usd horn warm-up packet french horn 2020-2021 compiled

Dr. Amy Laursen University of South Dakota

[email protected] USD Horn Warm-Up Packet

2020-2021 Compiled List of Warm-Up Routines: Bain, Andrew. Warm-Ups. Berv, Harry. A Creative Approach to the French Horn . Bryn Mawr: Theodore Presser Company, 1977. Boldin, James. “A Guide to Daily Routines.” The Horn Call, 2011: 47-52. Boren, Mark. Overtone Slurs Warmup. Clark, H.L. Technical Studies for the Cornet. New York: Carl Fischer, 1984. Coscia, Silvio. Twelve Modern Studies; In Different Styles for French horn in F. New York: Baron Co., 1953. Dufranse, Louis. Dufranse Rountine for Horn in F. Edited by Thomas Bacon. San Antonio: Southern Music Company, 2005. Farkas, Phillip. The Art of French Horn Playing. Miami: Summy-Birchard Inc., 1956. Hill, Douglas. Collected Thoughts on Teaching and Learning, Creativity, and Horn Performance. Miami: Warner Bros. Pub., 2001. Hodge, Brett. Routine. Howe, Marvin. The Advancing Hornist, Vol. 1 and 2. Macomb: Faust Music, 1991. James, Ifor. Warming Up. Editions Marc Reift, 1999. Johnson, Joshua. Hoss Warm Up Routine, Low Register Exercises, Studio Maintenance. LaMonaca, Caesar. Daily Studies for the Horn. Lloyd, Frank. Lip Trill Exercise. Lueba, Christopher. Scale Exercise and Intervals. Moore, Mark. Fundamentals of Low Brass Playing. Pilafian, Sam, and Patrick Sheridan. The Brass Gym: A Comprehensive Daily Workout for Brass Players. Focus on Music, LLC, 2007. Pottag, Max P. Daily Exercises for French Horn . New York: Belwin Publication, 1941. Reynolds, Verne. The Horn Handbook. Portland: Amadeus Press, 1997. Rider, Wendell. Real World Horn Playing. San Jose: Wendell Rider Publications, 2006. Scharnberg, William. Warmups. Schuller, Gunther. Horn Technique. Oxford: Oxford University Press, 1962. Shaw, JD. The Living Warm Up for French Horn. Singer, Joseph. Embourchure Building for French Horn. Edited by Richard E. Ballou. Long Island: Belwin, 1956. Stamp, James. Warm-Ups and Studies. 9th edition. Vuarmarens: Editions BIM, 1978, 2005. Standley, Forrest. Standley Routine for Horn in F. Edited by Gene Standley and H. Stephen Hager. San Antonio: Southern Music

Company, 2002. Taffanel, Paul and Philippe Gaubert. 17 Daily Exercises. Paris: Alphonse Leduc, 1923. Thompson, David. Daily Warm-up and Workout. Rock Hill: Thompson Edition, Inc., 1994. Tyron, Denise. Daily Routine 2.0. available: http://denise-tryon.thinkific.com/courses/dt-routine. Tuckwell, Barry. Playing the Horn. London: Oxford University Press, 1978. Wekre, Froydis Ree. Thoughts on Playing the Horn Well. Yancich, Milan. A Practical Guide to French Horn Playing. Altanta, Georgia: Wind Music Inc., 1971. Mouthpiece/Long Tones/Turns – JD Shaw - Buzz each on mouthpiece, then play on the horn – gliss. between as much as possible, making it smooth. - Avoid using a T or D at the front of the note, use a H sound

? # c œ œ ˙ ,Mpc. Buzzers #1 q = 60

Pœ œ ˙ , œ œ ˙ , œ œ ˙ , œ œ ˙ , œ œ ˙ , œ œ ˙ ,

Perform in manyother keys.

& œ œ œ œ œ œ œ œP

Mpc. Buzzers #2 q = 72 - 96

œ œ œ œ ˙ .˙ Œ œ œ# œ# œ œ# œ œ œ œ# œ œ# œ# ˙ .˙ ŒEtc.

& ˙ ˙Robustos #1 q = 52 - 84

F ˙ ˙ .˙ Œ ˙ ˙# ˙ ˙# .˙ Œ ˙b ˙ ˙b ˙ .˙b ŒEtc.

& c wRobustos #2 q = 52 - 84

F.˙ Œ

f wsim.

.˙# Œ wb .˙n Œ w .˙ Œ wb .˙b ŒEtc.

& œ œ œ œ œ œ œ œRobustos #3 q = 52 - 84

.˙ Œ œ# œ# œ œ# œ# œ œ# œ# .˙#Œ œ œ œ œ œ œ œ œ .˙

ŒEtc.

? c œ- œ- œ- œ-F

Robustos #4 q = 52 - 84 œ- œ- œ- œ- œ- œ- œ- œ- .˙ Œ œ- œ# - œ- œ# - œ- œ# - œ- œ# - œ- œ- œ- œ- .˙ ŒEtc.

The Living Warm-up

by JD Shaw

© Copyright 2009 by J.D. Shaw Music, Inc.All Rights Reserved. Used with Permission.

International Copyright Secured.

French Horn

Lip Slurs/Flexibility – a. Mark Boren – Overtone Slurs

Continue 2, 1, 12, 23, etc.

b. Marvin Howe – 5/8 Trill Slurs

Continue T12, T1, T2, T0

b. Marvin Howe – more 5/8 Trill Slurs

Amy Laursen

Continue T1, T1, T2, T0

c. Joshua Johnson – - slur and tongue the pattern before moving to 2, 1, 12, 23, etc.

Continue 2, 1, 12, 23, etc.

!

150 Low Register Exercises

Low Register ExercisesLearning to play well in the lower register of the horn can be just as difficult and frustrating as playing up high. It helps to work gradually from a range that does feel good and works for you down to the lower notes. "is is as-suming that your embouchure is set up to be capable of playing in all registers. If you are not sure about this, see my material on embouchures and talk to a teacher who has experience (and success) working with embouchure placement.Here we have exercises that take you from the middle register into the lower register gradually so that you can feel the connection. With the “harmonic” exercises, remember that even though the intervals between the harmonics are larger in this range, the notes are still only “one step” apart on the harmonic scale. Just slide to the next har-monic groove. Feel how much difference there really is. Probably not as much as you think. Suggestions, or what I would recommend you do as you go lower and lower.1. Drop your jaw a little. I have heard of players who can move all over the horn without moving their jaw– I just have never met one. Remember, I said a little.2. Round out your embouchure a little. "ink “oh.”3. Expose more upper lip in the mouthpiece. Don’t change your placement. Don’t take your lower lip out of the mouthpiece. Just relax the upper lip. 4. Keep your corners under control. Anchor on the lower lip. 5. Don’t roll your lower lip out away from your jaw/teeth. Keep pressure against the lower lip equal to the upper lip. Feel the lower lip against the teeth."e studies should be done with great attention to tone. Do not let it thin out down low. Bring out the lowest notes in each of these studies at first. Try to cultivate some edge.

"e idea with these scales is to work down gradually, keeping the tone the same. When you get to notes that are weak you need to go back to a good note and work it into the next note down. "ink glissando.

"e holds in the middle of the phrase are optional and are there to give you time to center the note. Remember, if you don’t fix these notes now you are just teaching yourself how to play them wrong. "ink glissando.

If you are doing the warm-ups, you know what to do here. Stabilize and bring out the lowest note.

!

Ä ä t t " t t " t t t # t " t # t | t ! t # t t " t t t # t t ! t |

Ä t t t t t t t t | b t» t» t» t» t» t» t» t» |»

Äô

t t t t"

t t t"

! t t t ! t"

t t t"

t t " t t"

t t t"

t ! t t t"

t t t"

Ä 34 t t t t"

t t t t t t"

t t t t"

!t !t t ! t"

t t !t» !t» t» ! t»"

t» t» t t"

LR1

LR2

LR3

LR4


Low Register ExercisesLearning to play well in the lower register of the horn can be just as difficult and frustrating as playing up high. It helps to work gradually from a range that does feel good and works for you down to the lower notes. "is is as-suming that your embouchure is set up to be capable of playing in all registers. If you are not sure about this, see my material on embouchures and talk to a teacher who has experience (and success) working with embouchure placement.Here we have exercises that take you from the middle register into the lower register gradually so that you can feel the connection. With the “harmonic” exercises, remember that even though the intervals between the harmonics are larger in this range, the notes are still only “one step” apart on the harmonic scale. Just slide to the next har-monic groove. Feel how much difference there really is. Probably not as much as you think. Suggestions, or what I would recommend you do as you go lower and lower.1. Drop your jaw a little. I have heard of players who can move all over the horn without moving their jaw– I just have never met one. Remember, I said a little.2. Round out your embouchure a little. "ink “oh.”3. Expose more upper lip in the mouthpiece. Don’t change your placement. Don’t take your lower lip out of the mouthpiece. Just relax the upper lip. 4. Keep your corners under control. Anchor on the lower lip. 5. Don’t roll your lower lip out away from your jaw/teeth. Keep pressure against the lower lip equal to the upper lip. Feel the lower lip against the teeth."e studies should be done with great attention to tone. Do not let it thin out down low. Bring out the lowest notes in each of these studies at first. Try to cultivate some edge.

"e idea with these scales is to work down gradually, keeping the tone the same. When you get to notes that are weak you need to go back to a good note and work it into the next note down. "ink glissando.

"e holds in the middle of the phrase are optional and are there to give you time to center the note. Remember, if you don’t fix these notes now you are just teaching yourself how to play them wrong. "ink glissando.

If you are doing the warm-ups, you know what to do here. Stabilize and bring out the lowest note.

!

Ä ä t t " t t " t t t # t " t # t | t ! t # t t " t t t # t t ! t |

Ä t t t t t t t t | b t» t» t» t» t» t» t» t» |»

Äô

t t t t"

t t t"

! t t t ! t"

t t t"

t t " t t"

t t t"

t ! t t t"

t t t"

Ä 34 t t t t"

t t t t t t"

t t t t"

!t !t t ! t"

t t !t» !t» t» ! t»"

t» t» t t"

LR1

LR2

LR3

LR4 Low Register Exercises 151

Here we are adding the next harmonic down. Use the glissando principle to find the shortest way to the notes. If you can’t get the lowest notes yet, try doing the pattern using the Bb horn, starting on a third space C.

Play with your best tone at all times. Keep the air moving and the buzz going between the notes.

Bb Horn harmonics: 0, 2, 1, 3, 23. Learn to play these in tune and with a good sound. !ey are wide slots and need to be centered in pitch. Don’t let them “honk.” You can continue down on F horn.

Connecting the middle range with the low. Do on all valve combinations. Tongue this also. Find a transposition that you can do (even if it is on Bb horn) and work down from there.

We are looking for efficiency here. !at means getting from one note to the next with minimal movement. Use your air to support your lip and jaw activities. Get this going at a good clip with good tone.

You may have to slow down a bit on this one at first. Just make sure you center the notes with the air.

!

Ä 44 t t t t t"

t t tC=60

| b t t t t t"

t t t t» t» t»» t» t»"

t» t» t»|

Ä t» t» t» t» t» t» t» t» t» t» t» t» t» t» t» t» t» t» t» t» t» t» t» t» |

Ä 34 t t t t t t t t t t t t t t t t t t t t t t t t «|

Ä 44 t t t tC =60

| b t t t t | b " t " t" t t " |b t t t t |

b " t " t " t t " |b

Ä Ût t tÛt t t Ût t t

Ût t tC= 72 Ût t t

Ût t t Ût t tÛt t t | | A

Ä Ût t tÛt t t

Ût t t Ût t t

Ût t t

Ût t t

Ût t t

Ût t t

Ût t t

Ût t t

Ût t t

Ût t t A

Ä Ût t tÛ

t t tÛ

t t tÛt t t Ût t t

Ût t t

Ût t t

Ût t t Ût t tÛ

t t tÛ

t t tÛt t t A

LR5

LR6

LR7

LR8

LR9

LR10

LR11

Low Register Exercises 151







!

Ä 44 t t t t t"

t t tC=60

| b t t t t t"

t t t t» t» t»» t» t»"

t» t» t»|



Ä 44 t t t tC =60


b " t " t " t t " |b




Ä Ût t tÛt t t

Ût t t Ût t t

Ût t t

Ût t t

Ût t t

Ût t t

Ût t t

Ût t t

Ût t t

Ût t t A

Ä Ût t tÛ

t t tÛ


Ût t t

Ût t t

Ût t t Ût t tÛ

t t tÛ

t t tÛt t t A

LR5

LR6

LR7

LR8

LR9

LR10

LR11

Low Register Exercises 151







!

Ä 44 t t t t t"

t t tC=60

| b t t t t t"

t t t t» t» t»» t» t»"

t» t» t»|



Ä 44 t t t tC =60


b " t " t " t t " |b




Ä Ût t tÛt t t

Ût t t Ût t t

Ût t t

Ût t t

Ût t t

Ût t t

Ût t t

Ût t t

Ût t t

Ût t t A

Ä Ût t tÛ

t t tÛ


Ût t t

Ût t t

Ût t t Ût t tÛ

t t tÛ

t t tÛt t t A

LR5

LR6

LR7

LR8

LR9

LR10

LR11


!is is the basic low harmonic connection series. I use this with students who have that classic embouchure break somewhere around low g. Find a transposition that you can do and then work across the “break.” Do in all keys. Feel the connection between the notes. Use the harmonic “speed bumps” to help you, and glissando.

A variation is to accent the weakest note. It may not be the lowest note. Start with a small accent and then make it bigger. Once you feel that you have mastered the slurs, start doing them with a legato tongue that feels just as con-nected.

Get a good start on the first note. Control with the corners of your embouchure. Slur first– lots of air. Use the scale patterns. You will feel the muscles holding against the tonguing. !is is a good thing and builds control.

!is is a classic exercise to develop power in the low register. (c.f. Philip Farkas “!e Art of Horn Playing”) Cre-scendo on each note and time the loudest point for the beginning of the next bar where the note changes. What makes a louder vibration? !e amplitude or size of the vibration must get larger. How do we get amplitude? !e lips, especially the upper lip, must relax so that the vibration can get bigger. Lowering the jaw slightly as you get louder also helps. Don’t be afraid to put some “shine” or “edge” on the sound. As a matter of fact, you should put a lot of “shine” on these loudest notes. !is means that the lip is vibrating freely. Keep the corners under control and don’t float the lower lip away from the teeth.

Don’t underestimate the power of using the scale patterns.

!

Äô t t t t t t t t | b

t t t t t t t t |b t t t t t t t t | b

Ä t t¿ t t¿ t t¿ t t¿ | b t t¿t t¿

t t¿t t¿

|b t t¿ t t¿ t t¿ t t¿ t t¿ t t¿

t t¿ t t¿| b

Ä |» t» t» t» t» t» t» A|» ! t» t» t» t» ! t» t» A

Äï" |»

ï

t» t» t» " t» t» t» " A |» ! t» ! t» ! t» t» ! t» ! t» AÄ t t t t t t t t

ˆt t t t t t

ˆt t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t t

ÄîA | b A ñ" |

b " A ñ|b

A ! |b

! A |b

Ä A ! |

ñb

! A |b

A |Åb A

ñ" |ñb "A

ñ

ñ| b

Å Añ

ñ! | b !A

ñ

ñ| b A

ñ|ñ

b A ñ" |b "A ñ|

b Ä

LR12

LR13

LR14

LR15

& 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ&3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

,œ œ œ œ œ œ# œ# œ œ œ œ œ œ# œ#

&5 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ&7 œ œ œ œb œ œ œ œ œ œ œb œ œ œ œ œ œ œ œb œ œ œ œ œ œ œb œ œ&9 œ œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ

,œ

,œ œ œ œ œ œ# œ œ œ œ œ œ œ#

&11 œ œ œb œ œ œ œ œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ

&13 œb,

œ œ œb œ œ œ œb œ œ œb œ œ œ œb œ œ œ œb œ œ œb œ œ œ œb œ œ&15 œb œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ

,œ œb œ œ œ œ# œ œ œb œ œ œ œ#

&17 œ œ œb œ œ œb œ œ œ œb œ œ œb œ œ œ œb œ œ œ œ œ œ œ œ œ œ œb œ œ&19 œb

,œ œ œb œb œ œ œb œ œ œb œb œ œ œb œ œ œb œb œ œ œb œ œ œb œb œ œ

Scales - Silvio Coscia

©

C Major

a melodic

FM

dm

BbM

gm

EbM

&21 œb œ œ œb œb œ œ œ œ œ œ œ œ œ œ œ œ,œ œb œ œ œ œ œ œ œb œ œ œ œ

&23 œ œb œb œ œ œb œ œ œb œb œ œ œb œ œ œ œb œ œ œ œ œ œ œ œ œ œ œb œ œb

&25 œb,

œb œ œb œb œ œ œb œb œ œb œb œ œ œb œ œ œb œb œ œb œb œ œ œb œb œ œb&27 œb œb œ œb œb œ œ œ œ œ œ œ œ œ œ œ œ

,œ œb œb œ œ œ œ œ œb œb œ œ œ

&29 œ œb œb œ œb œb œ œ œb œb œ œb œb œ œ œ œb œb œ œ œ œ œ œ œ œ œ œb œ œb&31

œb,

œb œ œb œb œb œ œb œb œ œb œb œb œ œb œ œb œb œb œ œb œb œ œb œb œb œ œb&33

œb œb œ œb œb œ œ œ œ œ œ œ œ œ œ œ œb,œ œb œb œ œ œ œb œ œb œb œ œ œ

&35 œb œb œb œ œb œb œ œb œb œb œ œb œb œ œb œ œb œb œ œ œ œ œ œ œ œ œ œb œb œb&37 œb

,œb œb œb œb œb œ œb œb œb œb œb œb œ œb œ œb œb œb œb œb œb œ œb œb œb œb œb

&39 œb œb œb œb œb œ œ œ œ œ œ œ œ œ œ œ œb,œ œb œb œb œ œ œb œ œb œb œb œ œ

cm

AbM

fm

DbM

bb m

GbM

eb m

&41 œb œb œb œb œb œb œ œb œb œb œb œb œb œ œb œ œb œb œb œ œ œ œ œ œ œ œ œ œ# œ#

&43 œ œ#,

œ# œ œ# œ# œ# œ œ# œ# œ œ# œ# œ# œ œ# œ# œ# œ œ# œ# œ œ# œ# œ# œ œ# œ#&45 œ œ# œ# œ œ# œ œ œ œ œ œ œ œ œ œ œ# œ# œ#

,œ œ# œ# œ# œ‹ œ# œ# œ œ# œ# œ# œ‹

&47 œ# œ# œ œ# œ# œ œ# œ# œ# œ œ# œ# œ œ# œ# œ# œ œ# œ# œ œ œ œ œ œ œ œ œn œ œ#&49 œ œ#

,œ# œ œ œ# œ# œ œ# œ# œ œ œ# œ# œ œ# œ# œ œ œ# œ# œ œ# œ# œ œ œ# œ#

&51 œ œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ# œ# œ#,

œ œ# œ# œ# œ# œ# œ# œ œ# œ# œ# œ#

&53 œ# œ œ œ# œ# œ œ# œ# œ œ œ# œ# œ œ# œ# œ# œ œ# œ# œ œ œ œ œ œ œ œ œ œ# œ&55 œ œ

,œ# œ œ œ# œ# œ œ œ# œ œ œ# œ# œ œ# œ# œ œ œ# œ œ œ# œ# œ œ œ# œ

&57 œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ# œ# œ#,

œ œ œ# œ# œ# œ# œ# œ œ œ# œ# œ#

&59 œ# œ œ œ# œ œ œ# œ# œ œ œ# œ œ œ# œ# œ# œ œ œ# œ œ œ œ œ œ œ œ œn œ œ&61

œ œ,

œ# œ œ œ œ# œ œ œ# œ œ œ œ# œ œ# œ œ œ œ# œ œ œ# œ œ œ œ# œ

BM

g#m

EM

c#m

AM

f# m

DM

&63œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ#

,œ œ œ# œ# œ# œ œ# œ œ œ# œ# œ#

&65 œ œ œ œ# œ œ œ# œ œ œ œ# œ œ œ# œ œ# œ œ œ# œ œ œ œ œ œ œ œ œ œ œ&67 œ œ

,œ œ œ œ œ# œ œ œ œ œ œ œ# œ œ# œ œ œ œ œ œ œ# œ œ œ œ œ

&69 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ#,

œ œ œ œ# œ# œ œ# œ œ œ œ# œ#

&71 œ œ œ œ œ œ œ# œ œ œ œ œ œ œ# œ œ# œ œ œ œ œ œ œ œ œ œ œ œn œ œ&73

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

&75 œ œ œ œ œ œ œ œ œ œ œ œ œ œ w

bm

GM

em

CM

Major Arpeggios – Dufranse

Lip Trills Exercises - JD Shaw

Range Extension Exercises – High and Low a. Hackelman - play higher and lower than you think you can in all keys.

b. Scharnberg – from Bengy Belfrage 1) slur FFF, slur ppp, slur FFF 2) tongue FFF, tongue ppp, tongue FFF

c. Marvin Howe – 5/8 Low Lip Slurs

& c œ œ œ œ œ œ œ œ ˙Trillers #1 q = 60

F horn: 0

œ œ œ œ œ œ œ œ ˙faster

œ œb( )œ œ œ œ œ œ ˙faster œb( )œ œ œ œ œ œ œ ˙bfaster œ œ œ œ œ œ œ œ ˙faster

Continue downfingering pattern.

& c œ œ œ œ œ œ œ œ œ œfingered lip trill

Trillers #2 q = 100 - 180

œ œ# œ œ œ œ œ œ œ œfingered lip trill

œb œn œ œ œ œ œ œ œ œfingered lip trill

œ œ œ œ œ œ œ œ œ œfingered lip trill

Continue downfingering pattern.

& c Ÿ~~~~~ Ÿ~~~~~œ œ œ œ œ œ œ œ œ. œ. œ. œ. œ œ œ œ

Trillers #3 q = 96 - 132

w œ œ œ Œ Ó œ œ œ œ œ œ œ# œ œ. œ. œ. œ. œ œ œ œ w œ œ œ Œ ÓContinue patternaround circle of 5ths.

The Living Warm-up - 7

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Amy Laursen

Amy Laursen

Amy Laursen

d. Moore

Tonguing Exercises – JD Shaw

Double Tonguing – K (or G) -

& c # # # # #œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ-F

Tongue Accelerators #1 q = 72 - 120

œ- œ- œ- œ- œ- œ- œ- œ- -̇ " œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- œ- -̇Etc.

& c œ œ œ œb œ œ œ œ œ ŒP


œ- œ- œ- œb - œ- œ- œ- œ- œ- Œ œb œ œ œb œ œ œ œ œ Œ œb - œ- œ- œb - œ- œ- œ- œ- œ- ŒContinue patternaround circle of 4ths.

& c œ- jœ> ‰ œ- œ- œ- œ- jœ> ‰ß ß


œ- Jœ> ‰ œ- œ- œ- œ- Jœ> ‰ß ß

œ- jœ> ‰ œ- œ- œ- œ- jœ> ‰ß ß œ- jœ> ‰ œ- œ- œ- œ- jœ> ‰

ß ßœ- jœ> ‰ œ- œ- œ- œ- jœ> ‰

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Continue patternaround circle of 5ths.

& c œ. œ- œ- œ. œ- œ- œ- œ- œ- œ- œ- œ- œ- œ-P


jœ> ‰ Œ Óß œ. œ- œ- œ. œ- œ- œ- œ- œ- œ- œ- œ- œ- œ-P

jœ> ‰ Œ Óß

œ. œ- œ- œ. œ- œ- œ- œ- œ- œ- œ- œ- œ- œ-Pjœ> ‰ Œ Ó

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& c œ- œ- œ- œ- jœ- ‰ œ- œ- œ- œ- jœ- ‰d d d d d g d g dd


œ- œ- œ- œ- jœ- ‰ œ- œ- œ- œ- jœ- ‰d d d d d g d g dd


œ- œ- œ- œ- Jœ- ‰ œ- œ- œ- œ- Jœ- ‰d d d d d g d g dd



& 86 œ- œ- œ- œ- œ- œ- jœ- ‰ ‰d d d d d d d

Tongue Accelerators #6 q. = 60 - 156

œ- œ- œ- œ- œ- œ- jœ- ‰ ‰d d g d d g d

œ- œ- œ- œ- œ- œ- Jœ- ‰ ‰d d d d d d d

œ- œ- œ- œ- œ- œ- Jœ- ‰ ‰d d g d d g d











& c œ- jœ> ‰ œ- œ- œ- œ- jœ> ‰ß ß


œ- Jœ> ‰ œ- œ- œ- œ- Jœ> ‰ß ß


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& c œ- jœ> ‰ œ- œ- œ- œ- jœ> ‰ß ß


œ- Jœ> ‰ œ- œ- œ- œ- Jœ> ‰ß ß


ß ßœ- jœ> ‰ œ- œ- œ- œ- jœ> ‰

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Dr. Laursen’s favorite Fingering Chart - compiled by John Ericson http://www.public.asu.edu/~jqerics/HornFingeringChart.pdf

14 Introducing the Horn

usd horn warm-up packet french horn 2020-2021 compiled

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