PROGRESSIVE STUDIES in Flexibility and Range Development or FRENCH HORN by Fred W. Teuber Medici Music Press Re 7 BeACKNOWLEDGEMENTS nite much of the material in this volume might be considered to be original, a very adaptations of the methods, ideas, and even the significant number of these studies are ‘A very special and personal note of gratitude writings of other teachers and performers: is due to Douglas G. Campbell who did his very best to teach me to "think on the horn" and somehow suggested that ability need never be Limited. ‘phanks is also due Don Hodges ‘eho caused me to reevaluate my general approach to teaching and James Stagliano who helped me to discover the more subtle fundamentals of the instrument. Wendell Hoss, Verne Reynolds and Max Pottag have me in their debt through their etudes, a few of which have served as points of departure for some of these studies while others have called my attention to certain need which I have attempted to satisfy. Finally, 1 extend my thanks to all of those remarkable people who were my students over the past twenty years, for it was they who forced me to wrestle with all manner of performance problems, and their needs prompted the writing of this material. Fred TeuberPROGRESSIVE STUDIES in Flexibility and Range Development for FRENCH HORN by Fred W. Teuber ‘The primary purpose of this collection of studies is to establish and logically develop those techniques essential to flexibility in horn playing, to develop and strengthen the embouchure, and to sharpen the ear-embouchure relationship of performers at any level of ability. This book is not designed asa method, but rather as a supplement to any of the excellent courses of horn study available, These studies will be useful to professional performers andfirst-year students alike; suggestions for their use at different levels are presented on page two. ‘The organization of this book is such that most first-year students will be able. to start working at the beginning of each group of studies (numbers 1, 9,15, 27, and the first study for natural horn). Advanced students and professional players will be able to use many of these same studies as a part of their warm-up routine, while continuing to develop more advanced techniques in the latter part of each group. Also most of the more advanced studies are "open- ended” and can be extended to suit the needs of the individual. A number of the studies have been designed to explore the B flat horn as well as the F horn. ‘The purpose is two-fold: 1) Although the F horn is considered to be the "basic" instrument by most authors and teachers, there are many students and performers who use the single B. flat instrument and many of the more common flexibility exercises simply do not "fit" the instru- ment. 2) Players using the standard double horn often learn only a part of each side of their instrument. Learning all of one's instrument should be of the utmost importance; therefore, double horn players are encouraged to practice the exercises for both the F and theB flat horn, By doing so, he will be much better equipped to make intelligent decisions when faced with unusual technical or musical problems in performance. ABOUT USING THIS BOOK ‘The development of flexibility and range as well as the use of this book will depend greatly on the establishment of a well formed embouchure and proper mouthpiece placement (see Farkas, The Art of French Horn Playing, pp. 19-27). The developing student should take care not to sacrifice good playing habits for the sake of hurriedly adding a few notes to his range. Since many of these studies are "open-ended", they should be practiced according tothe limits dictated by the student's stage of development, or perhaps with the idea of gradually extending one's limits, but never with a "do-or-die" approach. When practicing these studies it is important to rest frequently, although these rests may be quite brief if developed as a systematic part of practice habits. To this end it is recommended that the mouthpiece be removed from the lips during all rests and all fermatas, whether they appear over a rest or a bar line.THE ORGANIZATION OF THE BooK ‘ach beginning simply and progressing to the ithe studies are organized into five areas with e more advanced. Flexibility ment Range Developmen, og register nos. 9 - 14 lower register nos. 15 - 17 numbers 18 - 26 based on scales 20 - 22 based on arpeggios 23 - 25 Scale patterns & studies _-numbers27 - 30 ‘wel jes for natural horn Twelve Melodie studies for natal WD, _ 4g numbers 1 - 8 Interval Studies SUGGESTED ROUTINES First or Second Year Students: Flexibility - nos. 1&2 Range, Upper Register, no. 9 (Cirst pattern on A, B flat, and B; add second ee ee er ypaitern, work from A to C; add third pattern) Range, Lower Register, no. 15 (work progressively. Learn one key at a time; ‘add a second key, review the first, etc.) Intervals, no. 18(work progressively. Be sure each level is secure before going to the next.) Scales, no. 27, first pattern Natural Horn Studies no. 1 & 2 for horn in F, E, and E flat Advanced High School, First and Second Year College Students: Warm up, No. 1-5 Flexibility,no, Ta Range Development, Upper Register, nos. 9-11 or 14a (work progressively) Range Development, Lower Register, nos, 15 & 16 (work progressively) Intervals, nos, 18-21 Scale Studies, No. 27, pattern 2, & no. 28 Natural Horn Studies, nos, 1-6 for horn in F, E, E flat, D, &G Advanced College Students, Professional Players: Warm up, nos, 1-6, 14a, & 18 Flexibility, nos. Ta, %, & 8 Range Development, Upper Re » Upper Register, nos, 11-13, Range Development, Lover Reiser, noe 10a Te Interval Study, nos. 18-26 . Scale Studies, nos. 27, pattern 3, 26-30 (with variations) Natui atural Horn Studies, nos. 6~12 with various transpositionsBEGIN EACH TWO-MEASURE UNIT AS COMFORTABLY AS POSSIBLE. = to develop soft, reliable attacks, buzz the first pitch of each group, = then, with the horn, begin each group without using the tongue. the Buzz and the pitch should speak, immediately withthe breath, Repeat each step beginning with a soft” tongue. MINIMIZE ANY CHANGE IN APERTURE (DO NOT CHANGE MOUTHPIECE PLACEMENT) AS THE PATTERN DESCENDS ae a aa dec.o6 mp =f = LP es FIP p= f FP mpaf PP ao a a a a2 p= f= P simile EXECUTE ALL SLURS WITH AS LITTLE CHANGE IN EMBOUCHURE-TENSION AS POSSIBLE. Concentrate on using tongue-arch and jaw movement, and/or pivot. KEEP A CONSTANT FLOW OF AIR THROUGHOUT ALL SLURS. (avoid "hutfs") d= 96-120 = mp uf pf —Psirite Ss——————— 4 For F Horn Jase = = ~3a r= = simile For Bb Hora 296-120 @ QAO 3bAl/> Hh | ie ossia o ossia >BE SURE TO TAKE THE MOUTHPIECE OFF THE LIPS DURING ALL RESTS. Note: 6c (below, opposite page) is for moderately advanced players and may be extended acc~ ording to ability. An optional cut is indicated. > = == SI ‘= SSS SS mF Hn. 3) —— * SEO Es RSbus. (3) continue as before/repeat on A and Ab aE Bs — = continue as before/repeat on E and F8 ‘Ta and Tb may be practiced in either of two ways: 1) Play each item (1) moving down the page; proceed in turn to each item (I) (IN), and then finally all items(IV). OR: 2) Play all items on the same level before moving chromatically to PLAY EACH PATTERN WITHOUT VALVE CHANGE. Note: * indicates the seventh partial ie the overtone series (the pitches available on the natural horn). Pitches so indicated will sounc Jow(flat). Do not favor these notes but rather, ‘center the pitch where it falls on the natural instrument. ‘WORK FOR SPEED, FLEXIBILITY, AND FLUENCY. the next. For F Horn m 3x, () j= 60-96 Play 3X (0)——— io. Ta a avy ay 1For Bb Horn © Play each 3x om, ay . (IV) amy) ™, @ (@ avy ay. ) ——10 8a PLAY EACH LINE ON ONE (large) BREATH. Begin by omitting te © (cut marked +); attempt the whole pattern as fluency developt EXCESSIVE MOUTHPIECE PRESSURE DOES NOT LIMIT PROGRE: “IBLY. {Some players may find it helpful to begin by using the pattern found in 8b. “~fortable level and work toward mastering all levels.) o Ba ch ca > F ia. Q) F Hin, (open). - & ” Bein. & enter section of each . TAKE CARE THAT IN DEVELOPING FLEX Begin at any com Boia. (4) bia. (1) BbHn. (2) ———— co } Bein, (open)3 o a = » = EYouc. ae SE cough al valve combinetons sire « * + “i through all valve combinations RANGE BUILDING Mouthpiece pressure can become serious problem in building the upper register. To counter the temptation of pressing, practice the following with an exagerrated use of the pivot. Keep the chin flat and firm while tipping the mouthpiece away from the upper lip as the pattern as- ends, even to the point that the buzz becomes distinctly audible. This technique should be reserved for newly added notes as the upper register is being developed and primarily for slurred patterns. Slur all patterns; for accuracy of attack, tongue each pattern + throughout. a Fi. )— b— a 9 TSS tSstsst iS <2 +2 i < 2 F Ha. (1) — a o— 4s Wee> >t > ashe i te t i > simile SS SS Repeat the sequence moving up by half-steps. F iin, open pita, (3) hun. (3) Bhita. (1) Work for speed and continuety: play the pattern on one breath and without interruption. a F tia, (}) —————— 10 Repeat the pattern moving up by half-steps to: BbHin. (open)den w a Mouthpiece off wait 5 seconds BtNote the optional fine: *@*The final three(3) measures should not be attempted until the study is secure up to this point. DO NOT BREAK THE AIR-STREAM DURING THE GLISSANDI. d= 60 Fn) yysnme @) 12 tf (optional finey F Hin, (}) —————* tf Fa, (dy — Continue as above, ascending by half-steps, ete.SSS *EMPTE do not break the slr-stream. Ses a ‘optional fine OR: NSSF Repeat, ascending by balf-steps dents and professionals. + ‘The final pattern should be attempted only by advanced st fiding range and can also be ‘Measure the tempo er touse 14b, ‘The following study represents amore traditional approach to bu! Used to practice major and minor(by lowering the B to B flat) arpeggios. sae te rex aler can be accomplished on one breath. Advanced players may pref Slur and Tongue fa: me Repeat, moving progressive! Bifwr or lower by halfesteps Repeaty moving progressive! higher or lower by halfesteps.DEVELOPING THE LOWER REGISTER ture relatively constant Concentrate on keeping the corners of the mouth secure and the apert ‘rch with the lowering of through the descending patterns. Drop the jaw and lower the tongue-au the pitch, ‘The pivot principle is also most useful here. d= 00iM ‘ Suggested use of the B flat horn in the lower register. d= 60-86 brn. Pn. ° > ‘SSeS abtin, Bb Hn. F Hn, o . BhHin. F ti, ‘fin dy > EES bot Bh oF ee ee eee ee ee ey * Working below this point may be required only for exceptional needs.= = = + SS = oe te ee LFS Ss 2 * Working below this point may be required only for exceptional needs.18 ‘The following INTERVAL STUDIES are designed to develop the ear; listen carefully for into=, nation. Also listen for eveness of tone quality when moving through the different registers of the horn. (use standard fingerings at first; try alternates as the need becomes appearent for better tuning). EXPANDING FOURTHS: begin each series as comfortably as possible; blow through all slurs as indicated by the dynamic markings. ‘Tempo will be determined by the length of each series, as each is to be played on one breath. (Bach group should be from seven to twelve seconds in duration.) (1 t012 wee. ete ao an aw = aa aD AD AR pf pp mp Ff pS SS20 EXPANDING FIFTHS -12 sec. Listen for intonati @ a ion fo} AM Aw Aw ve 19 = eS Se Sa eS ee mpafoponp oP 7 aai SEVENTHS AND NINETHS through broken scales. ‘The following studies should eventually be practiced in a variety of keys. Those shown here are suggested as reasonable points to begin such studies. Ja00-96 x 5 + > i. > > } alll > Ws a su a 4 a 4 al 4THIRDS, SIXTHS, & FIFTHS (Major + minor triads) (to be practiced both slurred and tongued) — 2 ae == ae Simoes et ogee s = ngs Sas J 7 segs we ges e seg to be practiced in all minor keysMINOR THIRDS & TRITONES (diminished seventh chords) ete. etc. fe ee « i= =— 2 Om == é qs continue through all chromatic levels; use various articulations. MAJOR SIXTHS & TRITONES (diminished seventh chords) ete. 25 ete. continue through all chromatic levels; use various articulations.a FOURTHS & SEVENTHS gradually increase tempo- Begin slowly, listen for pitch (intonation), and1. SAMPLE SCALE PATTERNS: to be practiced with various articulations and in all major and minor keys 25 la 27 a ==! ao == => —| SS ee a 2,1N THIRDS a = a Sa =—— 7 & = SS F =f SoS 3. EXPANDING-ACCELERATING to be practiced with a metronome SS o SEH Jed HARMONIC SEQUENCE I use various articulations cr 1, vii) 28 1 Gi vw a & Set coyHARMONIC SEQUENCE I da4s-12 CIT vt vz va vit wt vr 1 Variation B= = SSS eS28 QUICK SCALE REVIEW Major ime throughout. Set tempo according to ability; keep strict th 30a: (Repeat Bva basso ad lib.) Melodic Minor 30b; (Repeat 8va basso ad Lib.)29 TWELVE MELODIC STUDIES FOR THE NATURAL HORN ‘The following studies for the natural (open)horn, constitute a direct approach to the pro blem of pitch-proximity on the instrument, natural or valved. Students are often confused by the multitude of pitches possible with any given combination of valves, especially in the upper register, By using these studies, as written and as exercises in transposition (using the same valve combination throughout), students of the horn should become much more aware of the nature of their instrument. In the last analysis, our modern horns are nothing more than a combination of natural horns in a variety of keys. Working with these studies on the natural horn will also strengthen the ear - embouchure relationship which is essential to good horn playing, Below is a key to transposition for the natural horn as applied to the standard double horn in F and B flat. Transposed natural horn implies the use of one combination of valves through~ out a given pitch level. Horn in B flat alto a perfect fourth higher B flat horn, open Horn in A a major third higher _-B flat horn, 2nd valve Horn in A flat aminor third higher _B flat hora, Ist valve Horn inG ‘one whole step higher —_B flat horn, ist & 2nd valves(or 3rd) Horn in F as written F horn, open; B flat horn, 1st & 3rd Horn in E one-half step lower F horn, 2nd valve Horn in E flat one whole step lower —_-F horn, 1st valve Horn in D a minor third lower _—_-F horn, 1st & 2nd valves (or Srd) Horn in Dflat(rare) a major third lower‘ F horn, 2nd & Srd valves Horn in C a perfect fourth lower F horn, 1st & 3rd valves Horn in B flat basso as a natural instrument, is not a part of the standard double horn. * NOTE: Written B flat (the 7th partial) is very low in pitch; written F (the 11th patial) is high. Do not "favor" these pitches but rather, strive to center them where they lie in the natural series. d= 60-72 2 > (A) Pel SS = SSB ontionat tineGently J = 56 2 Cantabile J~ 66-72 mp B=” —— a co & = = z =p = S= =| rs — mp S =Ff mp po rl32 Waltz d.= 60 = mp-mpScherzando in one) J.= 60 > __ > _= _ > mp sini== + = Ee > = FS E oe} == = a . 5 3 == - Sf attarg. SS = ores. As = = Freely J 54-00 =Cantabile J = 72 (but freely) ip ———=f PB — PP wp ——w "8 —— @ uf —— sf up mp of po cee | fe oe. 2 2 eS auf v= —=36 ——— de 68 ——= > 12 tf Sf , —~s f allarg it