Fundamentals
Play exercises from each category daily
I. Box Breathing
II. Mouthpiece Buzzing
III. Flow Studies
IV. Flexibility
V. Sound Meditation
VI. Scales
VII. Vocalises
Technique Building
Rotate exercises into routine as needed
VIII. Accuracy
IX. Lip Trills
X. Fast Single/Multiple Tonguing
XI. High Register
XII. Low Register
XIII. Power Dynamics
XIV. Stopped Horn
Play exercises from each category daily
I. Box Breathing
II. Mouthpiece Buzzing
III. Flow Studies
IV. Flexibility
V. Sound Meditation
VI. Scales
VII. Vocalises
Technique Building
Rotate exercises into routine as needed
VIII. Accuracy
IX. Lip Trills
X. Fast Single/Multiple Tonguing
XI. High Register
XII. Low Register
XIII. Power Dynamics
XIV. Stopped Horn
The term “Daily Dues” is borrowed from the late Charles Kavalovksi (Principal horn of the Boston Symphony, 1972-1997). For most advanced players, a daily routine is essential for warming up, developing consistency and improving technique. A good routine will also provide a solid technical foundation that will provide greater confidence under pressure. 15-30 minutes is usually enough time to touch on all the fundamentals.
Ideally most of your practice time will be spent working on actual music: etudes, solos, orchestral excerpts and repertoire for upcoming lessons and performances. At the end of your routine, you should feel in peak form, not tired or tight. A routine that takes a long time and is exhausting to play should probably be shortened and simplified. Some players prefer a structured, repetitive routine (the warm pp from Philip Farkas's The Art of French Horn Playing is a good example); others prefer an improvisatory approach (i.e., “noodling”). A middle way, which I advocate, is to compile several exercises that cover the most important skills needed to play well and find ways to vary the exercises from day to day.
Some good questions to ask before adding an exercise to your routine might be:
1. Is the exercise engaging and interesting to play?
2. Does it address one or more specific aspect of playing I’m trying to improve?
3. Can the exercise help to measure improvement?
4. Does the exercise feel good to play or does it make me stiff or tired?
An effective daily routine should include fundamentals in the following areas: Breathing, Buzzing, Flow Studies (movement of air), Flexibility, Sound Meditation (long tones) and Scales. I suggest playing only a few minutes worth of material from each of these categories (although a slightly longer warm up may be necessary after an extended break from the horn or when the lips are feeling stiff or tired). After checking in on the fundamentals, playing a short, easy vocalise or lyrical excerpt is a great way to spark phrasing, musicality and beauty of sound.
If time allows, the end of the daily routine might include a rotating selection of 2 or 3 supplemental exercises that focusing on specific areas of concern (trills, high register, low register, stopped horn, articulation, accuracy, etc.) Any exercises that delivers measurable, positive results is one worth keeping in your collection. You might even try to develop exercises of your own. If boredom starts creeping, mix up your routine by switching the order of exercises, creating variations, or exploring new material.
Several of the exercises in this collection (especially the warming up portion) are to be played open harmonics. A key to the valve combination for each transposition is below. Avoid playing notes outside of your comfortable range. Straining with a poor sound will only lead to bad habits or injury. Staying efficient and working up to and slightly beyond your comfort zone will eventually lead to extended range and control. Speed is less important than precision (especially when practicing scales). Always be thinking of ways to make each exercise sound better and feel easier to play. Even for a master player, there is room for improvement.
Ideally most of your practice time will be spent working on actual music: etudes, solos, orchestral excerpts and repertoire for upcoming lessons and performances. At the end of your routine, you should feel in peak form, not tired or tight. A routine that takes a long time and is exhausting to play should probably be shortened and simplified. Some players prefer a structured, repetitive routine (the warm pp from Philip Farkas's The Art of French Horn Playing is a good example); others prefer an improvisatory approach (i.e., “noodling”). A middle way, which I advocate, is to compile several exercises that cover the most important skills needed to play well and find ways to vary the exercises from day to day.
Some good questions to ask before adding an exercise to your routine might be:
1. Is the exercise engaging and interesting to play?
2. Does it address one or more specific aspect of playing I’m trying to improve?
3. Can the exercise help to measure improvement?
4. Does the exercise feel good to play or does it make me stiff or tired?
An effective daily routine should include fundamentals in the following areas: Breathing, Buzzing, Flow Studies (movement of air), Flexibility, Sound Meditation (long tones) and Scales. I suggest playing only a few minutes worth of material from each of these categories (although a slightly longer warm up may be necessary after an extended break from the horn or when the lips are feeling stiff or tired). After checking in on the fundamentals, playing a short, easy vocalise or lyrical excerpt is a great way to spark phrasing, musicality and beauty of sound.
If time allows, the end of the daily routine might include a rotating selection of 2 or 3 supplemental exercises that focusing on specific areas of concern (trills, high register, low register, stopped horn, articulation, accuracy, etc.) Any exercises that delivers measurable, positive results is one worth keeping in your collection. You might even try to develop exercises of your own. If boredom starts creeping, mix up your routine by switching the order of exercises, creating variations, or exploring new material.
Several of the exercises in this collection (especially the warming up portion) are to be played open harmonics. A key to the valve combination for each transposition is below. Avoid playing notes outside of your comfortable range. Straining with a poor sound will only lead to bad habits or injury. Staying efficient and working up to and slightly beyond your comfort zone will eventually lead to extended range and control. Speed is less important than precision (especially when practicing scales). Always be thinking of ways to make each exercise sound better and feel easier to play. Even for a master player, there is room for improvement.
Open Harmonics Key
Horn in C = F13
Horn in D♭ = F23
Horn in D = F12
Horn in E♭ = F1
Horn in E = F2
Horn in F = F0
Horn in G♭ = B23
Horn in G = B12
Horn in A♭ = B1
Horn in A = B2
Horn in B♭ alto = B0
Horn in C = F13
Horn in D♭ = F23
Horn in D = F12
Horn in E♭ = F1
Horn in E = F2
Horn in F = F0
Horn in G♭ = B23
Horn in G = B12
Horn in A♭ = B1
Horn in A = B2
Horn in B♭ alto = B0