RUBANK EDUCATIONAL LIBRARY No. 141 FRENCH HORN VoL. | AND H. VOXMAN AN OUTLINED COURSE OF STUDY DESIGNED TO FOLLOW UP ANY OF THE VARIOUS ELEMENTARY AND INTERMEDIATE METHODS RUAN Copyright MENU by Rabon, ne Copyright RenewedPREFACE THE RUBANK ADVANCED METHOD for French Horn is published in two volumes, the course of study being divided in the following manner: Keys of C, F, G, Bb, and D Major. Keys of A, D, E, G, and B Minor. Keys of Eb, A, Ab, E, Db, and B Major. Keys of C, Ff, F, and C# Minor. Vol. I } vot. | THIS METHOD is designed to follow any of the various Elementary and Intermediate instruction series, or Elementary instruction series comprising two or more volumes, depend- ing upon the previous development of the student. The authors have found it necessary in their teaching experience to draw from many sources in order to provide a progressive course of study. The present publication assembles in two volumes the material essential to a well-founded musical development. THE OUTLINES, one of which is included in each of the respective volumes, tend to afford ‘an objective picture of the student's progress. They will facilitate the ranking of members in a large ensemble or they may serve as a basis for awards of merit. In addition, a one- sided development along strictly technical or strictly melodic lines is avoided. The use of these outlines, however, is not imperative and they may be discarded at the discretion of the teacher. NOTATION: Music for the French Horn is written in both the treble and bass clefs. In the bass clef two manners of notation are employed, the old and the new: OLD NEW Written Played Written Played $ so s In this method the new notation is used throughout. Wr. Goues — fh. ornanTable of Harmonics for French Horn The seventh harmonic is too flat and the eleventh harmonic is too sharp to be used satisfactorily. Harmoie Seis 1 Oven 1st, 2nd 83rd Valves Chromatic Fingering Chart agile Ragin fof Hin Woh ineiancl Rigorigs Gro forthe. Bh Haha Th Tae! Vie ma, be weed oe an shernats fingering for tha Fit wad Second Valvoron ether he F Hor of th 6» Hora ‘ 1 2@ om 33) 10" 2@ oo to 29 ow 28) 8@) tw aw = OF 1 4) 1® aw 0 2 20) at 0 obo he Hebo ha & 02) 40) oo 2@ 19 30 30 of 2B 10 fo fw to 3 > @ te F Horn only Bb Horn only=-- =- 22+ =e nee eee eee of) @ @ 4 *0n some Bi Horas the Th Vole Ispeforad to he Fst amd Second Vatos Fortis nateThe Double Horn The many advantages of the Double Horn have gradually caused it to supercede the Single F Horn and the Single Bb Horn. The modern Double Horn has an effective over-all length of approxi mately twelve feet when played in F, When played in Bb, the length is approximately nine feet, The primary advantage of the Bb Horn is the greater certainty of striking the correct tone in the Upper registe Performers and teachers differ as to the note in the scale where the changeover from F to Bby should be made, Without altering the fingering, it is possible to press the thumb valve on any tone between Gt and C inclusive; e.g, “A” (second space) may be fingered 1st and 2nd valves either with or without the thumb valve. The authors recommend that the change, in most cases, be made at oH thereby insuring the most uniform tone quality. Major Scale Chromatic Scale — Ee? £ - oe foe _SS— ee Vetus fo tte | With thumb valve [8 * with thunb vatve For acoustical reasons certain tones of the lower register are produced more easily on the Bb Horn. 2 With thumb valve Transposition A thorough knowledge of transposition is indispensable to the serious student of the French Horn. Although most recent publications provide parts for the Horn in F, the student will frequently be obliged to execute Horn parts in Eb(in the band) and in high Bb, A, Ab, G, Fé, F, E, Eb, D, Db, C, B and low Bb (in the orchestra), Transposition can be accomplished with either the aid of the clefs or according to the intervals. In this country the most frequently used method is that of the intervals, Thus, Eb Horn parts are played one whole step (a major second) lower than they are written: Horn in Eb Played on F Horn (transposed @ major second downward) or = Copyright Renewed Copyright MCMXLVII by Rubank, Ine,AMERICA Horn in Eb Played on F Horn. (transposed a mojor second downward) Muting Muting is done by placing the right hand inside the bell of the French Horn so as to all but close the bell. The hand is inserted far enough to raise the pitch exactly one half-step. This raising of the pitch obliges the player to transpose the muted note one half-step lower, Written for muted French Horn. Ploy with bell stopped. Various words and signs are used to indicate the use of the muted or stopped horn, The German terms gestopft or gediimpft, the French bnuché, the Italian con sondiue, all mean to mute the horn. In ad- dition to these terms the symbol + is frequently used, To indicate the open horn after @ muted pass sage, the words open or natural, iiffen (German), ouvert (French), and seusa sordino (Italian), are used, The symbol 0 is also common. Some players prefer to use brass mutes instead of the hand. These mutes are of two types, @ transposing and @ non-transposing variety.Transposition Studies Horn in high Bb (Bb Alto) Played on F Horn (transposed a perfect fourth upward) Horn in A > Played on F Horn (transposed a major third upward) Horn in Ab = Played on F Horn (transposed a minor third upward) Horn in G > Played on F Horn (transposed a major second upward) Horn in FH GG Played on F Horn (transposed an augmented prime upward) Horn in E > Played on F Horn (transposed a miner second downward)Horn in Eb = Played on F Horn (transposed a major second downward) Horn in D = Played on F Horn (transposed a minor third downward) = Horn in Db = Played on F Horn (transposed a major # Os ro = Horn in ¢ = Played on F Horn (transposed a perfect fourth downward) = = = Horn in B = Played on F Horn (transposed an augmented fourth downward) yer oa Horn in low Bb (Bb Basso) Played on F Horn (transposed a perfect fifth downward)PRACTICE AND GRADE REPORT eanpouBis s.soyonaysul ‘epeag aozsouag oanyoubis s.s0zonneuL ‘epeap soysoues ob ab a oF sr we et a cr OF — ie @ emmyoubig squaieg (Ove, “POS “Td “PL “POM “OML “WOW “URS MOM ea won sauepms. =| of of | of os] o Peay eameuSig sqveseg (FOL “FOS “14d “MUL “POM OME “WOW “Ung oo ewe squepns See) Mm Yualsawas GNODaSs uaisawas isaldOUTLINE oF RUBANK ADVANCED METHOD FOR FRENCH HORN, Vol. | BY Wm. Gower and H. Voxman. SCALES etooic | articu- FLEXIBILITY ‘and, inTerpRE- | LATION | EXERCISES ARPEGGIOS (Key) | TATION 22, 22, 28 28 24 24 a7 7 7 48 a8 ot 61 at 6 1 61 a a 61 1 a 61 6 61 61 6 62 62 02 62, 02 02 62 oa 62 62, 6 62, 62, 2, 62, 62, 62, 8 6. 63, QQ/E|O 1®| 26 26 27 27 28 29 20 30 31 aL 32 @)@|@|9| 34 ED 36 30 a7 38 30 20 30 a a a 2 44 1 @ 45 1 © Oo 45 NUMERALS designate page number. ENCIRCLED NUMERALS designate exercise number, COMPLETED EXERCISES may be indicated by crossing cut the rings, thus, @|@) O|9| ®®|@|@] |@|@) 50, 60 60 @Q|@| @|O|O|O@|S| O|S|®] @| @|@|@|@| @|@| ©|@|O@|O|@|@|@| @|O| ©|O/O|©|O| O|©| O} @|Q|@|©|| |®|Q|O|@|@| 9|@©|S@|@|@]@|@|@| ©] ©|©|@|@| @|O|O|O|@|©|O|O©|©/O|@|O/O|O|O|E/@|9| ®]©|O] ©] ©] O|©|@|@| @|@|@| @|@|@|O|@|@|@|O|O|O|@|©|@|O@|@|O|O|G|@|O|Q|@ OO ®|@|@|@|O| ©] S| O|O©|S]O]O|O|@|O| O}O|©|O|O|O|O|@/O|©|O/O|O|O|E/O|@/@|E9|9) ®/D®|@Q|O@| O|@| @|S|©|@|O|O] ©|O|@|O| @|©|O|@|O|O|O |@|O|O|@|O/O/E|@/O|@|e|9) DO|©/OJO|Q|O/OS |G|O|O|O|O|O|O||S|O|O}o OC |O||@|o|o/E/a|o|E}E\E/E|0) 21 2:Scales and Arpeggios © Major tiie ——— simite ¢ = =. oo. ode ore Sees a 49 Copyright Ronewed Copyright MCMXLVII by Rubank, Ine" Various articulations may be used in the chromatic, the interval and the chord studies at the instruct- ors option. | 5 A simile Exercise in Thirds Dominant 7th A Minor The sign v indicates o half-step Natural Harmonic 1% Melodicsimile simite oe ‘ # sntte simile Exercise in Thirds 14 6& =a == — S a =| 4 Diminished 7th,13 F Major 16 3 simile 17 SS = mnta 18 —— Smile simileThirds 20 Common Chord 21 Dominant 7th 22% D Minor Natural Harmonic 23 @re— Melodic 25: simile timile Thirds 26.Common Chord Diminished 7th G Major ————— Simile 30 simile ————$_ SS sinite aaaThirds Common Chord Dominant 7th 36 E Minor Natural Harmonic 37 Melodic 38 EEE |_| _ SZ sinito7 Thirds Common Chord Diminished 7th Bb Major a sinite ; Optional 44 = tinivesimile Common Chord 47 Dominant 7th 48 G Minor Natural Harmonic 49 MelodicThirds 52 Common Chord 53 Diminished 7th 54 D Major20at Thirds Common Chord Dominant 7th 62 == B Minor Harmonic Notural Melodic Thirds 65 Common Chord 66 Diminished 7th 67” Studies in Melodic Interpretation For One or Two Part Playing ‘The following studies are designed to aid in the development of the student's interpretative ability. Care. ful attention to the marks of expression is essential to effective use of the material. Pencil the technically difficult passages and devote extra time to their mastery. in rhythmic music in the more rapid tempi (marches, dances, etc) tones that are equal divisions of the beat are played somewhat detached (staccato. Tones that are equal a beat or are multiples of abeat are held full valve. Tones followed by rests are usually held full value. This point should be especially observed slow music. ‘These studies may be played a whole tone lower for practice in transposition of BbHorn musio. BORTNIANSKY Moderato Allegro moderato KOFFNER23 Allegro (de: 60 to 108) CARNAUD SCHANTL, Agitato s24 Andante offettuoso arti Nt fee Gatti Allegro giusto2526 LEFEVRE. Lento ea a ; = —s a p or =. = D.G.al Fine Moderato SELTNER27 Very slowly FRANZ28 "1 Allegro > mg leggicro NIEMANN ? D.O| at Fine20 DeGouy Tempo di bolero 12 P leggieroGATTI Andante affettuosoorsia RS BERR ModeratoHunters’ Chorus WEBER33 Allegretto grazioso GATTI =, > 17 g34 GATTI Andante appassionatoAllegro moderato 19 2p pitt sensibite erese. poco a poco —~ —== P espressive ¢ oon passione crese, —_—— i P agitate ——— SSS > smors. Pp36 Allegro HOHMANN 20 wt Allegretto FROHLICH37 Quite slowly FRANZ38 Allegro 23 Sf ben marchto ¢ orese. FORESTIER39 FORESTIER Adagio fN 24 ee ee SS BONNISSEAU Vivace OMNIS:40a4 Die Lorelei SILCHER Andante 2 26 FRANZ42 FORESTIER Allegretto iag Fe Allegro ossai ORESTIER B44 DeGouy Andante sostenuto a == if D.G.at Bine4s Very slowly FRANZ Moestoso pile sensibite46 sempre smors,Studies in Articulation “ The material for these exercises has been taken from the methods of Kling, Franz, Schollar, etc. The studies may be transposed at the option of the teacher. In allegro tempi, figures similar to =f should be performed Allegretto scherzando :4a Moderato A ft Allegro marcato ap _—_ +4 = » Allegro marcatoas Allegro Sf Sf * "peat Fine ~ ModeratoAllegro moderato 3 2 3 3 12 fo > eo >? 3s >3 Z. _—er) — FF51 simile5283 Allegretto5455 sempre staccato Allegro5687 Andante maestoso58 Con moto59 FESS] Fa faba} Petra cS se Ra ee60 = > simile61 Flexibility Exercises Keep the tone well sustained throughout the slur Indicated, leaving no gaps between tones. The slur must be made smoothly and evenly by the flexibility of the embouchure. Adhere strictly to the fingerings given Open 2nd 4st 4et & 2nd 2nd & Bred tot & Srd Ast & ard Bnd & Sra Ast & 2nd Ast 2nd Open as “i Open 2nd ast 4st & 2nd 2nd & Bred Ast & 3rd Ast & Brd 2nd & 3rd Ast & 2nd tot 2nd Open Open 2nd Ast 48 & 2nd 2nd & 3rd 2nd & Brd Ast & 2nd Ast 2nd Open62 Open Pad <_ mo ——_tetaand Ast & 2nd 2nd & Bed Ast & 3rd Ast, 2nd & 3rd 49t& 2nd 2nd & Sra tet & 3rd tot, 2nd & Sed Octaves 1063 Lip Trills Use only the fingerings indicoted. oo 1264 . . Musical Ornamentation (Embellishments) The following treatment of ornamentation is by no means complete. It is presented here only as a guide to the execution of those ornaments which the student may encounter at this stage of his masical development. There are different manners of performing the same ornament. The Trill (shake) The trill (or shake) consists of the ropid elternation of two tones. They are represented by the printed note (called the principal note) and the next tone above in the diatonic scale. The inter ~ Val between the two tones may be either a half-step or a whole-step. The signs for the trill are tr and w ‘An accidental when used in conjunction with the trill sign affects the upper note of the trill. Play as in No.1 -Grace Notes (Appoggiatura) os The grace notes are indicated by notes of a smaller size. They may be divided into two classes: long and short. Long grace notes from “Serenade” Haydn Andante cantabile In instrumental music of recent composition the short grace notes should occupy as little time as possible and that value is token preceding the principal note. They may be single, double, triple or quadruple, as the case may be. The single short grace note is printed asa small eighth note with a stroke through its hook. It is not to be accented. Use trill fingerings when fundamental fingerings are too difficult. Short grace notes Allegretto ARBAN66 Allegro ARBAN The Mordent The short mordent (4¥) consists of a single rapid alternation of the principal note with its lower auxiliary, ‘Two or more alternations are executed in the long mordent. The inverted mordent (w) does not have the cross line. In it the lower auxiliary is replaced by the up- per. Itis the more commonly used mordent in music for the wind instruments. The mordent tokes its value from the principal note. Short Mordent Long Mordent he ay an a aie 1 Short Inverted Mordent Long Inverted Mordent ». ™ Me ‘AV: my ay t2 7 Allegretto moderato ARBAN ay 13 D.C. al Fine67 In trills of sufficient length a special ending is generally used whether indicated or not Geof The closing of the trill consists of two tones: the scale tone below the principal note and the princi- pal note. In long trills of a Solo character, it is good taste to commence slowly and gradually increase the speed, Practice the following exercises in the manner of both examples 1 and 2. A Ex.2 The Turn (Gruppetto) The turn consists of four tones: the next scale tone above the principal tone, the principle tone itself, the tone below the principal tone, and the principal tone again. When the oo is placed to the right of the note, the principal tone is held almost to its full value,then the turn is played just before the next melody tone. In this case (Ex. 1,2, 3,4 and 5)the four tones are of equal length. When the turn is placed between a dotted note and another note having the same value as the dot (Ex. 6nd 8), the turn is then played with the last note of the turn taking the place of the dot, making two notes of the same value. The turn sign after a dotted note will indicate that one melody nete lies hidden in the dot. Ex. E23 Ex4 EX 17 Ex.6 Ex.7 Ex8 or Played Se Se Se So68 Sometimes an accidental sign occurs with the turn, and in this case, when written above the sign,it re- fers tothe highest tone of the turn, but when written below, to the lowest. (Ex. 2 and 1). When the turn is placed over a note (Ex.3) the tones are usually played quickly, and the fourth tone is then held until the time value of the note has expired. In the inverted turn (Ex.4) the order of tones is reversed, the lowest one coming first, the principal next, the highest third and the principal tone again, last. The inverted turn is indicated by the ordin- ary turn sign reversed: & or by Ex.4 Ae Ex.2 Ex.3 19 = et See ES eS ARBAN yo FF Allegretto ~ =8 2 ee) Andante ARBAN w ~ “2 2 ~e Le ) mf 21SOLOS 69 The Sandman Arr by BRAHMS Andante Sailor’s Song GRIEG Allegro e marcato70 By the Sea SCHUBERT Very slowly F f Possenti Numi mozart Adagio Tr P con express.n On Wings of Song MENDELSSOHN Andante tranquillorr —————————————————————__—_—_—_L_ me Romanze Concerto No.3 W.A. MOZART ees Edited by H. Voxman French Horn in F Piono Larghetto (J = 72) 2 6 == ‘tp ie tS > (ot too much) mp = : —— = Copyright MCMXXXVII by Rubank Inc. ep Copyright Renewed