I’m long overdue for a new post and an update on my forthcoming publication from Mountain Peak Music, but with the end of the semester now in sight I can finally carve out some time to remedy that! In short, the first draft of Solo Training for Horn is over 50% complete, and I anticipate finishing it by the end of August. Intended as a companion to Solo Duet Training for Horns, this book will contain exercises and routines specifically designed to help players tackle challenges found in eight standard horn solos. As with the previous book, all of the works are in the public domain. There is some overlap with the duets, but there are also plenty of new pieces as well. Here is the list:
- Beethoven, Sonata, Op. 17
- Dukas, Villanelle
- Haydn, Horn Concerto No. 1, Hob. VIId:3
- Mozart, Horn Concerto, K. 495
- Saint-Säens, Morceau de Concert, Op. 94
- Schumann, Adagio and Allegro, Op. 70
- Telemann, Horn Concerto in D, TWV 51:D8
- F. Strauss, Concerto, Op. 8
Though there are some commonalities between the duet book and this one, I found my work on Solo Training to be much more involved and thus slower. While the material is of course largely based on the works listed above, creating these derivative exercises required a different mindset and approach than the earlier book. To help explain and demonstrate some of these exercises, I put together a brief video to accompany this post. FYI, I will be giving an expanded version of this presentation at the 48th International Horn Symposium in Ithaca, NY this summer. The presentation won’t be an advertisement for my book, but will instead focus on ways you can use some of the same techniques to create your own derivative exercises. These are not new ideas, but I think that students and teachers will find them especially useful because they are now organized and collected in one place.
Fragmentation/Transposition: Taking a short motive or motives from a challenging passage and transposing it to different keys. This builds more comprehensive technique and greater awareness of the intervals than simply repeating the same passage at the written pitch level. For example, mm. 96-102 from the first movement of Beethoven’s Horn Sonata, Op. 17…
…can be adapted into the following progressive exercise:
Here’s a demonstration of the complete exercise.
a la Kopprasch: This means taking a familiar pattern and changing the rhythm and/or articulations to create a more engaging and challenging exercise. For example, this triplet passage from the Villanelle by Paul Dukas…
And here it is demonstrated.
Flow Study: Removing all but the most important notes from a lyrical or technical passage, and reducing it to a flow study. Notes are gradually added, while maintaining the same basic melodic shape and direction to the air stream. Transposing the exercise to other keys makes it more useful and interesting to practice. The familiar opening of Mozart’s K. 495…
Here’s the video.
Here are two more examples which combine several strategies. Both are based on this passage from K. 495.
The first exercise deals with a small portion of the phrase:
And now the video:
The second exercise deals with the passage as a whole, with varying rhythms and articulations.
And the video.
I hope this brief introduction to Solo Training for Horn has whet your appetite for more, and if you like any of the exercises presented above feel free to print them for your own use. The book will have many more exercises and routines, roughly 12-15 for each solo work. I’m very excited about completing the book, and look forward to sharing it with the horn playing community. Stay tuned for more updates!