A Hornist's Handbook

of Studies
for Flexibility
an d

Technical Development

Randall E. Faust

© Randall E. Faust, 1974, 1985, 2006.

 Preface

Over three decades have passed since the production of the first edition of this
volume of studies. Consequently, this collection is now over three times as long as
the original volume!

However, even though this book has grown in size, many of the principles of the
original volume still apply. These include the following:

‘Aural skills and sight singing skills are important. The hornist should train his ear
to lead his fingers.

'Many exercises are focused in the study of scales and modes, their intervals, their
arpeggios, and their harmonic progressions.

*I encourage the hornist to develop the ability to see and hear these patterns in tonal
and modal transpostions.

*Tone production should be led by the airstream. I believe that Horn playing at its
best is merely an extension of the natural breathing process.

*Play exercises slurred first to develop the coordination between the ear, airststream
and embouchure. After a slurred exercise is mastered, it may be played in different
articulations using the tongue. However, the tongue should not disturb the smooth
coordination between the ear, the airstream, and the embouchure.

*Each of the chapters is concerned with a specific performance skill. The hornist
should practice studies from each category to insure a broad development of playing
skills.

Several teachers and mentors have influenced my practice, my teaching, and as a

result, the contents of this volume. They include Marvin Howe, Orrin Olson, and
Douglas Campbell. Thank you, gentlemen, for your ideas and inspiration!

CORdia1ly,
Randall E. Faust
September, 2006.
 A Hornist’s Handbook
of Studies for Flexibility and Technical Development

Table of Contents
I. Long Tone Studies--page 1
II. Scale Studies
Scales and Modes--page 2
Scale and Arpeggio Studies--page 4
Two-Octave Major Scales--page 10
Two-Gctave Natural Minor Scales--page 12
Two-Octave Harmonic Minor Scales--page 14
Two-Octave Melodic Minor Scales--page 16
Diatonic Modal Scales--page 18
Harmonic Minor Scales Three Octaves--page 20
Melodic Minor Scales Three Octaves--page 24
Major Scales Three Octaves--page 28
Chromatic Scales Three Octaves--page 32
III. Interval Studies
Interval Exercises--page 35
Interval Flexibility Study--page 40
Diatonic Pivoting Intervals--page 46
IV. Scales in Intervals
Major Scales in Diatonic Thirds--page 50
Major Scales in Diatonic Fourths--page 53
Major Scales in Diatonic Fifths--page 56
Major Scales in Diatonic Sixths--page 57
Major Scales in Diatonic Sevenths--page 58
Major Scales in Octaves--page 59
3/4 Meter Variations for All Interval Pattems--page 60
V. Flexibility Studies
An Exercise for a Smoothly Accelerating Trill -page 61
Valve Trills--page 62
Classical Measured Upper Neighbor Trills--page 66
Lip Slurs/Natural I-lorn Studies in 5/8--page 70
Lip Slurs/Natural Hom Studies in 6/8--page 72
Lip Slurs/Natural Horn Studies in 7/8--page 74
Lip Slurs/Natural Horn Studies for Low Register Flexibility--page 76
Lip Slurs/Natural Horn Flexibility-10” Partial--page 78
Lip Slurs/Natural Horn Studies for Octave Flexibility--page 80
Lip Slurs/Natural Hom Studies for Octave Agility--page 84 ~
Lip Slurs/Natural Horn Studies for Range Extension-page 86
Lip Slurs/Natural Hom Studies for Advanced Flexibility-page 89
Lip Slur Melody--page 91
Lip Slur Melody starting on 2“° Partial--page 93
Lip Slur Melody using the 7"’- 10"‘ Partials--page 96
 Lip Slur Melody in 7/8 Through the 7"‘ Partial--page 99
Low Register Lip Slurs including the 7"` Partial--page 101
Natural Horn Trill Slurs--page 104
16"’ Partial Lip Slurs-page 106
VI. Articulation Studies
Articulation Study-page 108
Articulation Study in Bass Clef--page 111
Accelerating Articulations--page 114
Articulation Rhythms--page 119
VII. Arpeggio Studies
Two-Octave Arpeggios--page 120
Three-Octave Arpeggios
Tonic, Subdominant, Dominant Seventh, and Tonic--page 121
Three-Octave Arpeggios with a Progression using the
Diminished Seventh Chord--page 124
Three-Octave Arpeggios with a Progression using the
Neapolitan Chord--page 125
Three-Octave Arpeggios with a Progressing using the tones of the
German Sixth Chord--page 126
Three-Gctave Arpeggios using the tones of the
French Sixth Chord--page 129
VIII. Stopped Horn Exercises--page 132
IX. Dynamic Range Exercises--page 134
X. A Sample Warm-Up Routine--page 135
XI. Harmonic Series Lip Slur (A Short Warm-Up Routine)--page 136
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A I-lomist's accuracy will improve by proper use of the following ear-training exercises.
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*Sing with scale-step syllables or numbers.
*Practice on the mouthpiece.
*Use a tuner to evaluate your pitch, use a decibel meter and a metronome to evaluate your response time.
*Observe the metrical organization of the exercise!

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A lip tnll is a lip slur at the interval of
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all of the following intervals of the harmonic series.

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2. Also transpose to the following interval pattems:

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5° ” ` " P " T2-‘D 61
 Ye Valve Trills

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Randall E. Faust

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Randall E. Faus

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Randall E. Faust

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Randall E. Faust

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:I--I-Ir Ill.I1-il' 33 3 3 33 3

3 V - l
/\
Ill
I6 9 /__.__`F\ 3 3 3 5--`,\ 3,--"3 3
166 _"___ /IN
!:in /X _ll ‘ 3 i--I 3 "` ` 33
a1f“`-" 3 " '=i 'F-rr§'=n'.:?-fr' '= I E
3333
_, J LJ J J J lllll!!s
169

173 3 3-__3,I-.n|rr
Igang---------,--u-:slr
3 3 -`_ 3 ,lun--n-r
211__°3 3 _
180 fb
Quai"
7 " L.“_”-_-__"=_i'|;'<="i§--'i';'n=°`il
._-Y" U "ff LH "-7' L-nl ,'|_ f#_ =!-rr' 1 F
;____..-/ \---/ ;_____,,/ ;___,Z
176 33 3 33 3 /""f*,.\3 33 333 3 3 X 3 /"""%\ .("f*`,_\

_ 3 A 3 ::""` 33 :"..'I.` ____ 3 3 33 3

`-
“'3':.-:.':.-'F
'll ll ll ll=F':.%F5"‘
-255 ~ sg; iii: -1
-I! 3 "3 H
~
|83 3 3 3 3
6 3 U U _}J _J 3 lllllli
1Qmnnslllnuellsl-=rs§§=a==rr.l||s
3 3~~.=-:-;--~--
. M-; 3 3 __'_____ ». |n» 333
. =
%
I
V g____,..»-"”

* ”'“`j, 3 33 J 3;( i I. 3 3 Yi 3
|94
3.3 K' *3\ Z 3\ fa
.1 J =- 3 3 3
FE.: F!!-:.§.|!-!!!Z£'!E!F5 :.=:r=;;
H8
 Articulation Rhythms

,rncrmse
1. ¥l;yntlris tempo use ewer
with augetrononlengt a slgawrea .
terrl;po,'-:Loathing aftereach dotted half hote. Rlflhll 5 Fill-ll
2. Conoentrateonaecuracyof therhythmandthepitch-as wellasaneven tone qualityandvolume.

6 3 33 33 3 _3y
- . .- 0.~y0- .yy3 | Ay 3y
A W I3yA5
3. Play lirst at a moderate dynamic leyel._ Then pr'actrce at dynamic extremes. Be sure that

.A - - E: ; L/
30
I 0 e0
ll: A`__,
. ll000 0 A if II
theapproachtotheextreme dynarmcs rsasrelaxedasitis at themoderatedynamic levels.

&_/
A l!:.,._.....!__!.:
9A.A
.Q; e . . 3 e e ,~ . e ,f --
_ }* I / LJ= .y y . y :_ IsoI
3 A A is ll/ A i 3 II/ e 3 . .
_,

. . 3 `-3
12 I
=" 3 3 .0
4 y_,;.. , 3..
I I....!F:.,
0 y yyA llzlillz
I .0 yye ;0 -A»
"" \_/
Apply the following Articulation variations.

y y y 3 3 3 L
Practice these with a metronome in all keys and registers.

18 Articulation Variations `

é*-jjj _ 4. 4. _ _.
24

>. g _ _ ° >.-_ _ > 0 e _ _

30

36
. J if ._ J
\»v Q Q ‘ . J O 1 -_
© Randall E. Faust, 1974, 2006.

119
 Two-Octave Arpeggios
RandallE.Famt

Ifthe
one has mastered
Two-Octave andthe One-Octave Arpeggios
Three-Octave Scale and Arfaeggio Studies
wi l enhance one'son page four,
development.
Some useful suggestions:
1. Concentrate on moving a smooth stream of air through the two octave range.
2.Trytomatchthecolorofthehighestnotetothecolorofthelowestnote.
3. Notes marked with an asterisk (*) may be omitted when the ascending and
descending forms of the arpgeggio are played in one breath.
4. Most importantly, learn to hear the harmonic progression.
5. Play in all keys, and with different articulations.

if 3 i , 0)
/ l IE ff'@¥+eLLf
/3
T if
` i=-@~a'_LE
f if 1 (Iva/4)
a Q
g_g_,_
/7 __ a
gsm!! as
:-."- ' , e _---~~-

_, 3
I3 ‘J * 5 D1
""`it

Cl RlcHl E. FK, I974. lib

(D

|20
 Three -Octave Arpeggios
Tonic, Subdominant, Dominant Seventh, and Tonic

1. Concentrate on moving a smooth stream of air through the three octave range.
2. Match the color of the highest note to the color of the lowest note.
3. Learn to hear the chords as a single harmonic progression.
4. Play in all keys, and with different articulations.

/Q LU iUF"%w-to 4
azriénmu
""“"" “‘\§5§c;j%_ ,
§ mwialf \.
” gf D1 as a »
36 gLU‘ElLf LJ. - 1
43 W
-`gi=i|;4 I*
4/'1
g anI.;lil., 4 |\%}
i i ei ii g
ii ea _
4

=@ f/mwah w .
 l'
éwgamw @»_m~f@ 1

1LUiLf +U`J#&;WH
mu in m»@ 4
5t'@@@ ;;r‘i1T_p_r@;r_f»J . 1

if-1 Wm ; u-1
 4
i@f 1@-N MJ Lf_~m%
~1
*1

411 Eg,UH'_Lr#»' T1. H

*Lu @;Li' ~1`f@§@» I
§'@@m@f_rJ in U`nf»a® J
@;f;f'“~' `fi@f~W l
§i2° LU @;Lfm+>am H
 Three-Octave Arpeggios with a
Progression using the Diminished Seventh Chord

3rs

iR Jflimi
3'-Y s
3 3 ”
3 "
i.
J E3 3 3 iv 6/4
Q i I i i s i s so -\ _:I *L-é 4 'Y "
'ff ""` via
3 3 3 i­
Emphasize the clarity of the minor thirds in the diminished seventh chord.
Transpose this progression to all keys.

124
 Three-Octave Arpeggios with a
Progression using the Neapolitan Chord

/JL' i i
3 ;umf@'.u iv»f_5@ 3 3 3 i.
4ori 3f///,T b i’ `$
710 5/Yl -§
3
3 a3l N/11
is 'ITi

33 3i3 .l.
...° " _'=-~".';:='." -1"-':;: r ___.__.
z e ..;.-:
l is _
'
,-“*_-_- . "" V7
- q|| llsfrssg!! I la

f9=,VJ'3
3 o
Emphasize the contrast of modal color between the Neapolitan Chord (a major chord on a lowered second
scale degree), and the tonic minor chord.
Transpose this progression to all keys.

125
 n4111
» -| |Q~;»
T .v
I fln/_
Three-Octave Arpeggios
with a Progression using the tones of the

.4 5 3 '
German Sixth Chord

I n n nW
--,__-- nn

I 1,1
4\ n_/""
’ Y' h
0er.lV6/5Q
I Inq- 1.1 1i__...____f£*:¢l nn A nn Q

JJ
~,Ill'\.l' . u
Y*iYi
F'
I
in
n l:r:': _.;,_1_ !:!!! - " ' ' ill '
J \
J
n f n n n ra: n _n nn \i n n n
3
i6/4

pigiig n 3 1;
1'"' V
I6

n g M £ ;<n€ f;
I 1'

nv
iu..-
n =.
_,_.
M Y'
..Q'' "*
J

._._.=
n
#n n IIIIY1
»
_ sz.0,s' 'fn n
1 n n­
' *_* Y" I Y '"'W';':_?*~U`;""'A HM* ' 'TT' .' m 'H .' ,f':f--z;~ -_»;,@_,
Tf' '__ M |l 11-v a M '_'n n.q*“~4~n»
n A` n~nn ‘fn n ' *= J
“ff :~-<-~~~

IIN
25
2 , J-~"""-'r
,3_ 3
J J `\~~._
\ i ii i'

283 J-3-gg;
J `\
3 .1
f ;Q ;§l ff , _ f A ; _ if ff , it iiiii "1

\ ' 5 Q » 'U- f`g - Y

/3 3 mamw.
;3
“ /J-5=»U_f§_;,» ’ il.
` ` i _

34 3

Z i'?rG-- 'I "l""{ """""""" ' f `$`J

--=- -=f---.==!l=!!!21l=
, Aj '
37 /3' 3 3
m 33 F
40 7 __`___
43 3
-4* B!! ' "=r: "‘E= ':r=" '°°° llE
' in-r G? h - h -r 1 J
f/me my
3 3 3MW3
127
J49 ___________ ________

52
Q IM
55
3 _
~===:2= r' __ , l!:f"':-'f. if--_.s 3

t ,3 3
3
__________ ____
1-|11 __ __ ll!::.. __~___.; l |:
333

.;.- ev' o =:i" :|||= l o e oe e Q.-:

333
Emphasize the contrast between the modal colors of the chords of this progression.
4‘
»II*
3

3 ; ITl|-1
'3 “'°"'i1i|
Three-Octave Alpeggios

_ 1--I
using the tones of

$
the French Sixth Chord

3-I3-3~'
3 3 lj in
' "' *_ " Fr. ii 6/+4/2 I 33 3e3Qiznnliz;
3

33 4; (3 “ 33
3 "=‘r";|| = I!!¥'{||1§g!-I- __ !¥'lZ_il 3 3

7103Faf3_33 33V6
0 / 3 3 3 3 » 33 3 3
333‘
$ 3
3

3 333_
3
nf

' Ill 3 .;»!: g l!l:l!_|!ll'. ;r " llil ' "

3 3 3
22 //f 3 ’ 3 *
333
3
129
 3

2 . 3 3 - r -~--~~"'i-r :QI -r
='=+= § 5!2'§_g'f!lEl!_i! !!Q5! '

3;3"",,/h53 V 5\
, ~= ,°
3 =3
/gg, E U §E,m&@J
55%
3 3 3nw’
3 3 ff;
31;r3 E1 ff“TT%;FJ
5 3 33 33 3 3 .33 3
40
~ / W
iif. 3
-- » ;. "` 3
3 ==i » nrsé!!
"_ /3/l 3 1
9 '3Tl§,,J7'12‘*c_U' Q
3

46 /-3" 3 3 3 3 3 3 Q
ff1'V-%;1-ai;
3 3 3r33
iu1TmUQ
3 3 A33
|30
 ,
3 Pl.
,._3
333f--
3
3
*2 .__ 3 3 3 3
~’ .1
vl. 3. av!
33
i3ii_333,3
33
ini33'3_V

!!!l=!___.
3333 333333
33 333

" =. 3I “un
3

|s| 33
33

-ii.J 33\
3`3Q333f
3333

ss /'T 3 3 _
0 ll?
lillwlii'
333
3
3
r.. 1|
3 3 3
3 \
3

/3
m- ;" f 3 “' 3 3 1 3 Y 3 ,eg
58 fi 3 3 3 3
3

lfflll'
Q
»' ng,
vl. I..
QM, p ing’ 3 3
3 ~LV33
Q 333_IQ'3333333V
33 \
33 333 3»3 33
3
3.
61 3
3
64 _.______ `
411:-if
- 3 If- 33
3
23° 9' 3 3 3 3 3 `
¥ 3_Ili3:vi-----_
il Ht' 33 3
67 3
" 1 | 1 ~1= 3 3 3 1 __3.
3; 3Q3 3
33
/'f333 3

131
$
 Stopped Horn Exercises

Randall E. Faust

The following exercises are based on the

Treatise "Stopped Horn' by Marvin C. Howe. Notice that stopping the horn
lowers the pitch of the Hom to a half -step above thenext lowest partial of the harmonic series.
Play with the indicated tingerings--using the given natural hom transpositions.
Keys to success include a good ear, a strong airflow, and a complete seal of the right hand.

Fingered O
Given the following partials of the haromic series 8-7-6-5-4”

g 0 fl” g 0 g + p p0 + _g O
20
Fingered 0 --Play slowly through the following changes open-stopped.

p° a+ pp Q +o Q
9 + ° b +o a + o_
I

l2or3

° as + ao bi ifI+;_`_`
as + G
° bi
33 g+ p ° + 0 p p+ Q pp
9
.og + ° p p+ p o + o
I3

sg p U g
Q pp + O + o ..|. C,
123

iiniil <* aff

© Randall E. Faust, 1974. 205.

132
 F110
-‘-_
\

Q l‘V
7' Q
f 1 in '
Q
`f ­ +
1| 0
" ' ‘°' 0
I
U
1

r"f'“\l“""""""""
l Q"` I
IZ!!
,+
as , + 23

1`.\| `I*M' W;""ff

V vi'W'
f`f`_'7
YYY §f_`ff<
"é `VV-
* _ viwrvvvq_ _ff"" }`"'
_V-777777 7"
_ Qf_`§__»__
-v`Vv '__
0

_ _._

+0
,, IJ’ v,_"_ '__.,__f' 'Winn "_ ' ; _Q _1,1;___________'__'§Q '_ _Q _f_ __ _ _
_Q_ _ ___ ___I_'_____ _ _ ____§' _ _T '
_',_`1`f'_'_§Q_A ill", _._;l__'__ ;____" _ _ ' _ '
_ _Q --~ ._

_ |23

7 i -3
 Dynamic Range Exercises
Randall E. Faust

1. Practice the range of dynamics--thinking of scale steps where

1=pp, 2=p, 3=mp, 4=poco il 5=mt§ 6% 7=H`.
2. Observe tl1e ratios between the dynamic levels.
3. Pace the airstream to fit the dynamic levels­
without disturbing the smoothness of the inhalation-exhalation cycle.

i VFVI'
I. Descending Scale Application

§ff ‘““*sVJVJVJVVHJJJJJU
a’*°‘* "
JJJJJJJJJJJJJJJJJJJJJ
JJ JJ J
J1 2JJJ
3 4 J5 JJ
6 7 JJ
7 6 JJ
3 ZJ5JJ
5 TJ
H. Descending Interval Application.

Ja* f f J JJ J J f J r r QI
JJJJJJJ JQJJ
Practice these scales of dynamics-just as one practices scales of pitches. These dynamic scales should be played
in all keys and registers. Apply them to scales, etudes, orchestral passages, solo, and chamber music.

© Randall E. Faust, 1974, 2(D6.

134
 A Sample Warm Up Routine
This routine includes Long Tones, Descending Scales, Scales in 3rds, an Articulation Study, Rwdal' E' Fam"
and a Lip Slur Study. At the end of the routine, I feel quite flexible and relaxed.

Long Tones: Play these on the mouthpiece iirst. Transpose to all keys and modes.

S e 6,-f""" t g e t e a S g i g _ t
D0 Ti D0 Rc Mi Rc D0
3rm
Ionian A P A
i ee J if
Descending scales: Practice with a breath start "whoo." Connect the the visual notation with the aural concept.

,aim
pp ao a la son fa mi rc do cresc. mf

;, Q aaa
Scales in Thirdsi Points of focus: Precise aural concept, smooth airflow, ease of production, and flexibility.
12

g g

It __ _
AI1iCul3ti0I't Study: Play with varied note groupings, articulation pattems, and in all keys and registers.
42

I_ttt
\l'1o _ ll $71 I f t S I g
.el--,|.,=|,|| na-|||.l!lalll.!;=,= ! == ­
.~
48

|- ll .- -- P ...
aaii -- - - =- |l..rsz:;ees!|| .sn-.=||! na J_ J \_; `§_, \_____../ \_../
5 /,___ P g S g ` g
Lip Sll.ll'SI The real secret is that these should be called "Air Slurs” or "Ear Slurs." Transpose to all keys.

so /,f A _
t e’-- "|| t ill ll A a 3 © Randall E Faust, 2(K)6.

135
 Harmonic Series Lip Sl
(A Short Warm-up Routine Randall E. Faust

J-:eo i i

J. H
i 2//Jj'1uj1@§._U-gut-53§*e@'_LW~ Q

e 123 o o o
57 1%
LLJ'@ `i_@ ©Randall E. Faust, 2005.

l 36
 To//_,W
» 1153-_1;”’f_U' §

ff/m
T3Iy.E7 3| §
if/,rj1UT7*LLV \
Articulation variations: .
_/ O
\_ _./E§l'|EElll §
lE§l=|'ill
/

37