Helpful Information for North Allegheny High School French Horns
High School and University Audition Repertoire
Methods and Studies
Level 3
Kopprasch, Sixty Selected Studies, Carl Fischer
Maxime-Alphonse, Deux cents Etudes Nouvelles-Volumes I-VI, Leduc
Pottag-Andraud, 335 Selected Melodious Progressive and Technical Studies, Volumes I and II, Southern
Schantl, Grand Theoretical and Practical Method for the Valve Horn, Belwin
Singer, Embouchure Building, Belwin
Level 4
Huth, Horn Etuden, Schott
Kopprasch, Sixty Selected Studies, Carl Fischer
Maxime-Alphonse, Deux cents Etudes Nouvelles-Volumes I-VI, Leduc
Pottag-Andraud, 335 Selected Melodious Progressive and Technical Studies, Volumes I and II, Southern
Schantl, Grand Theoretical and Practical Method for the Valve Horn, Belwin
Singer, Embouchure Building, Belwin
Level 5
Chambers, Orchestral Excerpts- Volumes I-VII, International
Huth, Horn Etuden, Schott
Jones, ed., 20th Century Orchestral Studies, G. Schirmer
Kling, Horn Schule, Wind Music Inc.
Kopprasch, Sixty Selected Studies, Carl Fischer
Maxime-Alphonse, Deux cents Etudes Nouvelles-Volumes I-VI, Leduc
Moore, ed., Operatic Horn Passages, Theodore Presser Co.
Pottag, French Horn Passages- Volumes I-III, Belwin
Pottag-Andraud, 335 Selected Melodious Progressive and Technical Studies, Volumes I and II, Southern
Schantl-Pottag, Preparatory Melodies to Solo Work, Belwin
Singer, Embouchure Building, Belwin
Level 6
Chambers, Orchestral Excerpts- Volumes I-VII, International
Jones, ed., 20th Century Orchestral Studies, G. Schirmer
Kling, Horn Schule, Wind Music Inc.
Maxime-Alphonse, Deux cents Etudes Nouvelles-Volumes I-VI, Leduc
Moore, ed., Operatic Horn Passages, Theodore Presser Co.
Pottag, French Horn Passages- Volumes I-III, Belwin
Reynolds, 48 Etudes, Schirmer
Solos
Level 3
Chabrier, Larghetto for Horn, Editions Salabert
Cherubini, Concerto, Editions Billaudot
Corelli, Adagio, Wind Music Inc.
Glasunov, Reverie, Leeds
Indy, V. d’, Andante, Editions Billaudot
Jones, Solos for the Horn Player, Schirmer
Mozart, Adagio, Sansone
Purcell, Concerto, Editions Billaudot
Ravel, Pavane, Editions Max Eschig
Romance, Schirmer
Samazeuilh, Evocation, Editions Durand & Cie
Solomon, November Nocturne, Southern
Strauss, R., Allerseelen, Rubank
Strauss, R. Andante from Concerto #2, Boosey & Hawkes
Tchaikovsky, Andante Cantabile from Symphony No. 5, Carl Fischer
Vivaldi, Largo, Marvin McCoy
Yancich, ed., 15 Solos, Western International Inc.
Level 4
Cherubini, Concerto, Editions Billaudot
Cooke, Rondo in Bb, Schott
Danzi, Sonata in Eb, Hofmeister
Dukas, Villanelle, Durand
Frackenpohl, Largo & Allegro, Schirmer
Jones, Solos for the Horn Player, Schirmer
Mozart, Four Horn Concertos, Schirmer
Purcell, Concerto, Editions Billaudot
Romance, Schirmer
Rossini, Prelude, Theme, et Variations, International Music Co.
Saint-Saens, Morceau du Concert, Durand and Co.
Strauss, F., Concerto No. 1, Op 8, Fischer
Strauss, F., Theme and Variations, Zimmermann
Yancich, ed., 15 Solos, Western International Inc.
Level 5
Bassett, Sonata for Horn and Piano, Morris and Co.
Beethoven, Sonata for Horn, Peters Editions
Beversdorf, Sonata, Andraud
Bozza, En Foret, Leduc
Donato, Sonata, Remick
Haydn, Concertos No. 1 and 2, Cundy-Bettoney
Heiden-Bernhard, Sonata
Hindemith, Sonata for Horn, Schott
Jacob, Concerto for Horn, Joseph Williams
Jones, Solos for the Horn Player, Schirmer
Mozart, Four Horn Concertos, Schirmer
Olson, 4 Fables, The Hornists Nest
Strauss, R., Concertos No. 1 and 2, Boosey & Hawkes
Level 6
Bassett, Sonata for Horn and Piano, Morris and Co.
Beethoven, Sonata for Horn, Peters Editions
Beversdorf, Sonata, Andraud
Bozza, En Foret, Leduc
Donato, Sonata, Remick
Haydn, Concertos No. 1 and 2, Cundy-Bettoney
Heiden-Bernhard, Sonata
Hindemith, Sonata for Horn, Schott
Jacob, Concerto for Horn, Joseph Williams
Strauss, R., Concertos No. 1 and 2, Boosey & Hawkes
Selecting a Step-Up French Horn
Selecting any step-up instrument should be a personal and hands-on process. The same instrument will feel and play differently for musicians. Try a number of instruments out before you purchase one. Often instrument makers will allow you to order instruments on consignment so that you can try them out before you buy. I know a lot of musicians that actually go to the factory to try out and purchase their instruments. Below is a guide to buying intermediate and professional model instruments, it is in no way a complete list and only a few recommendations to get you started.
Intermediate/Professional Double French Horns
Yamaha YHR667 Pro Geyer
Yamaha YHR668II Pro Kruspe
Conn 8D Series
Holton H179/H279 Farkas
Selecting a Mouthpiece
1. Rim: Narrow rim greater flexibility, less endurance
Wide rim greater endurance, less flexibility. Players with soft fleshy lips find this useful.
Flat rim comfortable, but holds the lips keeping them immobile
Medium-wide rim greatest compromise between flexibility and endurance
2. Bite: Sharp bite greater accuracy, less flexibility, but less endurance
Round bite greater flexibility, greater endurance, but less accuracy
3. Cup Diameter: Wide cup low register easier and upper register more difficult
Narrow cup upper register easier and lower register more difficult
4. Cup Depth: Deep cup darker sound, lower register more responsive, upper register flatter, and more difficult
Shallow cup brighter sound, upper register more responsive and lower register less responsive
Recommended Mouthpieces
The following is a complied list of recommended mouthpieces for the beginning to the advanced brass player. It is VERY important to remember that a mouthpiece is a very personal choice and the student should try a variety of mouthpieces out before purchasing one. As the student progresses there will be the need for the student to purchase a different mouthpiece. For example a junior or senior in high school that has been playing since fifth grade should NOT be playing on a beginner mouthpiece as this will affect the student’s tone, intonation, and air usage. This is only a partial list.
French Horn
Beginning to Intermediate- Vincent Bach 7 (medium)
Advanced- Vincent Bach 3 (large)
Beginning to Advanced- Holton MDC (medium)
Advanced- Holton DC (large)
Other Recommended French Horn Mouthpieces
Schilke 27 – 30
Holton MC
Yamaha 304C or 30
Conn 2, 5W, or 5N
King 4-2
Most Frequently Used Mutes
Straight Mute- the standard mute for the horn and is designed to play in tune
Stopped Mute- a substitute for stopping with the hand. This is usually designated with a “+”, meaning to stop the horn, which produces the next ascending semi-tone and requires the horn player to play a half step lower.
Private Lessons and Practice Suggestions
What can my lesson be?
A chance to share your enthusiasm for the instruments and for music, and an opportunity for that enthusiasm to grow.
A chance to correct basic technical problems and to learn new and better ways to solve challenges that the instruments and music present.
A chance to learn new repertoire and to learn about repertoire yet to be studied.
A chance to be a part of a community of players on your instruments; to learn and grow with them. Many other students studying your instruments will have the same problems to work on; maybe even the same solos and etudes.
Ultimately, lessons give you the chance to increase your prospects for better music making at North Allegheny and beyond. As your performing ability improves, so does your satisfaction with music making.
Practicing – Be regular in your routine; this will help you to measure progress and pinpoint problems. You cannot “cram” for a lesson or performance; it does not work. Put in the time each and everyday. It shows when you get on stage. There is no substitute for the confident attitude and technical accomplishments arrived at through hours of practice time. Most stage fright and tension problems are a result of poor/irregular preparation. Here is a basic list of practice goals:
a. Determine your semester goals. The determine your weekly goals.
b. Decide what you must do today (today’s goals) to realize the weekly goal. Be very specific.
c. Warm-up. This can and should consist of a wide variety of techniques and styles. Feel free to vary you warm-up from day to day.
d. Practice individual patterns or sections of the music that need the most attention.
e. Take a brief rest. Walk away from the instrument to get something to drink and to refresh your mind. This should be brief so as to not lose your focus.
f. Upon returning do a run through (or two) as if you were in a lesson, audition, recital, or professional performing situation.
g. Review problem spots from the run-through.
h. Review previous etudes or repertoire.
i. Do some sight-reading. The best way to learn to read is with another player. This can be either duets or playing the same thing together. Sight-reading alone is not nearly as beneficial.
j. Decide on tomorrow’s goals.
k. Now its all behind you; you’ve set very specific goals, worked hard to achieve them, and tested yourself with a run-through. If you’ve done this and succeeded you have something to show for it and should feel a great sense of accomplishment.
l. Think about the following quotes everyday:
o Nothing happens but unless first a dream
o Go for it! Life is not a dress rehearsal
o All gave some, but some give all. Which am I?
Duets – Find another musician to play with. You can also play solos and etudes together. This is one of the best ways to improve sight-reading, and it’s a good time.
Listening – Find recordings of professionals that play your instrument and other Instruments. Go and hear as many live performances as you can!
Join Your Professional Association – Make an effort to purchase a membership to your applied professional association, the International Horn Society at www.Hornsociety.org They will often supply you with journals, performance dates, articles, and related materials to help you in the study of your instrument.
Buying Your Own Music – You should buy and own as much music for your instrument as you can afford. Often in auditions, contests, or competitions copies are not permitted and can get you disqualified.