Dr.

Amy Laursen
University of South Dakota
adlaursen@gmail.com
Horn Warm-Up Session
Northwest College Brass Day - Fall 2017

Definition of a Warm-up:
“Preparing for physical exertion or a performance by exercising or practicing gently beforehand.”1

Purpose of a Warm-up:
- Ifor James and others - routine is a standard set of fixed exercises
- Barry Tuckwell stressed that the “warm up” will differ daily depending on the level of the player, time of day,
state of the embouchure, general health, and what is to be played today, tomorrow, next week, etc.2
- Thompson emphasized the importance of the individual coming up with his or her own routine

Author Suggested Purpose of the Warm up

Ifor James 1. aid in the vibration of the lip muscles
2. give flexibility through the range
3. increase security
4. coordination
5. stamina
6. concentration
7. relaxation
Phillip Farkas 1. awaken the embouchure
2. review fundamentals
3. highlight lip technique instead of finger technique
4. breathing
5. give flexibility in 3 octaves
6. tone
7. furnish as a practice session if on vacation and unable to practice
Douglas Hill 1. physical workout
2. coordination
3. aid in consistency
4. detect bad habits
5. build confidence
Milan Yancich 1. increase speed
2. coordination of fingers
3. tonguing
4. air control
5. lightness of sound
6. extension of range

Aspects of Warm-up may include (but are not limited to):

- Concentration Exercises - Scales and Arpeggios
- Lip Trills - Interval Studies
- Breathing - Dynamics
- Buzzing - Long Tones
- Tonguing Exercises (single and/or multiple) - Air Attack
- Flexibility Exercises using the Harmonic Series - Pitch Bending
- Tunes

*Borrow from other instruments (i.e. flute, tuba, trumpet, etc.)

** Take what works for you, get rid of the rest!!

“Warm up.” Oxford Dictionaries. April 2010. Oxford University Press. 1 May 2011. http://oxforddictionaries.com/view/entry/m_en_us1305102.
1

Barry Tuckwell, Playing the Horn, London: Oxford University Press, 1978: 30.
2
Berv, Harry. A Creative Approach to the French Horn . Bryn Mawr: Theodore Presser Company, 1977.

Boldin, James. “A Guide to Daily Routines.” The Horn Call, 2011: 47-52.

Clark, H.L. Technical Studies for the Cornet. New York: Carl Fischer, 1984.

Coscia, Silvio. Twelve Modern Studies; In Different Styles for French horn in F. New York: Baron Co., 1953.

Dufranse, Louis. Dufranse Rountine for Horn in F. Edited by Thomas Bacon. San Antonio: Southern Music Company,
2005.

Farkas, Phillip. The Art of French Horn Playing. Miami: Summy-Birchard Inc., 1956.

Hill, Douglas. Collected Thoughts on Teaching and Learning, Creativity, and Horn Performance. Miami: Warner Bros.
Publications, 2001.

James, Ifor. Warming Up. Editions Marc Reift, 1999.

LaMonaca, Caesar. Daily Studies for the Horn.

Lloyd, Frank. Lip Trill Exercise.

Lueba, Christopher. Scale Exercise and Intervals.

Moore, Mark. Fundamentals of Low Brass Playing.

Pilafian, Sam, and Patrick Sheridan. The Brass Gym: A Comprehensive Daily Workout for Brass Players. Focus on
Music, LLC, 2007.

Pottag, Max P. Daily Exercises for French Horn . New York: Belwin Publication, 1941.

Reynolds, Verne. The Horn Handbook. Portland: Amadeus Press, 1997.

Rider, Wendell. Real World Horn Playing. San Jose: Wendell Rider Publications, 2006.

Schuller, Gunther. Horn Technique. Oxford: Oxford University Press, 1962.

Singer, Joseph. Embourchure Building for French Horn. Edited by Richard E. Ballou. Long Island: Belwin, 1956.

Stamp, James. Warm-Ups and Studies. 9th edition. Vuarmarens: Editions BIM, 1978, 2005.

Standley, Forrest. Standley Routine for Horn in F. Edited by Gene Standley and H. Stephen Hager. San Antonio:
Southern Music Company, 2002.

Taffanel, Paul and Philippe Gaubert. 17 Daily Exercises. Paris: Alphonse Leduc, 1923.

Thompson, David. Daily Warm-up and Workout. Rock Hill: Thompson Edition, Inc., 1994.

Tuckwell, Barry. Playing the Horn. London: Oxford University Press, 1978.

Wekre, Froydis Ree. Thoughts on Playing the Horn Well.

Yancich, Milan. A Practical Guide to French Horn Playing. Altanta, Georgia: Wind Music Inc., 1971.
Long Tones/Turns - Pick one to do each day
a. James Stamp Warm-Up
b. Pilafian/Sheridan Smooth Air Warm-Up
c. Moore Turns
Stamp Warm-Up
˙
?4 œ œ œ ˙ œ
w
œ #˙ œ #œ #˙ œ
4 w

? bœ ˙ œ œ ˙ œ bw
œ ˙ œ œ #˙ œ w

? bœ b˙ œ bœ ˙ œ œ ˙ œ œ ˙ œ
bw w

? #œ #˙ œ #œ #˙ œ œ ˙ œ œ ˙ œ
#w w
etc.
Long Tones
Pilafian/Sheridan - The Brass Gym - Smooth Air Warm-Up
& 44 œ œ œ œ œ œ w # œ #œ #œ œ
œ œ œ #œ œ œ w
&
bœ œ œ œ œ œ œ œ bw œ
œ œ œ œ #œ œ œ w

&
bœ bœ œ bœ bœ œ œ œ bw œ œ œ œ œ œ œ œ w
œ
& ? œ œ œ œ œ œ œ w
#œ #œ
#œ #œ œ #œ œ œ #w

? œ œ œ #œ œ #œ œ œ w bœ bœ œ œ bœ œ œ œ bw

? œ œ œ œ #œ œ w bœ bœ œ bœ bœ œ œ œ bw
œ œ

? œ œ œ œ œ œ w
œ œ Continue descending by half steps until
the bottom of your range
 Moore, Turn Study - F Horn

" "  """" " "" " ""

& " ""  " " " " "" "  """" """ " " ""
" "" "" "  " 

#### " "  " " " " " "" " ""
& # " "  " " " " "" "  """" "
""" " " ""
"""" ""  " 
"
b " " " "  " " " " """ " " ""
&b " "  " "" "  " "" """
"  ""
" ""
"""" "" 
### " " " " " ""
"  " ""
& "  " """ """ "  " " " "
" "" " ""
" "  ""
"""" " " 
"
b bb " " " "  " " " " """ " " ""
& b ""  " " " "  " " " " ""
"  ""
" ""
"""" " " 
# " "  " " "" " " " " ""
&  " " " " " "  " " " " " ""
" " "" " " ""
" "
" "" "  " 
# ## # "
""  " "" """" ""
& # # "
"  " "" " "  " " " " "" "
"
"""" " " " "  "
" " ""


b " "  """" """ " ""

& "  """" " " "  " " " " ""
" "" " " ""
"""" ""  " 
#### "
""  " "" """" " ""
& "
"  " "" " "  """" "" "
" " "  " " ""
"""" " " 
b "
&bb " " ""  " "" """" " ""
" "  " "" "  """" "" " " " ""
"""" " " "  " 
# "  """" """" ""
& # "
"  " "" " " "
 "" " " " " " "
" " "  " " ""
"""" " " 
b "  """" """"
& b bbb " " "  """ " " " " " ""
" "  " "" " " " ""
"""" " " "  " 
Lip Slurs - Pick one or two to do each day
a. Horn Lips Slurs (I have no idea who I stole these from)
b. Moore Lip Slurs (Remington)
c. Frank Llyod Lip Trill Exercise

Moore - Tuba Lip Slurs

œœœœ œœœœœ œ œ œ œ œ œ# œ œ œ œ œ
? 44 ˙ ˙ Ó #˙ ˙ Ó

? ˙ bœ œ œ œ bœ œ œ œ œ œ Ó ˙ œœœœ œœœœœ œ Ó
b˙ ˙
continue through all

˙ œœœœ ˙ œœœœ ˙ œœœœ œœœœœ œ

valve combinations

? .. ˙ Ó .
&.
0-2-1-12-23-13-123

& .. ˙ œœœœ ˙ œœœœ ˙ œœœœ œœœœœœœœ œ œ

..
0-2-1-12-23-13-123 ˙
& .. œœœœ œœœœœœœœ œœœœœœœœ œœœœœ œ
Ó ..
˙
˙
0-2-1-12-23-13-123
Frank Lloyd - Lip Trill Exercise

0-2-1-12-23-13-123 for each

Scales Studies - Pick one or two to do each day

a. Clark Studies
b. Silvio Coscia Major and Relative Melodic Minor Scales
c. Moore Tuba Diatonic Scales
d. Taffanel/Gaubert #4 Flute Scales

Continue in all twelve keys

 Scales - Silvio Coscia
4 œ œ œ œ œ œ œ œ œ œ œ œ œ
&4 œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
, #œ #œ
C Major

œ œ œ œ
#œ œ
3

& œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ #œ
œ œœœœ a melodic
œœœ œœ
5

& œœœœ œ
œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ

œ b œ œ œ œ œ œ œ œ bœ œ
7

& œ œ œ œ œ œ œ œ œ œ
œ œ œ b œ bœ œ œ
,
FM

œ œ œ #œ
9

& œ œ œ
œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ

& œ œ bœ œ œ œ œ œ
11 dm

œ bœ œ œ œ œ bœ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
, œ b œ œ œ œ bœ œ œ œ bœ œ
œ œ bœ œ œ bœ œ œ
13 Continue in all twelve keys

& œ b œ œ œ bœ œ œ
bœ œ
Moore
BbM - Fundamentals of Low Brass Playing - Diatonic Scales
, œ œ #œ
œ b œ œ
15

& œ œ bœ œ œ œ œ œ œ œ œ œ #œ œ
bœ œ œ œ œ œ bœ œ œ œ
œ œ bœ œ œ gm
bœ œ œ œ
17

& bœ œ œ bœ œ
œ œ bœ œ œ œ œ œ œ œ œ œ œ bœ œ œ
,
b œ b œ œ œ bœ œ œ bœ bœ œ
19

& œ bœ œ œ œ bœ œ œ bœ
œ b œ b œ œ bœ œ œ
bœ œ
EbM

Continue in all twelve keys

 Flute Scale Pattern
Paul Taffanel and Philippe Gaubert

# # # # # # ####
T&G #4 from 17 Big Daily Exercises

4 # # # # # # # # # # # #### # # #
# #
& 4 # ###### ###### ##### # # #### ### # # ## # # #

# # # # # # # #### ########## ###

& # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # # ## # # # # &
# # # .

# # # # # # # ## # # ## # #
& # # ## # # ## # # # #
# # # # # # #
# # ## # # # U
# # # # # # # # # # ## # # #
& ## # # # # # # # #
##
#### # # # # # # # # # # ### # # # # # # # # # # # # ## #
& # # # # ## # # # # ## # # # # # ## # # # # ## # # ##
#
## # ## #
#
# # # # ### ### # ##### # # ####### # #
& # # # # ## # # ### ####### ####### # # ########( ### # &
# # # .
#### # # # # # # # (# # # (# # #
& # # # # (# # # (# # # # #
# # # # # #
#### # # ( # # # # # # # # U
& # # # # (# # # # (# # # #
# # # # # # # (# #

bb # # # # # # # # # ###### # # # ## # # # #####
& ### ###### ###### #### #### ### ## #
# # ### # #

b # ## # # ### ## #
&b # # # # # # ## ### ## #### ### # ## ### ### ### ### # ### &
# # # ### # ## ## # # # #  .

&b
b
# # # # # # # # # ## # # ## # #
# # # # # # # # ## # # ## # #
#
b # # ## # # # # U
&b # # # # # # ## # # # ## #
# # # # # # # # # #
##
 Flute Scale Pattern

### #### ## # #####

2
# # # # #
& # # # ######### # # ### #### #### ### #####
# #### ### # ##
# # #
### # ## ## ### ## # ## #
& # # # # # ## ## ## ## ## ## # # ## ## ## ## ## ### # # # # ###### ## # %
# ## # # # .
### # # # # # ## # # ## # #
& ## # # ## # # # # # #
# # # # # # #
# #
### # # # # # # # # #
U
& # # # # # ## # # # ## #
# # # # # # # #
# ## #

b # #### # ## # ### ##
& b bb
# # #
# ####### ## # # # ## ##### ##### ## ####
# # # ### ## # # ##
# # ##
bb
& b b ## # ## ### ####
### # # ### ### #### ## ### %
# ## # ##### ##### # # # # # #######n ## # # #
# .
b bbb # # # # # n# # # n# # #
& # # # #
# # # # # # # # n# # # n# # #
#
bbb # # n # # # # # U
& b # # #
# # # n# # # # n# #
# # # # # # # # # #
n#

# # # # # # ###### # # ##########
& ######### # # # # # ###
# # # #### ## ## # ### ## # #
#### #
# #
& ## ## ## # ### ##
## # ## ## ## ## ## ## ## # ## ## ## ## # %
# # # # ## # # # # # # # ### ### # # # # #
# .
# # ## # # ## # #
& # # # # # #
# # # # # # # ## # # ## # # # #
# #
# # # ## # U
& # #
# # # # # # # # #
## # ## # # # # # # #
# # # ## #
 Flute Scale Pattern

#########
3
bb ### ####### ####
& b b bb #
#
# ### #### # # # # # ####
# ######
## # ##### #
###
# # #
b ########
& b b b b b ## ###
#
### # ### ### ### ### # # # ### ### ## # ## # # # # ####n # # &
# ## ### ####
.
b
& b bbbb # # # # # # # n# # # n# # #
# # # # n# # # n# # # # #
# # # # #
bbb b # # n # # # # # U
b
& b # # # # # # n# # # # n# # # #
# # # # # # # #
n#

# #### # ## ## # # # #
&b #######
###
#### #### # # # # # # # ##
##### #### ### # # # ### ### ##

## #
& b # # ## # # # ## # # ## # # # # # # # ## # # ## # # # # # # # ## # # # # # # # #### # &
# ## ### #### ####
# .
&b # # # # # ## # # ## # #
# # # # # ## # # ## # # # # # #
# # # #
U
& b # # ## # # # # # # # # # # # # # ## # # # #
##
# # # # # # ## #

#### # # # # # ##
& # # ## # # # # # # ## # # # # # # # # ## #
# # ##### # # ### #### # # # ### ## # # # # ##
####
####
# ######## # &
& ### # ## # # # ##### ##### # # # # # # ####### # # # ###
# # # # # # # # # ## # # # # # #
.
##
& ## # # # # # # # ## # # ## # #
# # # # # # # ## # # ## # # # #
# #
#
## # # U
& # #
# # # # # # # # # #
# ## # # # ## # # #
# # # # # # # #
##
 Flute Scale Pattern
4
b ## ### # ## ### ## ###
&bb # ## ## # #
#
# ### # ### # # # # # # # #
# #### ### # # # # ## # # # ## #
####
b #
& b b ####### ####### # # ########### # ### &
# # # # # # # ## ## # # # # # ####
# ### #n # # #
#
# ## .
b
&bb # # # # n# # # n# # #
# # # n # # # n# # # # # # # #
# # # # # #
b U
& b b # # n# # # # # # # # # # # # #
n# # n# # # # # # # # # #
# n# #
##
& # ## ## # # # ## # # # ## #
#
# # ## ## # # # # # ## # ## # # # # # # # # ## ## # # # # # ## # #
#### ### ## #
##
& ########### ### &
# ## # # # # # ### ### # # # # # # # # # ##### # # # # # # # # # #
# ##### #####
## .
##
& # # # # # # # ## # # ## # #
# # # # # ## # # ## # # # #
# # # #
## U
& # # #
# # # # # # # #
# # # ## # # # ## #
# # # # # # # #
# ## #
b
& b bbb # ## #### ## ######## # # ############
### # # # ## ## # # # ## ####
# # #### ### # ## # #
b
& b b b b ############### # ########## # ##### # # # #
&
# ## ### #### #### # #n # # #
# ##### ### .
b
& b bbb # # # # # # # n# # # n# # #
# # # # # # # n# # # n# # # # #
# #
bbb # n # U
b
& b # # # # # # # # # #
# n# # # # n# # # #
# # # # # # # n# #
Arpeggios
a. Diatonic Triads (Major keys)
b. Coscia Arpeggios (VI, vi, I - for example CM, cm, AbM)
c. Scharnberg Triad Qualities

Diatonic Triads in Major Keys

12 œ œ œ œ œ œ œœœœ œœ œœœ œœœœœ œœ œ œ Œ.
& 8 œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ
œ œ œ ˙.
Continue in all 12 keys

! - VI,! vi, I Arpeggio

! Arpeggios
! ! ! ! 44
6 Use any articulation
& Coscia
Silvio Pattern Coscia

& 12
8 œ œ œ œ b œ bœ œ bœ bœ
œ œ œ b œ œ b œ b œ bœ œ œ bœ
bœ
4 œ œ œ
& 4 œ œ œ œ œ bœ œ œ œ bœ bœ œ œ œ nœ œ œ œ œ œ œ œ #œ œ œ œ œ œ ˙
& œ œ #œ œ œ
# œ # œ # œ # œ #Cdim.
œ n œ
# œ # œ CM
# œCm n œ œ
#œ
œ C+ #œ œ
œ
CM
#œ Cm
#œ #œ CM

! ! ! ! ! ! b œ !œ b œ œ ! !
17

& & œ œ œ œ œ œ œ bœ
œ œ b œ
œ #œ #œ œ nœ nœ œ œ œ

& b œ bœ bœ bœ bœ
b œ bœ bœ b œ bœ bœ bœ bœ bœ bœ
! bœ œ ! œ b
bœ ! œ b œ !b œ b œ ! ! bœ !
26

&
œ œ œ œ œ œ œ
œ œ œ œ
& 12
8 œœ œ#œœ œ œœ œœœ œ œœ œ#œœœ œœ œn œœœ œœ œœ œ œ œn œ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œœœœ œ œ œœ œ œ œ
& œ œ

b œ bœ œ bœ bœ
& œ œ œ œ bœ œ œ œ bœ bœ œ œ bœ
œ œ œ œ b œ bœ
& ! ! ! ! ! ! ! ! 44
œ # œ throughout
Continue
œ
range of horn
& #œ #œ #œ #œ nœ #œ œ #œ œ œ Use any articulation
#œ # œ # œ # œ #œ n œ # œ n œ #œ n œ œ
William Scharnberg - Triad Qualities
4 b œ bœ œ bœ bœ
& 4& œ œœ œ œœ œœ bœœ œœ œ b œœ bœœ bœœ œœ b œ œ n œ b œœ b œœ œœ œ œ œ œ # œ œ œ œœ b œœ œb œ ˙
œ œ œ
C+ # œ
œ œ
#œ œ œ # œ œ in all 12 keys
CM Cm Cdim. Cm CM CM
& # œ #œ #œ # œ #œ #œ œ
#œ #œ #œ #œ nœ nœ #œ œ œ
Continue

! ! ! ! ! ! ! !
17

&
œ
œ œ œ œ
Additional Ideas for the Warm-Up
a. Thompson Glissando Octaves
b. Lip Trills
c. Pilafian/Sheridan Lip Flips
d. Tunes in all Twelve keys - figure out solfege and apply to each key area

Thompson - Glissando Octaves (high range development)

Begin on a lower note (i.e. Ab) and continue ascending as high as you can. Strive to “touch” every note in the
harmonic series as you slur up and down.
Score

Lip Trills Warm-up

4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ U
Score

&4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w
3 3 3 3
0-2-1-12-23-13-123

4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ U
& œ4œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œwœ
œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
& 3 3 3 3
T00-2-1-12-23-13-123 T1
Pilafian/Sheridan - The Brass Gym
T2 - Lip Flips

b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ b œ œ œ œ œ œ b œ œb œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ
& T12 T23

b œ b œ œ œ n œn œ œ œ b œ œ œ œ n œ# œœ œ œ œ œ œ œT2 œn œ œ œ# œb œn œ œn œ
# œ œ œ b œ n œ œ œ œ n œ œ œ b œ b œ n œ n œ b œ œ n œ #T1
T0
& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ b œ œ œ œ œ œ b œ œb œ œ œ œ œ œ œ œ œ œ
& T23 T12 T1 T2 T0 T2 T1 T12 T23 etc.
nœ œ œ #œ bœ nœ œ nœ bw
b œ b œ n œ n œ b œ œ n œ # œ T12
&
T23

b œ b œ œ œ n œn œ œ œ b œ œ œ œ n œ # œ œ œ œ œ œ œ œ # œ œ œ b œ n œ œ œ œ n œ œ œ b œ b œ œ œ œ Ó
&
T23 T12 T1 T2 T0 T2 T1 T12 T23 etc.

& b œ b œ n œ n œ!b œ œ n œ # œ n œ œ œ # œ b œ n œ!œ n œ b œ b œ n œ n œ b œ œ n œ #!œ n œ œ œ # œ b œ n œ œ n œ b œ!b œ œ œ ˙ .

&

!! ! ! !
25

&
&
 Tunes Check-Off Sheet
List #1 List #2
Hot Cross Buns Itsy Bitsy Spider
Mary Had A Little Lamb Old MacDonald
Row, Row, Row Your Boat This Old Man
Ode to Joy Here Comes a Bluebird
Are You Sleeping Rocky Mountain
Kumbayah Happy Birthday
London Bridge Red Wing
Farmer in the Dell My Bonnie Lies Over the Ocean
How Dry I Am Looby Loo
Jingle Bells SheMll Be Coming NRound the Mountain
Joy to the World Swing Low, Sweet Chariot
The First Noel Scarborough Fair

List #3 List #4
Three Blind Mice If YouMre Happy and You Know It
Saints Kookaburra Sits in the Old Gum Tree
Do, a Deer (Sound of Music) Donkeys Are in Love With Carrots (round)
Yankee Doodle Camptown Races
America the Beautiful Here Comes the Bride
IMve Been Working on the Railroad Can Can (Offenbach)
Take Me Out to the Ballgame Star Wars (Main Theme)
Home on the Range Meet the Flinstones
When Johnny Comes Marching Home John Jacob Jingleheimer Schmidt
Good King Wendeslas Ah, Poor Bird
Oh Christmas Tree Hey, Ho Nobody Home
Deck the Halls Shalom Chaverim

List #5 List #6
Marines Hymn Old Man River
Caissons Go Rolling Along Edelweiss
Star Spangled Banner Let It Go
Turkey in the Straw I Got Rhythm
William Tell Can You Feel The Love Tonight
Waltz from Sleeping Beauty Lady Be Good
Finlandia X Sibelius Supercalifragilisticexpialidocious
Largo from Dvo ák Symphony No. 9 Somewhere Over the Rainbow
Brahms Symphony No. 4, IV Bewitched
Danny Boy Zip-A-Dee-Doo-Dah
Dona Nobis Pacem Arabian Nights
Wayfaring Stranger White Christmas
 HARMONIC SERIES French Horn
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

T2

T1

T12

T23

(T13)
0

(T123)
2

12

23

13

123

Partials 1, 2, 3, 8 in tune (fundamental and its octaves. Partials 3 & 6 slightly sharp (5ths).
Partial 5, 10 slightly flat (3rd). Partial 7 very flat.