Scales and Exercises

for Horn

by
Scott Russell

Instructor of Horn
University of Notre Dame
Saint Mary’s College

© January 2005
last revision: 14 April 2006
 Table of Contents
Introduction 1
Warm-Up Routine 2
Miscellaneous Exercises
Open F Horn Flexibility Exercise 4
Trill Exercise 5
“Wizard of Oz” Exercise 6
Scales and Scale Exercises 7
Major Scales Exercise for Beginners 8
Minor Scales Exercise for Beginners 9
Major Scales, 1 Octave 10
Natural Minor Scales, 1 Octave 12
Harmonic Minor Scales, 1 Octave 14
Melodic Minor Scales, 1 Octave 16
Major Scales, 2 Octaves 18
Natural Minor Scales, 2 Octaves 20
Harmonic Minor Scales, 2 Octaves 22
Melodic Minor Scales, 2 Octaves 24
Scales Checklist 26
Reference Documents
Short Repertoire List 28
Horn History and Pedagogy Bibliography 30
Web Sites of Interest 31
South Bend Area Musical Resources 32
About the Author 33
 Introduction

Dear Student:

There are three essential elements of fine playing. They can be summarized by the three “T’s”:

• TONE
warm, open, vibrant sound
descriptive articulations
dynamic variation

• TIME
rhythmic accuracy
maintenance of steady tempo
intelligent use of rubato

• INTONATION
pitch accuracy
playing in tune with yourself
playing in tune with piano accompaniment
playing in tune with an ensemble

The exercises presented on the next few pages focus on warming up in an intelligent and
calculated manner in order to best prepare you for good playing later in the day and to focus your
mind and your ears on these three pivotal concepts.

If you play with a good tone, good time, and good intonation, you will be miles ahead of most
other horn players.

Best of luck!

Scott Russell

Assistant Horn, South Bend Symphony Orchestra

Instructor of Horn, University of Notre Dame and Saint Mary’s College

© 2005, Scott Russell 1

 Warm-Up Routine

Warming up sets the tone for your entire playing day, no matter what kind of playing you
do later: band rehearsals, private practice, etudes, solos, etc. While everyone’s warm-up routine
is different, there are several common factors involved in a good warm-up session:

• Start with only the mouthpiece or a mouthpiece visualizer.

• Open your lungs – Breathe!
• Start in the middle register and work out to extremes of high and low.
• Maintain a relaxed embouchure for all exercises and in all registers.
• Play 90% of your warm-up at a warm, comfortable mf dynamic.
• Remove the horn from your face often: play for 15 seconds, rest for 15 seconds.

1. Mouthpiece Buzzing

2. Long Tones
Use an open embouchure, play with warm air, consistently mf to f dynamic. Sustain the volume
of the last note all the way to the end. Do not allow the dynamic to die away. Empty your lungs
completely on beat 3 and fill them by saying “How” as you inhale on beat 4.

3. Mid-Range Flexibility
Maintain smooth slurs throughout. Fill out the slurs with warm, easy air. Take the indicated
breaths even if you do not need them. Be sure to observe the legato tonguing in the next-to-last
bar of the second line.

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4. Low-Range and Mid-Range Flexibility
It is OK to sustain the first and last notes slightly.

5. Mid-Range and High-Range Flexibility

You may play either the top line or the bottom line. (The bottom line is identical to the top line
without rests.) What is important is that you maintain an easy feel throughout the middle register
to the top of the staff. The work should be done on your air stream, not on your face.

6. High-Range Flexibility
Use an easy, open air stream. Do not force or squeeze out the highest notes. If they do not sound
naturally or easily, skip this exercise.

7. Repeat Exercises 2 through 6 for Horn in E (2nd valve), Horn in Eb (1st valve), and
Horn in D (1st and 2nd valve).

Exercises 1, 2, 3, and 4 come from Wendell Rider’s book Real World Horn Playing which is available from his
website at www.wendellworld.com.

Exercises 5 is an adaptation of an exercise in Philip Farkas’s book The Art of French Horn Playing.

© 2005, Scott Russell 3

Perform the exercise without the use of valves, that is, all open on the F horn.
Enjoy the somewhat out-of-tune partials (Bb and F) as you slur evenly throughout
the exercise. Strive for a uniform tone in all registers.

Each phrase should be performed three times in succession.

First time: mf
Second time: pp
Third time: ff

It is advisable to transpose the entire exercise for Horn in E, Eb, and D, moving
through these fingering combinations: open, 2, 1, and 1-2.

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 Trill Exercise

Be certain to slur cleanly and evenly through the entire line.

This exercise may be extended downward, as follows:

Scale Trill Fingering Trilled Notes

A Major 2nd valve B to C#
Ab Major 1st valve Bb to C
G Major 1st and 2nd valve A to B
F# Major 2nd and 3rd valve Ab to Bb
F Major 1st and 2nd valve G to A
E Major 2nd and 3rd valve F# to G#

This exercise may also be played a P4 higher on the Bb horn, as follows:

Scale Trill Fingering Trilled Notes

Eb Major T (thumb) and open F to G
D Major T and 2nd valve E to F#
Db Major T and 1st valve Eb to F
C Major T and 1st and 2nd valve D to E
B Major T and 2nd and 3rd valve C# to D#

© 2005, Scott Russell 5

This exercise is designed to strengthen the notes in the lower register. It is not
intended to extend your range, but to solidify notes you can already achieve.

Keep the sound open, full, and easy. A healthy mf dynamic is appropriate
throughout.

This exercise can be extended further downward, using valves 2-3, 1-3, and 1-2-3.

© 2005, Scott Russell 6

 Scales and Scale Exercises

The scales that follow are presented in order of increasing range: a simple

scale exercise in major and minor keys that spans the first 5 notes of each scale,

then major and all three forms of minor scales in 1 octave and 2 octaves.

Scales should be practiced at all dynamic levels and with varying patterns of

articulation (all slurred, all tongued, slur two and tongue two, etc.).

Begin your scales practice slowly and gradually increase the speed – it is

much better to play your scales well at a moderate tempo than to play them poorly

at a fast tempo.

You may track your progress using the checklists on pages 26 & 27.

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 Scales Checklist

Major – Beginners Exercise

Date Completed Date Completed

quarter = 48 quarter = 56

quarter = 52 quarter = 60

Minor – Beginners Exercise

Date Completed Date Completed

quarter = 48 quarter = 56

quarter = 52 quarter = 60

Major

Date Completed Date Completed

1 octave @ quarter = 60 2 octaves @ quarter = 84

1 octave @ quarter = 72 2 octaves @ quarter = 100

1 octave @ quarter = 84 2 octaves @ half = 60

1 octave @ quarter = 100 2 octaves @ half = 72

© 2005, Scott Russell 26

 Scales Checklist

Natural Minor

Date Completed Date Completed

1 octave @ quarter = 60 2 octaves @ quarter = 84

1 octave @ quarter = 72 2 octaves @ quarter = 100

1 octave @ quarter = 84 2 octaves @ half = 60

1 octave @ quarter = 100 2 octaves @ half = 72

Harmonic Minor

Date Completed Date Completed

1 octave @ quarter = 60 2 octaves @ quarter = 84

1 octave @ quarter = 72 2 octaves @ quarter = 100

1 octave @ quarter = 84 2 octaves @ half = 60

1 octave @ quarter = 100 2 octaves @ half = 72

Melodic Minor

Date Completed Date Completed

1 octave @ quarter = 60 2 octaves @ quarter = 84

1 octave @ quarter = 72 2 octaves @ quarter = 100

1 octave @ quarter = 84 2 octaves @ half = 60

1 octave @ quarter = 100 2 octaves @ half = 72

© 2005, Scott Russell 27

 Short Repertoire List

Much more comprehensive lists can be found in Douglas Hill’s Collected Thoughts on Teaching
and Learning, Creativity, and Horn Performance. This list has been excerpted from that source.

Horn and Piano

Beethoven, Ludwig van Sonata, Op. 17

Bozza, Eugene En Foret
Chabrier, Emmanuel Larghetto
Cherubini, Luigi Two Sonatas
Damase, Jean Michel Berceuse
Dukas, Paul Villanelle
Ewazen, Eric Sonata
Glazunov, Alexander Reverie, Op. 24
Gliere, Reinhold Concerto, Op. 91
Gliere, Reinhold Romance, Valse Triste, Intermezzo
Haydn, Franz Joseph Concertos #1 and 2
Heiden, Bernard Sonata
Hindemith, Paul Sonate (1939), Sonata for Alto Horn, and Concerto
Hovhaness, Alan “Artik” Concerto
Jacob, Gordon Concerto
Larsson, Lars Erik Concertino, Op. 45
Mozart, Wolfgang Amadeus Concertos #1 – 4 and Concert Rondo
Musgrave, Thea Music for Horn and Piano
Nielsen, Carl Canto Serioso
Poulenc, Francis Elegy
Reynolds, Verne Sonata
Rosetti, Franz Antonio Concertos #1 – 6
Saint-Saëns, Camille Morceau de Concert
Saint-Saëns, Camille Romance, Op. 36
Schumann, Robert Adagio and Allegro
Strauss, Franz Nocturne, Op. 7
Strauss, Franz Concerto, Op. 8
Strauss, Richard Concertos #1 and 2
Weber, Carl Maria von Concertino in E
Wilder, Alec Sonatas #1 – 3 and Suite

© 2005, Scott Russell 28

 Short Repertoire List

Much more comprehensive lists can be found in Douglas Hill’s Collected Thoughts on Teaching
and Learning, Creativity, and Horn Performance. This list has been excerpted from that source.

Horn Alone

Apostel, Hans Erich Sonatine

Buyanovsky, Vitali Travel Sketches
Gallay, Jean-François 40 Preludes, Op. 27
Hermanson, Ake Alarme
Krol, Bernhard Laudatio
Persichetti, Vincent Parable VIII
Reynolds, Verne Elegy

Chamber Music

Arnold, Malcolm Quintet brass quintet

Barber, Samuel Summer Music wind quintet
Brahms, Johannes Trio, Op. 40 violin, horn, & piano
Britten, Benjamin Serenade horn, voice, & strings
Cooke, Arnold Nocturnes horn, voice, & piano
Ewald, Victor Quintets 1 – 3 brass quintet
Haydn, Franz Joseph Divertimento a tre horn, violin, and cello
Mozart, Wolfgang Amadeus Quintet, K. 407 horn & string quartet
Mozart, Wolfgang Amadeus Quintet, K. 452 horn, cl, ob, bsn, & piano
Poulenc, Francis Sonata horn, trumpet, and trombone
Reicha, Anton 24 Quintets wind quintet
Schubert, Franz Auf dem Strom horn, voice, & piano

© 2005, Scott Russell 29

 Horn History and Pedagogy Bibliography

Coar, Birchard (1950). The French Horn. DeKalb, IL: self-published.

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

Farkas, Philip (1962). The Art of Brass Playing. Bloomington, IN: Wind Music.

Farkas, Philip (1976). The Art of Musicianship. Bloomington, IN: Wind Music.

Gregory, Robin (1969). The Horn: A Comprehensive Guide to the Modern Instrument and its

Music. New York: Praeger.

Hill, Douglas (2001). Collected Thoughts on Teaching and Learning, Creativity, and Horn

Performance. Miami, FL: Warner Brothers.

Janetzky, Kurt and Bernhard Brüchle (1988). The Horn. Portland, OR: Amadeus Press.

Morley-Pegge, Reginald (1973). The French Horn: Some Notes on the Evolution of the

Instrument and of its Technique (2nd ed.). New York: Norton.

Reynolds, Verne (1997). The Horn Handbook. Portland, OR: Amadeus Press.

Tuckwell, Barry (1983). Horn. New York: Schirmer.

Tuckwell, Barry (1978). Playing the Horn: A Practical Guide. London: Oxford University Press.

© 2005, Scott Russell 30

 Web Sites of Interest

Scott Russell’s Home Page

http://www.nd.edu/~srussel2/

Find information by clicking on the “Instructor of Horn” link. Or, check out the many
horn-related and music-related links found in “Some of My Favorite Links.”

Robert King Music Sales

http://www.rkingmusic.com/

Description from website: “Robert King Music Sales is a retail/wholesale establishment

specializing in printed music for brass instruments currently in publication. The Brass
Players Guide lists over 28,000+ brass music titles from which to choose, a catalog for
placing orders, and your invaluable guide to finding music for trumpet, horn, trombone,
euphonium, tuba, and various brass ensembles currently available.”

Luck’s Music Library

http://www.lucksmusic.net/
(800) 348-8749

Description from website: “… the world’s largest distributor of orchestral sheet music.
… over twenty thousand orchestral titles from publishers throughout the world …”

Order their free Orchestral catalog, or view it online. They sell individual parts – this is
the only way to buy ‘excerpts.’

The Horn Player’s FAQ

http://www.boerger.org/horn/

Description from website: “It is a collection of commonly-asked questions about the

French Horn.”

Everything you ever wanted to know about the horn, but were afraid to ask!

International Horn Society

http://www.hornsociety.org/

Description from website: “Since 1970, The International Horn Society (IHS) has been
an organization of people from around the world drawn together with a mutual interest in
a musical instrument, the horn. We are dedicated to the performance, teaching,
composition, research, preservation, and promotion of the horn as a musical instrument.”

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 South Bend Area Musical Resources

Local Orchestras University Music Departments

Elkhart County Symphony Orchestra Andrews University

http:// www.elkhartcountysymphony.org / http:// www.andrews.edu / music /
(574) 293-1087 (269) 471-6341

Fort Wayne Philharmonic Orchestra Bethel College

http:// www.fortwaynephilharmonic.com / http:// www.bethelcollege.edu / acadb /
(260) 456-2224 undgps / finearts / music /
(574) 257-3393
Kalamazoo Symphony Orchestra
http:// www.kalamazoosymphony.com / Goshen College
(269) 349-7759 http:// www.goshen.edu / music
(574) 535-7361
South Bend Symphony Orchestra
http:// www.sbsymphony.org / Indiana University-South Bend
(574) 232-6343 http:// www.iusb.edu / ~arts
(574) 237-4134
Southwest Michigan Symphony Orchestra
http:// www.smso.org / Saint Mary’s College
(269) 982-4030 http:// www.saintmarys.edu / ~music
(574) 284-4632

Local Music Stores University of Notre Dame

http:// www.nd.edu / ~music /
Blessing Music Company (574) 631-6211
Elkhart (main): (574) 293-6332
Mishawaka: (574) 234-5550 Western Michigan University
http:// www.blessingmusicco.com / http:// www.wmich.edu / music /
(269) 387-4667
Woodwind and Brasswind
http:// www.wwbw.com /
(574) 251-3500 Other Resources
(800) 348-5003
Indiana State School Music Association
http:// www.issma.net /

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 About the Author

Scott Russell is the Assistant Horn of the South Bend Symphony Orchestra and Instructor
of Horn at the University of Notre Dame and Saint Mary’s College. He also works as an IT
Support Engineer for the Marie P. DeBartolo Center for the Performing Arts at the University of
Notre Dame.

Dr. Russell holds a Doctor of Arts in Horn Performance and Music Theory from Ball
State University. Following the recent completion of his dissertation “The History and Pedagogy
of Jacques-François Gallay’s Non-Measured Preludes for Horn, Op. 27, Nos. 21-40”, he is
attempting to create a new edition of the Gallay Non-Measured Preludes, which he hopes to
publish in a scholarly edition. Dr. Russell also holds the Master of Music degree in Horn
Performance from the University of Cincinnati College-Conservatory of Music and the Bachelor
of Arts degree in Music from Butler University. His principal horn teachers have included Fred
Ehnes, Tom Sherwood, and Jerry Montgomery. Additional studies include two summers
studying and performing repertoire for chamber ensembles, chamber orchestra, and opera
orchestra as Principal Horn of the Lucca Festival Orchestra and Opera in Tuscany, Italy.

Dr. Russell has taught horn students at Andrews University, Ball State University, Bethel
College, Lake Michigan College, Saint Mary’s College, Southwestern Michigan College, Taylor
University, the University of Cincinnati College-Conservatory of Music, and the University of
Notre Dame. In addition to serving as horn faculty, he has also coached chamber ensembles,
directed horn ensembles, and taught music theory, aural skills, music history, and music
appreciation. He is a member of the American Federation of Musicians, College Music Society,
International Horn Society, and Pi Kappa Lambda (National Music Honor Society).

© 2005, Scott Russell 33