As the player progresses in Level 2, practice should increase to one hour each day. The student should also take advantage of every chance to hear other horn players. Listening to fine players is the best way to develop a concept of sound and styles, and to develop awareness of the difference between good and bad playing. Level 2 is a good time to begin playing in horn ensembles. The studio teacher should organize group lessons to work on ensemble pieces and help the players develop the important skills of ensemble playing: leading, following, intonation and playing together.
During Level 2, the player should: 1 develop range to at least two octaves, and know chromatic fingerings throughout that range; 2 know major and minor scales and arpeggios up to three sharps and three flats; 3 increase tonguing capabilities to include effective staccato, tenuto and marcato articulations; 4 expand dynamic abilities to include pp and ff, while maintaining good sound and steady intonation. This book will provide practice material for the player through Level 6.
Horn Club -- 60 Selected Duets. Both of the above collections gradually increase in difficulty and will serve the player well into Level 4 or 5. As we learned at Level 2, practice is most effective when divided into three different areas of concentration: 1. But remember to practice for improvement, not just to get through the exercise.
Technical exercises that we memorize and play every day, like long tones, slurs, arpeggios, scales, etc. The danger then comes in playing these exercises with the same mistakes every time, thereby reaffirming those mistakes. Remember that practice makes perfect, and if you practice with mistakes, you will perform with mistakes. To progress from Level 3 to Level 4, the player must not only increase the amount of time spent practicing, but also increase the effectiveness of the time spent.
Concentration levels need to be raised and each note should be played with utmost conviction and scrutiny. You should ask yourself about every note: "Is that exactly the way I want it to be? This book provides material for the player through Level 6. Even though many attempt Level 4 repertoire, very few high school players reach this level. They are probably the section leaders and may be members of the All-State band and orchestra. There is also a good chance they will get music scholarships for college.
Along with these achievements comes responsibility though, for if the player is to continue developing, practice and involvement with the horn and the horn world must become a priority. It's time to really get serious. A basic routine should be developed that includes technical exercises addressing everything the player has to do. It should include high and low range, loud and soft dynamics, scales and arpeggios, various articulations and slurs, lip trills, and multiple tonguing. Problem areas should no longer be avoided. During Level 4, the player should: 1 develop range to at least 3 octaves, and know chromatic fingerings throughout that range; 2 know all major and minor scales and arpeggios; 3 begin using lip trills, double and triple tonguing, transposition, and bass clef old and new notation whenever needed; 4 become familiar with standard orchestral excerpts; 5 become familiar with the technique of the natural horn and understand the harmonic series; 6 join the International Horn Society IHS , if not already a member; 7 begin building a library of recordings of fine players, and become familiar with names and styles of great players of the past and present.
If at a conservatory or university, the student should select the school itself based on the strengths of that teacher. In choosing a teacher, there are many important questions to consider: Does this teacher help me play better? Can this teacher help me overcome all of my weaknesses on the instrument? Is this teacher open to many ideas and styles of playing, or is there only one way to do things correctly?
Do I respect this teacher as a person as well as what he or she has accomplished professionally? Does this teacher have the necessary experience, wisdom, and contacts to guide me towards the goals that I want to achieve? Does this teacher inspire me to be the best that I can be? Continue developing and refining the practice routine to achieve ease in all areas of playing.
Test Pieces for Orchestral Auditions French Horn Probespiel
Not only is it important for maintaining the abilities that we have achieved, but one of the best ways to fix fundamental problems is in basic exercises -- musical calisthenics -- some of which we might have learned at Level 1 or 2. During Level 5, the player should: 1 develop range to four octaves with consistent tone at all dynamics throughout the range; 2 become proficient in sightreading, and be able to transpose and read different clefs at sight; 3 be fluent with lip trills, hand stopping, multiple tonguing, and flutter tongue, and be able to use these techniques easily; 4 have an understanding of music theory and be able to analyze different musical forms; 5 study music history and understand different periods and styles and be able to perform them appropriately.
If performance is the goal, then practice is the way to achieve it. Major orchestras and other fine professional ensembles are looking only for players of exceptional ability, ones who can display these important qualities: total mastery of technique; the ability to play all styles of music expressively and appropriately; the ability to read and transpose at sight anything from the standard repertoire; performance experience; a broad knowledge of repertoire; a high level of professionalism and dedication; the ability to work with other people.
If a college teaching position is your goal, the necessary qualities are no less important, but take on a slightly different focus: exceptional playing ability and performance experience; masters or doctoral degree or equivalent in professional experience many schools require the degrees regardless of experience ; teaching experience; broad knowledge of pedagogical methods; broad knowledge of all the repertoire for horn; a high level of professionalism and dedication; the ability to work with other people; administrative skills.
The music business is highly competitive and job openings frequently have hundreds of applicants. To win the position of your dreams requires initiative, diligence, hard work, and a little bit of luck. So go practice your horn, and good luck!
- Why Intelligent People Are Overweight.
- Tools & Resources.
- My Dream Holiday!
- Customers Who Bought Horn Player's Audition Handbook Also Bought:;
Read Free For 30 Days. Entertainment Pop Culture. A Horn Player's Study Guide.
Flag for inappropriate content. Related titles. Carousel Previous Carousel Next. Jump to Page. Search inside document. Candice Smith. Sara Prandin.
Brass Audition Repertoire
David Loh. Brad Gassner. Sandro Satanassi. Cristhian Miranda. Louis Smith.
Repertoire List | Horn Studio
Rick Rite. Product description Product Description The Horn Player's Audition Handbook provides a handy, one-volume reference guide to the literature, especially for those players preparing for an imminent auditions, containing, as it does, the repertoire most frequently asked for by American orchestras. Not Enabled. No customer reviews. Share your thoughts with other customers. Write a product review. Back to top.
Get to Know Us. English Choose a language for shopping. Length: 81 pages. Language: English.