TechnicalManual

I
deasstolen and presented by
PaulBlackstone,Bri
an Brown,
AudreyGood,Davi d Lesser,
Gerald Wood & MollyW ood
 How the Horn Works
Harmonic series
Simply put, the harmonic series is the pattern of open notes on the horn. The inter-
vals in the harmonic series are the same for every key. Here are the two series ap-
plicable to the double horn:

F Side

Bb Side

Fingerings
Figuring out fingerings is very simple if you know how the valves work and how far
the desired note is from one of the open partials. For example: B natural is ½ step
down from the open partial C, therefore it is fingered 2nd valve because 2nd valve
lowers the pitch by ½ step. Each valve lowers the pitch of the horn by a set amount
(See the chart below). With few exceptions, fingerings should default to the open
partial.

Valve(s) Step(s)
Down
2 ½
1 1
1 2 or 3 1½
23 2
13 2½
123 3
2
 How To Play The Horn
It’s all about air!
All wind players know how important air is, but understanding how to use
air correctly and efficiently is another story. Sometimes seeing and experi-
encing good air production and support is the best tool to learn by. The
best embouchure in the world is silent without air.

Step 1 to developing solid air:

A simple exercise, like inhaling for 4 counts and exhaling for 4 counts
while concentrating on the following 3 points, will aid in creating a positive
habit for breathing.

* Open Mouth
* Open Throat
* Breathe to the bottom

Step 2 to developing solid air:

Breathing without the horn is one thing. Utilizing the air efficiently while
playing is another. Develop exercises in which you must use air. For exam-
ple:

R = ca. 60
Use air to “make notes change”
Using valve combinations:
F DSide: 0, 2, 1, 12, 23, 13, 123
B Side: T23, T12, T1, T2, T0

3
Embouchure Set-up &
Mouthpiece Placement
Basics:
1) “Puckered Smile” – Corners firm, lips together, bottom lip
slightly rolled in.
2) Mouthpiece should generally be placed 2/3 on the upper lip
and 1/3 on the lower lip in the center of the mouth, angled
slightly downward (depending on the angle of the teeth)
Illustrations:

Puckered Smile: Proper Mouthpiece Placement

Key Points:
1) Set-up should be horizontally centered, depending on the teeth.

2) 2/3 upper and 1/3 lower lip (or 1/2 and 1/2) in the mouthpiece

3) Should be relaxed in appearance – if it looks hard it probably is.

Things to Remember:
1) The “Umm Puhh” Method – For proper set-up of embouchure, pre-
mouthpiece, set your mouth in the following manner:

Step 1 – Say “Ummm” (the lips should press together evenly in

an “M” shape).
Step 2 – While keeping the corners firm Say “Puhh” (the center
of the lips should pucker slightly).

2) When placing the mouthpiece to the lips – hold the mouthpiece by the
shank with the thumb and index finger – this allows you to see the
proper placement and reduces the leverage they have on the mouthpiece
so you don’t shove it.
3) Practice in front of the mirror placing the mouthpiece.

4
Proper Playing Posture
Basics:
1) Left Hand: On the grip, fingers curved onto the valve pad-
dles, thumb under lead pipe on the thumb valve, and
pinky around the pinky hook.
2) Right Hand: In the bell, fingers and thumb together, hand
slightly curved placed against the side of the bell away
from the player with the weight of the horn on the thumb
and index finger.

Proper Sitting Position: Proper Left Hand Position:

Proper Right Hand Position:

Key Points:
1) The horn should be brought to player, not the player to horn.

2) Right Hand position GREATLY AFFECTS INTONATION.

3) Left Hand – Keep the fingers close to the keys at all times.

5
 Playing the Horn
Things to Remember:
1) Often the horn is too large and heavy for young students at
first. It is important that you “bring the horn to you” - not
slouch or over-extend to get the mouthpiece to your lips.

2) Horn on/off the leg – As previously mentioned the horn is

rather heavy for young players so it is recommended for you
to rest it on your thigh. Height adjustment can be made by
moving the right foot forward or backward and increasing or
decreasing the bend of the knee.

3) Hand Position is often one of the most important, misunder-

stood, and disregarded problems with young horn players.
Proper hand position is imperative to the intonation and char-
acteristic sound of the horn. Too many times I have heard
band directors complain about the horrible sound and intona-
tion of their horn sections, all of which could be fixed by
proper hand position.

For the Right Hand use a 3 step approach.

Step 1 – wave the right hand like a “princess in a pa-
rade” (fingers together)
Step 2 – use the index finger to point to the bell brace.
Step 3 – place the hand in the bell with the thumb under
the bell brace and lift the horn parallel to the
ground (so the weight is on the back of the
hand) then let it back down – shifting the
weight to the thumb.

Once and for all, This Is THE Correct Way:

YES! NO! NO!

6
Articulation
Clear articulation is imperative, especially for horn players whose bells face
away from the audience. The sound must travel back to the wall then fi-
nally out to the listener. An unclear attack turns into “blah” by the time it
travels the whole distance.

Block vs. Wedge Sound

Horn players are renowned for producing round
and beautiful sounds; however, they are also no-
torious for missing notes! As a result, horn play-
ers have a tendency to “test the waters” before
fully committing to a note, resulting in what we
like to call “mushrooming,” “wa-wa” or
“ballooning” the sound. If it were to be drawn it
would look like this: While it may be pretty,
it is not clear and makes clean entrances nearly
impossible. The ultimate shape of sound for clar-
ity and uniformity is a “block sound” with a clear “square” front and back.
Like this:
Here is the trick: Begin the note with an accent ( ) but do not let the
note taper. Add this: to this and get ; as represented in the
chart.

Depth of Sound and Center of Pitch

Without depth of sound, proper articulation will only produce the beginning
of the notes. A good and compact sound is the result of digging into the
core of the sound.
Image 1 Image 2
Often students play with a very shallow In addition to depth, there is a center to
sound which does not project. Imagine a every pitch - a point at which the pitch
cone, the deepest point is in the center. By rings and projects the maximum amount.
targeting the deepest point of the cone, Imagine a pitch as a circle or a cone with
more of the core of the sound is exposed an x in the middle. Everything within the
which produces a much more solid and circle is part of the pitch, but only the
satisfying result. center (where the x is) produces the maxi-
mum core of sound. It is important when
changing notes to change from center to
center.

7
 Other Things To Think About
Rhythmic Subdivision
Correct and exact rhythm is a goal for every ensemble player. The pitfalls of poor subdivision
multiply in proportion to the number of players in a group. If one player is “guessing” at the
rhythm the entire group suffers. Don’t be that player! Proper rhythmic subdivision and under-
standing is the key! Here are some ideas that can point you in the right direction to this prob-
lem:
1) Recognize the Macro-beat or “Big-Beat.” In 4/4 the “big-beat” lands on 1, 2, 3 and
4. Everything else is a subdivision of this beat.
2) Subdivide to the micro-beat. Feeling eighth notes within quarter notes greatly
increases the chances of interpreting rhythms correctly.
3) “Bop” through difficult and potentially unclear sections. “Bopping” is a technique
by which the player plays only the beginnings of each note, effectively focusing on
placing the beginnings of each note in the proper alignment with the others.
4) Slow the tempo of a section way down. Slowing a section down allows you to fix
numerous mistakes, not the least of which is rhythm.

Intonation
Intonation is often one of the more obvious and overlooked aspects of young horn players.
Most young players don’t even know what the word intonation means – let alone how to play
in tune! Intonation should be as high a priority as rhythm and correct pitch. A good ear is
essential and aural skills are imperative to the proper development to horn players. There are
many ways to do this…here is what has worked for me.
#1 – Know what “in-tune” is. - What does it feel like….what does it sound like?
#2 – Know your options for change.
1) Move the slide (Sharp – Pull Out; Flat – Push In)
2) Move the bell hand (Sharp – cover; Flat – open)
3) Drop or raise jaw (Sharp – drop; Flat – raise)
4) Alternate fingering (ie. 3 vs. 1/2)
#3 – Use your ears. – If there are “bumps” or it sounds bad…its probably out of tune!
Play the follow game with your friends
1) They play a pitch and move it sharp or flat and you follow them and match them.
2) You play a pitch and they find you.
#4 – Arm yourself with Knowledge
1) Know about the intonation “problems” with regard to the harmonic series. These intonation
"problems" are, in fact, caused by our interpretation of them with regards to equal tempera-
ment. The equal tempered scale was originally conceived so that the space between the twelve
chromatic notes of the scale would be the same and keyboard instruments would be able to
modulate at will between the different keys without having to retune. Here is an illustration of
which notes of the natural harmonic series are incongruent with the equal temperament system:

2) Certain parts of a chord need to be treated differently depending upon their function.
Some Basics:
*In a Major Triad the Fifth is raised (2 cents) and the Third is lowered (14 cents).
*In a minor chord only the Third is raised.

8
Transposition
Due to the early history of the natural horn crooking system, composers wrote for the horn in
various keys. As a result, modern horn players must transpose these parts to play them on the
modern horns that are in the key of F. Here are some of the most common transpositions in
order of frequency.

E Flat E Natural C B Flat D

- Transpose down 1 whole - Transpose down a ½ step

step - Transpose down a - Transpose down a - Transpose down a
Perfect 4th Perfect 5th Minor 3rd

Stopped Horn
Another technique horn players are commonly asked for is stopped horn. It is indicated by a +
over a note (the opposite is indicated by a o).

Technique: The right hand is cupped – Transposition: The indicated note is

completely covering the bell fingered ½ step down (generally on the F
horn – although other fingerings may
produce better intonation)

9
 Tips on How to Practice
Practicing
Consistency is the key! Practicing 30 minutes every day is better than
3 hours in one day. Practicing is essentially building muscle memory
and muscles. Consistent reinforcement is required to “keep the reser-
voir from evaporating.”
For young players I recommend at least 45 minutes a day – everyday!

Practice what you don’t do well!

All too often students tend to practice all the stuff that that they are
good at and rarely get around to practicing the stuff they do not do well.

Always Practice with a metronome!

As mentioned earlier, rhythmic accuracy is imperative to correct
playing.

Start Slowly
Ÿ Practice it only as fast as you can play it perfectly.
Ÿ Music at its most basic level is just a progression of pitches.
Diagnose where the problem is and fix it. Usually you will
find it is just the transition between two notes that is the prob-
lem, so….practice those two notes…

Be encouraging to yourself.
Don’t be too lenient or overly tolerant, but don’t get frustrated if
things are not working….be patient, give your brain a chance to process the
information.

Keep it interesting.
Playing the same thing over and over again can be boring! Here are
some ideas that might make things a little more interesting:
Ÿ Practice different articulations
Ÿ Accent notes that are weaker than others
Ÿ Practice different rhythmic patterns
Ÿ Practice it in another key
Ÿ Loop a set of notes

10
 Sample Practice Chart
Keeping track of what and how much you are practicing is essential to developing good and efficient practice habits.
Try it for a week and see how much more focused you are on the task at hand.
Week of: Monday Tuesday Wednesday Thursday Friday Saturday Sunday Total
Warm-up/Daily Drill

Breathing 5 min 5 min 5 min 5 Min

Lip-Slurs Long and Low Bai Lin #1 Long and Low Bai Lin #2 Long and Low Bai Lin #1
10 min 10 min 10 min 10 min 10 Min 10 min

Articulation Artic Chromatics to c Artic. Chromatics to c

5 min 10 min 5 min 10 min

Scales F - 10 min F - 5 min Db - 10 min G# - 5 min Scale Sheet

Bb - 5 min G - 5 min 15 Min

Chromatics to g Trills Singing tones Path Ex. Long Wobbles

11
5 min 5 min 5 min 10 min 15 Min

Etudes

Miersch #14 Mirsch # 14 Mirsch #14 Mirsch Mirsch

15 min 10 min 10 min 5 min 15 Min

Solo

Mozart 3 Mozart 3 Mozart 3 Mozart 3

15 min 20 min 10 Min 20 Min

Excerpts

Till - 5 min Till - 10 min

Total Time 1:10 :40 1:00 :40 :30 1:40 5:40

 Horn Maintenance
Oiling Valves
Sticky valves are a common occurrence even for the most experienced play-
ers. This can be avoided with regular oiling. This is inexpensive and easy
to do in less than 2 or 3 minutes.

Products to use:
You will need two types of oil: a thick and a thin. DON’T PAY FOR THE
EXPENSIVE “SPECIALTY” OILS FROM THE MUSIC STORES. Go to
Wal-Mart or any department store and spend less than $5 for a suitable and
clean product.
Thin Oil: Pure Paraffin – This is standard lamp oil. You can get
a half-gallon for less than $2.
Thick Oil: 60% Paraffin, 40% 3-in-1 Oil – you can get 3-in-1
Oil at Wal-Mart or a hardware store.

How to oil valves:

1. Drip thick oil down on the bearings (image 1 and 2).
2. Pull the slides WITHOUT pushing the valves down. This sucks
the thick oil into the bearings.
3. Drop thin oil into the outer valve slides (image 3).
4. Move the valves by pushing them up and down.
5. Repeat Step 3
6. Put the valve slides back in WITHOUT rotating the valves – This
pushes the thin oil into the bearings and mixes it with the thick
oil.

Greasing Slides
Stuck slides are another common occurrence and are usually a result of neglect.
There are all sorts of products out there, but nothing seems to work as well as STP
Oil Treatment, which you can get at any place auto supplies are sold ($3 and you
have a lifetime supply of slide grease). Use a plastic bristled paintbrush (VERY
cheap – the kind you find in water color paints or other children’s art supplies) to
“paint” grease onto the slides.

12
 Equipment
Informational Flow Chart of Brands & Models of Horns
There are lots of different brands and models out there. Listed are the most common horns
and where they fall in the spectrum of student horns vs. professional horns.

Brand (most common model(s)) (approximate price of a new horn)

Student Models Professional Models
-------------------- Conn (8D) ($4500) ---------------------
---- Holton (179) ($3000)
---- Paxman (Acadamy) ($3000)
---- Paxman (Series 4) ($4500) Alexander (103) ($9,000) -------
------Finke (Westfalia/Americus) ($6000)
Paxman (20/23/25) ($10,000) --
-------------------- Yamaha (?67/?68/?71) ($5000) ---------------------
Schmidt ($12,000) ---------------
Rauch ($20,000) -----------------

In the Market for a Horn?

Are you looking for a new or used horn? Here are a few suggestions for where to go and what
to look out for (for more check out http://www.io.com/~rboerger/newhorn.html):
¾ Check out http://hornplayer.net
o This is basically a “horn player’s classifieds” and should give you a pretty good
idea of what the horn you are looking for will cost. The sellers are screened, will
generally treat you very well, and often offer trial periods.
¾ Be careful with EBay
o Not all sales/sellers are legitimate and some will try to sell you complete junk.
Also, usually there is a reason they are selling it on EBay instead of one of the
systems commonly used by horn players. In addition they generally don’t offer
trial periods.

o A recent trend on eBay has been some guy under multiple aliases offering cheap
Bb horns made in China (the brands, when listed, include Parrot, Jin Bao, Bestler
(this guy is famous for his "I have a new silver plated Bb French Horn that I hap-
pened to acquire" line) or Shinghai). These horns have a stopping valve, but the
seller often advertises them as "BRAND NEW DOUBLE HORNS -- CHEAP!!"
Needless to say, the old rule of caveat emptor (let the buyer beware) applies
strongly when you are buying a horn you can't try out from someone you don't
know. If someone's trying to sell a 'new double' for $300, how good do you think
the horn really is?
¾ Work out a “test period” with the seller.
o Not all horns are made equal and no one wants to dump a lot of money into a
lemon or a horn they will end up not liking. You wouldn’t buy a car without a test
drive.
¾ Be careful of local stores
o You can more than likely get a horn SIGNIFICANTLY cheaper online from a
reputable mail-order dealer
¾ DO NOT buy a single-horn (F or Bb)
o Sure they are much cheaper, but the pitfalls are numerous. Chances are you al-
ready have a single-horn – double horns are a definite upgrade!
¾ DO NOT buy an “unnamed horn” especially if it is sold at Wal-Mart!
o The market is being flooded with cheap Chinese made horns. With VERY few
exceptions, these horns are not good – avoid them.
¾ Get help from a Horn Player
o You wouldn’t have someone who has never driven before tell you what is good or
not good about how your car drives.
13
Mouthpieces
There are hundreds of mouthpieces out there. All of them offering different
things and most of them are bad! Mouthpieces are often included with new
and used horns and over the years schools have collected quite a few of
them. Here are the mouthpieces I recommend:
Holton-Farkas Mouthpieces +RXJKWRQ0RXWKSLHFHV
These are the mouthpieces designed by
Philip Farkas. 90% of the world’s horn These mouthpieces offer a little more
players started on these mouthpieces. flexibility in specific choices. They
They are by far the best both for price and cost significantly more ($). The
quality (about $25). The two most com- choices are numerous but I recom-
mon models are the MC and MDC. I mend the +
recommend starting with the MC.

Farkas MC Farkas MDC +RXJKWRQ+

Mutes
There are 2 types of mutes commonly used by Horn players: 1) The stan-
dard Straight Mute and 2) the Stopping Mute.

Straight Mutes Stopped Mutes

They come in various designs. No This mute uses the same principals as
transposition is required. For young the stopped horn (transposition) –
students the “Stone-Lined” (red and except with a mute. The mute makes
white) is more than acceptable. stopped horn more stable.

14
Mellophone
An unfortunate fact in a horn player’s life is the Mellophone. Marching
Band is a way of life and thus the Mellophone. Another unfortunate fact is
the impact the Mellophone has on horn player’s embouchure. The angle the
horn must be held for marching and the often different mouthpiece create
habits that are counter to an optimal and efficient embouchure set-up for the
Horn.

Softening the Blow

To avoid complicating the differences
between the instruments, use an adap-
tor so the student does not have to
change mouthpieces.

Fingerings
For the most part fingerings are the
same as the Bb trumpet. The F Mello-
phone uses the same fingerings as the
F side of the horn.

15
Lip Slurs
All of these exercises should be done with a focus on a continuous airstream and a
consistent sound. Use all valve combinations (0, 2, 1, 12, 23, 13, 123)

Articulation Exercises
Remember the box vs. wedge concept, and the accented beginning concept. Try to maintain
consistency.

This exercise is to be done over a period of time. Special attention paid to creating a “block”
sound. Repeat each section at least 3 times.

16
Farkas Scales
Focus on creating “block” sounds. Vary tempo and do in all keys.

Forest Standley Exercise

Many believe this to be a long-tone and endurance exercise. However, in addition to
this, if it is used to focus on the beginnings of notes, many articulation issues can be
addressed.

17
Long Tone Exercises
Pay attention to a constant air stream and a consistent sound in all registers

The inverse of the previous exercise. Focus on “flicking” the small muscles while
maintaining a constant air stream and a consistent sound in all registers

The Craig Morris Long Tone Scale

This is primarily an endurance exercise that has an impact on many other things at the same time.
For the first couple of weeks, repeat 3 times, then add one repetition every couple of weeks
following until six repetitions are achieved. Then move the exercise up a half step and start over
at 3 repetitions.

18
Long-tone scales
Repeat the first measure 3 times and the last one at least 2. Do all in one breath. Vary the
dynamics, but maintain a rather slow tempo.

(q = 60)

19
 Spaulding Variations 2 Things to Remember:
Constant Air
Consistent Sound
Long and Low

Continue with: T23, T12, T1, T2, T0, 123, 13, 23, 12, 1, 2, 0, T23, T12, T1, T2, T0
1a. 1b. 2a. 2b.

20
 Chromatics
To be played in all keys progressing up chromatically to 3rd space C.
Can be played articulated to work on consistent articulation.
(q = 60)

Trill Flexibility Exercise

Less Movement = Efficient Playing. Concentrate on minimizing the movement of the embouchure. Play each
measure repeated 6 to 8 times then rest the equivalent amount of time.
A)

B)

Teuber Flexibility Exercise

Repeat each section on each valve combination.
(h = 60 - 100)

21
Breath Control Arpeggios
Strictly observe rests (rests are as important as playing)

(q = 60)

22
 Bai Lin Flexibility Studies
As with all previous exercises, focus on constant air and a consistent sound.
All letters are to be done on all valve combinations (0, 2, 1, 12, 23, 13, 123)

(q = 60)
I.
a)

b)

c)

d)

II.
a) (q = 60)

b) c)

d) e)

f)

g)

23
Major Scales
Scales

24
Chromatic Scale

Trills
Must be done with a metronome! Notes must start on-time and end on-time - “hang-overs.”

Continue the exercise through the circle-of-fifths using the given fingerings:

Variations

25
 Miscellaneous Exercises
Interval Exercise
Focus on maintaining consistent articulation, sound and air in all registers.
Can also be played with varied articulations or all slurred.

(q = 56 - 100+)

26
Quality Tones
Focus on quality of sound. Air is the key; keep it moving through every note. Strive for a homogeneous sound.
a) (q = 60)

b)

High Register Exercise

Use normal fingerings and try to use as little increase in lip pressure for the last two notes as possible. Play only as
high as is comfortably possible. Go for a focused, easy, and ringing sound.
(q = 60)

Mid/Low Register Exercise

Play each section with the indicated fingers then move on to the next section. Focus on keeping notes
homogeneous. Constant air and consistent sound.
(q = 80) 0, 2, 1, 12, 23 0, 2, 1, 12, 23

0, 2, 1, 12, 23, 13, 123

0, 2, 1, 12, 23, 13, 123

123, 13, 23, 12, 1, 2, 0

123, 13, 23, 12, 1, 2, 0

23, 12, 1, 2, 0 2723, 12, 1, 2, 0

 Path Exercises
These are exercise ideas that utilize the “Path to Great Horn Playing” as taught by Bill VerMeulen.
The emphasis should be placed on using AIR (vs. the chops) to change notes. Feel the pop of each of the har-
monics.

a)

23
b)

12

23
c)

12

28
Expansion Exercise
Consistent and constant airflow. Focus on using the air to make the notes change, not the chops.

(q = 60 - 100)

29
Study No. 3
Clarke Studies
Purpose: Flexibility and Endurance
Instructions: Play slurred the first time through, using the notated fingerings, articulated with regular fingerings the second
time. Use a metronome to insure rhythmic evenness.
(q = 60 - 120)

30
31
32
 Wobbles
Wobbles are meant to focus on developing an ease of transition through all registers.
Do these on all valve combinations: 0, 2, 1, 12, 23.
Start all slured, then vary the articulation and rhythm as you get more comfortable. Always use a metronome
The 3 indicates adding the the 3rd valve, however when playing the 23 combination, use 0 instead.
Machala/Wood

Level 1

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©2017 Brownwood Publishing

33
 Sachs Arpeggios
from Daily Fundamentals for Trumpet
Michael Sachs

I. Single Octave
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5

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13

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17

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25

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29

& œ œ œ œœ œ œ œ œ œœ œ
œ œ œ œ œ œ Ç. œ œ œ œ œ œ Ç.

b
& b bb œ œ œ œ ». œ œ œ œ ».
33

œ œ œ œ œ œ œ Ç. b œ œ œ œ œ œ œ Ç.
œ œ

## nnn
& # œœœ œ ». œœœ œ ».
37

œ œ œ œ œ œ œ œ Ç. œ œ œ œ œ œ œ œ Ç.
©2002 International Music Company

34
2

b ». bbbbb ».
&b œœœœœœœœœ œœœœœœœœœ
41

œ œ œ Ç. œ œ œ Ç.

#### ##
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45

&
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œ œ œ œ œ œ œ œ œ ». bbb œ œ œ œ œ œ œ œ œ ».
49

& œ œ
œ œ Ç. œ œ Ç.

bb œœœ œ ». #### œœœ œ ».

&bbb œ œ œ œ œ
53

œ œ œ Ç. œ œ œ œ œ œ œ œ Ç.

#
& # œ œ œ œ œ œ œ œ œ œ œ œ Ç. ». b
œ œ œ œœ
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57

œ œ œ Ç.

b œœœ œ ». bbbbbb œœœœœœœœœ ».

&bb œ œ œ œ œ
61

œ œ œ Ç. œ œ œ Ç.

#### œœœ œ #
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65

& œ œ œ œ œ œ Ç. œ œ

œœœ œ bbbb œ œ œ œ œ œ œ œ œ œ œ œ Ç .
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# ## # œœœ œ ### œœœ œ

& # # œœœœœ œ œ œ Ç. ». œ œ œ œ œ œ œ Ç. ».
73

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77

& œ

35
 3

II. Extended

œ œ œ œ œ œ œ œ œ
?œ œ œ œ œ œ œ ? œ œ œ Ç.
81

& œ œ œ œ œ œ œ œ œ
œ œ

œ œ œ œ œ œ
? bb œ œ œ œ œ œ œ ? œ œ œ œ œ Ç.
& œ œ œ œ
84

bbb œ œ œ œ œ œ &
œ œ

? ## œ œ œ & œ œ œ œ œ œ ? œ œ œ œ Ç.
87

œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
&
œ

b œ œ œ œ
&bb œ œ
90

œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ Ç.

## œ œ œ œ
& ## œ œ œ œ œ œ
93

œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ Ç.

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&b œ œ œ œ œ œ œ œ œ œ œ
96

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#### # œ œ œ œ œ œ #
& # œ œ œ œ œ œ œ œ
99

œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ Ç.

# œ œ œ œ
œ œ œ œ œ œ œ œ œ œ bbbb
102

& œ œ œ œ œ œ œ œ œ œ œ œ œ Ç
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b œ œ œ œ ###
& b bb œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
105

œ œ œ œ œ
œ œ Ç.

36
 œ œ œ œ
4
### œ œ
œ
œ œ œ œ œ œ œ œ œ œ œ bb
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108

& œ œ
œ œ œ œ Ç.

bb œ œ œ œ œ œ œ œ œ œ œ œ ####
œ œ œ œ œ œ œ œ œ œ #
111

& œ œ œ œ œ œ œ Ç.
œ

#### œ œ œ œ œ œ nnnn
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# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
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114

&
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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 Ç.
117

37
 Extended Interval Studies
4 .. ..
&b 4 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 œ. œ œ. œ œ. œ . œ œ. œ Ç .
. . . . . . . . . . . . . . . . . . . .
b
& b bbbb ..
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. œ œ. œ œ. œ œ. œ œ. œ Ç .
. . . . . . . . . . . . . . . . . . . .
# .. ..
& 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 œ. œ œ. œ œ. œ . œ œ. œ Ç .
. . . . . . . . . . . . . . . . . . . .
b
& b bb ..
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. œ œ. œ œ. œ . œ œ. œ Ç .
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. œ œ. œ œ. œ œ. œ . œ œ. œ Ç .
. . . . . . . . . . . . . . . . . . . .
b .. ..
&b 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 œ. œ œ. œ œ. œ Ç .
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 œ. œ œ. œ œ. œ œ. œ . œ œ. œ Ç .
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 œ. œ œ. œ œ. œ Ç .
œ œ œ . œ
. . . . . . . . . . . . . . . . . . . .

bb
&bbb ..
œ œ œ œ œ. œ. œ. œ. œ. œ. œ. œ œ œ œ .. œ. œ. œ. Ç .
. . . . . . 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 ..
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 Ç .
œ œ œ œ
.
. . . . . . . . . . . . . . . . . . . .
38
 ([WHQGHG,QWHUYDO6WXGLHV
b œ
&bb ..
œ œ œ œ. œ. œ. œ. . œ. œ. œ. œ. œ œ œ ..
œ œ. œ. œ. Ç .
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 œ œ
. œ
. . . œ œ. œ. œ. Ç .
. . . . œ œ œ
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&b .. œ œ œ œ œ. œ. œ. œ. œ. œ. œ. œ œ œ .. œ. œ. œ. Ç .
. . . . . . œ œ œ
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bb
& b b bb .. œ œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ .. œ œ œ. œ Ç .
. . . 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. 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 Ç .
œ œ œ
. œ
.
. . . . . . . . . . . . . . . . . . . .

œ œ œ
bb
&bb .. œ œ œ. œ. œ. œ. . . . œ. œ. œ. œ. œ œ œ .. œ œ. œ. œ. Ç .
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. œ. œ. œ œ œ .. œ œ. œ. œ. Ç .
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.
b . 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. Ç .
b œ . œ œ

#### œ . œ. œ. œ. œ. œ. œ. œ.
œ œ. œ. Ç .
& . 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. œ. œ. œ. . . .
. .
œ . .
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.
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.
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& œ . œ œ œ. œ. œ œ œ œ œ œ œ œ œ œ . œ. . œ. . œ œ œ œ

39
 David Johnson's
Warm Up
D 
b Z Z bZ Z Z #Z Z Z
0
? Z Z
1 2
b
12

Z ‡
23
1 c bZ ‡ Z ‡ bZ ‡ Z ‡

bÜ bÜ bÜ bÜ bZ
23
? .
. ‡ ..
12, 1, 2, 0
2 bÜ bÜ

b± b± b± ± ± b± b± b± Ü
b± ± ±
?
23
.
. b ‡ ..
12, 1, 2, 0
3 b± ± b±

b ± ± ± b± ± b± ± ± bZ
± ± ± ±
23
? .
. b b ‡ ..
12, 1, 2, 0
4 b± b± ± ±

b ± ± ± ±
? ±± b± ± ± ± ± ± ±
± ± ±
23
? .
. b & b± b± ±
b ‡ ..
b± b± ± ± ± bZ
3
12, 1, 2, 0
5
3 3 3
3 3 3 3

b± ± ± ± b± ± ± ± ± ± ±
6 ? .. b ± b ± ± ± ± ± ± ± ± ± ± ± b ± ± ± ± b ± ± ± ±
23
‡ ..
12, 1, 2, 0

? b± b± ± ± ± ? ± ± ± ± b± b± ± ± ± ± ± ± ± b± ± ± ± ± ±
23
. ± ..
12, 1, 2, 0
. b± & b ‡
± ± b± ±±
7

b± ± ±±
8 ? .. b ± b ± ± &
b ±
± ± b± ± b± b± b± ± ± ± ± ± ± ± ± ± ± ± ±
23

± ? ‡ ..
12, 1, 2, 0

± ± b±

b± b± b ±b ± ± ± ± ± ± ± ± ± b Z
9 ? .. b ± b ± ± & ±b ± ± ±
23

b ±b ± ±± ‡ ..
12, 1, 2, 0
?
b± ± ± ± ± ±
±± ±

40
 2

#
10 & c ±±±±± ± ± ±± ‡
± ± ± ± #± b± b± b± b± ± ±
Continue using circle of 5ths

±± ± ± ± ± ± ±±
3

±±±±
3 3 3
3 3 3

#
11 & c ±±±± ± ± ±± ± ‡
± ±±±± ± ± ± ±
?
±±± ± ± ± ± #± b± b± b± b± ± ±
Continue using circle of 5ths

±± ± ± ± ±±±

#
12 & c ± ± ± ± ± ± ‡
± ± ± ± #± b± b± b± b± ± ±
Continue using circle of 5ths

± ± ± ± ± ± Ü
± ±

# c ‡
13 & ± ± ± ± ± ± ± ± ± ± ± ± ± # ±b ±b ± b ±b ± ± ±
Continue using circle of 5ths

± ± ± ± ± Ü Z
# c
14 & ±±±±±±±±± ±±±±±±±±±±±±
3

± ± ±
3 3

± ± ±
3 3

± ± ±
3 3

± ± ± ± ± ±
3 3 3 3 3

#
‡
& ± ± ± ± #± b± b± b± b± ± ±
Continue using circle of 5ths

±±±±±±±±±±±± Z
3 3 3 3

41
 Lip Slurs for Horn
A Progressive Method of Flexibility Exercises

& 44 œ œ œ œ Ç
Howard Hilliard

1 » œ œ œ œ Ç » œ œ œ œ œ œ œ œ Ç »

&œ œ œ œ Ç » œ œ œ œ Ç » »
œ œ œ œ œ œ œ œ Ç
2

&œ œ œ œ Ç »
œ œ œ œ
Ç » œ œ œ œ œ œ
œ œ
»
Ç
3

&œœœœ œœœ Ç » œ œ œ œ œœœœ Ç

»
œœœ œ œ œ œœ Ç
»
œ
4

5 &œ œ œ œ œ
œ œ
œ Ç »
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»

&œ œ œ œ œ œ œ œ Ç » œ œ œ œ œ œ
œ
œ Ç
»

6 & œ œ œ œ œ œ œ œ Ç » œ œ œ œ œ œ œ œ Ç »

&œ œ œ œ œ œ œ œ Ç »
œ œ œ œ œ œ œ œ Ç
»

7 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ç » œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ç » œ œ œ œœ œœœ œ œ œ œœ œœœ Ç »

©2009 Hal Leonard

42
43
44
45
46
47
48
49
50
51
52
53
 FL.EXIBIL.ITY '·A: THE CINCINNATI FACIAL.
THEAL.TERNATEFINGERINGS
APPL.Y
**P~CTICEAT OWNR/SK TOAL.L.NOTESBEAMEDTOGETHER
COMPOSED BY PROFESS/ONAL.
TRUMPET PLAYERIN L.OCKED SCOTTBEL.CK
P~CTICE ROOM.

IlA-ll (AL.L.REPEATS:
4X~'$' ------ _

_ tlij===J=====--_f~===-j-a Jq====_~
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~= ~ J !72~---~ :
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54
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55
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(1-3) 0-2-3)

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56
 FL.EXIBIL.ITY 1/1': OR81CULARIS RECEMI'TOR
AL. TERNATE FINGERINGS AIfIPL.Y TO AL.L. NOTES BEAMED TOGETHER
VENt, VIDI, DU66A C
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57
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(2-3) (2-3) (2-3)

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(2-3) (2-3) I 13 2~
1~1 ~
t $
a ~

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~-·-~I
(2-3) (1-2-3)1 :1 b ~s ~ ~ oz.} ~;

"Al. TERNATE FINGERINGS IN THIS F1EASURE ONl. Y A~I'LY TO NOTES THAT CAN ACTUALLY
BE FINGERED THIS WAY. ·IF YOU FIGURE OUT HOW TO DEFY THE LAWS OF I'HYSICS, GREATI
OTHERWISE, DON'T BE TOO LITERAL - THAT I'ART IS REAI.l. Y HOLDING YOU BACK.

58
59
 Brian Brown's
Daily Warm Up Routine
3DUW$GDSWHGIURP-DPHV6WDPS
V([HUFLVHV


 Ç   Ç   @ Ç  @ T
Modified James Stamp Exercise, part 1


 Ç
Ç  Ç T
 T

 Ç  Ç  @ @Ç  @ Ç   Ç   Ç 
 T  @T  T

 @ @Ç  @ @Ç    Ç   Ç  T

 Ç   Ç 

@T T

 @ Ç  
 @ Ç   Ç   Ç 
@T T

@  @ Ç  
 @ @Ç   Ç   Ç 
@T T

3
Modified James Stamp Exercise, part 2

 Ç   Ç 
           
  Ç
     R

  Ç   Ç 3 
            
  Ç
      R

3
 Ç   Ç 
            
 Ç
     R

60
@  @ Ç  @ Ç @  @  @3 
 @  @  @   @ @  
@RÇ
 @  @   @

3
 Ç   Ç 
            
 Ç
     R

@3 
@  Ç   Ç   @     @   
@     @   @RÇ
@

3
  Ç   Ç           
    
      RÇ

3
   
    
 Ç   Ç    
   
  RÇ

61
 3DUW
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   
Open F horn

 œ    œ 
                   œ

   3
   
3

     œ
     Ç
   
2nd valve

 œ    œ  œ
             
     

   3
23

 
       œ   Ç
   

 
1st valve

  @  œ      œ      œ
@           

  @    
3
13

   @   
œ  @Ç
@ 

 
     
1st and 2nd valves

    œ  œ    œ
           

 3
  
123

      
œ   Ç
   

 @  
2nd and 3rd valves

 @  œ    œ  œ
@  @                

@ 
3
 @ 
open

 @   œ @  @Ç
@  @   

62
 3DUW
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Open

  3
   
     
           
           


    
              3
    
2nd valve

     
  

     @     3
 @   @        
1st valve

       @   
  

       3
      
1st and 2nd valves

    
        
  


  @  @  3
 @ @      @  
2nd and 3rd valves

@      @   

  

63
 3DUW
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Open 3

        
  

    


2 3
   
              
    
  

3
 @     
1


  @        @
@     

12 3

      

        
  

 

23 3
@  @     @
 @  @        
   @
@       

64
 3DUW
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Open 3
  

       
     
        


2


              
      
       R

 @  
 @           
@R
     
@      

12

      
          
         R
    

23

@   
 @    @      
@      @R
@ @     

65
 3DUW
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Open
   3
     
   
 

 3
   
2

 
    
   

  @  3
1


@   @   @
 @  

    3
12

  
    
   

 @  @ 
23


@  @ @   @
@ @  

66
 3DUW
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Open
 3
  
 
 

 3
 
2

  
 
 

@ 3
 @ 
1

@  
 @
@ 

 3

12

  
  
 

 @ 3
23


@  @  @
@ 

67
 3DUW
IURP'DYLG.UHKELHO

  Ç [ [[[
123

           [ [ [ [[[[ T
              Ç [ [


 [ [ Ç [[[[
13

 
 K         
   Ç [[ [ [ [[[[ T

@ 
 [ @ Ç [[ [[
[
[ [[[[@ T
23


 @  @       @       @ Ç [[[


 [ [ Ç [[[[
[ [[[[ T
12

 K                 Ç [[[

 
 [ @ Ç [[[[[
[
     [ [ [[[[@ T
1

 @      @  @ Ç [[

 
 [[ Ç [[[[
        [[ [[[[ T
2

 K        Ç [[


 [ [ Ç [[[[
   
       [ [ [ [[[[ T
Open

 K    Ç [

68
 3DUW
IURP'DYLG.UHKELHO
 Ç [[[[
Proceed with caution!

    
                Ç [[[[[[ [[[[ T
 
T23


 [ [ Ç [[[[
K 
               Ç [[ [ [ [[[[ T
T12

@ 
 [ @ Ç [[[[[
[
@         @       @ Ç [[[ [ [[[[@ T
T1

 
 [ [ Ç [[[[
  
K         
  Ç [[ [ [ [[[[ T
T2

 
 [ [ Ç [[[[
T0
 
K        
  Ç [[ [ [ [[[[ T

After this, take a short break and play pedal notes.

69
 1BVM
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FROM*OSEF3CHANTL 'RAND4HEORETICALAND0RACTICAL-ETHODFORTHE6ALVE(ORN

70
71
72
73
74
 Audrey Good's
Daily Warm up Routine

Path Exercises
These are exercise ideas that utilize the “Path to Great Horn Playing” as taught by Bill VerMeulen.
The emphasis should be placed on using AIR (vs. the chops) to change notes. Feel the pop of each of
the harmonics.
1

&œ œ œ œ
œ œ w œ œ
w

& œ œ œ bœ œ œ œ œ œ œ œ b œ œ œ œ œ ..
w
light tongue, keep the air moving

œ œ œ œ œ œ œ œ
& œ œ œ bœ œ œ œ œ œ œ b œ œ
..
w
light tongue, keep the air moving

& œ b œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ ..
œ œ œ œ œ œ w
light tongue, keep the air moving

œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ
& œ œœ b œ œ œ œœœ b œ œ œ .. w
light tongue, keep the air moving

b œ œ œ œ #œ œ œ œ œ œ œ b œ œ œ œ # œ œ œ œ œ œ œ ..
& œœœ œœ œœœ œœ w
light tongue, keep the air moving

75
 %BWJE
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This exercise is intended to get the air moving in a manner that increases efficiency.

1 & w #w w #w w w #w w #w w #w w w w w bw w bw w bw w w bw w bw w
Do this exercise at the start of the warm-up.

flutter tongue flutter tongue

w #w w w #w w w bw w w bw w bw
& w #w w
flutter tongue flutter tongue

U
w #w w #w w w
w #w w w #w
&w #w
flutter tongue

Ÿ~
This trill exercise not only keeps your lip trills in shape, it also serves a supplementary role

Ÿ~ Ÿ~ Ÿ~ Ÿ~ Ÿ~ Ÿ~ Ÿ~ Ÿ~ Ÿ~ Ÿ~ Ÿ~ Ÿ~ w
to exercise #1 by continuing the efficient and reliable use of air stream.

w w #w w #w w w #w
2 & w #w w #w
13 23 12 1 2 0 T23 T12 T1 T2 T0 T2 T0

Do on all valve combinations: 0, 2, 1, 12, 23

Excerpt from: Lip Slurs for Horn by Howard Hilliard

3 &œœœœÇ œœœœÇ œœœœœœœœ œœ œÇ œœœœ œ œœœœÇ

œ œœ œ

œ œ œ œ œ œ Ç œœ œœœ œ œœ Ç œ œ œ œ œœœœÇ
& œœœœœœœœ œ œ Ç œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ

Do on all valve combinations: 0, 2, 1, 12, 23

Excerpt from: Progressive Studies in Flexibility & Range by Fred Teuber

4 & .. œ œ œ œ œ œ .. œ œ Œ .. œ œ .. Œ
œ œ œ œ œ
I II

œ œ œ œ œ œ
œ œ œ œ œ

& .. œ œ œ b œ œ œ œ œ .. œ œ œ b œ œ Œ .. b œ œ œ œ œ œ œ œ .. b œ œ œ
œ œ Œ
III IV

©2017 David Lesser

76
 excerpt from

Lip ASlurs for Horn

Progressive Method of Flexibility Exercises Howard Hilliard

œ bœ
? œ #œ œ #œ
17 bœ bœ nœ bœ nœ œ b˙ Œ
12 23 23

œ #œ œ
23 12

#œ #œ œ
? œ œ œ œ Œ
œ #œ ˙
1 12 12
12 1

& œ bœ Œ
œ #œ nœ #œ
bœ œ #œ 1 œ 2 #œ œ b˙
2
1 1

& œ œ bœ Œ
bœ nœ œ
bœ nœ bœ nœ
œ œ ˙
2 0
0
2 2

& œ œ #œ nœ
œ œ Œ
œ œ #œ 0 œ T23 #œ #œ ˙
T23
0 0

& œ #œ Œ
œ #œ nœ #œ
œ œ
#œ #œ #œ œ #˙
T23 T12
T12
T23 T23

bœ œ Œ
& bœ nœ bœ nœ
œ bœ œ bœ bœ
œ T1
T12 T1 ˙
T12 T12

œ #œ nœ Œ
& œ #œ #œ
œ œ
#œ #œ
#œ œ
T2
T1 T2
#˙
T1

œ
T1

bœ nœ œ bœ nœ Œ
& œ œ
œ œ œ
œ T0
T2 T0 ˙
T2 T2
77
 œ nœ bœ nœ bœ œ bœ bœ
12

18 & œ œ bœ œ bœ Œ
23

œ bœ bœ
b œ n œ bœ œ bœ nœ œ b˙
bœ

#œ #œ œ nœ œ #œ œ œ œ Œ
œ #œ œ
12 1

& œ œ
#œ œ œ #œ #œ œ
œ œ œ #œ ˙

œ œ nœ bœ #œ nœ œ bœ bœ bœ Œ
1 2

& œ bœ œ # œ œ bœ
œ #œ bœ œ œ #œ
bœ œ b˙

œ #œ nœ œ œ #œ #œ œ œ œ
0

œ Œ
2

& #œ œ œ # œ œ #œ œ œ
#œ œ #œ
œ œ ˙

œ #œ œ #œ nœ œ œ œ
œ #œ
œ
T23

& œ # œ Œ
0

œ œ #œ œ œ
œ #œ œ #œ
œ #œ ˙

œ œ nœ bœ œ bœ œ bœ bœ bœ
T12

b œ œ Œ
T23

& œ bœ b œ œ œ bœ
bœ bœ nœ bœ nœ œ b˙

#œ #œ œ #œ nœ #œ œ œ
T1

œ #œ œ # œ œ Œ
& #œ #œ œ œ #œ
T12

#œ nœ
œ œ #œ #œ ˙

œ œ nœ bœ œ bœ œ bœ bœ bœ
T2

œ bœ b œ œ œ bœ Œ
T1

& bœ œ
b œ n œ bœ nœ œ b˙
bœ

œ #œ œ œ œ nœ #œ œ œ œ
T0

œ œ Œ
#œ œ #œ œ œ
T2

& œ œ
œ œ œ œ ˙
œ
78
 Gerald “
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lyWarm upRouti
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79
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80
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81
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82
 .PMMZ
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& 44 œ œ œ œ Ç
23, 12, 1, 2, 0, T23, T12, T1, T2, T
»
0, 2, 1, 12, 23

1 œ bœ bœ bœ bœ œ œ
bœ bÇ

œ
23, 12, 1, 2, 0, T23, T12, T1, T2, T

& bœ bœ bœ œ bœ bœ
bœ œ bœ bœ œ bÇ

bœ œ bœ bœ bœ œ bœ
23, 12, 1, 2, 0, T23, T12, T1, T2, T

& b œ b œ bœ bœ bœ
bœ œ bœ œ bw

œ œ œ œ #œ œ œ
23 12

2 & .. .. .. ..
3 3

bœ œ
3 3 3 3

b œ œ œ œ œ œ
bœ œ #œ œ œ

œ œ œ œ #œ œ œ
1 2

& .. .. .. # œ ..
3 3

œ œ bœ œ
3 3

œ œ
3 3

bœ œ œ #œ œ œ

œ œ .. .. b œ œ b œ œ œ œ œ œ
0 T23

& .. œ œ œ œ œ ..
3 3
3

œ œ œ
3

bœ œ
3 3

#œ œ œ œ
.. .. b œ œ b œ œ
T12 T1

& .. œ œ # œ œ œ ..
3

œ œ œ
3

œ œ œ
3

bœ
3 3 3

œ œ #œ œ œ œ œ
.. .. œ œ œ œ œ
T2 T03

. œ œ œ ..
3

& . œ #œ œ œ œ
3 3 3
3

83
 T23 T12

bœ bœ œ œ Ç œ œ œ œ Ç
0
3 &
œ œ œ œ Ç
T0
œ œ
T1 T2

& bœ bœ œ
œ
Ç œ
œ
œ
œ
Ç œ œ Ç

bœ bœ œ œ Ç œ œ œ œ Ç
T0

4 &œ œ œ œ Ç
T23 T12

bœ œ œ œ œ œ Ç œ œ œ œ Ç
T1 T2 T0

& bœ œ Ç

bœ œ œ œ œ œ
5 & œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ

bœ œ œ œ œ œ œ œ œ
& bœ œ œ œ œ œ œ œ œ œ œ œ

84
 Hermann Baumann Warm-up
1 Pre-Warmup1 2 1 2 1 2

& œ œ bœ bœ œ œ bœ bœ œ bœ œ nœ #œ nœ bœ œ œ bœ
0 2 1 2 3 0 2 1 2 3 0 2 1 2 3

P œ bœ œ bœ œ bœ œ bœ œ œ bœ bœ
u
1 2 1 2 1 2
0 2 1

& œ œ œ œb œ b œ œ œ œ œ œ œ b œ œ œ œ b œ b œ n œ œ # œ œ n œ œ b œ œ
2 3 0 2 1 2 3 0 2 1 2 3

œ œ œ œ œ œ bœ œ œ œ bœ œ œ œ œ œ œ œ bœ bœ œ œ œ œ œ œ œ œ bœ bœ
P œ œ bœ œ u
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
- 4x per interval; 5x; etc., as many as possible on one breath

2 Middle Register Long-Long Tones

U U U U U U U U U U
&W W bW bW W W bW
W W bW
∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏ ∏
- huge, deep, low breath.
- soft attack
- steady pitch; even, clear, soft tone.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
- each note as long as possible - time them, aiming for at least 45-60 seconds

3 Altissimo Register Exercise

-̇ . -̇ .
œ U œ œ U
3 œ œ bbbb œ
q = 80 - 126

&4 œ œ . œœ .
dolce

œ œ œœœ
3
3

F œ
-̇ . -̇ .
## # œ U œ U
bb 3 œ œ œ œ œ
3

œ œ
3

& œ œ . .
œ œœ
3

œœ
-̇ . -̇ .
#### œ œ
œ œ œ
3

œ œ U U
3

& # œœ œ œ .
3

œ œ .
œ œ
3

œ
-̇ . -̇ .
œ œ
œœ œ ## 3 œ œ œ œ
3 3

bb b œ U U
& b œœb œ . œ .
3

œœ
-̇ . -̇ .
œ œ
œœ œ #### 3 œ œ œ œ œ
3 3

bb b œ U U
& œœœ . .
3

3
œœ 3

85
 4 Break Camouflage Exercise

& œ b œ œ- Œ ∑ b œ œ œ Œ ∑ œ œ b œ Œ ∑ œ b œ œ- Œ ∑ b œ œ b œ- Œ ∑
q = 60 ( Begin above break)

- -
ƒ ƒ ƒ ƒ ƒ
- # œ œ # œ- Œ
? œ œ # œ- Œ ∑ œ # œ œ- Œ ∑ # œ œ # œ- Œ ∑ œ # œ œ Œ ∑ ∑
(Begin below break)

ƒ ƒ ƒ ƒ ƒ
- keep ascending/descending until tone suffers significantly
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

q
5 Diminished Seventh Flexibility Exercise
Play as fast, smoothly and evenly as possible. Aim for = c.120
œ
? œ œ œ œ œ bœ œ œ bœ b œ œ b œ œ œ
œ œ
œ bœ œ œ bœ œ ?
œ œ bœ œ
œ œ œ bœ œ
œ bœ & œ
œ œ œ œ œ œ bœ œ u

? œ b œ œ# œ b œ œ # œ œ n œ & œ bœ œ# œ œbœ œ œ
? #œ œbœ#œ bœ
#œ œ bœ œ #œbœœ#œ nœ œ #œ œbœ# œ bœ
œ œ
œ œ œ# œ
u

bœ bœ bœ
? bœ bœ œbœœ œbœ œ bœ & œ bœ œbœ bœ œbœ œbœ œ bœbœ œbœ œ ? œ œœbœœ bœ
bœ œ
œ œbœ œ œ bœœbœ u
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

-œ U 6x # œ- U 6x œ- U 6x b œ- U 6x œ- U 6x œ- U 6x
6 High Register Accuracy Exercise - The 100,000 Perfect Notes

& .. Œ  .. .. Œ  .. .. Œ  .. .. Œ  .. .. Œ  .. .. Œ  ..
p p p p p p
- each attack must be absolutly flawless, perfect and beautiful.
- each pitch must be repeated 6 times consecutivly, perfectly . If one is not
up to your highest standards, begin again at "1" for that note
- A need for variety may be met by increasing the number of repetitions,
or quasi-randomly changing dynamics, attacks (breath - marcatissimo,
stopped/open, fingerings.
- repeat for c. 10 years.

86
 7 Flexibility Exercise
œ œ
? bœ bœ nœ nœ bœ nœ œ œ #œ #œ
bœ
œ œ bœ œ œ bœ nœ #œ œ
slow and even
bœ nœ #œ œ œ #œ œ #œ œ
œ #œ œ #œ œ
3 3 3 3

œ
3 3

œ nœ #œ œ œ
3 3

bœ bœ œ œ bœ
3 3 3 3

œ
3 3 3 3

œ œ #œ #œ
3 3

bœ bœ nœ nœ
3 3

& bœ bœ nœ nœ
3 3

œ
3 3

#œ œ #œ œ œ #œ œ #œ
œ #œ œ
U
œ
bœ nœ bœ nœ œ
b œ n œ
& œ bœ nœ œ
#œ #œ œ Œ 
- breath as necessary; play as smoothly
as possible

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
3 3 3
3 3

8 Top Register  Exercise fff U

Uw " #Uw " w
U
" bU
w " U
w " w "
&
     
- do NOT play this exercise when very tired.
- use AIR to produce extreme dynamics.
- after playing this exercise, NO PLAYING FOR 1/2 DAY.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
9 Embouchure and Register Extention Exercise
Play as quietly and evenly as possible

bœ œ bœ
# œ œ œ œ # œ œ œ n œ œ œ œ œ œ b œ3 œ
F2 F1

œ bœ œ bœ
F1 F1

&œ œ œ
3 2

œ #œ œ #œ œ œ
œ œ #œ œ U
œ
œ #œ œ œ #œ œ
F2 F0 B2 B1 B1 B2 B0

&œ #œ œ #œ
3 2

- glisses should sound like scales.

- keep dynamic, air flow, mouthpiece pressure consistant
- strive for "woodwind-like" lightness.
87
 Carmine Caruso Method
Adapted by Julie Landsman

This is a method that helps prepare your body to play music.

1. TAP YOUR FOOT. Tapping your foot helps the body to feel the rhythm needed to
coordinate over two hundred muscles. More than just thinking about the timing, foot
tapping connects the feel of the time to the body (kinesthetically). Feel the
downbeats and upbeats.

2. Keep the mouthpiece on your lips throughout the entire exercise. This reduces the
chances of resetting the embouchure in a different place on your mouth, and makes
it easier to develop good chops.

3. Keep the blow steady and constant. Always move the air through the instrument
when playing anything! If the air stream is steady and well supported, then it is
easier to develop a good embouchure. Here is an analogy: think of the lips as skis on
the water. As long as the boat is moving, the skis stay on the water. When the boat
slows down, the skis dig in, and when the boat stops, you fall off. This is what
happens to the lips when the air is not being steadily pushed through them. An air
stream that is constantly feeding the lips will develop a better balance of muscles.

4. Breathe through the nose. This rule goes along with #2. Try to maintain the same
setting of the embouchure while breathing. This reduces the number of variables
involved in playing the horn, and helps develop a healthy embouchure more quickly.
If you experience stuffed sinuses, breathe through the corners of the mouth, and try
not to disturb the setting.

5. Ready – Set – Play! Whether practicing Caruso exercises or any music at all, it is
essential before starting to set up one measure of subdivided time. Whether action is
starting a note, moving to another note, or ending a note, the subdivision is equally
important. (i.e. )

The importance of being ready and set to play through precision subdivision and
timing cannot be over-emphasized! Whether practicing Caruso exercises, orchestral
excerpts, playing in orchestra, or chamber group, it is essential to be ready to play
well before the first note comes out. Therefore, always, follow the rule of giving your
body at least one measure of subdivided time before your first entrance. Having your
body ready before the note comes out gives you a huge advantage!

6. Unless otherwise indicated, all exercises are to be executed at a healthy mezzo forte;
no louder.

Copyright © 2014 Julie Landsman. All Rights Reserved.

88
 I. THE SIX NOTES
Even though there are more than six!

Play exercises with one steady air stream. Start with whichever version is easiest.
Be Ready – Set – Play! * Breath Attacks provide the easiest way to get the lips in focus
[B] = Breath attack* without “jumpstarting” the note with the tongue. Feel free to
[T] = Tongue attack use tongue on the first note, if at first, the breath attack is a
struggle.  
SIX NOTES – Version #1

q = 60 [ Do not play subdivision. Feel it!]

Version #2
q= 60

[Maintain “contact” from 3rd space C to middle C]

Copyright © 2014 Julie Landsman. All Rights Reserved.

89
 II. LIPS/MOUTHPIECE/HORN
Do this exercise in this suggested sequence, however, make it struggle-free and with as
much ease as possible.

1) Buzz all pitches only with the lips.

2) Buzz all pitches on the mouthpiece.
3) Play all notes on the horn with valves. Version A: finger the first note, bend the pitch to
the second note. Versions B and C: finger both notes.

The three buzzes (steps 1-3) do not need to be exactly the same. The goal is to keep the blow
steady, and maintain the buzz throughout the entire exercise. Attempting to manipulate
the embouchure in any way will inhibit the progress of this exercise. Just produce the
sound in the easiest way possible, without trying to place the chops in a certain way. Do not
force the lips into place, even if all three events are slightly different from each other.

If comfortable, continue exercises lower.

q = 60

You may choose the easiest note to start. These exercises are suggested starting places.
Do only as many that work with ease. In due time, expand outwards from your starting
note. Do not free buzz higher than a third space C, and descend as low as is comfortable.
Copyright © 2014 Julie Landsman. All Rights Reserved.  
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90
 IV. OPEN HARMONIC SERIES

1) Choose the beginning that works with ease.

2) Ride the steady airstream.
3) Be strict with your subdivision, especially when establishing your upbeats.
4) Practice whistling! Notice how your lips and tongue move forward in your mouth when
you ascend.

q = 60

Beginning 1 Beginning 2

Beginning 3

Copyright © 2014 Julie Landsman. All Rights Reserved.  

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91
 V. LOW REGISTER

1) As you descend, maintain even and equal pressure on both lips.

2) Do not let go of your lip contact and mouthpiece pressure as you descend!
3) Maintain mouthpiece contact in the rests and breathe through the nose. Take beats 3 & 4
to inhale and prepare for the downbeat.
4) Follow these low register exercises with the chromatic scale. (See INTERVAL STUDIES,
p.5)

These exercises may be used as a warm-down. Use of a tuner may help determine the
proper mouthpiece contact and pressure. Often players will let go of contact with the lower
lip [sometimes upper], however better results may be achieved with this technique of
keeping good contact with lips [and teeth!] with the mouthpiece, especially when dropping
the jaw.

Chromatics Down
[LT] = Legato tongue (keep it connected)

q = 60

etc. go as low as you can

Arpeggios Down  
q = 60

etc. go as low as you can

Copyright © 2014 Julie Landsman. All Rights Reserved.  

2  

92
 III. INTERVAL STUDIES
1) Warm up your upper register before playing this exercise. This can be done either in your
normal way, or by playing some slow, slurred scales into your comfortable upper register.
2) Starting note can vary. (For example – middle G, low G, or low C.)
3) Complete each interval set before stopping. If you need a place to rest, complete the
current interval and then rest for 10 seconds. After this time, pick up where you left off,
using precision timing to restart.
4) Go as high as you can keeping the same mouthpiece set, but do not force this exercise.
5) Do not play with pain.
6) Increase interval size every week. (For example – 3rds, 4ths, 5ths, up to 10ths).

q = 60 [Subdivision!]

[Play as high as you can

without pain.]

Immediately after finishing the intervals, play the pedal F# three times softly for as long as
possible. This is an essential part of relaxing the chops after the intervals, or after any other
strenuous playing.

Play chromatics smoothly with ease. Never force any of these exercises, therefore choose start
and end notes wisely. Regardless of whether the notes speak, go for the action of the notes
without force.

{---Optional---}

Copyright © 2014 Julie Landsman. All Rights Reserved.  

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93
 VI. FLEXIBILITY

Noodles
These exercises increase flexibility and help to “iron out” inconsistencies in embouchure set
and sound quality throughout the registers. Play as slowly as necessary to maintain
mouthpiece contact and tone integrity. The exercises below show suggested starting
pitches; feel free to start on any note, in order to work out break registers. Breathe through
the nose. Play slowly, then twice as fast. Always keep a double- or half-time relationship
between tempos.

Noodles Down
q = 30, 60, 120

Noodles Variation 1
q = 30, 60, 120

Pop-out Noodle
q = 30, 60, 120

Copyright © 2014 Julie Landsman. All Rights Reserved.  

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94
Other suggested starting pitches:

G:
q = 30, 60, 120

E:
q = 30, 60, 120

C:
q = 30, 60, 120

Copyright © 2014 Julie Landsman. All Rights Reserved.  

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95
 FLEXIBILITY

Spider and Snake

Spider – If a breath is needed, add a few beats and breathe through the nose, taking care
to leave the embouchure undisturbed. Subdivide, feeling upbeats.

First, start slowly:  

q = 60

Then once more, double-time:

q = 60

Snake – Add the snake when the spider can be executed smoothly in both variations. When
both the spider and snake can be executed smoothly in faster speeds, change the starting
note.

q = 60, 120

Variations for Spider and Snake

1) All Tongued attacks
2) Start on different notes.
***When using the tongue, be sure to use the same air flow as when playing
slurred.***

Copyright © 2014 Julie Landsman. All Rights Reserved.  

96
Spider from E:
q = 60, 120

Spider from G:
q = 60, 120

Snake from E:

q = 60, 120

Snake from G:

q = 60, 120

Copyright © 2014 Julie Landsman. All Rights Reserved.  

97
 VIII. DYNAMIC STUDIES
Crescendo Diminuendo
q = 60

Keep the mouthpiece in contact with the lips throughout. The speed of the air determines
the volume. Increase the airspeed to play louder; decrease the airspeed to play softer. Tap
your foot to establish time, and subdivide during the rests.

If you feel tired after the dynamic study, play a few pedal F#s:

Copyright © 2014 Julie Landsman. All Rights Reserved.  

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98
 VII. REBALANCE AND RECOVERY

Through the practice of note tasting, your body learns to respond reflexively to a precisely
timed setup. The “taste” of a note includes the subdivision and timing, hearing it, visually
picturing the note, and feeling it in your chops. These are all right brain, high sensation-
based activities. All too often, players aim for notes with their brains and willpower. With
practice, you can train your body to respond in a reflexive manner to where that note lives
and what it “tastes” like. This can practically guarantee accuracy!

Note Tasting
q = 60

Continue upward as far as is comfortable…

*Use the Pedal #F as a recovery from fatigued chops.

Variations:
1) Breathe attack, mouthpiece stays on chops during rests
2) Tongue attack, mouthpiece stays on chops during rests
3) Breath attack, remove mouthpiece from chops during rests
4) Tongue attack, remove mouthpiece from chops during rests

The Recovery: Set up one measure of subdivided time. Ghost a “G” (measure 1) by
blowing air through the instrument while almost playing note. Subdivide third beat and
gently bring in ghosted note. Leave chops in place while inhaling for the next note.

air play
Pick notes based on ease (ex. middle C, E, G).

2  
Copyright © 2014 Julie Landsman. All Rights Reserved.  

99
Notes

100
 Blank Practice Chart
Week of: Monday Tuesday Wednesday Thursday Friday Saturday Sunday Total
Warm-up/Daily Drill

Breathing

Lip-Slurs

Articulation

Scales

101
Etudes

Solo

Excerpts

Total Time
 F Mellophone Fingering Chart

& w
w #w bw w #w bw w #w bw w
LOL Nope! 123 13 23 12 1 2 0

& #w bw w w #w bw w #w bw
#w bw w
123 13 23 12 1 2 0 23

&w #w bw w w #w bw w #w bw w
12 1 2 0 12 1 2 0

#w bw w #w bw w w
w #w bw w
&
1 2 0 23 12 1 2 0

© 2014 - BrownWood Publishing

102
 B-flat Marching Horn Fingering Chart

& w
w #w bw w #w bw w #w bw w
0 13 23 12 1 2 0
123

& #w bw w w #w bw w #w bw
#w bw w
12 1 2 0 12 1 23
23

&w #w bw w w #w bw w #w bw w
12 1 2 0 23 12 1 2

#w bw w #w bw w w
w #w bw w
&
0 2 0 23 12 1 2 0

© 2014 - BrownWood Publishing

103
 Comprehensive Fingering Chart
- Fingerings are listed in order of preference - top to bottom - The underlined fingering is the
preferred fingering.
- The harmonic the note is derived from is in parenthesis.
- 1/2 combinations and 3rd valve are interchangeable (3rd is usually a lower or “flat” fingering)

104
 Thankyou to thefollowing for
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Johnson,Da vi
dKr ehbiel
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Ma chal
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, HermannNe ul
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,JoannesRochut,
Mi cha
elSachs,Jos
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,Spanis
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s,RogerSpaul
ding,
Ja
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Wi l
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Me ule
na ndma ny
mo re.
.

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