pjos LESSONS WITH THE ARTIST SERIES Matto Roca 6946 0066 \. The ALE CLEY ENGER FRENCH HORN Methods ISBN 0-8497-0268-2 Neil A. Kjos Music Co., Publisher +‘i : PRELIMINARY STUDIES Elements of Music Staff Stinssand 4 spaces Lease louhie Clef Signature (Treble) me a Lines~— ver \ Repeat Sign "Tim Signature ~ designates the division of the staff into ‘The upper figure indicates the number of bests, . ‘The lower figure indicates the kind of niote that receives one beat, measures of a specific number of beats (counts). == Names of the Spaces Notation Whole Note Halt Notes Quarter Notes Eighth Notes count 12283448 1&2 e3448 || 18283848 Whole Rest Halt Rests Quarter Rests Eighth Rests ‘Notes are named after the line or space upon which they are written, : = ‘ SSS r DE F G A B ¢ D £ F GAB b —Iscalled a Fiat and lowers the pitch of «note aha step, 4 — iscalieda Sharp and roses he pitch of a note a half step is called a Natural and cancels s flat or sharpFRENCH HORN Valves 3rd valve slide Little Finger hooks Valve keys Bb shumb key’ Mouthpivce Bb tuning slide Main tuning stide ‘st valve slide FINGERING CHART ‘The valves (Numbered 1-2-3) are to be pr dling fingers of the left hand. When two n ample: F# and Gb), they represent the Fingered alike essed down with the correspon tes are shown logether (For ex- same tome (enharmonic) and are HAND PosiTION Allow the tone to go,past the palm — not into it. The hand position in the bell(No, 1) iszlvays the ame. Position No.1 Position No. 2 Position No. 3 In Bell Bell, Left View showing sound Deli, Conter View, backhand rest “space”, ing against Bel,Fingering Chart for Double French Horn : (in F and Bb) A s 3 f omy } ed tet o $ $e hee “ {Common place to change to Bb Horn, ~ cock pb op op eb oe oF rh ab Gc Gk Ab oa hobs < Fim 0 4 1 2 oo 2 ° 3 4p) ' 2 ® [abt 0 3 tat 20 4 1 3 job 2 : ma. wr ran ame oo ee ee Cee ee |I|I*e of} ome = fen 0 ip 20 2 "Use thumb valve forall Bb Hom Gingetings. jm fer my 3m set USING THE DOUBLE HORN: There can be a0 hard and fact rule governing the register change from the: Horn in F to the Horn in Bb, =F vice vers, This should be done intelligently because ihe individual instruments differ and specific situations may require special consideration. Think of the double horn as a singlewnit instrument and use the various fingering possiblities to obtain the best special results. oy uprodeeon stangaret or bapatin f iter ie whale on prt without he conta! ofthe copy ht rr (QI9T4 Ned A, Kot Mase Co Posi, Pa Rug, Lt ALR Rese ‘rman Copy Seared Ponies w US. as on ining of copy1 ~ Correct posture is absolutely necessary whether sitting or standing, Hold @ shee! 2 This routine should be practiced every day, ‘maximum of endurance is reached, 3 — A. Non-tongued start (attack Air and Breath Contro/ of paper in fromt of you st about eve level and hnold for 4 counts and thei take & deep breath (a full ‘Through slightly open lips, blow a steady, ever flow of| "4 of the air stream so that it will remain ina stable out- ‘ol everyone has the same ammount of breath or “Yuel” supply. . Repeat this routine many times, at a distence of at least 12 inches. Expel all of the air from your lings, yaundike “inspires” breath) without tension and as quietly as possible, air toward the paper. Once the paper fans away, control the rate of spec ward position for as long as the breath supply lasts. Remember, ‘Always be sure to expel all of the air before toking another bresth, Breath Control Routine Signsused: Y= Expel air; = Hold: = Inhale, Expel remaining airin lungs, Breath Hold + Blow asainst paper _s Breath Ropeat many times un- lil the routine ig auto count 1-2-3-4 Dade3oa matic, (owiy Imeteasing the time of both the airflow and the hold by one count each day until e Breath Control and Attack. ) with mouthpiece alone and with instrament: pon th mouthpiece On your lips and blow very, very slowly until tone séunds (or speaks). It may Recit somevhat dslayed or loudly end more immediate, but in either case, lo nol use the roohee ie ths Recommended practice for this method is at least ten minutes daily. Toke 2 full breath, pos speak very Tongued star dios toma tath and prepere to pronounce the syllable “tu”. Hold 4 match cand or sheet of paper in font of you and emer ouards it releating the air strcam by withcrawing the tongue. Ths exerci helps Keep the ecss of oe sates iron aa than at the tongue, ips and mouthpiece. Now blow the same way inta the horn. By using the tengee: theo eee anche rengiiged into a5 many separate impulses as desired. Always kzep the ar low stecdy and even, interueting w onte tongue OnEHt Ks moved. Remember: Nothing facially moves daring the attack excep! the ax columy or the cir dete, tongue, {Music examples fox exercise No, 3 are at the top of page 7.)[Bserciae No. 3, continsed) Two Counts. 2ir column expel hold breath s hold Repest many times. expel breath v oo te ie Vy eet ——— == Repeat many times. e count | 2 3 4 123 4 ony) ‘The above two routines should be practiced daily, Embouchure Position 4— Most professional hornists put the mouthpiece on the lips with two-thicds on the upper and one-third oa the lower lip. Shape the lips in 2 manner similar to the way you would to blow geatly on a burn. Position the mouthpiece on the lips and blow casily, gradually inereasine the air flow and the lip tension and the weight until a tone is produced. Try for a miele register tone. Your teacher will help) you find the best position, Tone Production 5 — PREFACE: To “sing” beautiful music with the loveliest tones possible is worthy anc noble goal of @ musisien playing the horn, ‘This goal should always be your basic motivation, A. Three basio functions or elements must work together to achieve the most convincing tone quality 1. Air (or fuel) « discussed in No. 1 2. Embouchurs (lip and facial) tension, 3. Mouthpiece contact (weight or pressure). These elements are perhaps overly simplified; nevertheless they must be comectly balanced along with the proper motivation of a beautiful tone as an end-product; “final performance” in the student's “mind’s eat”. 1. Some helpful hints to accomplish the above: 1. SING - use your voice, sing 2 simple melody. 2. Play the melody on the mouthpiece alone, 3.Imitate your texcher or s good record or tape of someone's playing, Teeanique thould be instinctive, using imitations of fine sound as a guide, 4, PERFORM - be a performér from the very onset. Asa beginner you are an elemeniary performer. 5. Breaths should be quantative, similar to a yawn, 5, Use the TRIAL-AND-ERROR method of where to place the mouthplece, how much pressure to use, how much lip tension to use and how much ait co use. Keep in mind the gos! of “singing” beautiful tones. LISTEN! !* First Tones - Note E [iitisn:2°°" = Note C (ss ten-9:0n0 Play the Following tones using the Breath Control Routine to insure adequate breath support. Play slowly lctening for correct pitch andtone. Whole Notesand Rests v E Ws e +2-3-41-2-3-4 F73-41-2-3-4 1.22324 122-3-4 Prectice daly, increasing the time of the tone and rest by one count each day until a maximum is resehed Afteck ~ Hal€ Notes and Rests ‘i coluran Attack ~ Quarter Notes and Rests ir column AAA An AA AA AL ston Vy tbe bote vy mbt Vs. cot 91234 1234 1234 T234 T2234 123% 1234 New Tone - Note Gpitsn:7 Whole Notes and Rests y Attack — Half Notes and Rests air column count 1234 1234 1234 1234 1234 1234 12342 Tonal Quality Review ° x Use comect brezth support, Inhale rather quickly after each fourth count or slowly om the rest. ve Hatt Notes ana Rests s + tir column : A Ah You tw Vs 19 5 Na fs IN ye10 i : Half Notes ang Whole Notes er you tb a f ‘Quarter Notes and Rests yy bor trty ts Ws Ve Vytutu tw ty Wy ve Vs. Ne AAAA Vyutvi tt yy vy Ye vs (Quarter Notes and Half Notes, Vottutet ta ia Mixed Notation AAA, AAAAA, Vo ew uty ut Ww vy s in 30, = = = Think tone quality A fe AAAAR ADA Voto yg tte swe wo ote tte 5New Tone - Note Desc he ford 7 we vs (ean. count 1-2-3-4 1-2-3+41-2-3-4 9 122-324 1-2-3-4 y Ve vs 2 2 » 33. fount V-2-3-4 122-320 1-2-3-4 1-229-412-3240 Pe aedea 22-34 i ‘ em Ferata (Hold) a4 Attack — Half Notes and Rests A__A__A__, AAs hn Kn Ag, v 35 count 1-2 3-4 123-4 123-4 count 1.2 3-4 tutu tate ww Ve tum tte ty ve fe we te Ws 39 cout 1234 M234 1234 Ta se > PS 9 V23 4-12 3°4 AKAN Ap AAAA Ae v ow we Vy tu tate te twa ve 40] cout 1-234 1234 Tas@ 1234 1a34 1234 1234 Quarter Notes and Half Notes and Rests ARIA A A Votututeto tw ty) wt ta Ns Vs 41 AAAA A2 New Tone - Note Foster). open Whole Notes and Rests vs Pid=3-4 12-324 vs 3-400 4-2-3-41-2-3-8 0 1-2-3-41-2-3-4 1 45 Think tone quality Attack ~ Hslf Notesand Rests. A__A__A_ a oe oo oe ¥. ow tu vy te mw 46 Half Notes and Whole Notes a Va wy Attack = Quarter Notes and Rests v wma vs fewe wv vy tw tea ve L234 1 234 tu tuto tu tu Vs 51 cunt 1234 1294 1234 Sa ase 2d L234 1234 Quarter Notes and Half Notesand Rests AAAA AAA foe acne ose 52Attack and Release ¥ ‘The Attack should be precist and clean. The Release must be controlled, Relax the lip after each ote. Use adequste Breath Suppor. est tad and tax Reus Steps (Diatonicy Control the Attack and Relense of each tone. 55 55 and 5 may be played together.4 Skips (Intervals) Think pitch and tone quality. Control the Attack and Release, Use adequate Breath Support.Tunes and Harmony ® Aunt Rhodie Rhodie’s Aunt 70.and 71 mey be played toxether, a © First Little Man ® Rusia Melody 14 74nd 75 nay be played teeter. Bell Two @: 15 2." New Tone - Note Bleviomn-: Whole Notes and Rests « 6 Aitack ~ Half Notes and Rests — v _ in ve nie = 4 HE ¥ TF count 1-2 3.4 123-4 1-2 3-4 © Fa $4 ‘Attack ~ Quarter Notes and Rests, RADA Ae v wwe tte ve ve vs rol count 1234 1 234 T234 TE3F To34 ‘Steps (Diatonie) Control the Attack and Release of each tone, 9 80, =F = = aye Skips (intervals) Think pitch and tone quality. . ar —— oe = ¥ = College Song First Part 86. Play 86204 87 together. ” Second Past 87 FF Hom Yara W New Tone - Note Al, 1 2 1 [a> tom - Bor 3 A vs a Whol Notes and Rests v : vs wii : (ne Bed d2-3-4 daa count 1-2-3-4 ‘Attack — Half Notes and Rests v tu a ag Int 1-2 3-8 T2304 Attack ~ Quarter Notes and Rests > tem te 90) count 9123 4 -23'4 1234 1234 1234 123401 92 First Part . Chorale Play 96 and 97 together Second Part ®1 Attack and Release ‘The Attack should be precise and clean, The Release must be eontrolled. Rel the kip after each n te, Use adequate Bresth Support Relok Relay Rex ey Rest Finger Gysmmastics ~ Play slow to fast 99 ® Rhythm Studies ido) 101 102. 102 and 103 may be played together 103 ChoraleNew Tone - Note Low Bb {i iiva:1 * Cor hy i Ra a Whole Notes end Rests. Bb & 105 = tab sme Attack — Half Notes and Rests 106 Attack — Quarter Notes and Rests 107 108 Skips (intervals) 109 110 New Tone - Note High Bb (i ten-+ Whole Notes and Rests ‘al a a i Te ‘Attack — Half Notes and Rests, 2 ‘Attack — Quarter Notes and Rests 113 ‘Steps (Diatoniec) 4 Skips (Intervals) 115 =Chorale ae _ ® Wagoer ® : _O Dance Tune Anonymous =a a count 1-23 Aura Lee ao ® ‘Traditional if — mezzo forte {moderately loud) _ © : Parade >, sole Pant ® 19 T ®. Harmony PartFrom: Lor zn New Tone - Note Low A ContolBreth, Attack and Release. Relax the is ole Notes and Rests A Wrote Ne Rest A pb Horm - Jor'3 120 ete ‘Attack — Half Notes and Rests 324 122 Steps (Diaronic) 123 == Skips (Intervals) 124 125 F Horn -0- Open New Tone - Note Low G (jini a Attack — Half Notes and Rests 127 ‘Attack — Quarter Notes and Rests 128 sade Steps (Distoniey 128 Skips (Intervals) 130Attack, Release, and. Flexibility Felix the tps, Use adequate breath Support Relae Relax Retox 131, simile Sette sietezs New Tone - Note Ft ea 3 Contro] Breath, Attack and Release. Relax the lips. b Horn - Lor 3 Whole Notes and Rests FE 2: a a 138| (hee 4 Attack — Half Notes and Rests 139 Attack ~ Quarter Notes and Rests 140 aan G Major Seale Memorize 142 143 aa Intervals Rhythm Stay2a Melody ® Folk So oS ____® 148 Symphonic Theme ® adpt. Hay 149 =r Po piano (soft) 2 Chorale 150 ‘mp — mezzo piano (moderetely soft)New Tone - Note High C (item:$:9e" 7 Sas nc a RE ee i Whole Notes and Rests g 183 185 Intervals ‘ 158 New Tone - Note High B e\te3 Whole Notes and Rests p a a 157 = Tak ‘Attack ~ Half Notes and Resis 158 Attack ~ Quarter Notes and Resis Intervals 16126 Key Signatures ‘The flats or sharps following ihe clef sin are calleé the Key Signature. All notes with the same name as the Mats or sharps are affected by 4t € Major Seate Key Signature ~ no sharps or Mats. Processional (Duet) Solo Pert apt. Sulivan ; Z Harmony Part SSS SI pS = = E ; =‘Yost adeeaaes G Maio Seu » (Assy Sigpature ~ all Faotes are rt Theme and Variation © De Beriot vee fe == == SS 3” New Tone - Note Low F \itens Open ‘Control Breath, Attack and Release. Retex the lips. Whole Notes and Rests r 169 Attack ~ Half Notes and Rests a oS — Attack ~ Querter Notes and Rests am F Major Seale Key Signature ~ all B notes are Bb 17 Ode to Joy (Duet) @® sips. beethoven 174 Harmony Part BY accidentalF « s Tone Control Studies 7 “ne tack sould be preci and ea. The Tone us be ay and al, Cont the Rel: occh Tove, Use adequate Breath Support Pitarocies “us piof Tone Quality Studies “The quality shoulé be the same in all egieters, <7 og Chord Study A Chord is combination of three or more tones sounded simultaneously ~ which, of course, wind instruments cannot play. AS used here, Chord means a passage made up of ihe individual tones included in the chore, F Major G Major F Major ous Bb Major G Major Major- Three-Four Time ‘Three counts (beats) in every, measure. Te -rxe counts ofthe second ove ste ude to ti Fs ‘Avwhole rest ued 10 ‘noheate an entire mesure regardless of the time signature. Chorale ® Anonymous © © sHo ® The Dotted Half Note A Dot to the sight of a note adds half the time value of the note, cavasd__ 12a asThe Slur ‘The Slur — a curved line connecting two or more notes on different lines or spaces. Tongue only the first note of eae shit, ‘Slur Two sue 187 Slur Thres 191 Slur Foue 193Rhythm. Studies Moving from one chord to another. C Maior 199] Chord Progression C Major Bb Maior 200] s F Major z z Rhythm Tricks (Duet) Solo Part= : Repeating Music 7 & ‘ime means the Bad, D.C (do Capo means from the bexinning Dal Fine~ repeat from the bexinning and end a the Fine = Hunter’s Chorus zi 6 spr. Weber . © aren Honan Func DG ai Fine == First and Second Endings Play the fist ending, (TT, repeat the music then ship the fust ending and play the second ending [F-—. Sanctus @ Schubert [i (olay Test rime) 204 = =| Folk Dance SwedTwo-Four Time fo9 counts (beats) in every measure, Intervals Chord Progression C Major F Major G Major Chord Tone Control Study ‘The Attack should be precice and clean. The Tone must be stead Relax the lips, C Major im ly and full. Control the Release of each tone, Use adequate Breath suppe a a a 2 prot F Major a adpt. Bortnianskye ¢ Staccato * f_evehede puted tone natty soto or ender the oe orate sy tt timo import payne (_-Bidiesconeey and evenly inan apa” : fag é a € ya € & l t ‘ 17th Century Accent A wee saped sn nding cpio w mee not rf 216"New Tones - Note High C#(S03" Note High Dg a 3 ‘Control Breath, Attack and Releate, Relax the lips. ‘Whole Notes and Reste ct a aD 2 na a a nm 219 [assem FE ‘Attack ~ Half Notes and Rests 220| Attack ~ Qustter Notes and Rests D Major Sete re 2 — F Horn New Tone - Note Low ch [ tb Horn Chord Progression D Major A Najor 228 ff The Castle ® —= adpt, Haydn FineTechnical Studies a Mair Scale - Interval - Chord 228 == TRAARRTP AS 2 Vpn Ye New en Fe le“New Tones - Note High F |rti:3.o0m Note High E | tee 3 on Control Breath, Attack and Release. Relax the Hips. . “D a ia 240 F Major Seale ~ Two Octares 241 Chord — Two Ootaves 242 ae Coronation adpt. Maras 243 Carol with Variation ® © ©) variation © ® © exo DOUb Hoin ~ Suggested register change to Bb Horn. Refi ofingotng carEnharmonic Tones Notes with different names that sound snd Finger the some, ri———~ob & te at——sb ota t t. te z e Po 8 Pf t Tone Control Study { . Relix the lips. Pay slowly at P and mp « ascending > a Oy” aay 4 ‘ a o}————ab ~ The Attack should be precise and clan. The Tone must be steady and full Control the Release ofeach tone Use adequate Breath Support Relax and Rest Foe be “Fest phy only 38 fra endurance allowa, Practice dally extending the range, und complete sy cate played escending fee249 ff 260| Chromatic Scale Asccnuing aid descending by Nall steps Alleluia from “Gloria Patri” oat Hf ~ forttasimo (very lous) adpt. Shostakovich PalestrinaPP ASA Rae enga 251 Soto Part et Furst Harmony Part Second Harmony Part Air De Ballet trom "Aleoste” (Trio)=e \ Eighth Notes An cighth note— )~ is equal to half the value of a quarter note. When two ar more eighth notes are written together, the stom are connected bya sid line caleda eam S Dor Sead {An eighth rest— >} —isequl in value to an eighth note. Little Star ® 252 © Little Star in Eighth Notes om LPSPMelody ® s "Tone a ea Melody in Quarter and Eig hth Notes All Through the Night with Tied Notes : 3 == VANVANIN?Z o rane = + + SS Dotted Quarter Notes Welsh Fine RISER DG a1 Fine ® S—— === ee = - == + Deck the Halls with Eighth Notes and Dotted Quarter Notesa 261 262 263 264 Major Scales Musical Terms {2) pp - planissiaa: play very softly. (b) p plano: ples softly. (c) mp mezzo paro: play moderately soft, {@) mf - mezzo forte: play moderately lous. (©) Ff -forte: pay loudly, (OFF = fortissima: play very loud. {8)7t,-ritardando: gradually playing slower and slower. (ideccet ~accelerando: gradvally playing fester and faster. G) dim. -cimirnwerdo, aisc—==— gradually playing softer and softer, G) eres - erereendo, aloo === gradually playing louder and louder.POTTAG-HOVEY METHOD for. FRENCH HORN by MAX P. POTTAG AND NILO W. HOVEY Bebvin,| Mills VILLE, N.Y,FOREWORD APR the inutructor of instrument music may better appreciate the aims of the writers, we should Tike to mention Sreiot the mun objectives by which we were guided in preparing this method for publication Prowry snencine yas Ceinaley em gelation of melodies and the writing of exercises which, when properly presented, will devel ty the fesinning”sudent the mest desirable musical habits, particularly in the matters of melode eae and ine feeling for comect phrwing. Then, to arrange-this mater in logical order from the standpoint of thythars preneaes, Sent Son of he range, and development of technique, was the next problem to be sclved. In doing thie, an ehicee ee nde eactact nas he wide variance im nacural ability among beginning students, and to adapt the method to the sree possible number of individual cases ‘The following suggestions may prove helpful in obtaining the bes: ,reaul (1) Use every care in selecting 2 good mouthpicée. One with a medium cup and s mediuey sim ie best suited to the average embouchure. Avoid the olffashioned mouthpiece with straight cup and seall am (2) The postion of the mouthpicc: on she lip depends to some extent onthe individual embouchuce, “A good Ferran ne Luu thst the mouchpiece be placed in the center of the mouth with one-half en the wopar lip and Sect PAI on she lower, Ie i true that a uujonty of present day playrt ase about 2/3 on the upper lp. ead ee we te Ferre eal a thie procedure is revened, with 1/2 on the upper lip. However, the above fuggetion of hall cd half" is the most common advice of outstanding, teachers to young student, (2) JMPORTANT: Before anigning the firm exercises on page 3, acquaint the student with the euentlal Fen cae ea ne production, stesing the importance of (a) good posture and correct potion of the hunch (O) a {ie aaack (0 exch tone without sess or accent, (c)_mumaising the tone without change in pich o seal © min ‘ining 2 steady “stream of air" for the duration of each tone. are tone is produced by the vibration of the lipx, This vibration is accompliched by directing a sudden flow of ESoee” at HPs wsng the tonguc as 2 valve t rales the az, andar to is function in proncurci the clic “TOOO." (In soft tenguing, the aylable “DOOD” i employed) Ti next iem—an important one in the produstion of a fine tone on the Freoch hom—is the patton of the Paks hand in the bell. The writers prefer the method which requis the BAGK of the hand to be vlaccl cn the SE of the bal AWAY from the plaver in a manner which allows the tone to pass by the palms and ‘ihe awsgot oF ste arument co rest on the Back of the thamb, The hand mus. noe be enticly Rat, nor ina fulleupned reion thes extremes will not allow he propér production of tone. If this method is adapted a the beginnine cheveendon, Bil eventually find it the simples: postion in which faulty intenation can be eeraeed by a slighe Toure or sraight- Tae goin Mandh as the cae may require, It iv ao the easict position from which to change to the comet peaton for muting 25 discussed on pege 47. reg mucent thould be reminded frequently to “blow THROUGH che Horn” rather than “AT the mouthpiece." ‘This procedure is the foundation of x beautiful and carrying cone-qualty, (4) Mary the length of ‘assignments according to the ability of the individual student and the amoust of time ‘pent in practice (In order to facilitate this, the material sa nct Givided into “leawons.") (5) Indicate which part is best auited to the student where exercises are marked “optional”, and advise whether or not to observe suggested “cuts” (0) | Question the pupil frequently segarding che meaning of téemt apd symbole that are eiaployed in the book, and add others that you beliewg are esiential. The same applics to key and time signatures ©) “Include scales, interval, lip slurs, etc., in weekly ausignments for practice’ routine when you believe the ‘wudnt has reached the proper stage of development. ‘These exercises, which are found on the last few peges ane ‘ot Intended to be used as separate awignments The came applies fo excrcises on the low tones, page #8 (8) The importance of slow and accurate practice cannot be‘ overemphasized.” Caicless pliying may easly ‘become a deep-rooted habit, “Make avery note © good one (9) | Frequest sett is advised when practice periods are long. At the rooment the lps fel tired, oF the student finds himself-esorting 60 foree or an undue amount of presut, the tine har come for a few minvice of releationWhole Notes and Whole Rests @ 0) Firat flogering indicated is for French Horn. (Mellophone or Alto fingeringw are in pareothecia) 12 =, = (a) Can you name each note in the above lines? (G,F ete.) (2) Can you tell the fingering of each note without be ization? (open {at ete.) Copyright MCMAGOUX by Belwia Ine, N.¥., U.8.A. Ba, Libr, No, 70 International Copyright SecuredHalf Notes and Half RestsHalf Notes and Half Rests * This “F" will be alse, 2Quarter. Notes10 Quarter Notes 2Quarter Notes (9 a7 oot = Coption = Intervals 3 22 (optional) ”The Quarter Rest; Dotted Half Notes ni “ Three-Quarter Rhythm 2 3 low notes ait lab.)(“F" is raised one semi-tone Key of G gee “Pe eas TO THE STUDENT: Several of the preceding exercises are in the key of G although the Fé was not placed in the key signature. {This is not an uncommon procedure in Horn music. > On sais page, the sharp (#) at the beginning of each exercise or tune, signifies that each “F will be raised a half step - or, played FF~ unless cancelled by a natural sign. The fact that the Fi appears in the key signature makes it uonecessary to place the sharp aiga in front of each “F" From this point, it will be necessary for the player to NOTE CAREFULLY the key in which each exercise is written before playing it . French Folk Tune Waltz 2 3 Wow notes ad Bib) * Saeig FRET March 2> > ‘Maestoso* == SSS similee > 2 2 + Note: “Macatoso". majestically (etylel “cimite”, ErEighth Notes SSS SS Key of... Scotch Folk Tune Tg Ber th . 4a ss , mo coo 2S Se BSS] ‘The portion of music between the double dotted bars is tobe repeat Esa a Eighth Notes «D, 2 oa * see foot note simile + see foot note * see foot note Finale Adot placed over or under a note signifies that the noteia to be played “staceato "separated, detached),Ss Waltz inG Major | “"""°@ — Waltz in E Minor {curved mark drawn over two or more notes of different pitch, indicating that these notesKey of F = "Bis lowered one semi-tone| (3) Tay (low notes ad lib) — V3 Intervals Notes marked with the sign () are to be accented_or played with emphasis 2 Con spirito* () * "Con spirito"= with epirit a PA P'6 Dotted Quarters There are several ways of presenting this new rh: ‘Your instructor will indicate his preference. thmic figure, two of which are given below,es ay Dotted Quarters (continue) a Allegretto (moderately fast and light; not as fast as Allegro.) 2 Allegretto » af —— = Maestose 3 ’ (Ga) 2 8G) ft Note: Volume markings used on thie page are: “p"(piano)= softly, “m7” (merzo.forte)= medium loud, and ‘f” (forte)= loud. ‘The symbol (——=) indicates “crescendo” and means “gradually louder? The symbol (=>) dicates “diminuendo” and meras “gradually softer”« Melodies in Legato Style “Legato” signifies that a portion of music so marked shall be played in a smooth and con- nected manner. Lullaby Andantino (modérately stow; not as slow as Andante) Brahms 2 Prayer from Der Freischutz 5 Andantino 2 =< 2——= & 2 2-9 = of Harrison In The Gloaming Andante 5 a mp Poco animato (a little faster) nf a tempo (original tempo) ™p —= rH (abbreviation for ritardando, and meaning “a gradual slackening of tempo?) 7”Key of D ge (F'and “Care raised one semi-tone) (ch) 1 glee - - SS — oe *G : : The Scale20 Chromatic Gh ap ‘sce page 17 ™Alla Breve 2h $e You may review page # in Cut time, Play the quarter notes /ightéy and stress the half and whole notes, ™ae Alla Breve (continue) = Rests on the Second and Fourth Quarter ‘You may now play pages # and 9 in Alla Breve,eighties ome Hap za (“BY and “E" ure lowered) Key of Bi (3) (eh) (ey) 2G) 10) The scate 8aa Rhythmic Exercises with eighth restscre phan ean een » (also ¢) P— Duets 25262 Cand G are raised : Key of A the scaleChromatic Exercises (see footnote) 2 (ANG) (Gr = == =se =.= 30) 94) "Fa " Ti 8" possible cut . student. The top“F" may be omitted omitted by making a cut from Note: ‘This exercise can easily be adapted to the needs of th OF mauing # cut from © to © and the low “AsCGH) and “G" may be Ov @.The Eighth Note Unit a Three-Kight Rhythms Four-Kight Rhythms o& = = , = German Song Legato 4 ‘4 ' . hristm: i iederato® Cc raat as Air Song from “Martha” on > Flotow Larghetto” ° P "* Moderato: in moderate tempo- Larghettoz slow; between Largo and Andante, ™no Six Kight Rhythm Slow (@ beats) 2 Slow (6 beats) It Came Upon A Midnight Clear + Willis 2 Grubera1 t= (Optional) = ft Triplets in Eighths = es Set eee ewe enw we eBcf Ki ° Six-Eight Rhythm with two beats: to a measure For practical purposes we may presume that there are two kinds of six-cight rhythm The first, in which there are six separate and distinct beats to the measute, has been \aken up previously and usually presents no particularly difficult problems. The second, and possibly the most common, is conducted two beats to the measure, and often proves to be more difficult for the beginner to master. In this kind of rhythm we may consider the dotted-quarter note as the unit, compar- able to the quarter note in two-four rhythm. Thus, there will be three cighth notes (172) to one beat, similar to the triplet figure. (See page a1.) ercériry Srcerir i In two-four rhythm, we divided a quarter note into two eighth notes.which are equal in value: 4J2J) in six cight rhythm, however, we shall divide the dotted quarter note in- te two parts, the first of which will be fice as long as the second: § J.-J J compare (22 FIJI Al RHYTHMS Hoh 6 FMLA Ld. dL The following patterns are among the most eammon: fedTISTQ TTI ss 3, tte gee Try the following exercises as a simple introduction to this new kind of rhythm,ns Six- sight Rhythm with two beats to a measure ‘Optional) ataa Six- Eight Rhythm with two beats to a méasure Allegretto 010) 12 (isa)ene hw Key of Eb (B,E, and A are lowered) (EN) ay), (a (es wha HEpzD ste pls (optional) (Ailsce pz Exercise on Tone Production Extending the register Wmile F ae “tow'P*tst valve for French HoraSixteenth Notes a 3 « 4 High Fig Gp at 010 (Optional) Staccato (abbreviation) 12 ae ov — Dy easvrenationyaa Sixteenth Notes % \ ZA 8 Allegretto38 Sixteenth Notesa0 Syncopation Bees iwi ews ™ww The Dotted-Kighthi followed by a Sixteenth A common figure in music, and yet onc that is often played incorrectly, is the “dotted-eighth followed by a sixteenth”. A detailed study of this figure at this point will save.the pupil con - siderable difficulty when it is encountered later in solo or ensemble playing. First, let us consider the dotted-cighth and sixteenth in slow tempo. It is important that the dotted-cighth be sustained as long as THREE sixteenths, as shown in the rhythm patterns A-4, A-2, and A~3, and that the sixteenth note receive full value. The instructor may prefer to ap- proach this problem by the method shown in patterns B-1, B-2, and B-3. With either method, SLOW PLAYING is important in the early stages. AA ALB, AD _B2 B-3. warcr cecr In faster tempo, there should be a Iiltle more space between the dotted-eighth and the sixteenth, and the latter should be LIGHT and SHORT. The word “crisp” describes the playing of this fig - ure in quick tempo. Attention may be called to the fact that the sixteenth note is more closely connected to the COUNT WHICH FOLLOWS, than it is.to the count of. which it is a part. For example: JT, a,J—d mmore space hore” “than here A common fault should be mentioned here. When the dotted-quarter and eighth is used in com- bination with the dotted-eighth and sixteenth, the EIGHTH NOTE is often played too short. (Also see exercise 5, page 41). Ba Very slowly? pe (Correct) Exercises en @ J20 doi (optional)as nee THE DOTTED fi! at 3HTH FOLLOWED BY SIXTEENTIL Christmas Song Mande) Moderato* > Mozart Air Allegretto Mozart 4 (Marci) from “Aida” Marciale*') Veeai pe Excerpt, from “New World” Syniphony Largo* Dvorak * Moderato = in moderate tempo. 7 ae + Marciale (sometimes Marzialel= in martial style > Larges very slow tempo ts“ Intervals Thirds aT : r (All exercises to be played « Marcato and @ connected by twos! > og Sixths py onl = ML Mob Octavesaa Lip Slurs A, B, and upper line of C are adaptable to Horn or Mellophone, Lower line of C and D are for French Horn only. tN 413 (1) s——Uae firat and thied valves——— (2) -— Use second aad third valves —— A = AEE 4 (8) Use sst afd 2nd valves. (4) ~—— Use first valve, (5), ——Use second valve——, Open (7) pq —~ aden 8rd, (8) id 2nd (6) — i Oo Z (1) Use firsPang third —> io (2) Use 2nd and srd—s (€ic> (follow pattern of B-1) ete, (4) Use.ten 2 (5) Use tnd ——+ (6 Open — ete, ete ete, SS a (8) Open —» — a (either) (2) Second (3) First 5° c te yt S (4) tsfand 2pa—> &) and and gra——> (6) tst%ing Sed (2) (@)_also in 8ths = So (5) also in the ~~Scales for Daily Practice ===> Pattern = StF SSS J ————_——_—_——_ Pattern Pattern Pattern Major Scales ow etas Mav be omitted.« € é 0 © Q © 9° © } oO “© @ y Major Scales contined Common Minor Scales Melodic form seen at OOM 3s bot eee or $S-o Fo“ ‘TRANSPOSITION ‘The trinipoction which will probably prow mot wrefol to a majriy of sudentn is from parts vciten for the Bb Hom. Although large portion of the recent publications inchide pacts for the F Hom, many older and ett Gestale edons have only Eb Hom parts avaiable, making it neceziry for the stent to tampow er to we she Bb rook, The litter procedure is noc generly recommended, since the serious student of the iostumeay wil eventually find teamspastion a necenity. To depend on the use of the extra ~roks in merely ponponement of « problem which the youngest students aclve with ease ‘While it isnot the only method used, che writers have found thatthe moet common practice fs to eesch the player way the Eb: pars 2 major second (om whole sep) lower than written. Thus, + writen “G* on an Eb Horn per will be played as pS] coy a Obvionly che key signature will alm be a major second lower than the eigrature on the Eb part, er a4 some Caches pref, wo fats will be added wo the signature (or two sharps subtracted if the sgasture i in sharps) The C scale as st appears on an Eb Horn part will be played as the Bb wale on the F Horn: Sessa! lesons ate not deemed: neceaary, By starting with the simple execies at oe near the beginning of ‘he book, the student will be tranmpsing vaccefully in « comparatively short period of time. ‘Te insur, being tm frequent contact wih the individual student or class, is bem qutfied to deermine the lovial wie to intedues the problem of transpoution and to scl the exercies which can best be wed for this purpose. USE OF THE DOUBLE HORN Berause the double Hom is rapidly increasing in popularity, a few words concerning ite we wil not be ami SF tvs point It is noe the purpose oF the writer so eseablih a set of rules which caanot be changed to sit the ability of the student or the preferred methods of the instructor, but to avuset what we below to be « logical mid-point among the various procedures. OF considerable importance isthe postion oF the left hand which must be eofistntly selased to insure a fre ‘we of the cham Jf the change tothe Bb Horn causes 2 movement ofthe instrument, the embouchure may be derbod At what point in the sale should the change be made? Opinions cn the question vay, but it mey be confidently fated that this should depend to quite an extent on the individual student. "The higher the point at which the change Xs made the mere ltely's alight diewtance of the embouchuve will caus a break in the tene, and for this reason Snly thove with an extremely “Light” lip should attempt the change at the top line “F”,SMEAR SR OA Gy a ‘Other players of experience and reputation advocate that che change Be made at early as the second apace “A’ While suggesting that egenimentacion will prove to be profitable in sich case, we beliewe that the majty sf players will find seeond space “A” to fourth line “D” wo be the logical point. If the change is made at "A", primary atvenrist must be given to tone quality, which must not be thin oc hard. If the quiliy is not suitable, we recommend. the method shown in example (2), Example page ga a) eS oa Porn on Bh Hore @ ‘The notes from “C" (line below the saff) to "G™ (second line inthe staff) should be avoided as much ac possible on the Bb Horn because of faulty intonation ‘The player of double Horm should consider it an instrument of one pitch only, When the Bb Horn is wed, it is imporcan: that the names of the notes are wot changed. For example, if the 4th ine “D” ia played on che Bb Horn, it dhould still be thought of as "D" and not as "A" MUTING Corcect muting on the French Horn presents a difficult problem—one which we must net attempt to solve in the early sages of the students progres, but one which must rot be avoided altogether “We may state at the cower, that satisfactory French Horn mutes may be purchased. ‘These are of wo typeq, the ones which do not require wrens position, and those which require transposition similar to that used in hand muting. te hand muting, true intonation is a major problem. Correct muting requires an accurate ear and considerable experience. Proper ute of the right hand in the bell i of utmes: importance. “The fingers must oc held together so as to prevent the escape of air. Then the hand is inserted so it closes che bell as completely as possible, and yst, 20 far ‘Out as the size of the player's hand will permit, When the hand is in the correct ponicion for muting, the pitch wil be ‘ised one semitone, making transposition necessary. To compensate for this raise in pitch, then, the Horn part must be played ene semi-tone lower thia written, For example, a written “G", whea muted, must he played az Fj 2nd one: toe Gey -rill bespuayess = Fj when mated ‘The following advice may prove of value to the etudent: @) Do not attempt muting until the embouchure i well developed, and incanation on the open Horn is accurate @) Do ect play a Hom part muted unless directions on the part call for muted Horn—usually marked (4) (3)__Hear all che good Hom players you ean—in perion, in radia broadcasts, and on recordings, Study carefully the finest detaile of their playing, with particular attention to cone quality and phrasingae Daily Exercises on the Low Notes (French Horn Only) In playing these exercises, speed should not be an object. Tone quality and a good attack should receive primary consideration, w MOTACO