Annotations

All annotated lists will be organized alphabetically by last name of composer. If multiple entries per composer, then compositions will be organized alphabetically by title.

Etudes – General

Composer: Atwell, Bruce
Title: Natural Horn/Valve Horn Technical Etudes: Strengthening Valve Horn Playing through Natural Horn Study
Composition/Publication Date: 2001
Publisher: RM Williams Publishing
Range: G – d”’
Transposition: F, E, E-flat, D, G, A
Number of Etudes: 30
Difficulty: VI

Description of Contents:

The preface to this book discusses the differences and similarities of the natural and valve horns. This preface also covers right hand technique and talks about the benefits of practicing natural horn playing on a regular basis. Each page is essentially one etude, and Atwell gives specific instructions for performance at the top of each page. This book is divided into two sections. Within the first section, the etudes on the left facing page are natural horn studies, while the etudes on the right facing pages are valve horn studies. The natural horn etudes are limited to notes within the harmonic series, while the valve horn studies are chromatic throughout. The studies begin with easy whole, half, and quarter note passages, but quickly progress to eighth note patterns that tend to stay mostly in the upper register of the horn. Page eighteen requires the performance of lip trills in the upper register, above a written g” at the top of the staff.

In the second section, each etude is to be performed without valves first, and then played through again with valves. These studies will require a firm understanding of the hand stopping technique when played through on the hand horn. All of the etudes in the second section are still tonal, but contain many chromatic passages. Atwell also begins to write shorter passages in this section. Essentially, each page contains several one or two line passages that accentuate a particular valve combination or difficult hand shift. At page thirty, Atwell lengthens the studies and begins to base them on important works, such as the Mozart horn concerti or important orchestral works.

These studies do not offer many artistic challenges, but do contain a wide variety of technical challenges for both the valve and hand horns. Some of the earlier exercises would be suitable for younger students, but starting with page ten, the etudes begin to require a great deal of playing in the extreme upper register of the horn. The extreme range, plus the dexterity and knowledge required to perform some of the hand horn passages are the primary reasons for the high difficulty rating.

Composer: Barrows, John R.
Title: Development Exercises and Etudes for Horn
Composition/Publication Date: 2008[1]
Publisher: Wind Music Publications
Range: f# – c”’
Transposition: None
Number of Etudes: 10
Difficulty: IV-V
Description of Contents:

The exercises in this book are written to address a specific area of horn technique, which includes flexibility across the registers, endurance, finger dexterity, breath control, legato playing, high register building through the use of glissandi, and both lip and valve trills. Only exercises 3, 4, 5, 6, 8, and 10 are actually etudes, while the other exercises are drill material. The etudes are tonal and focus on either lyrical or technical aspects. This work is re-printed in its original, hand-written form, so some of the studies may be difficult to read. Each exercise is also accompanied by instructions and helpful hints written by Barrows.

Composer: Basler, Paul
Title: Etudes for Horn, Vol. 1 & 2
Composition/Publication Date: 1998
Publisher: RM Williams Publishing
Range: E – c”’
Transposition: None
Number of Etudes: 48
Difficulty: V-VI
Description of Contents:

These etudes are dedicated to William Purvis, and are similar in style and level of difficulty to the etude books written by Gunther Schuller, Verne Reynolds, and Georg Kopprasch. All of the studies in this work are technically and lyrically challenging, and focus on the following aspects: high horn, low horn, scalar patterns, mixed meter, stopped horn, arpeggios that cross registers, accuracy, and syncopated rhythms. These works are rhythmically complex, and Basler frequently employs the use uncommon meters, such as 5/8 and 7/8. Many of the etudes also contain mixed meter and often shift between duple and compound. Almost all of the studies are accompanied by a suggested tempo marking, which is often very brisk and challenging. Most cover nearly the entire range of the horn and require the player to maneuver quickly between the registers. A number of these studies contain a great deal of playing in the upper register of the horn above a written g”. Basler also frequently shifts between writing in treble clef and bass clef, with the latter appearing in new notation.

Most of these works also contain ornaments and extended techniques, which include turns, lip trills, valve trills, flutter tongue, and stopped horn. There are many difficult stopped horn passages throughout the work, including an etude that is played entirely using stopped horn. Basler also writes an etude that is to be played specifically using the harmonic series of the natural horn. For this etude, he includes the valve or combination of valves to use to facilitate the changing of crooks.

Composer: Braun, Yehezkel
Title: Twelve Preludes for Unaccompanied Horn
Composition/Publication Date: 1985
Publisher: Israel Brass Woodwind Publications
Range: c – c”’
Transposition: None
Number of Etudes: 12
Difficulty: V-VI

Description of Contents:

These works are suitable for both instructional and soloistic purposes. Braun’s preludes are very challenging and are intended for advanced students and professionals. Even though all of these etudes contain complex rhythms and challenging technical passages, Braun encourages students to focus on the artistic challenges and musical ideas in each prelude. All of the works are written in different styles that are contrasting in tempo and utilize different metrical combinations. The preludes are written in both simple and compound meters, and many of the studies frequently shift between meters. For example, Etude VI shifts between 5/8, 6/8, and 7/8, Etude XI constantly alternates between 5/8 and 3/8, and Etude XII shifts between 5/8, 6/8, 7/8, and 8/8. The etudes also contain many wide, non-diatonic intervallic leaps that will test a player’s ear and flexibility. Braun does not include key signatures, but the preludes do contain definite tonal centers.

Composer: Colson, John F. and David J. Colson
Title: Rhythm & Pulse: Reading Music for the Trumpet and French Horn Player (or for any treble clef instrument player)
Composition/Publication Date: 2001
Publisher: McCoy’s Horn Library
Range: c – g#”
Transposition: None
Number of Etudes: 21
Difficulty: IV-V

Description of Contents:

The first seven chapters of this book are almost entirely comprised of drill material, and focus on the following areas: reading simple and complex rhythms, recognition of musical patterns, articulation, range, accuracy, flexibility, key signatures, chromatic scalar patterns, accidentals, transposition, and reading in bass clef. There are three short etudes at the end of the chapter on articulation, and two etudes at the end of Chapter Seven that are written in bass clef. These short exercises are moderate in range and comprised of basic rhythmic elements. Chapter Eight contains sixteen etudes that are meant to review and reinforce the issues addressed in the drill material from the previous chapters. The range for these etudes tends to stay between written g and g”, due to the fact that these studies are intended for both trumpet and horn players. Rhythmically, many of the later etudes are challenging and present complex rhythms, including tuplet rhythms ranging from triplets to septtuplets and eighth, sixteenth, and thirty-second note rhythms that will require steady sub-division. There is an etude written in 5/8 and 7/8, and Etude No. 10, which is written in 12/8, contains many duple figures that are either two against three or four against three. Most of the etudes are tonal, and all are accompanied by suggested tempo markings and include phrase markings as well.

Composer: Concone, Giuseppe; Edited by Robert Ashworth
Title: Concone Studies for Horn
Composition/Publication Date: 1997
Publisher: Emerson Edition
Range: F – a-flat”
Transposition: Suggested transpositions include: B-flat alto, A alto, A-flat alto, G, E, E-flat, D, D-flat, C, B basso, B-flat basso, A basso, A-flat basso, and transposing down a full octave
Number of Etudes: 26
Difficulty: V-VI

Description of Contents:

The etudes in this book are very accessible and well-written. These works do not require much high horn playing and there is nothing too out of the ordinary in terms of rhythm. The etudes in 3/8 and 12/8 may be tricky for younger, inexperienced players, but most of these works should not present too many rhythmic issues. As mentioned, these etudes are very well-written and are full of artistic and stylistic challenges that should prove beneficial for those players needing to develop a wider range of expression. Since this work seems as though it should be suitable for younger students, it receives a high difficulty rating due to the presence of bass clef writing using old and new notation, as well as the transposition recommendations suggested by the editor, Robert Ashworth, the current principal horn of the Orchestra of Opera North in Leeds, England. To give an example of the transposition requirements, Ashworth recommends that Etude 21 also be played in the keys of G, E, E-flat, D, C, B-flat basso, and down one octave.

This version of the Concone studies stands out from the rest due to the inclusion of transposition by Ashworth. Many of the etudes in this work are also quite different from the original Concone studies edited by John Sawyer and published in 1972. There are some exact duplications, but a majority of the studies either contain new material or have been altered to better suit the horn’s range. There is also a piano accompaniment book available separately.

Composer: Concone, Giuseppe, Mathilde Marchesi, and Heinrich Panofka; Compiled and Edited by Larry Clark
Title: Studies in Lyricism for Horn in F
Composition/Publication Date: 2007
Publisher: Carl Fischer
Range: g – b-flat”
Transposition: None
Number of Etudes: 45
Difficulty: II-V

Description of Contents:

All of the forty-five etudes in this book are taken from the vocalises and studies written by Concone, Marchesi, and Panofka, who were all well-known vocal pedagogues during the nineteenth century. The earlier studies present basic rhythms and are not demanding in range. All of the etudes generally stay in the middle register of the horn, although later studies occasionally stretch the range beyond the written g” at the top of the staff. Each etude presents artistic challenges, especially regarding dynamics, phrasing, and general interpretation. As the book progresses, the rhythms introduced become progressively more difficult, and the keys and time signatures used for each etude become more complex. The etudes range from a half a page to two pages in length, and Clark provides a tempo marking for each etude. Clark also includes breath marks in each etude.

The first several Concone etudes also appear in Sawyer’s edition of the Concone studies with a few minor differences. Clark changes certain notes, articulations, dynamics, and rhythms. The later Concone etudes in Clark’s edition offer different material from the studies found in the editions by Ashworth, Sawyer, and Wagner.

Composer: Concone, Giuseppe; Edited by Corbin Wagner
Title: 32 Lyrical Studies for Horn
Composition/Publication Date: 2011
Publisher: Cornopub
Range: c – b-flat”
Transposition: None
Number of Etudes: 32
Difficulty: IV-V

Description of Contents:

These studies are meant to aid the student or professional player in developing phrasing skills, which include being able to recognize proper phrase lengths, portraying the correct style of the music, using enough air support to produce a specific color, and developing the personal skill level to play each phrase with finesse. Wagner includes a numbered listing of helpful hints for each etude that he calls the “Musician Assistant.” The numbered tips refer to specific problems or performance related issues found in an etude, and Wagner places the number of the hint at the corresponding point in the music.

All of the etudes in this book correspond to those in John Sawyer’s edition of the Concone studies for trumpet or horn. Wagner’s edition is unique, because he transposes many of the etudes into different keys. For instance, Etude 13 is written in C major in Sawyer’s edition, while it appears in D-flat major in this edition. This allows Wagner to explore more difficult key areas, and include low register playing that extends the range below a written g. He also includes the use of bass clef writing in old notation in Etude 12.

Composer: Davies, Alison
Title: Four Studies
Composition/Publication Date: 1994
Publisher: Broadbent & Dunn Ltd
Range: c – f#”
Transposition: None
Number of Etudes: 4
Difficulty: III-IV

Description of Contents:

These four studies are tonal and not very difficult in terms of rhythm. Each etude is written with a specific concept or style in mind. Study No. 1 uses the four notes A, B-flat , C#, and F, spread throughout the different octaves, while No. 3 uses five notes, E-flat, F, G, A, and C. Study No. 2 is written in a waltz style with a swing feel, while No. 4 is characterized by the rhythmic pulse of its 5/8 meter. Some younger students may be challenged by the use of 4/8 and 5/8 time signatures in the last etude, but the rhythms are notated in a way that simplifies counting and should allow the student to easily feel the rhythmic pulse. All of the studies contain contrasting dynamics, and Davies also includes a few stopped written f’s in No. 3. These studies are meant to be performed as a suite for solo horn, but could be used as etude material.

Composer: Dean, David Todd
Title: “Improving Left Hand Finger Dexterity: Etudes for French Horn”
Composition/Publication Date: 1993
Publisher: University of Northern Colorado[1]
Range: F – b-flat”
Transposition: None
Number of Etudes: 6
Difficulty: V

Description of Contents:

Dean’s etudes appear in the appendix of his ninety-two page dissertation and are derived from original material. He includes a fingering chart and instructs students working through these etudes to use only the specific fingerings designated in the chart. Each etude is written in a particular style, and include the following: processional, march, waltz, dirge, and toccata. All of the etudes are tonal, even though Dean designates a key signature for only two of the six etudes: the other etudes include numerous accidentals and frequently modulate.

Each etude is accompanied with a suggested tempo marking. Although the rhythms are not complex, Dean writes many passages that will be technically challenging for many horn players, due to the presence of wide intervallic leaps. He also does not confine his etudes to a specific range. Each study often quickly shifts between the octaves. Bass clef writing is in new notation, and several stopped notes are included.

Dean’s dissertation is only available by requesting it through the University of Northern Colorado Library.

Composer: Deats, Carol
Title: “Toward a pedagogy of extended techniques for horn derived from Vincent Persichetti’s “Parable for Solo Horn”, Opus 120.”
Composition/Publication Date: 2001
Publisher: Texas Tech University
Range: G₁ – e”’
Transposition: Yes, but the composer does not give specific keys
Number of Etudes: 30
Difficulty: IV-VI

Description of Contents:

These etudes are meant to be used as teaching tools for those students working on extended techniques. As the title states, all of the extended techniques and other issues are derived from Vincent Persichetti’s Parable for Solo Horn, and include the following: extended upper register above a written c”’, extended low register below a written C, stopped horn, echo horn, half-step hand glissandi, articulations, releases, multiple tonguing, flutter tonguing, lip and valve trills, transposition, glissandi, timbral contrast, and vibrato. The etudes are mostly tonal and are never longer than a page in length. There are no major concerns in terms of rhythm, but the extended techniques and extended ranges do add an extra level of difficulty. Deats designates the technique or issue that each etude addresses, and includes instructions and helpful hints for each study. She also bases most of the etudes on themes and rhythmic passages from certain important works. These works include the following, and are listed in order of appearance:

Chopin, “Prelude No. 4 in E minor” from Seven Preludes, Op. 25
R. Schumann, “Seven Pieces” from Album for the Young, Op. 68
Paganini, Caprice 24, Op. 1
Brahms, Wiegenlied, Op. 49, No. 7
Rossini, William Tell Overture
Rimsky-Korsakov, Scherherazade
Rimsky-Korsakov, Flight of the Bumblebee
A. Corelli, “Sarabande” from Sonata for Violin and Cembala, Op. 5, No. 8
Vivaldi, “Spring” from The Four Seasons
Beethoven, Pastorale Symphony, Movement II
Paganini, Caprices, No. 29
Beethoven, Leonore Overture, No. 3
Purcell, “Dido’s Lament” from Dido and Aeneas
Tchaikovsky, Symphony No. 5, Movement II

This dissertation is available as a pdf download through the website of the Texas Tech University Libraries.

Composer: Dijoux, Marc
Title: 50 Études Romantiques pour Cor d’Harmonie, Trompette, ou Clarinette
Composition/Publication Date: 1985
Publisher: Editions Robert Martin
Range: c – a”
Transposition: None
Number of Etudes: 50
Difficulty: IV

Description of Contents:

All of these etudes are written in familiar keys, contain fairly straightforward rhythms, and are short in length. The longest etudes in this book are not quite a full page long, and the range requirements are moderate, due to the fact that these studies are also meant to be performed on the trumpet and clarinet. Dijoux does, however, add stopped horn passages and lower note options specifically for the horn. Most of the etudes are similar in style, and each etude contains clear dynamic, articulation, and phrase markings. Many of the etudes are written in theme and variation form. Typically, one etude contains the theme, while the following two or three etudes are variations on this particular theme. For some of the etudes, Dijoux gives the player the option to play the study in common or cut time. He also includes the use of valve trills throughout the book.

Composer: Edwards, Brad
Title: Simply Singing for Winds: A Wellspring of Melodies for Building Tone and Technique
Composition/Publication Date: 2009
Publisher: Self-published
Range: c – c”’
Transposition: None, although it is encouraged to transpose these studies into different keys.
Number of Etudes: 152
Difficulty: III-V

Description of Contents:

This book contains over one hundred melodies that are meant to aid students in developing skills related to tone, phrasing, articulation, and intonation. Edwards also mentions that these melodies may be used to work on buzzing, sight singing, sight reading, and transposition. The studies are short, with most ranging between two to four lines in length. All of the etudes are tonal, and many of them are based on folk tunes from several different countries, including America, England, Ireland, and Scotland. Edwards does alter many of the folk tunes, and also includes original melodies.

Edwards divides his etudes into five different sections, with each section focusing on a certain musical aspect, such as musical style, legato playing, technical facility, and different rhythms and meters. Almost all of the etudes are presented in two different keys, and some of the melodies are arranged as duets. The studies gradually progress in difficulty and range within each section. Many of the etudes stretch the range above a written g”, and several of the melodies that appear later in the book are written in odd meters, such as 5/8 and 7/8. Edwards instructs players to buzz and sing through each etude before playing it on the horn. He even includes chord symbols for selected studies, and mentions that students should sit at the piano and play through the chord changes while singing or buzzing the melody. It is also possible for two players to create their own duets using the chord symbols. This book is also available for trumpet/clarinet, trombone/euphonium, and tuba.

Composer: Faust, Randall E.
Title: Interval Etudes for Horn
Composition/Publication Date: 2001
Publisher: Faust Music
Range: B – a”
Transposition: None
Number of Etudes: 11
Difficulty: IV

Description of Contents:

The etudes in this book typically range from half a page to a full page in length. Each etude is based on a specific interval, beginning with major and minor seconds, and ending with major sevenths. The final etude includes all of the intervals used in the previous etudes. Most of the etudes stay within the middle register of the horn, except for the final two. These works are rhythmically and technically challenging, especially those that contain tuplet rhythms and wide intervallic leaps. Faust also includes more complex meters, such as 5/8, 7/8, and 10/8. Even though these etudes present many technical challenges, each one is written in a different character and includes different artistic demands pertaining to phrasing, articulation, and dynamics.

Composer: Faust, Randall
Title: The Hornist’s Jokebook: A Book of New Etudes for Horn
Composition/Publication Date: 1994
Publisher: Faust Music
Range: F – b-flat”
Transposition: None
Number of Etudes: 15
Difficulty: IV-V

Description of Contents:

These etudes are written with the specific purpose to keep horn players from becoming bored with practicing. This collection is called a jokebook, because most of the etudes are scherzi, and scherzo is the Italian word for joke. The scherzo etudes are all fast, and a few are accompanied by the marking “AFAP,” which means to play as fast as possible. The etudes generally focus on a specific difficult aspect of horn playing such as slurs, lip trills, or playing fast technical passages. Almost all of the etudes are written in compound meters, with the most common meter being 5/8. Most of the etudes are rhythmically straightforward, but the etudes in 2/8, 5/8 and, 7/8 may prove challenging, especially when performed at a fast tempo. There are two slower, legato etudes, but the majority of these studies are designed to keep the brain active by requiring the player to constantly subdivide. Most of the etudes contain odd intervallic leaps that will test a player’s flexibility and technical facility. Faust includes stopped horn passages, bass clef writing in new notation, and lip slurs. A few of the etudes consist of a series of lip slurs that are to be performed using specific fingerings.

Composer: Freiberg, Gottfried V.
Title: Naturhornschule: 160 Übungen für Naturhorn oder Jagdhorn/Natural Horn School: 160 Exercises for Natural Horn or Hunting Horn
Composition/Publication Date: 1985
Publisher: Hans Pizka Edition
Range: c – g”
Transposition: None, although these studies could be transposed into different keys
Number of Etudes: 160
Difficulty: I-IV

Description of Contents:

All of the etudes in this book are very brief and limited to the C (i.e., concert F) harmonic series. The earlier studies are not rhythmically difficult, but later exercises do gradually increase in difficulty. For instance, the first twelve etudes are limited to whole notes and half notes, while eighth notes do not appear until Etude 48. Freiberg also gradually expands the range throughout the book. The written c is withheld until Etude 65, and the written g” is not introduced until Etude 89. Rhythmically, these studies are very straightforward, but Freiberg does include more technically demanding rhythms in many of the later etudes. Dynamic markings are scarce, but the studies often vary in style. This book is published in manuscript style, which does make some of the etudes difficult to read, especially when ledger lines are involved.

Composer: Friedman, Stanley
Title: Four Etudes for Trumpet, Horn, or Clarinet
Composition/Publication Date: 1986/1996
Publisher: Éditions Bim
Range: g – c”’
Transposition: None
Number of Etudes: 4
Difficulty: IV-V

Description of Contents:

These etudes are challenging in terms of lyricism and technical facility, and are meant to be used as both solo and study material. Each etude is written for a particular professional trumpet player, and the names of these players are as follows in the order of dedication: Jean-Pierre Mathez, Scott Moore, Marvin Stamm, and Jerry Boots. The pitch content of these works is primarily organized in a serial fashion, which means that the etudes often contain wide intervallic leaps that are non-diatonic. Friedman does, however, intentionally include points of tonal reference in each study. All four etudes are rhythmically challenging due to the fact that the meter often shifts from simple to compound. Friedman also uses complex meters, such as 5/8, 6/16, and 9/16. Etude II, which is in a subdivided 4/4, often includes sixteenth note and thirty-second note rhythms. Friedman incorporates certain extended techniques, such as lip and finger trills, as well as a tremolo. Since these studies are also meant to be used by trumpet and clarinet students, the range of these etudes does not extend beyond a written g below the staff.

Composer: Hackleman, Martin
Title: 21 Characteristic Etudes for High Horn Playing
Composition/Publication Date: 1985/New edition published in 1990
Publisher: Éditions Bim
Range: D – e”’
Transposition: None
Number of Etudes: 21
Difficulty: VI

Description of Contents:

All of the studies in this book are based on the clarinet etudes written by Cyrille Rose, a nineteenth century clarinetist. Hackleman’s etudes cover a wide range, stretching from the bass clef register into the extreme upper register of the horn, beyond written c”’. These studies are primarily intended to improve facility and flexibility in the high register, but are also melodically and artistically rewarding to perform. Each etude contains complex rhythms and large intervallic leaps that are often wider than an octave. Hackleman includes suggested tempo markings for each study, even though most of the studies contain rubato and other subtle fluctuations in tempo. Many of the etudes also include difficult stopped horn passages and lip trills in the middle and high register of the horn.

Composer: Hansen, Jeremy Christian
Title: “A Creative Pedagogical Approach to Hindemith’s Music for Horn and Piano with Thirty Progressive Etudes”[1]
Composition/Publication Date: 2009
Publisher: University of Iowa
Range: d – b-flat”
Transposition: None
Number of Etudes: 30
Difficulty: III-V

Description of Contents:

These etudes appear as “Chapter Nine” of Hansen’s dissertation, and typically range from one to one and a half pages in length, with the longest etudes being two pages. The etudes are not always clearly tonal, but they all do contain clear tonal centers. Hansen also includes some modal, whole tone, and chromatic elements in several of the studies. Each etude is accompanied by a suggested tempo marking, and the meter ranges from simple to compound meters, including 2/2, 3/2, 4/2, and 6/4.

Hansen writes all of the studies with a specific intervallic pattern, key area, or rhythmic aspect in mind. For instance, Etude No. 3 is based on minor thirds and includes some chromaticism, while Etude No. 27 is built around separate rhythmic and melodic motives from Hindemith’s music. “Chapter Ten” of this dissertation includes Hansen’s comments concerning the contents of each etude. Rhythmically, the beginning etudes are limited to long held notes and quarter notes, while later etudes progress in difficulty and present challenging intervallic patterns and technical passages. These studies also contain many odd intervallic leaps that are difficult to hear and will present problems for students.

This dissertation is available as a pdf download through ProQuest Dissertations and Theses.

Composer: Holcombe, Bill
Title: 12 Intermediate Jazz Etudes for French Horn
Composition/Publication Date: 1994
Publisher: Musicians Publications
Range: f – f”
Transposition: None
Number of Etudes: 12
Difficulty: IV

Description of Contents:

This work is part of a series of books that are also available for the following instruments: flute, clarinet, trumpet, alto and tenor sax, and trombone. All of these books are accompanied with a compact disc that contains recordings demonstrating each etude, as well as a separate rhythm section accompaniment for each etude. A section containing performance suggestions written by the author prefaces the etudes, which discusses the jazz rhythms used within the etudes, talks about performing quarter, eighth, sixteenth notes, and triplets in swing style, and gives tips for improvisation. Each etude is derived from an existing popular jazz tune, although these works do not necessarily appear in the same key as the originals. Holcombe’s etudes are composed using the following keys in order to be more accessible to younger students: C, A minor, F, D minor, B-flat, E-flat, and G.

The etudes themselves are written in contrasting styles, ranging from rock and bossa nova to swing. The range requirements are very moderate, and the rhythmic and technical demands are never too difficult, even though the last few etudes do contain some tricky syncopated rhythms. Holcombe provides jazz chord symbols throughout each etude, which is very beneficial for those students attempting to improvise along with the rhythm section accompaniment. Since these same etudes are also available for other instruments, it is possible to form small jazz combo groups and perform the etudes together along with the compact disc accompaniment.

Composer: Ranieri, Vincenz; Edited by Kathleen Kenyon Hopper
Title: “A Performance Edition of Thirty Instructive and Melodic Exercises for French Horn by Vincenz Ranieri”
Composition/Publication Date: 200
Publisher: University of North Carolina at Greensboro
Range: D – c#”’
Transposition: None
Number of Etudes: 30
Difficulty: V

Description of Contents:

The performance edition of Ranieri’s etudes appears as “Chapter IV” of this dissertation, and Hopper gives a detailed description of the contents of each etude at the end of “Chapter II.” Hopper also describes the changes made to each study, which include modifying the range of the scalar exercises that precede each etude, changing phrase, slur, articulation, and dynamic markings, correcting typographical errors, and other aesthetic changes, such as courtesy accidentals and altering certain note beamings. All of the etudes are tonal, and are a page in length. As mentioned previously, each study is preceded by a scalar exercise that is in the same key. These etudes are technically challenging, and contain fast passages that shift quickly between different registers. Ranieri’s studies also present many artistic challenges that include fluctuations in tempo, phrasing, and contrasting articulations and dynamics. Many of the etudes contain uncommon key signatures, such as G-flat major, C-flat major, F# major, D# minor, and C# major. There are also a good deal of double sharps that appear throughout the studies, and bass clef notes are written in old notation. This new edition was compiled and edited using Finale software.

This dissertation is available as a pdf download through ProQuest Dissertations and Theses.

Ranieri’s Thirty Instructive and Melodic Exercises for French Horn have been out of print in the United States since the mid 1900s.
Composer: Hulin, Éric
Title: 15 Études à Notation Classique et Contemporaine/15 Studies with Classical and Contemporary Notation
Composition/Publication Date: 1998
Publisher: Gérard Billaudot Éditeur
Range: f – b’
Transposition: None
Number of Etudes: 15
Difficulty: I-II

Description of Contents:

These studies are intended for beginning horn students. Each etude is brief and stays within the middle register of the horn. The studies are divided into four sections, with each section focusing on a specific technical aspect. The first four etudes focus on detached notes, the next five concentrate on alternating between staccato and legato articulations, Etude 10 adds accidentals, while the last five are intended to aid young players in the performance of extended techniques that may be found in contemporary music. The first ten etudes are very straightforward, but younger students will require some guidance while working through the etudes with contemporary techniques. The techniques that Hulin includes in these studies are as follows: tapping lightly on the bell without playing, using vibrato, trills, rhythmic crescendo and decrescendo, holding note for a prescribed amount of time, noodling around on notes either in a specific order or not, playing natural harmonics, singing into the horn, flutter-tongue, blowing into the instrument without playing, playing the highest and lowest possible notes, glissandi, and playing a note and then depressing the valves rapidly while following the written curve.

Composer: Hulin, Éric
Title: 20 Études Concertantes sur 5 Notes/20 Studies on 5 Notes in Concertante Style
Composition/Publication Date: 1999
Publisher: Gérard Billaudot Éditeur
Range: c’ – c”
Transposition: None
Number of Etudes: 20
Difficulty: I

Description of Contents:

These studies are very simple and very short in length. Each etude is in the key of C major and there are no accidentals. Note lengths are limited to quarter, half, dotted-half, and whole notes. Hulin also does not include dynamics or articulation markings. The range covered within the whole book is an octave, but each etude is limited to just five notes spanning half an octave.

Composer: Irwin, James S.
Title: 85 Melodic and Rhythmic Studies for French Horn
Composition/Publication Date: 1990
Publisher: Self-published
Range: c – f”
Transposition: E-flat, E, and G
Number of Etudes: 85
Difficulty: II-IV

Description of Contents:

Most of the studies in this book are short, typically two or three lines in length, with the longest etude being slightly less than a page. The etudes are basic in rhythm and range at the beginning, but progress in difficulty as mixed and asymmetrical meters are introduced. All studies are written in a folk-like style, and are modal. Irwin does not include dynamic or other expression markings, but does encourage students in the preface to experiment with adding musical and expressive elements. Several etudes include bass clef writing in new notation, while Etude No. 29 is written in old notation. There are also a few studies that contain multiple transpositions. For instance, Etude No. 36 alternates between F, G, and E-flat, while Etude No. 45 alternates between F, G, E, and E-flat. The transpositions change quickly, but these studies are written using simple quarter and half note rhythms.

Composer: Kling, Henri; Edited by Lee Bracegirdle
Title: 25 Studies and Preludes for Horn.
Composition/Publication Date: 1881/1985
Publisher: International Music Co.
Range: C – c”’
Transposition: None
Number of Etudes: 25
Difficulty: IV-V

Description of Contents:

This is a new edition of the original work published by Kling in 1881. These studies are typically a half a page in length, with the longest two etudes being a full page. Each etude is tonal, and is written in either simple or compound meter. Several of the studies are unmetered, and the different musical ideas are separated by breath marks. All of the etudes are technically challenging, and contain sixteenth note, thirty-second note, and tuplet passages that will test a player’s flexibility.

The studies in this book are intended to be played using the valve horn, but Kling does include sections that utilize hand horn technique. Many of the etudes contain passages that are to be played using certain valve combinations, which serve as crooks. For instance, using the second valve puts the horn in the key of E, the first valve in the key of E-flat, and so forth. The valve combinations are written over the corresponding passages, and Kling also includes a “+” sign over those notes that fall outside of the harmonic series and need to be covered. Kling provides a guide in the preface that outlines the different notes that can be produced using each valve combination. The studies also include grace notes, turns, and one etude, No. 7, that is a lip trill study.

Composer: Kopprasch, Georg; Edited by John Q. Ericson
Title: Sixty Studies, op. 5 for High Horn, Books I & 2
Composition/Publication Date: 1832/New edition published in 2000
Publisher: Thompson Edition
Range: f# – f”’
Transposition: None
Number of Etudes: 60
Difficulty: VI

Description of Contents:

This two volume set is the companion work to Kopprasch’s popular Opus 6 etudes. We have both high and low horn studies from Kopprasch, because he prescribed to the division of the horn’s range set forth in Louis François Dauprat’s 1824 work, Méthode de Cor Alto et Cor Basse. At the time, it was common practice for horn players to specialize in a particular range and become either high or low horn players. This version is an urtext copy, and respects all of Kopprasch’s markings, while also being easier to read than the original. Transposition suggestions and other editorial markings common in the Opus 6 etudes are left out of this edition.

The etudes are very similar in style to those from the low horn books, and are technically demanding to perform. Many of the studies in the high horn books are either derived from or direct copies of the material in Opus 6. For instance, the first several etudes in Opus 5 utilize the same rhythmic patterns and musical ideas as the corresponding low horn etudes, but vary slightly due to differences in range. All of the etudes in these two volumes accentuate mainly the register from written g’ to written c”’. Many of the studies even stretch the range up to a written d”’, e”’, and f”’. Also, the etudes become even more technically demanding in terms of rhythm, range, and flexibility in the second volume. The original versions of these volumes may be downloaded for free using IMSLP (imslp.org), but the notes are often difficult to read due to the quality of the print.

Composer: Lewy, Joseph Rudolf
Title: 12 Etudes pour le Cor Chromatique et le Cor Simple avec Accompagnement de Piano
Composition/Publication Date: 1855/2011
Publisher: EOD eBooks via the Moravian State Library
Range: F – d-flat”’
Transposition: D, E-flat, and E
Number of Etudes: 12
Difficulty: VI

Description of Contents:

This is an exact reprint of the etudes published by Breitkopf & Härtel in 1855. It is presented in two volumes, with each volume containing six etudes. In both volumes, the horn part and piano part are bound together in the same booklet. The books are small, 6 ½ X 8 ½ in size, which means that the print is also small and difficult to read. Plus, the print is not very clear, with staff lines, note stems, and other markings periodically missing at times.

As the title implies, these etudes contain passages for both the natural and valve horns. The studies are to be played using the valves, unless Lewy indicates a change to the hand horn. Lewy specifies the changes between the horns by writing “avec la main” (with the hand), Cor simple (natural), or Cor chromatique (valve) in the music. Stylistically, these studies are very similar to many of the other horn etude books published around the middle of the nineteenth century (Kopprasch, Gallay, Müller, etc.). All meters are common, and there are no tonal surprises to mention.

Each etude is very challenging, and will test a player’s technical proficiency. The music often quickly shifts between the registers, and there are a good deal of fast, virtuosic rhythmic patterns throughout the two volumes. These etudes are also challenging in terms of endurance, especially due to the fact that almost all of the studies contain several written c”’s, and many even stretch the range up to a written d-flat”’. Lewy does exploit the full range of the instrument, but a majority of the etudes accentuate the range from written g’ to written c”’.

Several of the etudes contain multiple transpositions, and Lewy designates whether or not the transposed portions are to be performed using valves or hand technique. One of the etudes, Etude V, is actually to be performed using the valves to facilitate the changing of crooks. Many of the studies also include turns, multiphonics, and lip trills. Etude XI is meant to aid in the facility of lip trills and alternates between the use of valves and hand. Bass clef writing using old notation appears in a few of the etudes.

Etudes – Low Horn

Composer: Denniss, Graeme Wright
Title: Studies for Low Horn
Composition/Publication Date: 1993
Publisher: D:composition
Range: F – e-flat”
Transposition: None
Number of Etudes: 23
Difficulty: IV

Description of Contents:

These are graded studies that progress in difficulty throughout the book. The range is also gradually extended further into the lower register with each successive etude, withholding the low written F until Etude 14. The studies typically range from a half page to a page in length, and are written in varying styles, which range from the common scherzo or waltz style to swing, ragtime, and jig. All of the etudes are tonal and should not be overly challenging in terms of rhythmic difficulty. Denniss writes many of these studies in the style of the second horn parts of Beethoven, Haydn, and other Classical Period composers. This means that a number of the etudes in this book contain wide leaps that require students to maneuver quickly between the registers. All of the etudes contain bass clef writing in new notation, and many of the works alternate between bass and treble clef.

Composer: Grabois, Daniel
Title: Twenty Difficult Etudes for the Horn’s Middle Register
Composition/Publication Date: 2009
Publisher: Daniel Grabois (www.danielgrabois.com)
Range: F – g”
Transposition: None
Number of Etudes: 20
Difficulty: V

Description of Contents:

These works are meant to offer fun yet challenging studies that focus on developing stability and control in the middle register of the horn, more specifically the written range g-g”. The etudes in this book do not require a great deal of high register playing, and most never reach a written g”. They are rhythmically challenging, and contain numerous technical passages that will challenge a player’s ability to accurately and quickly shift between the middle and low register of the horn. These studies also contain artistic challenges related to phrasing, dynamics, and articulation. Grabois writes many of his etudes in mixed meter, and frequently uses complicated meters, such as 5/8, 7/8, 3/16, 5/16, 6/16, and 7/16. He mentions in the preface that the smallest subdivisions always stay constant when the meters fluctuate.

The etudes are all written in varied styles, and most of them are tonal, although there are some that are completely atonal or a mixture of the two. Grabois frequently shifts between the use of treble and bass clef, with the latter being written in new notation. He also includes a number of extended techniques, which include lip trills, tremolos played in the style of lip trills, flutter tongue, and stopped horn. There are some extended passages in certain etudes that focus specifically on lip trills and stopped horn.

Composer: Kopprasch, Georg; Edited by Corbin Wagner
Title: Kopprasch Down Under: 47 Studies for Low Horn
Composition/Publication Date: 2011
Publisher: Cornopub
Range: C – e-flat”
Transposition: Suggested transpositions include: C alto or C basso
Number of Etudes: 47
Difficulty: IV-V

Description of Contents:

In this book, Wagner takes forty-one Kopprasch etudes, with six Müller studies at the end, and adapts them for low horn study. Each study is written in bass clef using old notation, unless new notation is specified. Some of the studies switch between bass and treble clef, but most of them are written completely in bass clef. Wagner retains all of the dynamic and articulation markings written by Kopprasch and Müller, but does change the key of many of the etudes to better suit low horn playing. He encourages students to begin working on these studies by playing everything at a forte dynamic level, which will test whether or not a student’s embouchure is correctly set to play low horn.

These studies are more challenging than McCoy’s 46 Progressive Etudes for Low Horn, but are not as technically difficult as the low studies by Neuling and Hackleman. All of the etudes in this book will challenge a player’s technical facility and flexibility in the low register, as well as the ability to play across register breaks. Wagner includes basic low horn exercises at the back of the book, which isolate certain problem areas, such as articulation, loud and soft dynamics, and playing technical scalar passages. Wagner also suggests that players transpose these studies into either C alto or C basso.

Composer: McCoy, Marvin M.
Title: 46 Progressive Exercises for Low Horn
Composition/Publication Date: 1986
Publisher: McCoy’s Horn Library
Range: c – e”
Transposition: None
Number of Etudes: 46
Difficulty: II-IV

Description of Contents:

This book is intended to introduce young, intermediate level students to low horn playing and bass clef writing. The first few pages of etudes are easy, containing simple eighth, quarter, half, and whole note rhythms and never extend the range lower than a written f. The studies do progress in difficulty, but the rhythms never become complex and should be suitable for advanced high school and young college students. All of the studies are tonal, and the key signatures never venture beyond four sharps or flats. Most of the studies are written in bass clef, although there are several that stay in treble clef or shift between the two. The bass clef studies are written using new notation, unless old notation is specified. McCoy also includes suggested tempo markings for most of the etudes. All of the exercises vary in style, and a few of the studies include valve trills.

Composer: Miles, Patrick
Title: Low Horn Etudes and Drills for the Intermediate Horn Player
Composition/Publication Date: 2009
Publisher: Really Good Music
Range: E-flat – f’
Transposition: None
Number of Etudes: 22
Difficulty: IV

Description of Contents:

This book is meant for those incoming freshmen horn players at the collegiate level, who have had little or no experience playing in the low register of the horn. Miles includes a fingering chart covering low register notes, and also provides five drill exercises that focus on stability, dynamic range, articulation, and scalar patterns in the low register. Exercise 5 is based on the final three notes of the first horn solo from Till Eulenspiegel. Some of the etudes are taken from the works of Concone and Endresen, and have been transposed into different keys. Also, all of the etudes are written in bass clef using new notation.

The etudes are tonal and are not rhythmically complex. The rhythms mostly consist of eighth, quarter, half, and whole notes, while more difficult rhythms are limited to triplets and sixteenth notes. All of the studies are written in contrasting styles, and contain artistic elements, such as variations in articulation, dynamic contrasts, and issues concerning phrasing. The most challenging part of this book is the fact that many of these works require the student to frequently play notes below the written c. Miles also recommends that students purchase and work through Randy Gardner’s book, Mastering the Horn’s Low Register.

Etudes – General

Etudes – Low Horn

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