve

T T T T T T

T T T T T

T T T T T T

66
 Works Cited
Benzer, John. “French Horn.” John Benzer, [Link]/downloads/
French_Horn.pdf.

Connell, Kelly, and Mark Collado. “Recording Session with Mark Collado.” 26 July 2019.

“French Horn Range.” The Wagner Tuba, [Link]/brass-section-

overview/french-horn-introduction/french-horn-range/.

Hauser, Eric. Foundation to French Horn Playing. Fischer, 1927.

Horner, Anton. Primary Studies for the French Horn. Elkan-Vogel, Inc, 1939.

“How Do I Lubricate My French Horn?” Houghton Horns, 19 Jan. 2018, houghton-

[Link]/how-do-i-lubricate-my-french-horn/.

Lautzenheiser, Tim. Essential Elements 2000: Comprehensive Band Method. Hal Leon-
ard, 1999.

McKeown, Andy. “Understanding French Horns | A Beginners Guide.” Normans Musical

Instruments, 28 Oct. 20113, [Link]/blog/2013/10/french-horns/.

O'Reilly, John, and Mark Williams. Accent on Achievement. Alfred, 1997.

Partlow, Rebecca. “French Horn Intro Packet.” Warren County Schools,

[Link]/userfiles/1588/Classes/8748/French%20Horn%
[Link].

Pilafian, Sam, and Patrick Sheridan. The Breathing Gym: Exercises to Improve Breath
Control and Airflow ; Focus on Music, 2011.

Schmidt-Jones, Catherine. Understanding Your French Horn. C O N N E X I O N S, 2013,

Understanding Your French Horn.

Williams, Richard, et al. The Complete Instrument Reference Guide for Band Directors:
Conductor's Manual. Neil A. Kjos Music, 2001.

67
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American Band College

407 Terrace Street
Ashland, Oregon 97520