This comprehensive, annotated resource of solo repertoire for the horn documents in detail the rich catalogue of original solo compositions for the instrument. Intended as a guide for practical use and easy reference, it is organized into three large sections: works for unaccompanied horn, works for horn and keyboard, and works for horn and ensemble. Each entry includes publisher information, a brief description of the form and character of a work, technical details of the horn writing, and information on dedication and premiere. The authors also include commentary on the various techniques required and the performance challenges of each piece. Representing over ten years of careful compilation and notation by an expert in horn performance and pedagogy, and by a seasoned music librarian and natural horn performer, Guide to the Solo Horn Repertoire will be an invaluable resource for performers, educators, and composers.
There are many books written for the Piano, Violin, etc., entirely devoted to Technic. This Work is especially written to enable the Student, by practice and application, to overcome any obstacle which may occur in musical passages written for the Cornet. By controlling the Wind Power to play these Exercises as written, in one breath, the Student will acquire ENDURANCE without strain or injury. Train the Muscles which control the Lips, to make them elastic and strong, as only a slight pressure is necessary, and not brute force. The highest as well as the lowest notes can be played with equal tone quality if practiced according to the instructions that precede each Study. Every Cornet Player should have reached a degree of excellence before attempting to play these Exercises. To become an Expert on the Cornet, one should be familiar with as many Cornet Methods as possible, and so gain the experience of each. Every Exercise in this Book is possible, and not so very difficult if practiced slowly at first, and not too long at a time. I have used them for my daily practice for years, and they have been the means of my reaching the highest notes after playing a two-hour Concert, also of preserving my lips so that they never tire, and what has been a help to me is surely good for other Cornet Players. You cannot expect to attain the highest point of excellence without hard work and perseverance. Never be perfectly satisfied with yourself. Try to make some improvement each day, feeling that it is a pleasure to have conquered that which seemed an impossibility at first. Do not neglect to correct immediately the least fault you make. Bad habits are easily formed, but are difficult to remedy. There are few Celebrated Cornet Soloists, although thousands play the instrument. Most players abuse their practicing by not knowing the proper way, and neglecting to pay more attention to the elementary work. These Studies have been found to be excellent for Clarinet Players as well as Cornet Players. The Clarinet being a Wind Instrument also, all these Exercises will appeal to the Player of that Instrument by following the same instructions.
(Brass Method). The classic scale and arpeggio studies of Gabriel Pares were adapted in the 1940s for like-instrument study by Rubank's Harvey Whistler, and are now the standard for elementary scale instruction. Presenting all the major keys up to four flats/sharps (and the relative minors), each unit also includes long tone and embouchure studies. Supplemental material includes comprehensive chromatic scales, fingering and speed studies, lip slurs (brass) and exercises to strengthen the upper register (woodwinds).
Twelve-tone and serial music were dominant forms of composition following World War II and remained so at least through the mid-1970s. In 1961, Ann Phillips Basart published the pioneering bibliographic work in the field.
"A "must" guide for the brass student and teacher relating to the total physical output that goes into playing any brass instrument. The same technique althletes use to develop their physical control as applied to musicians"--Back cover
The British horn player Dennis Brain (1921-1957) is commonly described by such statements as "the greatest horn player of the 20th Century," "a genius," and "a legend." He was both a prodigy and popularizer, famously performing a concerto on a garden hose in perfect pitch. On his usual concert instrument his tone was of unsurpassed beauty and clarity, complemented by a flawless technique. The recordings he made with Herbert von Karajan of Mozart's horn concerti are considered the definitive interpretations. Brain enlisted in the English armed forces during World War II for seven years, joining the National Symphony Orchestra in wartime in 1942. After the war he filled the principal horn positions in both the Philharmonia and Royal Philharmonic Orchestras. He later formed his own wind quintet and began conducting. Composers including Benjamin Britten and Paul Hindemith lined up to write music for him. Even fifty years after his tragic death at the age of 36 in an auto accident in 1957, Peter Maxwell Davies was commissioned to write a piece in his honor. Stephen Gamble and William Lynch have conducted numerous interviews with family, friends, and colleagues and uncovered information in the BBC archives and other lesser known sources about recordings that were previously unknown. This volume describes Brain's life and analyzes in depth his musical career. Its appendices of information on performances will appeal to music historians, and its details on Brain's instruments and equipment will be useful to horn players.
Lindeman, a musicologist, traces and defines the historical development of the concerto form as it passed from Mozart to succeeding generations. He then assesses Beethoven's contributions, and examines the classical model of the form in the early 19th century by overviewing several early romantic composers' works. Subsequent chapters analyze and assess the responses of five precursers of Schumann, whose work offers a synthesis of radical experiments and traditional tenets. He concludes by suggesting that concertos of Lizst offer a road into further developments of the genre in the second half of the century. Illustrated with bandw portraits of composers and excerpts from musical scores. Annotation copyrighted by Book News, Inc., Portland, OR
First to be published in the series was The Art of French Horn Playing by Philip Farkas, now Distinguished Professor Emeritus of Music at Indiana University. In 1956, when Summy-Birchard published Farkas's book, he was a solo horn player for the Chicago Symphony and had held similar positions with other orchestras, including the Boston Symphony, Cleveland Orchestra, and Kansas City Conservatory, DePaul University, Northwestern University, and Roosevelt University in Chicago. The Art of French Horn Playing set the pattern, and other books in the series soon followed, offering help to students in learning to master their instruments and achieve their goals.
