a guide to practicing ludwig van beethoven's chamber

Florida State UniversityLibrariesElectronic Theses, Treatises and Dissertations The Graduate School

A Guide to Practicing Ludwig vanBeethoven's Chamber Music Excerpts forHornJonathan Gannon

Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected]

http://diginole.lib.fsu.edu/

mailto:[email protected]

FLORIDA STATE UNIVERSITY

COLLEGE OF MUSIC

A GUIDE TO PRACTICING LUDWIG VAN BEETHOVEN’S CHAMBER MUSIC

EXCERPTS FOR HORN

By

JONATHAN GANNON

A Treatise submitted to the College of Music

in partial fulfillment of the requirements for the degree of

Doctor of Music

2020

ii

Jonathan Gannon defended this treatise on April 1, 2020.

The members of the supervisory committee were:

Michelle Stebleton

Professor Directing Treatise

Richard Clary

University Representative

Jeff Keesecker

Committee Member

Greg Sauer

Committee Member

The Graduate School has verified and approved the above-named committee members, and

certifies that the treatise has been approved in accordance with university requirements.

iii

ACKNOWLEDGMENTS

I would first like to thank my parents, Thomas and Kimberlie Gannon. I could not have

done this without your guidance and unwavering support throughout my life. Thank you to my

siblings; I cherish each of our relationships and everything each of you do for me. Thank you to

all my horn teachers throughout my life: Cassie Rice, Katelyn Gannon, Marcia Spence, and

Michelle Stebleton. Thank you to my friends for their encouragement and understanding. Thank

you to my dog Murphy for keeping me sane. Finally, thank you to my students. I am so proud of

all of you and thankful to work with each and every one of you.

iv

TABLE OF CONTENTS

List of Figures .............................................................................................................................. vii

Abstract ...........................................................................................................................................x

1. OVERVIEW OF PRACTICE TECHNIQUES ...........................................................................1

Standard Practice Techniques .............................................................................................1

Supporting Exercises, Excerpts, Etudes, and Solos ............................................................8

Notation ...............................................................................................................................8

2. LUDWIG VAN BEETHOVEN: QUINTET IN E-FLAT MAJOR FOR PIANO AND WINDS, OP. 16 .............................................................................................................................................9

Background .........................................................................................................................9

Grave-Allegro ma non troppo, mm. 212-215 ....................................................................10

Grave-Allegro ma non troppo, mm. 374-383 ....................................................................13

Andante cantabile, pick-up to mm. 58-74 ..........................................................................17

3. LUDWIG VAN BEETHOVEN: SEPTET IN E-FLAT MAJOR, OP. 20 ................................20

Background .......................................................................................................................20

Adagio-Allegro Con Brio, mm. 47-52 ...............................................................................21

Adagio-Allegro Con Brio, mm. 266-288 ...........................................................................26

Adagio cantabile, mm. 25-28 .............................................................................................28

Adagio cantabile, mm. 68 -73 ............................................................................................32

Tempo di menuetto, mm. 29-48 (trio) ...............................................................................34

Andante con moto alla marcia-Presto, mm. 1-16 ..............................................................37

Andante con moto alla marcia-Presto, mm. 28-38 ............................................................39

Andante con moto alla marcia-Presto, mm. 207-218 .......................................................43

v

4. LUDWIG VAN BEETHOVEN: SEXTET IN E-FLAT MAJOR, OP. 71 ...............................47

Background .......................................................................................................................47

Adagio-Allegro, mm. 28-37 ...............................................................................................48

Adagio-Allegro, mm. 237-255 ...........................................................................................50

Adagio-Allegro, mm. 284-293 ...........................................................................................53

Rondo-Allegro, mm. 125-128 ............................................................................................57

5. LUDWIG VAN BEETHOVEN: SEXTET IN E-FLAT MAJOR, OP. 81B ............................60

Background .......................................................................................................................60

Allegro con brio, mm. 18-19 ..............................................................................................61

Rondo: Allegro, mm. 37-42 ...............................................................................................65

Allegro con brio, mm. 16-17 ..............................................................................................68

Allegro con brio, mm. 92-100 ............................................................................................70

Allegro con brio, mm. 145-146 ..........................................................................................73

Rondo: Allegro, mm. 38-42 ...............................................................................................76

Rondo: Allegro, mm. 188-198 ...........................................................................................79

6. LUDWIG VAN BEETHOVEN: OCTET IN E-FLAT MAJOR, OP. 103 ...............................82

Background .......................................................................................................................82

Andante, mm. 63-65 ..........................................................................................................83

Presto, mm. 10-16 ..............................................................................................................85

Presto, mm. 213-223 ..........................................................................................................87

Allegro, mm. 155-160 ........................................................................................................89

Presto, mm. 10-16 ..............................................................................................................90

7. CONCLUSION .........................................................................................................................93

References .....................................................................................................................................94

vi

Biographical Sketch ......................................................................................................................96

vii

LIST OF FIGURES

Figure 1.1. Beethoven Sextet in E-flat major, Op. 81b, Allegro con brio, mm. 16-17, sample natural horn practice in changing keys. ...........................................................................................2 Figure 1.2. Op. 81b, Allegro con brio, mm. 16-17, alternate rhythm 1 ...........................................3

Figure 1.3. Op. 81b, Allegro con brio, mm. 16-17, alternate rhythm 2 ...........................................4

Figure 1.4. Farkas, how to practice .................................................................................................5

Figure 1.5. Sample metronome chart ..............................................................................................7

Figure 1.6. Helmholtz octave designation system ..........................................................................8

Figure 1.7. Horn overtone series .....................................................................................................8

Figure 2.1. Beethoven Piano Quintet, Grave-Allegro ma non troppo, mm. 212-215 ...................10

Figure 2.2. Gardner embouchure-shifting exercise .......................................................................12

Figure 2.3. Grave-Allegro ma non troppo, mm. 374-380 .............................................................13

Figure 2.4. Grave-Allegro ma non troppo, mm. 381-383 .............................................................13

Figure 2.5. Hill flexibility exercise ...............................................................................................15

Figure 2.6. Andante cantabile, pick-up to mm. 58-74 ..................................................................17

Figure 2.7. Natural horn hand positions for Andante cantabile, pick-up to mm. 58-74 ...............18

Figure 3.1. Adagio-Allegro con brio, mm. 47-52 .........................................................................21

Figure 3.2. Hill loud arpeggios .....................................................................................................23

Figure 3.3. Hill arpeggios .............................................................................................................24

Figure 3.4. Adagio-Allegro con brio, mm. 266-288 ..................................................................... 26

Figure 3.5. Adagio cantabile, mm. 25-28 .....................................................................................28

Figure 3.6. Caruso Method Spider and Snake ..............................................................................30

Figure 3.7. Hill entrances exercise .................................................................................................31

viii

Figure 3.8. Adagio cantabile, mm. 68-73 .....................................................................................32

Figure 3.9. Tempo di menuetto, mm. 29-48 (trio) ........................................................................34

Figure 3.10. Teuber flexibility exercise .........................................................................................36

Figure 3.11. Andante con moto alla marcia-Prestp, mm. 1-16 .....................................................37

Figure 3.12. Andante con moto alla marcia-Presto, mm. 28-38 ...................................................39

Figure 3.13. Stebleton Low Embouchure Building exercise ........................................................41

Figure 3.14. Andante con moto alla marcia-Presto, mm. 207-218 ...............................................43

Figure 3.15. Hill octave jumps ......................................................................................................45

Figure 4.1. Adagio-Allegro, mm. 28-37 .......................................................................................48

Figure 4.2. Adagio-Allegro, mm. 237-255 ...................................................................................50

Figure 4.3. Dwyer loud scales .......................................................................................................52

Figure 4.4. Adagio-Allegro, mm. 284-293 ...................................................................................53

Figure 4.5. Stebleton Multiple Tonguing exercise .........................................................................56

Figure 4.6. Rondo-allegro, mm. 125-128 .....................................................................................57

Figure 5.1. Allegro con brio, mm. 18-19 ......................................................................................61

Figure 5.2. Goldman tonguing exercise .........................................................................................64

Figure 5.3. Rondo: Allegro, mm. 37-42 ........................................................................................65

Figure 5.4. Do-ee-oos ...................................................................................................................67

Figure 5.5. Allegro con brio, mm. 16-17 ......................................................................................68

Figure 5.6. Allegro con brio, mm. 92-100 ....................................................................................70

Figure 5.7. Suggested fingerings, Allegro con brio, mm. 92-100 ................................................71

Figure 5.8. Doug Hill 5ths and 4ths ..............................................................................................72

Figure 5.9. Allegro con brio, mm. 145-146 ..................................................................................73

ix

Figure 5.10. Donkeys ....................................................................................................................75

Figure 5.11. Rondo: Allegro, mm. 38-42 ......................................................................................76

Figure 5.12. Sterrett Flexibility exercise .......................................................................................77

Figure 5.13. Rondo: Allegro, mm. 188-198 ..................................................................................79

Figure 6.1. Andante, mm. 63-65 ...................................................................................................83

Figure 6.2. Presto, mm. 10-16 .......................................................................................................85

Figure 6.3. Lloyd lip trill exercise .................................................................................................86

Figure 6.4. Presto, mm. 213-233 ...................................................................................................87

Figure 6.5. Allegro, mm. 155-160 ................................................................................................89

Figure 6.6. Presto, mm. 10-16 .......................................................................................................90

Figure 6.7. Presto, mm. 57-65 .......................................................................................................90

x

ABSTRACT

This document offers a guide to practicing for hornists aiming to perform the chamber

music of Ludwig van Beethoven. Beethoven is one of the most influential composers of all time;

several centuries later, musicians still regularly perform his music. The author discovered his

motivation for this document while teaching private lessons. Many students feel overwhelmed

when faced with a difficult passage. This document aims to make students’ lives easier by

showing a methodical approach to practicing challenging excerpts.

The document begins with a chapter outlining standard practice techniques applicable to

Beethoven’s works and many other pieces. Five of Beethoven’s chamber works will then be

discussed, focusing on how to prepare each challenging passage. The document includes

numerous examples of practice techniques pertaining to each individual passage, as well as

fundamental exercises, excerpts, etudes, and solos that will assist the player in mastering the

technique required for a successful performance.

The goal of this document is for a horn player to read the general practice chapter and the

chapter corresponding to the piece the player is performing, finding assistance within. This

document is directed toward college-level players and above.

1

CHAPTER 1

OVERVIEW OF PRACTICE TECHNIQUES

Ludwig van Beethoven is considered one of the most influential composers of all time.

After two hundred years, musicians still perform his works regularly at symphony orchestra

concerts and recitals, and students can be heard practicing his music in colleges across the world.

Through most of Beethoven’s compositional life, hornists performed on natural horns (without

valves). While modern horn players generally perform on the valved horn, practicing on natural

horn assists the horn player in numerous ways. This is one technique that can be applied to each

excerpt of this document. Natural horn practice is explained below as well as other standard

practice techniques which apply to most, if not all, of the excerpts in this document.

Standard Practice Techniques

Natural Horn

Each piece discussed in this document was written for natural horn. The player should

practice each passage on natural horn (or on a modern double horn with the corresponding

fingering) to assist with mastery of these excerpts. Practicing on natural horn challenges the

player to buzz each note accurately on the instrument. The player should practice slowly at first,

as accuracy is more important than tempo in the practice room. The player should also transpose

the passage into different natural horn keys, allowing for more repetitions and more thorough

practice. An example of this, using a passage from Beethoven’s Sextet in E-flat major, Op. 81b,

is shown below.

2

Figure 1.1. Beethoven Sextet in E-flat major, Op. 81b, Allegro con brio, mm. 16-17, sample natural horn practice in changing keys.

F side Practice

Following natural horn practice, the player should practice on the F side of the horn. As

stated by recently by Robert Ward, Principal Horn of the San Francisco Symphony, “Here are

my suggestions to improve your playing in 2020…practice one hour a day on the F horn

only…You will find that you need to increase your air speed to do this well.”1 Increasing the air

speed forces the player to blow through the instrument, almost instantly improving the player’s

sound. Playing only on the F side of the horn for an extended period is a great way to force better

air. A month after Robert Ward created this post, he asked his readers, ranging from middle

school students to professional players, what they thought. They all agreed that this technique

1 Ward, Robert. “Horn People.” Horn people Public Group, January 5, 2020. https://www.facebook.com/groups/HornPeople/search/?query=robert ward&epa=SEARCH_BOX.

3

benefited their playing over the previous month.2

Sing, Buzz, Play

Horn players should frequently utilize “sing, buzz, play” in the practice room.3 This

technique requires the player to hear the pitches accurately, then sing them out loud. If necessary,

the player can start by singing along with a recording, before singing alone. Next, the player

buzzes the desired passage. Buzzing is a cornerstone of brass playing. It removes the “slots” of

the instrument and forces the player to buzz the pitches correctly. Then the player should play

the passage. If “sing, buzz, play” is done correctly, the player should be more successful than

when sight reading the passage without singing and buzzing prior.

Alternate Rhythms

Alternate rhythms are helpful for musicians in multiple ways. This exercise is helpful is

through repetition. If a musician practices a passage only as written, it is likely one will become

bored quickly and move on to something else. Alternate rhythms are one way musicians can

keep practice sessions engaging and interesting. When changing the rhythm to what is shown in

figure 1.2, the player is given more time on the odd notes to prepare the even notes.

Figure 1.2. Op. 81b, Allegro con brio, mm. 16-17, alternate rhythm 1

2 Ward, Robert. “Horn People.” Horn people Public Group, February 5, 2020. https://www.facebook.com/groups/HornPeople/search/?query=robert ward&epa=SEARCH_BOX. 3Frøydis Ree Wekre, Thoughts on Playing the Horn Well (Oslo: Prografia AS, 1994).

4

When changing the rhythm to what is shown in figure 1.3, the opposite is true; the player is

given more time on the even notes to prepare the odd notes.

Figure 1.3 Op. 81b, Allegro con brio, mm. 16-17, alternate rhythm 2

With dotted rhythms, musicians practice every note in half time and double time, just not in a

row. Additionally, this method of practice allows the player to isolate specific problem notes. If

the player takes the notes out of rhythm and still struggles with a section of the passage, the

player immediately knows the exact issue in the passage.

Well-balanced Fundamentals Routine

A key to successful horn playing is a well-balanced fundamentals routine. There are

numerous books on horn playing that discuss how to practice fundamentals. In Philip Farkas’s

book The Art of French Horn Playing, he outlines a sample practice routine, shown in figure 1.2,

which includes thirty-five minutes of fundamentals.4 Various other examples can be found in

notable horn players’ books, such as Randy Gardner’s “Good Vibrations: Masterclasses for

Brass Players” and Frøydis Ree Wekre’s “Thoughts on playing the Horn Well.” It is

recommended that players find a fundamentals routine that works and modify the routine for

upcoming performance demands if necessary. No two players are the same, so players should

experiment with different routines, exercises, and orders of exercises until finding one that

works.

4Philip Farkas, The Art of French Horn Playing (Evanston, IL: Summy-Birchard Music, 1956), 44.

5

Figure 1.4. Farkas, how to practice

Listening

Listening is a vital part of being a musician. In order to successfully perform, a musician

must have a well-defined concept of sound in mind. In Randy Gardner’s words:

First and foremost, develop your musical mind, music leads technique. Your musical mind is the true source of the music you make. In a very real sense, it is your instrument. The sound image created in your musical mind comes to life through vibrations from your embouchure that are set in motion by you air stream and amplified by the brass tube in your hands…Attend live concerts frequently and listen constantly to recordings of great artists. Choose word-class musician role models.5

To develop the musical mind, listen to highly skilled artists and various repertoire as often and as

intently as possible.

Mental Practice

Mental practice is a commonly overlooked form of practicing. Particularly for college

students, ample practice time is often the first thing that disappears when a schedule gets busy.

Mental practice can be used at almost any time: while walking to and from classes, when sitting

5Randy C Gardner, Good Vibrations: Masterclasses for Brass Players (Randy Gardner, 2014).

6

in bed, on a long road trip, etc. In a study done in 2013 called “Mental Practice in Music

Memorization: An Ecological-Empirical Study,” the authors found the following:

The comparison between post-mental practice and post-physical practice showed that mental practice alone allowed a level of proficiency between 40% and 60% of that achieved by personal practice. Moreover, combining an intense mental practice (30 minutes) with a relatively short physical practice session (10 minutes) led to results almost indistinguishable from those following 30 minutes of continued Physical Practice.6

When combined with physical practice, mental practice is very useful to musicians. Musicians

should frequently utilize mental practice, especially if restraints are put on physical practice.

Metronome Chart

A metronome chart is a methodical way to practice an excerpt from a slower tempo up to

the performance tempo. The player should start at a tempo where the passage feels easy and

slowly raise the tempo over the course of a month or more. As Randy Gardner states in “Good

Vibrations: Masterclasses for Brass Players,”

Achieve specific goals methodically: as an example, consider setting a goal to double-tongue a specific passage of sixteenth notes at 152 beats per minute (bpm) in three months’ time. You are currently able to double-tongue that passage at 122 bpm. In this case, you need to increase your tempo by 30 bpm in 90 days, or only one bpm every three days, a manageable rate of improvement.7

This way of practicing takes a challenging passage, slows it down, and allows the player to

slowly achieve the ideal tempo. With careful planning, a metronome chart can remove

6Nicolò Francesco Bernardi et al., “Mental Practice in Music Memorization: An Ecological-Empirical Study,” Music Perception: An Interdisciplinary Journal 30, no. 3 (January 2013): pp. 275-290, https://doi.org/10.1525/mp.2012.30.3.275). 7 Randy C. Gardner, Good Vibrations: Masterclasses for Brass Players (Randy Gardner, 2014), 5.

7

frustrations concerning tempo from the practice room. A sample of a metronome chart spanning

one month is shown in figure 1.5 below.

Figure 1.5. Sample metronome chart

Practicing with a Mirror

Practicing in front of a mirror shows the player exactly what the embouchure is doing.

Players should use this practice technique to identify embouchure movement and adjust as

necessary. Some passages require the embouchure to stay secure, while other passages require

the embouchure to quickly shift. This exercise will be referenced throughout this treatise, but

players can use a mirror every day, ensuring embouchure stability.

8

Supporting Exercises, Etudes, Excerpts, and Solos

This document will show supporting exercises corresponding to each excerpt. These

exercises are ones the author found useful in preparation for each passage. Players can find the

majority of the supporting excerpts on the International Horn Society website

(https://www.hornsociety.org) under the excerpts tab. Players can purchase the supporting solos

and etude books at a music retailer, or access the some of the solos and etudes on the

International Music Score Library Project website, as most are in public domain.

Notation

Because this document is directed towards horn players, the octave designation system

used throughout is the same system used in The Horn Call, the journal of the International Horn

Society: Helmholtz pitch notation.

Figure 1.6. Helmholtz octave designation system

The figure below shows the horn’s overtone series.

Figure 1.7. Horn overtone series

9

CHAPTER 2

LUDWIG VAN BEETHOVEN: PIANO QUINTET IN E-FLAT MAJOR FOR PIANO AND WINDS, OP. 16

Background

Because the instrumentation of four winds and piano was uncommon, Beethoven was

most likely inspired by Mozart’s Piano Quintet K. 452.8 The Mozart piano quintet has the same

instrumentation and is also written in E-flat. Beethoven completed this quintet in 1797 and

published it in 1801. The unusual instrumentation of the piece (piano, oboe, clarinet, horn, and

bassoon) is part of this piece’s appeal. Beethoven features the piano’s diverse capabilities with

the pianist serving as soloist throughout the work. The winds are soloists during the piece as

well, but also mimic the piano’s versatility in different ways: The oboe can play as detached, the

clarinet as connected, the horn as lyrically and aggressive, and the bassoon as low. The horn part

of this quintet was most likely intended for a low-horn specialist at the time, as the range is

standard for a low hornist in the Classical era, with written pitches c to written g’’.

Grave-Allegro ma non troppo, is in sonata form with a coda closing out the movement. The

horn is generally used as accompaniment, but occasionally is given an articulate, hunting horn

style passage to mark a cadence. Andante cantabile is in rondo form. While the piano is the focus

throughout the movement (and the piece), Beethoven gives the horn a sustained, lyrical melody

in the C section. Rondo: Allegro ma non troppo is also in rondo form. It is a relaxed 6/8 tempo

and the horn again is generally accompaniment or harmony.

Movements

8Kai Christiansen, “Piano Quartet in E-Flat Major, Op. 16,” Piano Quartet in E-flat major, Op. 16 - Ludwig van Beethoven, accessed March 2, 2020, https://www.earsense.org/chamber-music/Ludwig-van-Beethoven-Piano-Quartet-in-E-flat-major-Op-16/?ri=32).

10

Grave-Allegro ma non troppo

Andante cantabile

Rondo: Allegro ma non troppo

Selected Excerpts

Grave-Allegro ma non troppo, mm. 212-215


Andante cantabile, pick-up to mm. 58-74


Figure 2.1. Beethoven Piano Quintet, Grave-Allegro ma non troppo, mm. 212-215

This excerpt is only four measures long, but can be difficult to play for multiple reasons.

There are two primary challenges: dynamics in this range and the articulation speed. The break

area may also be an issue.

Dynamics

Beethoven asks the horn player to play forte and with ‘sfz’ on two notes, which can be

practiced in multiple ways. The hornist can practice the passage blasting, as loud as possible. The

tone may get out of control, but younger players tend to lack the air support necessary to play

11

forte in this register. Once the passage has been blasted, the player should play only slightly

softer and more controlled, providing a true forte dynamic. The hornist can also practice the

excerpt stopped, focusing on creating a buzzed, metallic sound, to help with using enough air in

this range. When returning to the music, the player should visualize the written g as a trampoline,

bouncing off the first note into the rest of the passage.

Articulation Speed

While the first measure should fall into most horn players’ single-tonguing range,

hornists may have to triple-tongue the third measure of the excerpt. The player should practice

the excerpt by adding notes one at a time.

-The first note is played, the horn is taken off the face.

-The first and second notes are played, the horn is taken off the face.

-The first, second, and third notes are player, the horn is taken off the face.

The player continues to add notes until the player plays the passage in its entirety. Each

repetition should be executed perfectly before adding the following note. The player should also

practice triple tonguing on f and f’ for an extended period, as well as playing arpeggios triple-

tongued between f and f’.

Break Area

This passage may cross the player’s break and can be problematic because of the sheer

speed. In front of a mirror, the player should practice repeatedly the specific two notes where the

shift occurs. Repetition and knowledge are the most effective ways to work crossing the break

effectively. A sample exercise is shown below in figure 2.2. Conversely, the player may attempt

12

to manipulate the break area, either shifting the break to below the lowest note of this passage (f),

or working to make the upper and lower embouchure settings overlap.

Figure 2.2. Gardner embouchure-shifting exercise

Supporting Exercises

Gekker One-Minute Drill.9 This one-minute exercise requires the player to tongue sixteenth

notes on g’ for one minute straight, breathing only when necessary. This exercise builds tonguing

endurance and players should modify the exercise to include multiple tonguing and different

ranges.

Gardner Embouchure-Shifting.10 This exercise (figure 2.2) is designed to help players shift

seamlessly between the upper and lower sets while maintaining an even sound, tone, and dynamic.

It assists with moving over the break area.

Supporting excerpts

Beethoven Symphony No. 3 in E-flat major, Op. 55, Allegro con brio, mm. 619-657, horn

2

Rimsky-Korsakov Scheherazade, Op. 35, Allegro molto, A-B, horn 1

9Chris Gekker, Articulation Studies, Exercises, Etudes, and Duets (Charles Colin, Transition Publications, 1995).10Randy C. Gardner, Mastering the Horns Low Register (Richmond, VA: International Opus, 2002), 26.

13

Strauss Don Juan, Op. 20, mm. 9-13, horn 3

Supporting Etudes

335 Selected Melodious Progressive and Technical Studies for French Horn, Book 1, Pg.

37, No. 29

335 Selected Melodious Progressive and Technical Studies for French Horn, Pg. 43, No.

33

Kopprasch Sixty Selected Studies for French Horn, No. 40

Supporting Solos

Buyanovsky Four Improvisations from Travelling Impressions, “Espana”

Dukas Villanelle

Mozart Horn Concerto No. 3 in E-flat major, K. 447, Allegro (movement 1)


Figure 2.3. Grave-Allegro ma non troppo, mm. 374-380

Figure 2.4. Grave-Allegro ma non troppo, mm. 381-383

14

Like the previous excerpt in this chapter, this passage requires the horn player to switch

between single tonguing and triple tonguing, but for a longer period of time and with more moving

notes. It is a challenge in articulation speed and flexibility.

Articulation Speed

Hornists should practice this excerpt over an extended period, with a metronome chart

(shown in figure 1.5). The player can also practice on “backwards mouthpiece,” a technique taught

by Andrew Bain at the Southeast Horn Workshop in 2016.11 “Backwards mouthpiece” is explained

in the ‘supporting exercises’ section below. Following these exercises, the player should slur, then

add the tongue to the passage, while using the same air stream as when slurring. This allows the

air to do the work and the tongue to interrupt lightly when needed.

Flexibility

The passage should be practiced slurred, making sure to blow large quantities of air,

especially through the triplet measures. Players can find similar passages in numerous warm-up

and method books. The player can also utilize shorter bursts of practice on this specific excerpt by

breaking it down into individual components. The player can practice the first and second triplet

as a unit and then pause. Next, the second and third triplet should be played as a unit, then pause.

This allows to player to focus on small portions of flexibility and the small aperture changes

between each triplet. Following this, the player should add a triplet to each unit: the first, second,

and third triplet, then pause. The second, third, and fourth triplet, then pause. The player should

continue this pattern, eventually playing the passage in its entirety.

11Andrew Bain, “Southeast Horn Workshop,” Southeast Horn Workshop (March 12, 2016).

15

Figure 2.5. Hill flexibility exercise


“Backwards Mouthpiece.” “Backwards mouthpiece” is an exercise requiring the player

to turn the mouthpiece around and blows air through the shank of the mouthpiece, imitating the

passage. Following this, the player should play the passage on the instrument while using the

same quantity of air and air speed. If done correctly, “Backwards mouthpiece” should give the

player a fuller, better supported sound.

16

Hill Flexibility Exercise.12 This exercise (Figure 2.5) is similar to the passage, requiring

the player to alternate playing up and down over overtones. The hornist should practice this

exercise slurred and then tongued to meet the needs of this excerpt.

Supporting Excerpts

Haydn Symphony No. 31 in D major, Adagio, mm. 36-41, horn 2

Haydn Symphony No. 31 in D major, Minuet: Trio, mm. 41-76, horn 2

Mendelssohn Symphony No. 3 in A minor, Op. 56, Vivace non troppo, mm. 48-67, horn

3 and 4

Supporting Etudes


71


75, No. 9



Supporting Solos

Beethoven Horn Sonata in F major, Op. 17, Rondo-Allegro Moderato.


Rossetti, Concerto for Two Horns in E-flat major, M.C56, Rondo. Allegretto, horn 2

12Douglass Hill, Warm-Ups and Maintenance Sessions for the Horn Player (Eau Claire, WI: Really Good Music, LLC., 2002), 10.

17

Andante cantabile, pick-up to mm. 58-74

Figure 2.6. Andante cantabile, pick-up to mm. 58-74

This passage is different from many of the excerpts in this document; it is a lyrical,

flowing excerpt and the horn has the melodic line. Rhythm can be an issue because of the tempo,

and style often poses a problem

Rhythm

The rhythm of this passage can be tricky because the horn is no longer in an

accompanimental role. The player must lead because the horn now has the active musical line.

The quickest way to ensure accurate rhythm is to play along with a metronome and then remove

the metronome. Players should practice by articulating different subdivisions throughout the

solo. The player should start by articulating thirty-second notes for the duration of the solo

because thirty-second notes are the shortest note length in the solo. Following this, the player can

subdivide thirty-second notes the beat before and the beat in which they occur, and subdivide

sixteenth notes for the rest of the solo. This allows the player to audiate the necessary

subdivisions. Following this, the hornist should play the excerpt as written, then record and listen

back to the recording, counting or conducting along to double check rhythm.

18

Style

Horn players should start by using natural horn practice to inform style. Beethoven wrote

for natural horn and was aware of the tone of each note. Beethoven used the different tone colors

of each hand position to show the color for a passage and to create stress and release on specific

beats. Open horn is unobstructed and vibrant, stopped horn is brassy narrow, echo horn is

mellow and muffled. As shown in figure 2.7, Beethoven wrote the passage with only one fully

stopped note and the player should emphasize its stress and release. Players should also direct the

musical phrases toward moments where a natural horn player would change between partially

stopped and open horn. This was Beethoven’s intent and, with a little natural horn practice,

hornist should recognize the intended musical line with ease. Figure 2.7 shows the natural horn

hand positions. 0 is open, + is stopped, and 3/4 is still covered but not as covered as fully

stopped.13

Figure 2.7. Natural horn hand positions for Andante cantabile, pick-up to mm. 58-74

13Paul Austin, A Modern Valve Horn Player's Guide to the Natural Horn (Kalamazoo, MI: by the author, 1993).

19


Long tones

Supporting Excerpts

Beethoven Symphony No. 8 in F major, Op. 93, Tempo di Minuetto, trio, horn 1

Beethoven Symphony No. 9, Adagio Molto e cantabile, mm. 83-98, horn 2

Mendelssohn Symphony No. 3 in A minor, Op. 56, Adagio, mm. 73-95, horn 3

Supporting Etudes

335 Progressive Melodious and Technical Studies for French Horn, Book 1, Pg. 102, No.

84

335 Progressive Melodious and Technical Studies for French Horn, Book 1, Pg. 127


Supporting Solos

Beethoven Horn Sonata in F major, op. 17, Poco Adagio, quasi Andante

F. Strauss Nocturno, op. 7

Saint-Saëns Romance, op. 36

20

CHAPTER 3

LUDWIG VAN BEETHOVEN: SEPTET IN E-FLAT MAJOR, OP. 20

Background

Beethoven’s Septet was premiered on the same program as his Symphony No. 1 and

initially pleased the composer. Beethoven later approved an arrangement of the septet for flute

and string quartet and even rearranged the piece himself for piano, clarinet, and cello.14 The

piece is originally written for clarinet, horn, bassoon, violin, viola, cello, and contrabass. The

horn is accompanimental more often than not, but is given a few challenging technical passages

throughout the piece. The horn also introduces the final movement with a haunting melody.

Movements

Adagio-Allegro Con Brio

Adagio cantabile

Tempo di menuetto

Tema con varizioni: Andante

Scherzo: Allegro molto e vivace

Andante con moto alla marcia-Presto

Selected Excerpts

Adagio-Allegro con brio, mm. 47-52


14https://www.laphil.com/musicdb/pieces/3234/septet-in-e-flat-major-op-20.

21

Adagio cantabile, mm. 25-28

Adagio cantabile, mm. 68 -73

Tempo di menuetto, mm. 29-48 (trio)

Andante con moto alla marcia-Presto, mm. 1-16


Andante con moto alla marcia-Presto mm. 207-218


Figure 3.1. Adagio-Allegro con brio, mm. 47-52

This passage is at a slightly more relaxed tempo than other technical passages in

Beethoven’s work, but can still be a challenge. Hornists should consider the flexibility required

for the octave jump, as well as clarity of articulation.

Flexibility

The octave jump in the excerpt provides a small challenge. The player should aim to be

accurate every time, buzzing and slurring the octaves in the practice room, including practicing

the octave as a glissando. If necessary, the player can take the passage out of time, playing the

octave jump as a scalar pattern and then as an arpeggio. Following this, the player should play a

written c’ between the g and g’, then a written d-flat’, then a d’, moving up chromatically until

22

reaching the written octave. The player can also extend above the written g’ for an additional

challenge, playing above the required range of this excerpt, making the passage feel easier.

Articulation

The player should aim to match the bassoonist’s articulation as the two instruments play

together. The articulation should be short and bouncy, conveying the liveliness of this section. The

player should practice on the F side of the horn with a clear front to each eighth note, then switch

to the B-flat side of the horn to assist with a clear articulation and brighter color. The hornist can

also practice with a straight mute to exaggerate the pointed articulation.

Fingerings

As stated above, it is suggested that the player use all B-flat fingerings for this passage,

creating a lighter sound with higher overtones than the F side of the horn.


Arpeggios. This passage is an arpeggio in the mid-low register of the instrument. The

player should transpose this passage chromatically into lower keys, as shown in figure 1.1,

challenging the player to clearly articulate below the range necessary for this passage. If the player

can achieve a clear articulation on longer, more resistant tubing, the written passage will be much

easier.

Hill Loud Arpeggios.15 This exercise can be particularly helpful if the player struggles with

clarity in the mid-low register of the instrument. The exercise requires the hornist to articulate

15Hill, Warm-Ups, 11.

23

arpeggios clearly in the mid-low range at a loud dynamic. Essentially, this exercise forces the horn

player to play in this range more often, making the player’s embouchure muscles stronger.

Practicing the exercise shown in figure 3.2 (or similar exercises) provides more strength and

facility to perform musical lines similar to the passage shown in figure 3.1.

Figure 3.2. Hill loud arpeggios

24

Figure 3.3. Hill arpeggios

25

Hill Arpeggios.16 This exercise is helpful in numerous ways: It forces players to practice

three-octave arpeggios, it crosses most players break area multiple times in each line, and it works

arpeggios into the pedal range. The player should strive for a consistent forte dynamic throughout

the range, as well as an even tone.

Supporting Excerpts

Borodin Symphony No. 2 in B-minor, Prestissimo, mm. 5-27, horns 1 and 2

Brahms, Variations on a Theme by Haydn, Op. 56a, Variation 6-Vivace, horn 1

Tchaikovsky Symphony No. 4, op. 36, mm. 1-20, horns 2 and 4

Supporting Etudes

Gallay Célèbres Etudes pour le Cor, No. 18




Supporting Solos

Beethoven Horn Sonata in F major, Op. 17, Rondo-Allegro Moderato


Mozart Horn Concerto No. 4 in E-flat major K. 495, Allegro moderato (movement 1)

Neuling Bagatelle

16Hill,9.

26


Figure 3.4. Adagio-Allegro con brio, mm. 266-288

While this passage is not as technically challenging as others discussed in this document,

the passage does sit in most horn players’ “break area” and it can be challenging to play

accurately throughout the entire excerpt.

Break Area

The player should spend extra time every day working the “break area” in preparation for

this piece. This is because the hornist must play clearly in the mid-low register between piano and

forte dynamics. The player should practice buzzed, stopped, all piano, and all forte on this passage

as well. Buzzing and stopping will focus the player’s sound in the register, while playing the

passage all soft or loud will challenge the hornist to control the dynamic range.

Accuracy

Because the passage is repetitive, the hornist should consider accuracy practice. This

should start with playing isolated measures perfectly, then adding a measure, then adding two

measures, etc. Once the player can play the entire passage accurately, one should aim to play it

two, three, or four times in a row without a mistake.

27


The Penny Game. The penny game is simple. In a practice room, the player puts five

pennies (or any small items) on one side of the stand and plays a passage. If the passage is correct,

the player moves one penny to the other side of the stand and the player starts the passage again.

Each time the passage is correct, the player moves a penny to the other side of the stand and, when

the passage can be played five times in a row, the player is finished. If there is a mistake, however,

the player must start over. This is a great exercise in focus and accuracy.17

Rim Buzzing. Rim buzzing, like stopped horn, forces the horn player to focus the aperture.

If the player rim buzzes for a few minutes every day, one should see improvement in the pedal

range sound. The player can do this exercise on the rim of the mouthpiece or the second-valve

slide ring.

Supporting Excerpts

Beethoven Fidelio Overture, mm. 45-55, horn 2

Beethoven Symphony No. 9, Allegro ma non troppo, un poco maestoso, mm. 469-479,

horn 1


Supporting Etudes

335 Progressive Melodious and Technical Studies for French Horn, Book 2, Pg. 187


17Michelle Stebleton, “Florida State University Summer Music Camps,” Florida State University Summer Music Camps (July 2, 2018).

28



Supporting Solos

Beethoven Horn Sonata in F major, Op. 17, Allegro moderato

Saint-Saëns Morceau de Concert, Op. 94, Allegro moderato

Neuling Bagatelle

Adagio cantabile, mm. 25-28

Figure 3.5. Adagio cantabile, mm. 25-28

This passage requires the player to enter softly with the clarinet after resting for roughly

forty seconds and then descend into the mid-low range at a forte.

Entrance

The player should practice this entrance in multiple ways. First, the player should sing

along to a recording, carefully matching the given pitches. Next, the player should sing with a

recording again but turn the recording off just before the entrance. This allows the player to check

the accuracy of the pitch produced without assistance from the recording; hornists must hear the

exact pitch to enter accurately. Following this, the player should practice the entrance out of

nowhere. The player should pick up the instrument after resting and play the entrance without any

“noodling,” simulating the performance.

29

Range Shift

To practice the range shift, the player should start by slurring on the mouthpiece and then

the horn. Next, the player should buzz the passage as written, and then play. If necessary, the player

can play a scale between g’ and g, then eliminate the notes in between. For example, the player

performs the passage with a scale between the written g’ and g. Then, the hornist plays an arpeggio

between the notes, then just the fifth of the scale, then the octave as written.


Caruso Method Spider and Snake.18 Spider and Snake can be very useful in interval

training and large leaps. These exercises force the player to feel the minute differences between

notes.

Hill entrances.19 This exercise is a great addition to any horn player’s fundamental routine,

as it requires the player to practice each note as starting notes out of thin air. Hornists should

practice this exercise at the written dynamic, but also adjust the dynamic to meet the performance

demands.

Supporting Excerpts

Beethoven Symphony No. 8, Tempo di Minuetto, mm. 45-78, horn 2


Brahms Concerto No. 1 for Piano, Op. 15, Maestoso, mm. 199-215, horn 3


18Julie Landsman, “Carmine Caruso Method,” Julie Landsman, 2014, https://s3.amazonaws.com/julielandsman/spider.pdf).19Hill, Warm-Ups, 7.

30

Figure 3.6. Caruso Method Spider and Snake

31

Figure 3.7. Hill entrances exercise

Supporting Etudes

Gallay, Célèbres Etudes pour le Cor, No. 18



32

Supporting Solos

Bach Cello Suite No. 5 in C minor, BWV 1011, Sarabande

Saint-Saëns Morceau de Concert, Op. 94, Adagio

Lowe Sonata No. 1 for horn and piano, Freely

Adagio cantabile, mm. 68 -73

Figure 3.8. Adagio cantabile, mm. 68-73

This passage is the only instant where Beethoven marks “solo” in the horn part

throughout the piece. Breathing can be a challenge, but the player should consider that the horn

is naturally the loudest instrument in the ensemble. The player should reserve air and play

dynamics that are relative to the ensemble’s dynamic box.

Solo Voice

The hornist should crescendo very slowly through the held f’’, aiming for the written d’’

in measure 70, where the suspended e-flat’’ is resolved. The player should then make a crescendo

to the written f’’ in measures 72, releasing the tension on the following notes. Practicing the

passage on natural horn is particularly helpful in this solo line. Beethoven was aware of which

notes were open, stopped, or partially closed and wrote horn solos with this in mind. For example,

measure 70 where the suspended e-flat’’ is released to the written d’’, the e-flat’’ is a closed note

and the d’’ is an open horn note, so on natural horn the sound would have a mellow and muffled

33

quality on the e-flat’’ and resolve to a more open, free sound on the d’’. This is shown in more

detail in figure 2.7.

Breathing

The player has three options for breathing. The player can breathe in measure 70, between

the held d’’ and the eighth-note d’’, in measure 71, between the held d’’ and the eighth-note d’’,

or the player can take both breaths if necessary.


Long tones. While long tones are always helpful, this passage has multiple long notes

where the player needs to do something musically. It is recommended that the player add slight

crescendos and decrescendos during long tone exercises.

Supporting Excerpts

Beethoven Symphony No. 7 in A major, Op. 92, Allegretto, mm. 115-135, horn 2



Supporting Etudes

Gallay 12 Etudes de Style, 6 Études Caractéristiques, No. 3

Gallay 12 Etudes de Style, 6 Melodies, No. 1

Pottag-Hovey Method for French Horn, Book 2, No. 66

34

Supporting Solos


Beethoven Horn Sonata in F major, Op. 17, Poco adagio, quasi Andante


Tempo di menuetto, mm. 29-48 (trio)

Figure 3.9. Tempo di menuetto, mm. 29-48 (trio)

Like most trios, this passage is a light-hearted, dance section. It is important for the

player to sound even across the range shifts. The player should work on flexibility, attempting to

sound effortless throughout the passage.

Shift in Range

Though the range is only two octaves, the hornist must ascend more than an octave three

times throughout the passage. The player should start playing these leaps by taking the horn off

the face between each iteration. This will isolate the different embouchure sets necessary for each

note. Next, the player should play the notes out of time, practicing the shifts while keeping the

mouthpiece on the face. Following this, the player should gradually shorten the space taken

between each note, eventually playing the excerpt in time.

35

Flexibility

The triplet passages in the trio are exercises in flexibility. The player should work the

passage all slurred first, ensuring that the tongue is not causing issues. At a slow tempo, the player

can use multiple other techniques including: alternate rhythms (explained in chapter 1 and shown

in figures 1.2 and 1.3), note elimination, and note addition. A simple alternate rhythm is dotting

one note of each triplet passage and halving another. This keeps the passage in time while

emphasizing different transitions between notes. The altered notes should be rotated between each

of the three eighth notes making up the triplets.

Note elimination is when the player removes either the first, second, or third note of each

triplet and plays the passage. This give the hornist more repetitions on each passage to improve

accuracy on each triplet. Note additions are when the player starts by playing the first note, then

pauses. The player then plays the first two notes, pauses, then the first three, continuing until the

excerpt is played in its entirety. The player can also start from the end of the passage and add notes

in the reverse order.


Glissandos. Glissandos will help the player with quick range shifts. The player should

glissando through the entire range of the excerpt, from f to d’’, as well as beyond the range of the

excerpt.

Teuber No. 6.20 This exercise helps the horn player practice flexibility when passing over

one note.

20Fred W Teuber, Progressive Studies in Flexibility and Range Development for French Horn (Sandy, OR: Medici Music Press), 6.

36

Figure 3.10. Teuber flexibility exercise

Supporting Excerpts

Beethoven Symphony No. 3 in E-flat major, Op. 55, Allegro con brio, mm. 619-657, horn

2



37

Supporting Etudes

Franz Etudes and Concert Etudes for the horn, No. 13



Mueller 22 Etudes for French Horn, No. 2

Supporting Solos




Neuling Bagatelle


Figure 3.11. Andante con moto alla marcia-Presto, mm. 1-16

This passage is the grim opening to the final movement of the Septet. Although it is not

marked, the horn is a solo voice, playing a melodic line to introduce the movement. Evenness of

tone is important, as are the dynamics.

38

Dynamics/Evenness of tone

The horn must play both piano and forte in this passage. To practice the dynamic changes,

the hornist should exaggerate the dynamics, playing the excerpt all piano and all forte. Following

this, the player should record at the written dynamics. When listening to the recording, the player

should note whether the dynamics are being conveyed as desired; a player’s musical ideas are not

always heard by the audience as they are by the player, so adjustments may be necessary. The

player should then listen again for evenness of tone, adjusting as necessary. The excerpt may also

be practiced note by note (explained under supporting exercises below) while the player evaluates

the evenness of tone.


Chromatic scales. The middle of the passage requires the horn to play chromatically, which

can cause issues while transposing. The more comfortable the player is with chromatic scales, the

easier this section of this passage will be.

Long tones. Because this passage requires the hornist to play at a slow tempo with long

notes, long tones are particularly useful.

Note by note. Practicing note by note is when the musician plays each note as a long tone,

removing the instrument from the face between each note. The exercise gives the musician the

opportunity to evaluate the tone, dynamic, and articulation of each note in a passage.

Supporting Excerpts



39


Supporting Etudes


Kling 40 Studies for Horn, No. 11




Supporting Solos


Saint-Saëns Romance, op. 36

Mozart Horn Concerto No. 4 in E-flat major, K. 495, Romance, Andante cantabile



This passage can be challenging for the player for two reasons: the accuracy and the

shifting between accompanimental and solo voices. It should be noted that this passage returns at

measure 147 in this movement.

40

Accuracy

Accuracy can be a challenge in this passage because of measure 32. Frequently in

Beethoven’s music, the horn plays only notes of the tonic chord in a cadential measure, but here

the horn has a written d’’. The player should practice away from the horn, singing along with the

recording, then with a tuner and drone, then alone. Once successful in singing, the player should

return to the instrument and play the excerpt.

Dynamics

The dynamics of this passage are not incredibly challenging, but the player should make a

conscious effort to shift from an accompanimental voice to a solo voice in measure 33. Hornists

can practice these changes in volume by exaggerating the dynamics in the practice room, playing

piano until measure 33 and immediately changing to forte. Once successful, the player should play

the passage with the intended dynamics. The player should also practice measures 33 and 34

buzzed and on natural horn, working towards a focused tone at a louder dynamic before applying

the chosen fingerings.


Stebleton Low Embouchure Building exercise.21 While this exercise’s primary goal is to

improve a player’s low register, it also requires the player to make sudden, extreme dynamic shifts.

This portion of the exercise can be applied to any two notes where the player struggles to change

dynamics.

21Michelle Stebleton, “Low Embouchure Building”.

41

Figure 3.13. Stebleton Low Embouchure Building exercise

42

Figure 3.13. Stebleton Low Embouchure Building exercise, continued

Supporting Exercises continued

Caruso Method Spider and Snake.22 Spider and Snake are a great exercise in interval

training and flexibility, both required in this excerpt. This exercise is shown earlier in the chapter

3, on figure 3.6.

Supporting Excerpts

Beethoven Symphony No. 7 in A major, Op. 92, Presto, mm. 185-212, horn 2

Modest Mussorgsky, Pictures at an Exhibition, Catacombs, horns 1-4

Mahler Symphony No. 3 in D minor, Kräftig. Entschieden, mm. 1-23, horn 8

22Julie Landsman, “Carmine Caruso Method,”.

43

Supporting Etudes

Gallay Célèbres Etudes pour le Cor, No. 6 down the octave


Maxime-Alphonse 200 Études nouvelles mélodiques et progressives pour cor, Book 1, No.

67, down the octave

Supporting Solos


Krol Laudatio

Neuling Bagatelle



At the end of the Sextet, the first hornist is asked to play a passage similar to many of

Beethoven’s low-horn passages. The excerpt requires the player to have flexibility within

dynamics ranging from piano to fortissimo.

Flexibility

In this excerpt, the hornist plays an ascending octave once and an ascending twelfth twice.

Players should practice these large leaps in multiple ways. The player should play each interval,

44

removing the horn from the face between each note. This allows the player to isolate the

differences in aperture size for each note. Next, the player should practice out of time while

keeping the horn on the face. Slowly, the player should speed up the time, making sure each

repetition is accurate. The hornist can also play the excerpt as a glissando and slurred. Then, the

hornist can play the passage as a scale, as an arpeggio, and as written.

Dynamics/Evenness of Tone

For dynamics and evenness of tone, the player should take the practice tips outlined in the

previous section and play them at the extreme ends of the dynamic spectrum. Next, the player

should scale back the dynamic to reach the desired dynamics and sound. Additionally, the player

can practice the soft dynamics in a small room and the loud ones in a large room or outdoors. This

exercise challenges the player to play softly in the small environments and play loudly in large

environments. After this is practiced, the player should be able to make dynamic shifts with ease.


Hill Octave Jumps.23 This exercise is used to assist with large leaps that frequently appear

in horn parts. The player can modify the exercise to include jumps of twelfths and even fifteenths

(two octaves) to make the required passage feel easier.

Supporting Excerpts

Beethoven Symphony No. 7 in A major, Op. 92, Vivace, mm. 108-110, horn 2



45

Haydn Symphony No. 31 in D major, Moderato molto, mm. 65-80, horn 2

Figure 3.15. Doug Hill octave jumps

Supporting Excerpts



Haydn Symphony No. 31 in D major, Moderato molto, mm. 65-80, horn 2

Supporting Etudes




46

Supporting Solos


Neuling Bagatelle

Rossetti Concerto for Two Horns in E-flat major, M.C56, Rondo. Allegretto, horn 2

47

CHAPTER 4

LUDWIG VAN BEETHOVEN: SEXTET IN E-FLAT MAJOR, OP. 71

Background

Beethoven’s Sextet in E-flat major, Op. 71, is a light-hearted work for two clarinets, two

bassoons, and two horns. The piece was composed in 1796 and published in 1810 by Brietkopf

and Härtel. The sextet begins with a slow introduction, with every member of the ensemble

playing in octaves. The rest of the first movement is in a lively triple meter. Adagio is a lyrical

movement that showcases the virtuosity of the first bassoon and features the clarinets. Minuet

Quasi allegretto opens with a hunting horn theme from the horns that passes to each instrument

throughout the movement. Quasi Allegretto is taken at a slower tempo and offers reprieve before

returning to the Minuet. Rondo Allegro is a nonstop rhythmic delight, with a march-like duple

theme juxtaposed against triplets. The horns generally play the accompaniment throughout the

piece, but the second horn part includes several challenging technical passages. These

challenging passages vary between large leaps, loud dynamics in the pedal range of the

instrument, and quick, articulate arpeggios.

Movements

Adagio-Allegro

Adagio

Minuet: Quasi allegretto

Rondo: Allegro

48

Selected Excerpts

Second Horn

Adagio-Allegro, mm. 28-37



Rondo-Allegro, mm. 125-128


Figure 4.1. Adagio-Allegro, mm. 28-37

This is a second-horn accompanimental figure. The second horn plays octave leaps over

three measures before playing one measure of quarter notes. This passage requires accuracy and

flexibility while maintaining an even sound.

Accuracy/Flexibility

The player should start by practicing the octave leaps at a comfortable tempo, first

slurring, then tonguing. If the leaps are over the player’s break area, the player should focus on

shifting quickly between the upper and lower sets, making sure to move the lower jaw quickly

into place each time. Hornists can observe this by either looking in a mirror or by recording the

practice session. If the player’s break lies outside of this octave, the player should set the

49

embouchure for a middle note and minimize movement. If the player chooses to set the

embouchure for the middle note, the player should set for f’ and play both b-flat and b-flat’ with

minimal jaw/embouchure movement.

Evenness

The player should imagine the lower note as a jumping-off point to practice an even

sound. To play octaves at an equal decibel level, the player needs roughly twice as much air for

the lower octave. The player should view each set of two eighth notes as one unit, then extend

the unit to the entire measure. Following this, the player should view the entire phrase as one

musical line, aiming to balance the melody’s dynamic and following the dynamic shape made by

the bassoons and clarinets.


Caruso Method Spider and Snake. Spider and Snake require the player to extend the

slurred and tongued range chromatically, starting from a minor second, and moving to an octave.

The player should modify the exercises, extending the intervals past one octave in preparation

for this piece. This will make the octave jumps feel much easier. This exercise is shown in

chapter 3, figure 3.6.

Hill Octaves. In Doug Hill’s book, “Warm-Ups and Maintenance Sessions for the Horn

Player,” there is an exercise requiring the hornist to slur, legato tongue, and staccato tongue

octaves, starting from A-flat and extending to c’’’. If the player practices the exercise regularly

and accurately, the player should have less trouble with octave leaps. This exercise is shown in

chapter 3, figure 3.16.

50

Supporting Excerpts




Supporting Etudes





Supporting Solos

Neuling Bagatelle


Stebleton Halle Havana



51

This passage requires the hornist to play in the pedal range of the instrument,

crescendoing from a piano dynamic to a fortissimo dynamic. Projection is a challenge in this

range.

Range

To perform this excerpt, the player should be able to play down to E-flat or D

comfortably. Natural horn can be particularly helpful in this range because the player must bend

the pitches, forcing the player to buzz accurately on the horn. Players should practice this

exercise with a tuner or drone, carefully bending to the correct pitches.

Projection

Projecting in the pedal range of the horn can be challenging. The hornist should utilize a

variety of different techniques for this excerpt, one being low blasting. Every time this excerpt is

played in a practice room, the player should play as loud as possible. The player can also expand

on this practice technique by practicing in a large space, such as outdoors. The lack of reflective

surfaces outdoors causes the player to play louder than when in an enclosed space. Another

practice technique is stopped horn. The player should transpose down a half step to play the

correct pitches. The player should also practice with the correct fingerings, playing each pitch a

half-step higher.24 This will give the player multiple repetitions playing with a focused, centered

sound. Additionally, the player can buzz the passage on the mouthpiece rim or second-valve

slide ring, which assists in centering and articulation in the pedal range.

24Stefan Dohr, “International Horn Symposium 47,” International Horn Symposium 47 (August 2, 2015).

52


Dwyer Scales.25 This exercise (figure 4.3) starts by having the hornist play loud in a

comfortable range and immediately descending into the break area and pedal range. The hornist

tries to maintain a full sound and secure embouchure, with the goal of strengthening each note

gradually. The player should transpose the exercise down by half-steps and work to improve

dynamics and sound into the pedal range.

Figure 4.3. Dwyer loud scales

Stebleton Low Embouchure Building exercise.26 This exercise is explained in chapter 3

and shown in figure 3.13.

Supporting Excerpts

Beethoven Symphony No. 9, Adagio Molto e cantabile, mm. 83-98, horns 4


Strauss Don Quixote, Op. 35, Variation VII, horn 2


Strauss Don Quixote, Op. 35, Variation VIII, horn 2


25 Chris Dwyer, “Private Lesson,” Private Lesson (December 26, 2017). 26Michelle Stebleton, “Low Embouchure Building.”

53

Supporting Etudes

Kling 40 Characteristic Etudes for French Horn, No. 34

Hackleman 34 Characteristic Etudes for Low Horn Playing, No. 1


Supporting Solos



Yenque Tanguito



In the end of the movement, Beethoven briefly shows off the second horn’s flexibility

across two octaves from f to f’’. The rest of the ensemble rests and allows to horn to take over

the melody. This excerpt requires good flexibility, rhythm, and articulation.

Flexibility

The initial challenge in flexibility comes from the first octave leap (see the previously

mentioned excerpt for practice tips on octave jumps). As Beethoven changes the rhythm from

54

eighth notes to triplets halfway through the excerpt, the player should practice two-octave

arpeggios alternating between triplets and eighth notes. The player should also blow a steady

stream of air. Hornists can practice using a steady stream of air with the “backwards

mouthpiece” exercise, which is explained in chapter 2, on page 15, under the supporting

exercises section.

Rhythm

Hornists should carefully address the changing rhythms between eighth notes and triplets,

starting with a metronome. The player should take the rhythm of the excerpt and play it on one

note, setting the metronome to eighth notes for the first two measures, and triplets on the third

measure through then end. Next, the player should add the written notes, continuing to play with

the metronome. Once this is successful, the player should play the subdivisions, replicating a

metronome. The player should then only subdivide internally, playing the passage as written,

then recording and listening back to ensure rhythmic accuracy.

Articulation

The articulation for this excerpt should first be practiced on the mouthpiece, then slowly

with a legato front to the note (a “do” tongue), regardless of whether the player is single or

double tonguing. This will set the player up to have full-sounding notes. For clear, full fronts of

notes, the player should practice stopped, producing a metallic sound. After this, the player

should combine the two ideas on open horn, aiming for a clear front to the note and a good

sound.

55


Stebleton Multiple Tonguing exercise.27 This exercise assists the horn player in

developing multiple tonguing skills. The player starts by only articulating with a ‘t’ tongue.

Then, the player articulates only with a ‘k’ tongue, strengthening the ‘k’ articulation. Next, the

player combines the two, double-striking each note, then striking each note once, alternating

between ‘t’ and ‘k’ tongue. Finally, the player adds triple tonguing, triple-striking each note and

then playing arpeggios, striking the notes with either ‘t-k-t-t’ or ‘t-t-k-t’ articulations. Hornists

should use this exercise to assist with the excerpt above, modifying mm. 29-31 to include two

octaves.

Supporting Excerpts

Beethoven Symphony No. 3 in E-flat major, Op. 55, Trio: Allegro vivace, mm. 169-202,

horn 2


Strauss Don Quixote, Op. 35, Variation VIII, horns 2 and 4

Supporting Etudes

Kopprasch Sixty Selected Studies for French Horn, No. 21, played in 6/8 and 3/4

Kopprasch Sixty Selected Studies for French Horn, No. 40, triple-tongued

Maxime-Alphonse 200 Études nouvelles mélodiques et progressives pour, Book 1, No.

55


27Michelle Stebleton, “Horn Fundamentals Class,” Horn Fundamentals Class (October 18, 2018).

56

Supporting Solos

Bach Cello Suite No. 1 in G major, BWV 1007, Prelude



Figure 4.5. Stebleton Multiple Tonguing exercise

57

Rondo-Allegro, mm. 125-128

Figure 4.6. Rondo-allegro, mm. 125-128

Similarly to the previous excerpt, this passage requires the hornist to have good flexibility

and fast articulation.

Clarity

Because the ensemble includes clarinets and bassoon, it is especially important for the

horn to use a light tongue at the front of each note. To practice matching articulation, the hornist

should practice the passage stopped, legato, and staccato. Practicing stopped will assist the player

with clarity. The legato and staccato repetitions should be treated as practicing both ends of the

articulation spectrum; the player should have the ability to modify the articulation to match the

other instruments. Additionally, playing staccato will also help with clarity, while legato will

assist with sound. The player does not want “all tongue and no tone.” The player should also

practice the passage single-tongued and triple-tongued, in case the tempo is different than

expected.

Flexibility

The player should work slurred and tongued overtones; the overtones should be practiced

starting at the eighth overtone and descending, followed by the eighth overtone up to the tenth

overtone, then descending. The overtone series is shown in figure 1.7. The player should still

58

play on natural horn, but only playing the notes in the passage. A similar example is shown in

figure 1.1.


Michelle Stebleton Multiple Tonguing exercise.28 This exercise assists in tonguing speed

and moving across the range of the instrument while multiple tonguing. The hornist should play

the triple-tongued arpeggios single-tongued as well, modifying the exercise to match the musical

demand. This exercise is shown in figure 4.5

Supporting Excerpts

Beethoven Symphony No. 3 in E-flat major, Op. 55, Trio: Allegro vivace, mm. 169-202,

horn 2

Strauss, Ein Heldenleben, Op. 40 mm. 1-13, horn 1

Strauss, Till Eulenspiegel’s Lustige Streiche, Op. 28, mm. 6-20, horn 1

Supporting Etudes


Kopprasch Sixty Selected Studies for French Horn, No. 21, in 6/8 and 3/4

Maxime-Alphonse 200 Études nouvelles mélodiques et progressives pour, Book 1, No.

55


28Michelle Stebleton, “Horn Fundamentals Class.”

59

Supporting Solos




60

CHAPTER 5

LUDWIG VAN BEETHOVEN: SEXTET IN E-FLAT MAJOR, OP. 81B

Background

Beethoven wrote the Sextet in E-flat major, Op. 81b in the 1790’s and published it

through Simrock Verlag in 1810.29 The sextet is written for string quartet (two violins, viola,

cello) and two horns, and has an optional bass part. The optional bass part is shown in the

original printed edition but not in the engraver’s copy Beethoven examined.30 This piece is

typically performed without bass. The piece is most likely modeled after Mozart’s Horn Quintet

for horn, violin, two violas, and cello, which was written in 1782. In this sextet, the two horn

parts are treated as solo voices while the strings are accompanimental, making this a quasi-

concerto. The two horn parts are virtuosic on natural horn, and equally challenging on the

modern valved horn.

The Sextet is in three movements. Allegro con brio is in sonata form and in the key of A-

flat. The horns play as either soloists or as a duet, with the strings accompanying or responding

to a melody. Adagio fully exploits the horn’s lyricism.31 In ternary form, the B section can be

taken at a slightly faster tempo. Rondo: Allegro employs the typical hunting horn style. The two

horns play an opening call split between the two parts, and the strings respond. The movement is

a five-part rondo, with a short coda at the end.

29 Henken, John. “Sextet in E-Flat, Op. 81b (Ludwig Van Beethoven).” LA Phil. Accessed March 2, 2020. https://www.laphil.com/musicdb/pieces/3283/sextet-in-e-flat-op-81b. 30Ludwig van Beethoven, Sextet in Eb Major Op. 81b for Two Horns, Two Violins, Viola, and Bass, Urtext (Munich: G. Henle Verlag, 2009).31Henken.

61

Movements

Allegro con brio

Adagio

Rondo: Allegro

Selected Excerpts

First horn

Allegro con brio, mm. 18-19

Rondo: Allegro, mm. 37-42

Second horn







Figure 5.1. Allegro con brio, mm. 18-19

62

This excerpt is a standard high-horn passage from the Classical era, but rather high by

today’s standards. To play the passage, the performer must have a quick tongue and a light sound

in the upper register.

Range

There are multiple ways to practice the range of this passage. The first is to ignore the

written rhythm and play the passage as a glissando (on the E-flat overtone series) up to the written

d’’’. This will allow the player to get to the notated d’’’ without the fingers or tongue getting in

the way. Following this, the player should practice the passage slurred. This allows the player to

add variables slowly when moving from glissando to playing the written rhythm. Next, the player

should add articulation, slurring the first two sixteenth notes of each set of eight, which is

stylistically appropriate for the classical era. If the passage still feels difficult, the performer should

transpose the passage down to a key which it feels easy, similar to figure 1.1. From there, the

performer should work up to the written pitches. This allows the player to have encouraging

practice sessions on the excerpt while avoiding a potential mental block if the hornist plays the

excerpt incorrectly too many times.

Articulation Speed

This passage can be single-tongued or double-tongued. Whether the player chooses to

single-tongue or double-tongue, the player should start slowly at a playable tempo, using a smooth

front for each note. Following this, the player should speed up the excerpt gradually, using a

metronome chart similar to figure 1.5. As the player increases the tempo, the passage should still

feel easy. Additionally, one should play quick, ascending scales daily. The player should focus on

63

ease in the upper register, avoiding tension on the highest notes of the passage. To avoid tension,

the player should focus on a fast air stream and tongue placement, keeping the tongue forward and

high in the mouth.

Alternate Fingerings

In order to minimize difficulty of this passage, the player can opt to use alternate fingerings.

The hornist should practice the excerpt all on the B-flat side of the horn, using Bb/0 for F’s, Bb/1

for G’s, and Bb/0 for A’s. These fingerings are the same as playing a concert F scale on f horn

from c’ to c’’ and allow the player to focus slightly less on finger coordination and more on

accuracy.


Goldman, Practical Studies for Trumpet.32 This book of trumpet exercises is a great

resource to work on articulation speed, evenness of sound, and articulation throughout the range,

and assists in building endurance for extended articulated passages.

Gekker One-Minute Drill. This drill requires the player to articulate sixteenth notes on g’

for one-minute. The player starts at a reasonable tempo, such as eighty beats per minute. The player

breathes where necessary and focuses on keeping the sound relaxed and the articulation consistent.

The player should utilize this drill daily, gradually speeding up the tempo. The player can modify

this exercise to include different ranges, performing the exercised on G, g, and g’’, different

articulations, legato, staccato, marcato, and different tonguing techniques, single, double, and

triple-tongued.

32Edwin Franko Goldman, Practical Studies for the Trumpet (New York: C. Fischer, 1921), 2.

64

Figure 5.2. Goldman tonguing exercise

65

Supporting Excerpts

Bach Brandenburg Concerto No. 1 in F major, BWV 1046, horn 1



Supporting Etudes




Supporting Solos

Haydn Concerto for Two Horns in E-flat Major, Hob. VIId/6

Mozart Horn Concerto No. 2 in E-flat major K. 417, Allegro (movement 1)



Figure 5.3. Rondo: Allegro, mm. 37-42

This melismatic passage showcases the horn’s ability to play in the upper register of the

instrument. The passage requires flexibility and control in the upper register.

66

Flexibility

Flexibility in the upper register of the instrument requires the player to closely differentiate

between partials. In this range, the aperture change needed to play between two partials is roughly

the width of a piece of paper. The player should practice the passage with glissandos and messy

slurs, first buzzing on the mouthpiece and then playing on the horn. Glissandos and messy slurs

are a good way for players to practice maintaining the air stream. When returning to the passage

as written, the player should still think of a messy slur when moving between notes.

Control

This passage requires the player to have control in the upper register. One should practice

this passage at a softer dynamic than what is written. This exercise challenges the player to keep

the air stream consistent and focused. Following this, the player should return to the original

dynamic, focusing on staying relaxed. The player can also play the passage tongued, and can then

substitute eighth notes for each note in this excerpt. This assists subdivision and range control. The

subdivision will be more accurate if the player practices with articulated subdivisions because the

player is required to think about the exact length of each note. Range control will improve through

repetitions.


Do-ee-oos.33 Do-ee-oo’s (also known as “Harp Flexie” in Frøydis Ree Wekre’s book34) are

a great exercise to assist with this excerpt. Do-ee-oo’s require the player to gradually and

33Michelle Stebleton, “Horn Fundamentals Class.”34Wekre, Frøydis Ree. Thoughts on Playing the Horn Well, 16.

67

accurately move through the horn’s upper partials. The partials are very close together so it is

necessary to slot each precisely.

Figure 5.4. Do-ee-oos

Supporting Excerpts

Berlioz, Romeo and Juliet, Op. 17 (Queen Mab), Prestissimo, 9 after rehearsal 57-10 before

rehearsal 60, horn 1

Franck, Symphony in D Minor, Allegretto, mm. 29-48, horn 1

Ravel Concerto for Piano in G major, Allegramente, rehearsal 24-26, horn 1

Supporting Etudes





68

Supporting Solos

Ewazen Sonata for Horn and Piano, Adagio

Mozart Horn Concerto No. 2 in E-flat major K. 417, Allegro (movement 1)




This excerpt is a standard low horn excerpt. The player must use a lot of air, have good

flexibility, and have quick articulation.

Air Support

The player should start by practicing this passage on “backwards mouthpiece,” which is

explained in chapter 2 on page 15, under supporting exercises. After doing so, the player should

put the mouthpiece back into the horn and play the passage using the same air speed as before. If

done correctly, the player will find the passage much easier to play and have an even sound.

Flexibility

Good flexibility is key to mastering this excerpt. The player should practice the excerpt

slurring every note, requiring the player to maintain a steady air stream. The player should also

69

practice making a crescendo down to the written g. These two exercises will help the player work

across the break area. Following this, the player should practice the excerpt with alternate rhythms:

a dotted-eighth note followed by a sixteenth note, a sixteenth note followed by a dotted-eighth

note, sixteenth note triplets followed by an eighth note, or any other rhythmic modification. This

is explained further in figures 1.3 and 1.4.

Articulation

For many players, this passage should be double-tongued. Players should make a

fundamentals routine that includes a variety of multiple-tonguing exercises, and should also

practice the excerpt under tempo, double-tongued. Using a “dah” front and tenuto body for each

note forces the player to preserve a steady airstream, making the passage feel easier at a faster

tempo. Once at full tempo, each note goes by quickly enough for the tenuto notes to still sound

crisp and agile.


Teuber Flexibility exercise. This exercise assist the player in working quick direction

changes. The other benefits of this exercise are explained in chapter 3 and the exercise is shown

in figure 3.10.

Supporting Excerpts

Beethoven Fidelio Overture, mm. 45-55, horn 2

Brahms Academic Festival Overture, Op. 80, mm. 181-188, horns 3 and 4


70

Supporting Etudes





Supporting Solos


Jacob Concerto for Horn and Strings, Allegro con spirito, quasi presto

Neuling Bagatelle



This passage from the work is an accompanying line for the first horn. The passage is

similar to passages frequently played by cellists, so the hornist should aim to sound like a cello

player; the jumps should be smooth and connected and the sound should be even.

Large Jumps

While the range of the excerpt is roughly the standard range for a young high school player,

the constant register shifting can be difficult, even for professionals. The player should practice

71

the passage isolating the leaps, playing only the first, second, sixth, seventh, and eighth notes of

the passage. This allows the player to focus on the octave jumps without worrying about the rest

of the passage. Once successful on the octave jumps, the player can return to playing the passage

as written.

Sound

The player should focus on sounding as even as possible. One way to practice this is to

transcribe the passage for cello and play along with a good cellist. Modeling is an effective tool

for players to emulate the characteristics of other instruments. The player should also practice the

passage slurred and as long tones in front of a mirror. One key to an even sound is a secure

embouchure, which can be seen if practicing in front of a mirror. The embouchure can move

slightly, especially if the excerpt crosses the players break area, but the embouchure should “lock

into place” once the player is above the written g. The player should also practice the excerpt on

the F side of the horn. The rationale for this can be found on page 2 in chapter 1.

Fingerings

The player should consider using the B-flat side of the horn. Suggested fingerings are

shown below in figure 5.7, but the player should ultimately be guided by individual intonation.

Figure 5.7. Suggested fingerings, Allegro con brio, mm. 92-100

72


Hill 5ths and 4ths.35 Douglass Hill’s “Warm-Ups and Maintenance Sessions for the Horn

Player” has two exercises that should be added to the player’s fundamental routine. The first is the

leaps spanning three octaves, playing “do-sol-do.” This allows the player to focus on jumps of

fifths and fourths. The second exercise has three one-octave jumps, allowing players to focus on

octave jumps from the pedal register to the upper range. The jumps of fifths and fourths are shown

below in figure 5.8 and the octave jumps are shown in figure 3.16

Figure 5.8. Hill 5ths and 4ths

Supporting Excerpts



Haydn Symphony No. 31 in D major, Finale: Moderato molto, mm. 65-80, horn 2


73

Supporting Etudes




Supporting Solos






This passage is a standard low-horn flexibility excerpt from Beethoven’s works, but with

an added difficultly of repeated notes. This excerpt tests the player’s flexibility and ability to

tongue quickly.

Flexibility

The player should practice in front of a mirror to keep the embouchure secure within each

set of sixteenth notes. The embouchure can move between the four sets of sixteenths but should

stay secure between each set.

74

Tonguing Speed

The excerpt should be practiced by removing different notes from each set of sixteenth

notes. The player should remove each sixteenth note of the passage separately. Removing the first

sixteenth note allows the player to work the small aperture shift within each set. Removing the

second sixteenth note allows the player to work the small aperture shifts in the range between each

set of four sixteenths. Removing the third sixteenth note allows the player to work the doubled

notes of each passage. Removing the fourth sixteenth note allows the player to work the small

change upward within the sixteenths.


Donkeys. “Donkeys” a low flexibility exercise taught by Norman Schweikert, are helpful

for this and similar passages.36 Donkeys (a nickname for this exercise) work quick flexibility in

the middle register of the instrument, requiring the player to move across the break area. Donkeys

are shown for horn in B-flat in figure 5.10, but should be done in all keys. Additionally, the player

should use “backwards mouthpiece,” similarly to Allegro con brio, mm. 16-17, which is discussed

in chapter 2, page 15, under supporting exercises.

Supporting Excerpts

Beethoven Symphony No. 3 in E-flat major, Op. 55, Scherzo. Allegro vivace-trio, mm.

169-202, horn 2

Dvořák Symphony No. 9, Op. 95, Allegro con fuoco, mm. 271-275, horn 2

36Michelle Stebleton, “Horn Fundamentals Class.”

75

Modest Mussorgsky, Pictures at an Exhibition, Limoges-Le Marché, meno mosso, horns 1

and 3

Supporting Etudes




Supporting Solos

Beethoven Horn Sonata in F major, Op. 17, Allegro Moderato

Haydn Concerto for Two Horns in E-flat Major, Hob. VIId/6


Figure 5.10. Donkeys

76



This passage is the accompaniment to the first-horn solo line, requiring quick articulation

and flexibility in the mid register of the horn.

Articulation Speed

This passage falls on the cusp of most players’ top single-tonguing speed, so the hornist

should practice the excerpt single and double-tongued. In practicing, the player should modify the

first note of each sextuplet to be a written d’’ and practice the articulations oscillating between

those two notes. Once mastered, the hornist should play the excerpt with the written notes and can

elect to slur the first two notes. The player should then practice the excerpt while visualizing a

spring board, pushing off of the first note of each sextuplet, lightly accenting the first note of each

sextuplet. This will assist in air speed throughout the passage.

Flexibility

The player should practice the passage tongued and at a slower tempo slurred. When at the

slower tempo, the player should bend the pitches until they “pop” to the next partial. The player

should also try to keep the embouchure secure. The hornist should set the embouchure for the

middle note of each sextuplet, either the written b’ or written a’. This is explained further in chapter

4 on pages 45 and 46.

77


Sterrett Flexibility exercise.37 Leelanee Sterrett taught a mid-register flexibility exercise at

the 2018 International Horn Symposium in her warm-up class. The exercise is shown in figure

5.12. The exercise assists in the flexibility of the midrange but extends down into the break area.

Figure 5.12. Sterrett Flexibility exercise

37Leelanee Sterrett, “International Horn Symposium 50,” International Horn Symposium 50 (August 1, 2018).

78

This exercise can also be practiced with the following valve combinations:

F/1-Bb/23-Bb/0 (starting pitch f’)

F/23-F/2-Bb/1 (starting pitch e-flat’)

F/13-F/1-Bb/12 (starting pitch d’)

F/123-F/12-Bb/23 (starting pitch d-flat’)

Supporting Excerpts

Bach Brandenburg Concerto No. 1 in F major, BWV 1046, horn 2

Mahler Symphony 1 in D major, Langsam. Schleppend, mm. 356-360, horn 2

Saint-Saëns Symphony No.3 in C minor, Op. 78, Allegro Moderato, 4 before rehearsal N-

16 after rehearsal N, horns 3 and 4

Supporting Etudes

Franz Etudes and Concert Etudes for the horn, No. 15




Supporting Solos

Bach Cello Suite No. 1 in G major, BWV 1007, Courante



79



This excerpt is different than the previous excerpts discussed in the sextet. While this kind

of passage appears frequently in Beethoven’s low horn parts, such as the second horn line in the

Adagio-Allegro of theSextet in E-flat Major, Op. 71 it is still a challenge because of the range and

sound production.

Range

In order to perform this excerpt successfully, the player should set the embouchure for E-

flat and D. This will make the written G feel more comfortable in context. The player should

practice descending scales to extend range gradually. While practicing natural horn on any excerpt

can be helpful, it is especially helpful for this passage. The written notes are not partials of the

horn’s overtone series and they cannot be played on stopped horn. The performers at the time of

composition would bend the pitch down from the second partial to each written pitch. Practicing

in this manner is still an effective technique. The hornist should practice this passage all on F/1.

Additionally, the player should practice blasting the passage as loudly as possible. This will help

secure each note, build embouchure strength in this range, and make the player more confident in

the pedal register.

80

Sound Production

The hornist should practice this excerpt blasting, forcing the hornist to project in the pedal

range. Additionally, the player should practice the excerpt stopped. This requires the hornist to

play loud and with a focused air stream, especially in the lower register of the horn. Stopping in

any register requires the player to buzz directly in the center of the desired pitch. If the passage is

correctly practiced stopped, the player, when repeating the excerpt on open horn, should have a

louder, centered sound.


Rim Buzzing. Rim buzzing, like stopped horn, forces the horn player to focus the aperture.

If the player rim buzzes for a few minutes every day, the player should see improvement in the

sound of the pedal range. The player can do this exercise on the rim of the mouthpiece or the

second-valve slide ring.

Supporting Excerpts

Mahler Symphony No. 1 in D Major, Feierlich un gemessen, ohne zu schleppen, mm. 113-

132, horn 2






81

Supporting Etudes




Supporting Solos

Beethoven Horn Sonata in F major, Op. 17, Allegro Moderato

Neuling Bagatelle

Yenque Tanguito

82

CHAPTER 6

LUDWIG VAN BEETHOVEN: OCTET IN E-FLAT MAJOR, OP. 103

Background

Beethoven’s Octet in E-flat major, Op. 103 was written in 1792, but was published

posthumously by Artaria in 1834.38 The horns generally play accompanimental figures, but have

occasional solo lines. The ensemble is comprised of two oboes, two clarinets, two horns, and two

bassoons, is divided into four movements. Allegro begins with a lively oboe melody, which is

carried throughout the movement. In Adagio, the oboe is again given the opening theme and the

horns are given mainly accompanimental or transitional roles. Menuetto begins in a minor theme,

the melody alternating back and forth between oboe and the other instruments. Presto is a quick-

tempoed, exciting end to the work.

Movements

Allegro

Andante

Menuetto

Presto

Selected Excerpts

First horn

Andante, mm. 63-65

38 Cooper, Barry. Beethoven. (Oxford: Oxford University Press, 2000).

83

Presto, mm. 10-16

Presto, mm. 213-223

Second horn

Allegro, mm. 155-160

Presto, mm. 10-16

Andante, mm. 63-65

Figure 6.1. Andante, mm. 63-65

This excerpt is a high-horn excerpt where the horn needs to match the style of the high

woodwinds with ease. The player must control the soft dynamic in the upper register.

Soft Dynamic

The player should focus on keeping consistent air speed without the tongue interrupting

more than necessary. Practicing using only the F side of the horn forces the player to use a more

focused stream of air to achieve the desired sound. Then, the player should play on the B-flat side

of the horn, employing the same air speed. This will allow the notes to float in the upper register

with ease. Practicing in a small room will force the player to use softer dynamics. The player can

also play on the leg and with a slightly more covered hand position if necessary. The more covered

hand position will cause the pitch to sound flat and slightly muffled. To compensate for intonation,

the player can push the main tuning slide in slightly. The muffled sound is not ideal, so slightly

covering is a last resort if the player cannot achieve a soft enough dynamic.

84


Soft arpeggios. The player should practice soft, sustained arpeggios in the upper register

above the written c’’’. This will challenge the performer to play softly in this range and above

where is necessary. The passage should become easier when the player returns to it. The player

can also practice long tones in this range, helping to build endurance and control while improving

sound.

Supporting Excerpts



Franck, Symphony in D Minor, Allegretto, mm. 29-48, horn 1


Supporting Etudes



Hackleman 21 Characteristic Etudes for High Horn Playing, No. 1

Supporting Solos

Ewazen Sonata for Horn and Piano, Adagio

Glière Concerto for Horn in B-flat major, Op. 91, Andante, mm.125-127

L. Mozart Sinfonia de camera, Allegro moderato

Telemann Horn Concerto in D major, TWV 51:D8

85

Presto, mm. 10-16

Figure 6.2. Presto, mm. 10-16

This passage is a quickly articulated line that is repeated and manipulated through the

movement. The player must articulate clearly into the upper register of the horn.

Articulation Speed

The player should practice each measure individually, taking the horn away from the face

after each repetition. The passage goes by quickly, so the player must not hesitate. The player

should also practice the excerpt slurred, then tongued, maintaining an even air speed into the upper

range of the horn. The player should experiment with using Bb/0 for f’; the character of this

movement is very light and fun and this fingering will give the player a light color with more high

overtones in the sound.


Lloyd Lip Trill Exercise. Frank Lloyd created a lip trill exercise that is great for lip trills,

but also for repetitive flexibility passages.39

39 Amy Laursen, “Warm-Up Session,” Amy Laursen, Horn, March 2017, http://amylaursen.com/wp-content/uploads/2017/03/warm-up-packet-horn-workshop.pdf).

86

Figure 6.3. Lloyd lip trill exercise

Reid Arpeggios. Kevin Reid, Principal Horn of the Jacksonville Symphony, suggests

playing repeated arpeggios into the upper register of the instrument for these kinds of passages.40

“The key is not to hesitate, go for it. Those notes are easier than we think, you just have to commit

to playing them.”

Supporting Excerpts


169-202, horn 1



Haydn Symphony No. 31 in D major, Allegro, mm. 9-15, horn 1

40 Kevin Reid, “Private Lesson,” Private Lesson (July 13, 2016).

87

Supporting Etudes




Supporting Solos


L. Mozart Sinfonia de camera, Allegro moderato

Rossini Prelude, Theme, and Variations

Presto, mm. 213-223


This except is identical to the previous excerpt for the first four measures, but then requires

the player to flip the pattern around and descend back to the mid-range on the horn. The player

should again practice each measure isolated, slurred, and tongued. Because the excerpt is at the

end of the movement, endurance may be an issue.

Endurance

Endurance can feel challenging to practice; there is a fine line between tired chops and

chops that need a break. An easy way to practice endurance on this passage is to start at the nearest

multi-measure rest and truncate the small rests. The hornist should play from the predetermined

88

spot (in this example, measure 202) and play to the end of the piece while keeping the horn on the

face. If this is successful, the player should then move back to the next multi-measure rest (measure

197), truncate the rests, and play to the end of the piece. The player should employ this exercise

every day in a practice session. The player should mark the starting point daily, and begin at the

same spot the next day, continuing the exercise until the player can perform the piece in it’ entirety.

This exercise helps the player with endurance, as well as give the player more repetitions on the

piece.


Reid Arpeggios.41 This exercise requires the player to play quick arpeggios into the upper

register. The exercise is further explained on page 86.

Lloyd Lip Trills. Frank Lloyd created a lip trill exercise that is great for lip trills, but also

for repetitive flexibility passages.42

Supporting Excerpts


169-202, horn 1



Haydn Symphony No. 31 in D major, Allegro, mm. 9-15, horn 1

Wagner Götterdämmerung, Vivace, Siegfried’s Rhine Journey, Short Call, horn 1

41Kevin Reid, “Private Lesson.”42 Amy Laursen, “Warm-Up Session.”

89

Supporting Etudes





Supporting Solos


Mozart Sinfonia de camera, Allegro moderato


Allegro, mm. 155-160

Figure 6.5. Allegro, mm. 155-160

This passage is almost identical to the first second-horn excerpt discussed in Chapter 5, but

is repeated. Refer to pages 68 and 69 for practice tips.

This excerpt is similar to the first horn passage discussed early in this chapter, but is in the

mid-range of the horn. Articulation speed and clarity are the main concerns of this passage. This

passage returns later in the movement, in mm. 57-65, with a slight variation as shown in figure

6.7.

90

Presto, mm. 10-16



Articulation Speed

This passage should be practiced single-tongued and double-tongued. The player should

also practice each measure (isolated) with a metronome. One of these measures may be more

difficult if it sits in the break area. The player can also practice on the F side of the horn. Once

each measure is perfected in isolation, the player can add the measures together.

Articulation Clarity

Stopped horn is a great way to work articulation clarity in any range of the horn and can

greatly assist a player in cleaning up messy articulation. Stopped horn forces the player to focus

the air stream in the center of the pitch and requires the player to play louder (with more air) to

match open-horn dynamics. Once the player practices on stopped horn, the passage will come out

more effortlessly on the open horn. The player should also practice in a small room, forcing the

91

player to play softer than normal. When put into context, the passage should be clear and soft.

Additionally, the player should perform the excerpt on the B-flat side of the horn, to assist with

clarity.


Lloyd Lip Trill Exercise. Frank Lloyd created a lip trill exercise that is great for lip trills,

but also for repetitive flexibility passages.43

Stebleton Multiple Tonguing exercise.44 This exercise assists horn players in developing

multiple tonguing skills.

Goldman Practical Studies for Trumpet45. These studies can assist in tonguing clarity,

speed, and endurance. The first exercise should be played in the written octave, as well as

transposed down the octave and into concert E-flat major. These exercises are shown in Figure

5.2.

Supporting Excerpts

Beethoven Symphony No. 3 in E-flat major, Op. 55, Scherzo. Allegro vivace-trio,

mm.169-202, horns 1, 2, and 3

Beethoven Symphony No. 9 in D minor, Op. 125, Molto Vivace, mm. 412-414, horn 2

J.S. Bach Brandenburg Concerto No. 1 in F major, BWV 1046, Allegro, horn 2 Saint-

Saëns Symphony No. 3 in C minor, Op. 78, Allegro Moderato, 4 before rehearsal N-16

after rehearsal N, horns 3 and 4

43 Amy Laursen, “Warm-Up Session.” 44Michelle Stebleton, “Horn Fundamentals Class.”45Edwin Franko Goldman, Practical Studies.

92

Supporting Etudes




Supporting Solos




93

CHAPTER 7

CONCLUSION

Every musical line correlates with one or more fundamental skill. Hornists can utilize a

good fundamentals routine to perfect skills in excerpts, etudes, and solos. Musicians should

avoid frustration in the practice room and the author hopes that this document will show horn

players an efficient way to practice and prepare for performances.

Every individual musician is different and should experiment with different fundamentals

routines, eventually finding one that works. The exercises listed in this document are ones the

author has found helpful, but can be replaced with a variety of similar exercises.

It is important to note that there is no substitution to time spent in the practice room. As

Denise Tryon says, “It’s a marathon, not a sprint.”46 Progress takes time, so hopefully this

document will make that time more interesting and effective.

46Denise Tryon, “Denise Tryon, Horn,” Facebook, September 14, 2017, https://www.facebook.com/DeniseTryonHorn/posts/its-a-marathon-not-a-sprinthow-many-times-have-i-heard-i-want-my-playing-to-be-b/1971032393165185/).

94

REFERENCES

Austin, Paul. A Modern Valve Horn Player's Guide to the Natural Horn. Kalamazoo, MI: by the author, 1993. Bain, Andrew. “Southeast Horn Workshop.” Southeast Horn Workshop. March 12, 2016. Beethoven, Ludwig van. Sextet in Eb Major Op. 81b for Two Horns, Two Violins, Viola, and Bass. Urtext d. Munich: G. Henle Verlag, 2009. Bernardi, Nicolò Francesco, Alexander Schories, Hans-Christian Jabusch, Barbara Colombo, and Eckart Altenmüller. “Mental Practice in Music Memorization: An Ecological-Empirical Study.” Music Perception: An Interdisciplinary Journal30, no. 3 (January 2013): 275–90. https://doi.org/10.1525/mp.2012.30.3.275. Christiansen, Kai. “Piano Quartet in E-Flat Major, Op. 16.” Piano Quartet in E-flat major, Op. 16 - Ludwig van Beethoven. Accessed March 2, 2020. https://www.earsense.org/chamber- music/Ludwig-van-Beethoven-Piano-Quartet-in-E-flat-major-Op-16/?ri=32. Cooper, Barry. Beethoven. Oxford: Oxford University Press, 2000. Dohr, Stefan. “International Horn Symposium 47.” International Horn Symposium 47. August 2, 2015. Farkas, Philip. The Art of French Horn Playing. Evanston, IL: Summy-Birchard Music, 1956. Gardner, Randy C. Good Vibrations: Masterclasses for Brass Players. Randy Gardner, 2014. Gardner, Randy C. Mastering the Hor’ns Low Register. Richmond, VA: International Opus, 2002. Gekker, Chris. Articulation Studies, Exercises, Etudes, and Duets. Charles Colin, Transition

Publications, 1995. Goldman, Edwin Franko. Practical Studies for the Trumpet. New York: C. Fischer, 1921. Henken, John. “Sextet in E-Flat, Op. 81b (Ludwig Van Beethoven).” LA Phil. Accessed March 2, 2020. https://www.laphil.com/musicdb/pieces/3283/sextet-in-e-flat-op-81b. Hill, Douglass. Warm-Ups and Maintenance Sessions for the Horn Player. Eau Claire, WI: Really Good Music, LLC., 2002. Landsman, Julie. “Carmine Caruso Method.” Julie Landsman, 2014. https://s3.amazonaws.com/julielandsman/spider.pdf.

95

Laursen, Amy. “Warm-Up Session.” Amy Laursen, Horn, March 2017. http://amylaursen.com/wp-content/uploads/2017/03/warm-up-packet-horn-workshop.pdf. Reid, Kevin. “Private Lesson.” Private Lesson. July 13, 2016. Stebleton, Michelle. “Florida State University Summer Music Camps.” Florida State University Summer Music Camps. July 2, 2018. Stebleton, Michelle. “Horn Fundamentals Class.” Horn Fundamentals Class. October 18, 2018. Stebleton, Michelle, “Low Embouchure Building” (Handout received in Horn Fundamentals class with Professor Michelle Stebleton, Tallahassee, Florida, Jan. 22, 2016). Sterrett, Leelanee. “International Horn Symposium 50.” International Horn Symposium 50. August 1, 2018. Teuber, Fred W. Progressive Studies in Flexibility and Range Development for French Horn. Sandy, OR: Medici Music Press. Tryon, Denise. “Denise Tryon, Horn.” Facebook, September 14, 2017. https://www.facebook.com/DeniseTryonHorn/posts/its-a-marathon-not-a-sprinthow- many-times-have-i-heard-i-want-my-playing-to-be-b/1971032393165185/. Ward, Robert. “Horn People.” Horn people Public Group, January 5, 2020. https://www.facebook.com/groups/HornPeople/search/?query=robert ward&epa=SEARCH_BOX.

Ward, Robert. “Horn People.” Horn people Public Group, February 5, 2020. https://www.facebook.com/groups/HornPeople/search/?query=robert ward&epa=SEARCH_BOX. Wekre, Frøydis Ree. Thoughts on Playing the Horn Well. Oslo: Prografia AS, 1994.

96

BIOGRAPHICAL SKETCH Jonathan has been the Adjunct Instructor of Horn at Florida Agricultural and Mechanical

University since 2017. In addition to his duties as a graduate teaching assistant at Florida State

University, Jonathan maintains a private studio of middle and high school and spends part of his

summers working at the Florida State University Summer Music Camps. Jonathan has given

masterclasses as a clinician in the greater Tallahassee area and has lectured at the 50th

International Horn Symposium in 2018.

Jonathan keeps a busy performance schedule. He is currently Associate Principal Horn of

the Mobile Symphony Orchestra and Third Horn of the Tallahassee Symphony Orchestra.

Jonathan has also performed with numerous orchestra in the southeast region of the United

States, including the Louisiana Philharmonic, the Asheville Symphony, the Columbus (GA)

Symphony, the Pensacola Symphony, the Northwest Florida Symphony Orchestra, and Sinfonia

Gulf Coast. Outside of orchestral playing, Jonathan has been a soloist with the Florida State

University Wind Ensemble and the Florida State University Chamber Winds. He was also a

contributing artist at the 50th International Horn Symposium and has performed at numerous

Southeast Horn Workshops. Jonathan has also performed in Italy and the Dominican Republic.

Jonathan is currently completing his Doctor of Music in Horn Performance at Florida

State University with Michelle Stebleton. He holds his Master of Music in Horn Performance

from Florida State University and his Bachelor of Science in Music Education from the

University of Missouri-Columbia.

a guide to practicing ludwig van beethoven's chamber

Documents