Ultimate Horn Technique

Exercises from 19th-Century Masters to Develop Finger

Technique, Range, Transposition, Characteristic Playing, Intonation, and Double and Triple Tonguing

Edited by

John Ericson

Horn Notes Edition �

Contents

Preface ���

Exercises CMajor 1 AM�nor 4 FMajor 5 DM�nor 8 GMajor 9 EM�nor 12 BbMajor 14 GM�nor 18 DMajor 19 BM�nor 22 EbMajor 23 CM�nor 27 AMajor 28 F#M�nor 32 AbMajor 33 FM�nor 36 EMajor 37 C#M�nor 41 DbMajor 42 BbM�nor 44 BMajor 45 G#M�nor 49 F#Major 50 EbM�nor 54 Appendix:StudiesforIntonation 55 AbouttheAuthors 79 AbouttheEditor 80

Horn Notes Edition ���

Preface

Dur�ngmyresearch�ntotheh�storyofthehorn�nthen�neteenthcenturyIfoundhornmethodbookstobepart�cularly�nterest�ngresources.Manyhornmethodswerepubl�shed�nth�sper�od;eachoneprov�desaw�ndow�ntotheteach�ngofamaster,present�ngacomb�nat�onofoldandnew�deas�nthemannerthattheauthorthoughtwouldbepract�calandeffect�ve.

Now,afterovertwentyyearsofteach�ngatthecollegelevel,�t�sevenclearertomethatmanyofthemater�alspresented�nthesemethodsaret�melessandveryeffect�vebutarealsorarelyusedbymodernhornteachers.Toanextentth�s�safunct�onofpackag�ng,and,tobefa�r,manyofthemater�als�ntheoldmethodbooks(espec�allythetexts)aredatedtosuchanextentthat�tl�m�tsthe�rusefulnessasor�g�nallypubl�shed.

Inth�spubl�cat�onIhaveattemptedtoorgan�zepract�caltechn�calmater�alsfromthebestofthesemethods�namannerthatw�lladdresstheneedsofmodernhorn�sts.Mostexerc�sesarepresentedexactlyasor�g�nallyconce�vedbytheauthors.Mater�alsarearrangedbykey;eachkey�ncludesun�queandlargelynon-repet�t�vevers�onsofeachscalefromthemethodsofGallay,Kl�ng,andMe�fred,arpegg�osfromtheMe�fredmethod,ashortcharacter�st�cstudy�neachmajorkeybyMe�fred,andothertechn�calmater�als.Thesetechn�calmater�alsarepr�mar�lyexerc�sestobetransposed�ntoallofthecommonlyencounteredkeys,takenfromthehornmethodsofDauprat,Gallay,andKl�ng(theexerc�sesbyDaupratandGallayareexcellentonestoalsoplayonnaturalhorn),w�thalsoafewshortcharacter�st�cetudesbySchantl.Asthetop�cofdoubleandtr�pletongu�ngwasnotaddressed�nanyhornmethod,exerc�sesfromthecornetmethodofArbanare�ntegrated�ntotheflowofstud�es;mostofthesehavebeentransposed�ntokeysmoresu�tedtothehorn.F�nally,exerc�sesfordevelopmentof�ntonat�onare�ncluded�ntheappend�x,takenfromthemethodsofGumpertandKl�ng.

Myhopew�thth�spubl�cat�on�stocreateabookthat“does�tall,”prov�d�ngaClass�ctra�n�ng�ntechn�quethat,whenmastered,w�llopendoorstonewlevelsofsuccessfulperformanceforanyhornplayer.

Wh�lemanyelementsoftechn�queareaddressed�nth�svolume,�ntheend,theb�g,underly�ngtop�c�s�nfactaccuracy.Weallhatem�ss�ngnotes.Conductorstendtoth�nkyouarem�ss�ngnotesbecauseyouarenotfocusedenough,asthough�twereonlyamentalth�ngand�fyouhadyour“�nnergame”downyouwouldnotbem�ss�ngnotes.That�sapartof�t,butbes�desthe�nnergamefrommyperspect�veasahornteacherIseethreepr�maryreasonswhyhornplayersm�ssnotes.

1.You can’t hear what note you are aiming for.Ifyoucan’thear�ns�deyourheadwhatyouaretry�ngtoplay,youcan’trel�ablyh�t�t.Mag�cw�llnothappen.

Horn Notes Edition 1Copyr�ght2011HornNotesEd�t�onLLC

Ultimate Horn Technique2

Horn Notes Edition 3

Ultimate Horn Technique4

Horn Notes Edition 55

Horn Notes Edition 79

AbouttheAuthors

TheGrande méthode complète pour cornet à pistons et de saxhornbyJosephJeanBaptistLaurentArban(1825–1889)waspubl�shed�nPar�s�n1864.Atthet�meheservedasprofessorofsaxhornattheÉcole Militaire,and�n1869hebecameprofessorofcornetatthePar�sConservatory.Theexerc�sesexcerptedherehavebeentransposed�ntokeysbettersu�tedtothehorn.

Oneofthegreatesthornteachersofthen�neteenthcenturywasLouis-FrançoisDauprat(1787-1868),whoservedasprofessorofhornatthePar�sConservatoryfrom1816unt�l1842.H�smonumentalthree-volumeMéthode de Cor alto et Cor basse,publ�shed�n1824,wascalledbyMorley-Pegge“�ncomparablythegreatestd�dact�cworkeverpubl�shedonthehorn.”

Jacques-FrançoisGallay(1795-1864)stud�edw�thDaupratatthePar�sConservatorywherehewasawardedthef�rstpr�zeforhorn�n1821.GallayalsosucceededDaupratattheConservatory,serv�ngonthefacultyfrom1842unt�lh�sdeath.Inadd�t�ontothecompos�t�onofalargenumberofsoloworks,ensembleworks,andetudes,h�sMéthode pour le Corwaspubl�shedca.1845.

Perhapsthemost�mportantGermanvalvedhornperformerandteacherofthelaten�neteenthcenturywasFriedrichGumpert(1841-1906).HeservedasprofessorattheLe�pz�gConservatoryandaspr�nc�palhorn�stoftheGewandhausOrchestrafrom1864unt�l1898.H�sHorn-Schulewaspubl�shedca.1879.Allofh�spubl�cat�onsspellh�snameasGumbert,�nclud�ngthemostcommonlyuseded�t�onoftheKoppraschetudes.

HenriKling(1842-1918)wasborn�nPar�sbutspentmostofh�scareer�nGeneva,wherehewasprofessorofhornandsolfègeattheGenevaConservatoryfrom1865unt�lh�sdeath.Kl�ngwasamanofw�de�nterests,wh�ch�ncludedcompos�t�onandconduct�ng.H�sHorn-Schulewas,accord�ngtoh�sob�tuary,f�rstpubl�shed�n1865,andwentthroughatleastthreepubl�sheded�t�ons�nthen�neteenthcentury.

JosephMeifred(1791-1867)stud�edthenaturalhornw�thDaupratatthePar�sConservatory,wherehewasawardedthef�rstpr�zeforhorn�n1818.In1833theConservatory�nst�tutedavalvedhornclassw�thMe�fredasprofessor;heheldth�spos�t�onunt�lh�sret�rement�n1864.Me�fred’sMéthode pour le Cor Chromatique, ou à Pistons,publ�shed�n1840,wasthef�rstmethodforthevalvedhornwr�ttenbyamajorperformer.

TheGroße theortisch-praktische Horn-SchuleofthegreatV�ennesehorn�standteacherJosefSchantl(1842-1902)waspubl�shed�nfourvolumes�n1903.Thebestknowport�ontoday�sVolumeIII,wh�chwasrepr�nted�n1941�nabr�dgedformasPreparatory Melodies to Solo Work,ed�tedbyMaxP.Pottag;theexerc�sesexcerptedherearefound�ntheor�g�nalbutnotthePottagvers�on.