Fundamentals for Horn: Warm-ups and other exercises

compiled by David Haskins

1. Breathing exercise: "finger breath". Lay a finger over slightly open lips. Listen for a low-pitched "whoosh" sound.
A higher pitch indicates tension in the throat. Use the following pattern:
1. Breath alone. 2. Breath + note (airstream), no tongue. 3. Breath + tongued airstream.
The in/out cycle should be one continuous motion -- no pause between the inhalation and exhalation.
2. Mouthpiece exercises:
a) play a long tone. The pitch doesn't matter, but it should stay consistent. Start with and without tongue.
b) "siren": a series of continually expanding waves. Great for flexibility and eliminating gaps in sound production.

From The Buzzing Book (James Thompson). Keep mouthpiece on lips during rests. Gliss. should be smooth, slow and
continuous. Continue each exercise as high or low as possible.

4 w #w w w ~ ~~
a) &4 w ∑ #w ∑ ∑ ∑ ∑ ~w
w
b) & ˙ ˙ ~ ~ ~ ∑ ˙ ˙ ~~ w ∑ b ˙ ˙ ~~~ b w ∑ ˙ ˙ ~~~ w

c) & ˙ ˙ ~~~~ w ∑ ˙ ˙ ~~~~

w
∑ b ˙ ˙ ~~~
bw
∑ ˙ ˙ ~~~ w
~w ~~ w b~ ˙ ~ ~ ~ b w ~~ w
d) & ˙ ~~ ˙ ~~ ∑
˙ ~~~ ˙ ~~ ∑
b˙ ~
∑
˙ ~~~ ˙ ~~
œ ~~ œ~ œ # œ~ œ~
&œ œ œ
~ ˙ ∑ œ œ œ ~~ œ ˙ ∑ b œ œ b œ ~ ~ b œ ~b ˙
œ bœ
~~

~~

~~

~~

e)

~
~~
~~
œ ~~ œ ~ œ~ ˙
~~
~~
~
~

œ ~ œ # œ ~~ œ ~# œ~ ˙
~ b œ ~ œ ~~~b œ œ b ˙
&œ œ ∑
œ
œ ∑
bœ ~
bœ

~
~
~~

~~

f)
~~

3. Hand position: There should be no gaps between the fingers. Hand should be flat or slightly curved. Keep backs of
fingers against the metal of the bell and insert hand into the bell until thumb joint touches the bell. Keep hand as open
as possible.
4. Note beginning exercises: Strive for clean, focused note beginnings. Play these as "blocks" of sound. Notes should
continue at the same dynamic, and not get louder or softer. Take the mouthpiece off the lips between each note. Play 3-5
perfect notes in a row. If a note is missed, start again at '1'.

&œŒÓ œŒÓ œŒÓ #œ Œ Ó #œ Œ Ó #œ Œ Ó ∑ œŒÓ œŒÓ œŒÓ

etc.
set 1:
œ œ
( ) set 2:
&œ œ
opt. œ
5. Natural horn exercises: These exercises are meant to be played using only the notes that are available on the harmonic
series. Don't correct the intonation of the accidentals. Playing these patterns will help to develop flexibility and range.
Play each pattern by descending on the F horn, then ascending on the Bb horn. Use the following valve combinations:

F horn: 0, 2, 1, 12, 23 Bb horn: 23, 12, 1, 2, 0

Some individuals may prefer to work from the top down. If that's the case, use the following sequence:
Bb : 0, 2, 1, 12, 23 F: 0, 2, 1, 12, 23

(by Frank Lloyd)

& œ œ œ œ œ œ
a)
œ œ œ œ œ œ ˙
& œ œ œ œ œ œ œ œ œ
b)
œ œ œ ˙

& œ bœ œ œ œ œ bœ œ œ œ œ bœ œ œ œ
c)
œ œ œ œ œ œ œ œ œ w
œ œ
& œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ
3 3

œ
3 3

œ œ œ œ w
d)
3 3 3 3

(by Jean Gaudreault)

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 ˙ Ó
Extend this into the high register. Play F: 13, 23, 12, 1, 2, 0 then Bb 23, 12, 1, 2, 0

bw # 3
6. High range (William Brophy)
bw bœ bœ nw œ
& œ œ œ ∑
bœ œ
∑
œ #œ
œ 4
œ etc. ad lib.

# 3
7. Low range (William Brophy)

& 4 œ œ œ ˙. Œ Œ œ œ œ ˙. Œ Œ
œ œ œ œ œ ˙.
p Ï p Ï
#
sim.

& Œ Œ Œ Œ Œ Œ
œ œ œ œ ˙. œ œ œ œ ˙. œ
# repeat as: Œ Œ Œ
& œ œ œ ˙ œ. œ. œ. œ. œ œ œ œ œ œ œ
and

> > > > etc. . . . . . . œ

etc.