"Each academic year, hundreds of students receive performance degrees from the nation's universities and conservatories. A growing number of students who complete such degrees choose to pursue performance opportunities offered by the military organizations. While the inclusion of orchestral excerpts has been a staple of wind pedagogy for decades, band literature has not been given the same attention. This author believes the inclusion of band excerpt study would improve the level of preparedness for auditions and performance in these professional ensembles. No source exists containing information on the preparation of horn excerpts with which to study the style and literature of the concert band. Although the audition lists differ slightly for each of the premier military bands, the twenty-seven compositions included in this document are recognized as staples of the literature, considered to be works of substantive and high artistic merit, distinguished by historical importance, or are contemporary works which have been well-received. The information collected for each of the works includes biographical information for the composer, a brief history of the composition, suggestions for preparation including technical and stylistic elements, and a selected discography. Audition announcements for the premier organizations are separate from the Armed Forces band recruitment program. These groups often advertise their openings in respective professional journals published by organizations such as the International Trumpet Guild, International Horn Society, International Trombone Association, and the International Tuba and Euphonium Association, as well as union magazines, including the International Musician. Requirements often include performance of a standard concerto and works from the excerpt list (orchestral and band), as well as sight-reading and ensemble playing. In some cases, such as the Navy Band, fifty percent of the audition is based on the candidate's sight-reading ability, an area that consists of transcriptions of standard orchestral literature and original compositions for band. Reading/performance sessions with the ensemble can vary from the full concert band to smaller chamber ensembles (brass quintets, woodwind quintets, and horn sections). Well-prepared candidates should be equally comfortable with the orchestral and band literature."--Abstract from author supplied metadata.

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.

This book is a result of Eli Epstein's 18 years in the Cleveland Orchestra and 30 years of Conservatoire teaching. It breaks down into four parts, dealing with Technique, Musicianship, Warm up and Exercises and finally Applying the Method. It is both innovative and inspiring and presents his theories in a clear and understandable way, which gives the reader much to think about and practical ideas to help improve one's playing. An excellent addition to any horn enthusiast's collection.The third edition presents MRI images and data of an elite group of horn players, including Stefan Dohr, Fergus McWilliam, Sarah Willis, Stefan Jezierski (all of the Berlin Philharmonic), Marie-Luise Neunecker, Jeff Nelsen, and others. MRI films confirm that what we do internally, inside the mouth, pharynx, and thoracic cavity is just as important as what we do externally. And, just as there are hallmarks of healthy embouchures that most professional horn players employ, there are many consistent internal movement patterns among the elite group. Epstein presents tried and true methods to learn and teach these exemplary biomechanics. "Without a doubt the most physiologically correct book ever published on horn playing." ~John Ericson, Horn Matters

The Horn Player's Audition Handbook provides a handy, one-volume reference guide to the literature, especially for those players preparing for an imminent auditions, containing, as it does, the repertoire most frequently asked for by American orchestras. Since audition lists almost always include a few "non-standard" works, the well-versed student will also want to have employed the more comprehensive collections of excerpts in the course of his/her general preparation for an orchestral career. However, the advantages of having the most "important" audition material under one cover will readily be appreciated and makes this book a welcome addition to the literature.

Every serious student of the horn should study orchestral excerpts, as this repertoire appears frequently on auditions and provides ample opportunities for developing style, tone, intonation, rhythm, and technique. In this book, prominent excerpts from twenty-two major orchestral works are included as the top line of each duet. The bottom line is an accompaniment derived from the other parts in the orchestra. These duets can be used for audition preparation, sight reading and/or transposition practice, or just for fun when performing the full works with an orchestra is not possible.

Douglas Hill is professor of music and horn at the University of Wisconsin at Madison as well as a past President of the International Horn Society, and a respected teacher and clinician. The 27 chapters of Collected Thoughts cover topics ranging from getting started to preparing for college and professional auditions, and include other subjects such as composing and improvising. There are seven chapters on repertoire that include reviews of music and texts that are the most comprehensive of any horn (or other instrumental) text to date. The process of learning and teaching is extremely insightful for everyone, from the serious student to the most experienced instructor. This book is a must for anyone interested in the horn. It is invaluable!!

This study will explain the preparation process needed by an aspiring orchestral French horn player to be sufficiently ready for an orchestral audition in both Canada and the United States. Through a survey of the most prestigious orchestras in both Canada and the United States, this study determines the common excerpts used for French horn auditions. Furthermore, the physical and mental aspects of preparation are discussed. This study seeks to provide both the necessary tools and the insight needed to enable a player to take a given excerpt and learn not only the notes and rhythms, but also discern many other subtleties inherent in the music, resulting in a full understanding and mastery of the music. The most common excerpts are musically analyzed in order understand why the excerpts are commonly chosen and how a French horn player can use pre-established pedagogical techniques and exercises in their individual practicing. This study will provide advice for future French horn players auditioning for the top orchestras in Canada and the United States.

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.

With the ever increasing popularity of the French horn and the demand for French horn music, this book is published for the benefit of the American student and professional, to acquaint him with the most popular French horn solo parts of symphonic and standard literature.