Technical Exercises

Prof. Will Sanders

Preface ………………………………….…………………………………………………… 1

Mouthpiece Exercises ………………….………………………………………………….. 2

Exercises with the instrument

Minor third cycle …………………………………………..………………………....... 4

Flexibility in the low register ……………..……………………………………………. 5

Flexibility in the high register………..………………………………………………… 7

Major third cycle …………….……….………………………………………………… 8

Chromatic in multiple octaves …….…………..……………………………………… 9

Scales following the circle of fifths ………………….……………………………… 11

Fundamental flexibility ………………..……………………………………………. 12

Breath and tongue attacks ……………..……………………………………………. 13

Additional breath attack exercise ……..…………..………………………………… 14

Exercise for the three components of air flow……………………………...……… 15

Reflexive breathing exercise ……………………..………………………….……… 15

Natural tone exercise (harmonic series) …….….…………………………..……… 16

Rip exercises (with preparatory exercises) ………..………………………..………18

Coordination exercise ………………………………………………………..……… 22

Bending exercise ……………….…………………..………………………………… 23

Compression exercise …………………………….………………………….……… 24

Trill exercise ………………………………………………………………….……… 25

Staccato triads ………………………….……………………………………..……… 26

Resonance attacks …………………………………………………………………… 27

Tongue exercises …………………………………………………………….……… 28

Long tones ……….…………………………………………………………….……… 29

 -1-

Preface

 Mouthpiece position
The mouthpiece is positioned so that both lips can vibrate together freely and easily. Pressing the
mouthpiece into the lower lip can inhibit the vibration, likewise pressing into the upper lip can block the
vibration.

Therefore you should pay attention that the mouthpiece is placed in the same position in all registers.
The exact position (e.g. 30%, 40%, …) is not crucial, as long as the above mentioned conditions are
fulfilled.

 Tongue position, awareness of the tongue (tip of the tongue & back of the tongue)
While playing, the tongue lies in its natural rest position in the oral cavity. This position will depend on
your native language. The tip of the tongue lies behind the lower incisors. This allows the back of the
tongue to move up and down flexibly. Retracting the tip of the tongue blocks the supply of air.

When articulating let the surface of the tip of the tongue strike loosely against the roof of the mouth
behind the upper incisors and subsequently let the tongue fall back into its original relaxed position
again so that the air flow and air pressure are not obstructed and a consistent sound is ensured. The
tongue makes a vertical movement, like when speaking in your native language.

All printed accents in the exercises represent “resonance kicks”. That means: let the played tone fade
away gradually while maintaining the vibration as you move seamlessly into the subsequent tone
(“trampoline effect”).

 Breathing
All rests allow for relaxed and deep inhalation (in each respective tempo). The air should always flow
freely and without obstruction. Air speed and air pressure (among other things) are regulated by the
diaphragm. The throat and back of the tongue remain relaxed and should therefore be able to react
flexibly.

Air cycle: Inhalation and exhalation without interruption

Guaranteed free air flow!

 Execute the exercises tonally with care. Consistent air pressure ensures even sound quality.
 Flutter tonguing should always be performed with the front of the tongue and not in the throat with
the back of the tongue! If the flutter tongue cannot be performed in this manner it is wise to at first
forgo the flutter tongue in all exercises. In the low register pay particular attention that the
embouchure does not loosen as you open the jaw.
 The tempo indications in the individual exercises have been deliberately chosen and should be
adhered to.

These technical exercises are also musical exercises and should be treated as such.

© Will Sanders 2015

 -2-

Mouthpiece Exercises
All mouthpiece exercises should be done using a “BERP” or similar practice tool, as opposed to holding the mouthpiece
in the hand. Ensure that the pressure of the mouthpiece is evenly distributed onto the upper and lower jaw, and that the
angle of the tool is the same as the lead pipe when playing the horn (which is generally influenced by the alignment of
the teeth and jaw).

When performing the following mouthpiece exercises, pay attention to the steady, interruption-free vibration of the lips,
including when changing registers. The embouchure remains stable with minimal movement in all registers, while the
jaw closes slightly in the upper register, and opens slightly in the lower register.

Extend the range of these exercises both upwards and downwards. Do not however extend the range at the expense of
the above noted criteria, instead extend the range only in small steps if needed.

‰
Glissando

A .. K .. .. K .. .. K
¢ = 60
K ‰ ‰ K ‰ ‰ K
1.x flutter tongue
‰
‰ ‰
2.x legato

A ‰ ‰ ‰ .. .. K K ‰ ‰ ‰ ..
‰ ‰
Triads (Glissando)
‰.
A 43 .. J. Â
¢ = 60
   Â
  Â
1.x flutter tongue
Â
Â
2.x legato

J. Â Â Â ..
A Â Â Â Â
 ‰.

J. Â Â Â Â Â
A .. Â Â Â Â
      ..
   ‰.
1.x flutter tongue

           
2.x legato

A J.                Â
Â
              ‰ .

    Â
A .. J.
         ..
    Â.
1.x flutter tongue

       
2.x legato

Â
A J. Â
            
        
          Â.
 
© Will Sanders 2015
 -3-

3
A 4 . J. Â Â Â
.
¢ = 60
J. Â Â Â..
           Â
1.x flutter tongue
2.x legato

The same instructions apply as in the previous mouthpiece exercises.

Extend the range downwards.

Flexibility

2 ¢ = 112 Ê
A4 K L   S       
           Â
        ‰  ‰
A K L Ê
        S   ‰  ‰
                 
A I        S           S              Â
                                   ‰
 
A I S      S           ‰
     Â
  Â Â Â
    Â Â
     
                                 

Whole tone exercise

3 Ê Ê Ê Ê
Ê Ê Ê Ê Ê Â Â    S Â Ê Ê Ê
§ = 112
A4 I I
SÂ
      S         S       ‰ .
¸ ¸ ¸
¸ ¸ ¸
A S   S                        S     S    Â
  Â
                                                  ‰ .

Free flowing air supply ensures a good, consistent sound.

− stable embouchure with minimal movement
− be aware of the tongue positioning

Objective: round staccato

Extend the range of this exercise both upwards and downwards.

© Will Sanders 2015

 -4-

Exercises with the instrument

(the criteria for the mouthpiece exercises are henceforth to be transferred to the horn)
Minor third cycle
¢ = 104-112

˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘
4
Flutter tongue

A4 I
air pulse
 S   S    S  R   Q R  Q   Q  Q  Q R   R   R  „

˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘
A I
Legato

air pulse
 S   S    S  R   Q R  Q   Q  Q  Q R   R   R  „

˘ ˘ ˘ ˘ ˘ ˘
I ˘ ˘
A Â S Â Â S Â Â Â S Â R Â Â QÂ R Â QÂ Â Â QÂ Â QÂ Â QÂ R Â Â R Â Â R Â „
air pulse

˘ ˘ ˘ ˘ ˘ ˘
I ˘ ˘
A
air pulse
 S   S    S  R   Q R  Q   Q  Q  Q R   R   R  „

˘ ˘ ˘ ˘ ˘ ˘
I
Breath attack
˘ ˘
A   S     S       S   R     Q   R   Q       Q    Q   Q  R   R    R   „ 
air pulse
       
˘ ˘ ˘ ˘ ˘ ˘
I ˘ ˘
A Â S Â Â Â S Â R Â Â QÂ R Â QÂ Â Â QÂ Â QÂ
with tongue
 S   Q R   R   R  „
Continue the exercises with the following rhythm and articulation markings:

Extend the range in minor thirds, for example:

Inhale deeply; no shallow/high breaths (image: the diaphragm expands fully to the sides).

Be aware of tongue position and jaw placement.

Practice extreme dynamics, maintaining a pleasing sound.
Use a free, flowing air stream!
After playing the phrase immediately begin reflexive breathing.

This exercise is very helpful for overcoming register breaks, therefore practice it predominantly in your
weaker ranges.

© Will Sanders 2015

 -5-

Flexibility in the low register

¢ = 104-112

A 128
Flutter tongue
I Â Â QÂ Â QÂ Â
air pulse  Q  Q  Q „.

A I
Legato
  Q  Q   QÂ
air pulse  Q  Q „.
I
Breath attack

A     Q    Q    Q Â
air pulse             Q     Q   „ .

A I Â Â QÂ Â QÂ Â Â QÂ
 Q  Q „.

A I  .   Q   Â. Q   Â. Q Â
            Q  .   Q   „ .

A I Â Â QÂ Â QÂ Â Â QÂ
 Q  Q „.

A I    . Q    Q Â.   Q Â.
            Q    . Q   „ .

A I     Q   Q  Â
     Q    Q    Q   „.

A I     Q    Q    Q Â
            Q     Q   „ .
Double tongue

A I        Q       Q    Â
               Q        Q        Q     „.
t k t k t k  
Consistent air flow - embouchure remains stable with minimal movement.
Extend the range downwards in intervals of major thirds.
The first three variations should be performed only with air pulses (“huffing” - without tongue); this
establishes the connection of the air column from the diaphragm to the lips.

This exercise can also be utilised in the opposite direction in order to strengthen the upper register!

© Will Sanders 2015

 -6-

¢ = 104-112

A 43 I
Flutter tongue

  Q  Q Â
air pulse  Q  Q  Q ‰. ‰.
A I
Legato
  Q  Q   QÂ
air pulse  Q  Q ‰. ‰.
I
Breath attack

A     Q    Q  Â
air pulse         Q     Q     Q   ‰ . ‰.
A I Â Â QÂ Â QÂ Â
 Q  Q  Q ‰. ‰.
A I Â Â QÂ Â QÂ Â Â QÂ
 Q  Q ‰. ‰.
A I Â Â QÂ Â QÂ Â Â QÂ
 Q  Q ‰. ‰.
A I  .   Q  .  Q Â. Â
       . Q    . Q   Â. Q  ‰ .
   
A I    . Q   Â. Q  Â.
        Q  .   Q  .  Q Â. ‰ .
   
A I     Q     Q   Â
         Q      Q     Q  Â
      ‰ .
A I     Q    Q  Â
        Q     Q    Q  ‰ . ‰.
   
A I         Q       Q    Â
                Q         Q         Q     ‰. ‰.
t k t k t k t k  
Stable air flow - minimal embouchure movement.
Extend range downwards in major thirds.

The first three variations should be performed only with air pulses (“huffing” - without tongue); this
establishes the connection of the air column from the diaphragm to the lips.

This exercise can also be utilised in the opposite direction in order to strengthen the upper register!
© Will Sanders 2015
 -7-

Flexibility in the high register

¢ = 104-112

 S   S   Q            „.
A I Â Â SÂ Â S Â Â S Â Â
 S  S  S   S  SÂ
 Q            „.
B1

A I Â S Â Â S Â Â Â SÂ Â SÂ Â
  SÂ
 S  S  S   S  SÂ
.S   Â.Q   Â.  Â.  Â.  „.
B1

A I . Â S Â .
  S  Â
Â
. Â S Â Â
. S Â Â Â.S Â Â S Â
Â.S   S Â. S Â
 S Â.  Q Â.   Â.  Â.  Â. „.
B1

A I Â
. S Â Â Â
. S Â
. Â .
 S   S Â
.   S Â. S Â
 S Â. S   S Â
  Q            „.
B1
 S   S Â
A I Â S Â Â Â SÂ Â SÂ Â S Â Â
  S Â
 S  S  S B1

 S  S   Q            ‰.
A I Â Â S Â Â S Â Â S Â Â
 S  S  S   S  SÂ
  Q            ‰.
B1
 S   S Â
A I Â SÂ Â Â SÂ Â SÂ Â S Â Â
 S   S    S Â
 SÂ
. Â.Q  Â. Â. Â. Â. Â. ‰.
B1

I . Â
. S Â .
  S Â
. Â S Â
A  . S Â. Â.S   S Â
Â. S Â Â
. S Â
Â.S Â Â.S Â
.S  Â. Q Â.  Â. Â. Â. Â. Â. ‰.
Â
B1

A I . Â S Â
. Â Â
. S Â Â
 .  .
 S  Â
. S  Â.  S Â. S Â
 S Â. S Â. S Â
 Q            ‰.
Â
B1

A I Â S Â Â Â S Â Â S Â
 S    S   S   S  SÂ
 S  S B1

12 Â SÂ Â SÂ Â Â Q Â Â Â Â Â Â Â Â Â Â Â ‰.
A8 I Â SÂ Â Â S Â Â S Â Â S Â Â
 S  S  S   SÂ
  Q            ‰.
B1

A I Â S Â Â S Â Â S Â Â Â SÂ Â SÂ
 S  S  S   S  S  B1

Always use the lower tone of the trill as the focus (trill from the 8th to the 9th natural tones in the harmonic series).

© Will Sanders 2015

 -8-

Major third cycle

Example:

in various octaves

Practice these major thirds in all registers of the horn.

Extend this system stepwise upwards and downwards.
¢ = 104-112

A 44 I
 S   S   Q  R  Q  .R  .S  .R  .S  .R  .Q  .R  .Q  „

A I   S   S  R  Q  R  . . .S  .R  .S  .R  .Q  .R  „

. . .
A I S   S     Q  R  . . .S  .R    Q  .R  S„

¢ = 104-112
A I
 S   S   Q  R  Q  .R  .S  .R  .S  .R  .Q  .R  .Q  R  S  R  S  R   S   S  R  Q  R   Q  R  Q Â

A  S   S Â.Â. .S Â. .S  .R  .Q  .R Â. .Q  R  Q  R  S  R  S  R   S  R  S   S     Q  R  Q  R  Q  R   Q  R  Q Â

. .. . ..
. . .
A  S   S  . . .S  . .S  . .S  .   Q  .R  .Q  .R  .Q  .R  . .Q  R  Q  R Â
. . . . . .

¢ = 104-112
A I Â S Â Â S Â Â QÂ R Â QÂ R Â S Â R Â S Â R Â QÂ R Â QÂ R Â S Â R Â S Â R Â Â S Â Â S Â R Â QÂ R Â Â QÂ R Â QÂ
legato

A Â Â S Â Â S Â R Â Q Â R Â Â Q Â R Â Â S Â R Â S Â Â S Â Â Â Â QÂ R Â QÂ R Â QÂ R Â Â QÂ
 S  S R  Q R  S  R  S  R  QÂ

A Â S Â Â S Â Â Â S Â Â S Â Â S Â Â Â Â QÂ R Â QÂ R Â QÂ R Â Â QÂ R Â QÂ R Â
© Will Sanders 2015
 -9-

Chromatic in multiple octaves

  SÂ
¢ = 104-112

A 43 I
 S   S  S  S    S   S Â
 S  S    S Â

 Q   Q  Q Â
A Â QÂ Â QÂ Â QÂ Â Â QÂ Â QÂ Â
 Q  QÂ

        S       S  
A   S   S     S     S Â
  S     S       S     S        
  Q       Q     Q    
A Â QÂ Â QÂ Â QÂ Â Â QÂ Á L. J
                    Q      Q   Q  Â
      
Also practice starting in the upper register

¢ = 104-112

A 43 I
 S   S   Â
  S Â
    S     S    
  S  Â
  S Â
    S              
 S Â
  S            
       
      S       S     S     S      Q    Q     Q       Q     Q  
A Â SÂ

    
Â
A  Q   Q     Q      Q   Q   Á L. J
            Q    Q   Q  Â
            Q     Q   Â
 
Due to the length of the exercise, you must pay attention to maintaining an even air speed (dynamic). It is
preferable to play more softly than to breathe during the exercise.

Practice in various registers.

Also practice with the following articulation variations:

© Will Sanders 2015

 - 10 -

¢ = 104-112

A 43 I
 S  R  S      S  Â
Â
 S    S    S  R  S Â

 Â
A Â SÂ Â Â Â SÂ Â Â Â Â SÂ RÂ SÂ Â SÂ RÂ SÂ Â Â Â Â SÂ

 S R S R  S   R S  S R    S R S R S R SÂ
A

A Â SÂ RÂ SÂ RÂ Â SÂ Â Â RÂ SÂ Â SÂ RÂ Â Á L. J
  S R S R S R S Â

A
  S         S           S   R   S     S   R   S           S      

            S   R   S           S      
A   S         S         S  R  SÂ

  S   R   S   R     S       R   S            
SÂ RÂ Â Â Â SÂ RÂ SÂ RÂ SÂ RÂ SÂ
A                

A   S   R   S   R    S    R  S   S  R   Á L. J
                        S   R   S   R   S  R  S  Â
     
Practice in various registers.

© Will Sanders 2015

 - 11 -

Scales following the circle of fifths

¢ = 104-120 F-Horn

A 44
Bb-Horn
I Â Â Â Â KJ
       .Â.Â.Â.Â. .Â.Â.       Â.Â.Â.Â.Â. .Â.Â. Â

 . . .  .Â.Â.
F-Horn B -Horn b

A ÂÂ Â Â Â Â Â
 . . . .   . Â      Â
Â.Â.Â. . Â.  K J

   .Â.Â. Bb-Horn
   Â
      Â.Â.Â.Â. . Â.Â.Â.   K J
F-Horn

A ÂÂÂÂÂÂ
.Â. . .. Â

Bb-Horn
 . . . S
ÂÂÂÂ Â ÂÂÂÂÂ Â Â Â . K J
F-Horn

A ÂÂÂ Â
  . . . . . . . .  . . . . Â

S . . . . .Â.Â..
Bb-Horn
       Â
F-Horn

A Â Â Â Â Â Â Â . Â Â Â Â Â Â Â Â. ÂÂ Â K J
. . .  .Â..

   . . . . . . .         Â.Â.Â.Â.Â.Â.Â.Â. Â
.
S ÂÂÂ ÂÂ ÂÂÂ
F-Horn Bb-Horn

A K J

S Â Â Â Â Â Â Â . .Â.Â.Â.Â.Â.Â.Â. .
Â. Â.  K J
Bb-Horn

       Â. Â
F-Horn

A ...

S  . . . . . . . . . . . .
  ÂÂÂ
Bb-Horn
Â
F-Horn

A    . . . . Â  K J

S
continue with A S Â etc.

© Will Sanders 2015

 - 12 -

Fundamental flexibility

¢ = 88-104

A 43 I I
flutter tongue

‰. ‰. ‰. ‰.
‰. ‰. ‰. ‰.
A I ‰. I ‰. I
‰. ‰. ‰. ‰. ‰. ‰.
 K K
flutter tongue

A Â Â Â Â Â
    Â
       Â
A      K K
breath attack

        Â
      
˘ ˘
A      K K         Â
staccato

Â
                                                       

I I
flutter tongue

A ‰. ‰. ‰. ‰.
‰. ‰. ‰. ‰.

A I ‰. ‰. I ‰. ‰. I
‰. ‰.
‰. ‰.
K K
flutter tongue

A Â Â Â Â Â Â
            Â
A     K K
breath attack

   Â      
     
˘ ˘
A    K K               
staccato

Â
          Â
    Â Â Â
    Â Â Â
         Â
                         
Valve combination:
Bb horn: 0, 2, 1, 12, 23
F horn: 0, 2, 1, 12, 23, 13, 123

Concentrate of inhalation.
Minimal embouchure movement (including with staccato).
Consistent air flow and air pressure will lead to even tone quality.
Perform the glissandi as in the mouthpiece exercises (image: trombone glissando).
For improving consistency and uniformity of tone quality.
Be aware of jaw/tongue placement!

© Will Sanders 2015

 - 13 -

Breath and tongue attacks

With a breath attack the sound should come from the “belly”, as with laughing (in reality, the rib cage and
oral cavity are responsible for the sound).
The air pulse is regulated by the diaphragm and not by the throat, tongue, or embouchure.
The diaphragm should bounce gently, while the ribcage lifts slightly. This should be a natural, unforced
movement! Don't force the sound and thereby active unnecessary muscle groups!
The tone is attacked in the centre through a clean separation of the air by the diaphragm.
The tongue and throat remain as relaxed as possible. For this reason, practice breath attacks within the
octave pedal C to middle C.
Important: use reflexive breathing!
These exercises help to guarantee free (unobstructed) air flow all the way to the lips and to stimulate blood
flow.
¢ = 104-112

A 44 I Á L. K J
breath attack

                          
begin always with air pulse

A Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Á L. K J
breath attack

                                 

A Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â ÂÁ L. K J
breath attack

                                   

A Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â
breath attack stagato breath attack stagato
Á L. K J
        .» .» .» .»         .» .» .» .»  
 .» Â.»Â.» .» Á L. K J
A            Â.»Â.»Â.».»   ÂÂÂÂÂ
breath attack stagato breath attack

       .».».».».».».».» .» .».».».»Â.»Â.»Â.»Â          

 .»Â.».».».».».».».».».».» Á L. K
A Â Â
».».»  Â.»Â  Â
breath attack stagato breath attack

  Â
.
       .»Â.».».».».».».» .
» Â
.».».» .» Â.».».»          
.». ». .».».».».».».».».».»
»
Â
    .
 »
.
 ». » Á L.
A            Â.».».».»  ÂÂÂ
breath attack stagato breath attack

       .».».».».».».».» .».».».»         

.».».».»
Breath attacks on the F horn - including the starting note!
For the fourth exercise, place the tongue in the already existing (flowing) air stream and allow it to gently
touch the roof of the mouth behind the upper incisors, and subsequently let it fall back into the relaxed
starting position, so that air flow and air pressure are not obstructed and therefore a consistent sound with
stagato is ensured.
It is helpful to imagine the letter “F” combined with the appropriate vowel sound depending on the register:
foo, foh, etc.
Switch to Bb horn for the scales, switching back to F horn upon returning to the tonic tone.
Important: use reflexive breathing!

Air cycle: Inhalation and exhalation without interruption

Guaranteed air flow!

© Will Sanders 2015

 - 14 -

Additional breath attack exercise

¢ = 104-112 breath attack

A 44 I Á L. K J
                   S                        S      
                   
begin always with air pulse

A ÁL. K J
breath attack

               S                                S                  

Valve combinations:
F horn: 0/2, 2/1, 1/12, 12/23, 23/13, 13/123
Bb horn: 0/2, 2/1, 1/12, 12/23, 23/13

Let the sound become richer and rounder with time (the more relaxed the stomach muscles are, the deeper
you can inhale)

Important: use reflexive breathing!

Air cycle: Inhalation and exhalation without interruption

Guaranteed air flow!

© Will Sanders 2015

 - 15 -

Exercise for the three components of air flow

- air volume
- air pressure
- air speed/velocity

¢ = 48 flutter tongue flutter tongue

A I .. Â Â Â Â ..

A I .. Â Â Â Â ..

subito p subito f subito p subito f

Inhale deeply, no high/shallow breathing (image: the diaphragm expands fully to the sides).
Do as many repeats as possible to completely use up the lung capacity.
Begin the first note with a breath attack.
Be aware of tongue position and jaw placement.
Practice extreme dynamics, maintaining a pleasing sound.
Do not force the air. Use a free, flowing air stream!
As with all exercises, use reflexive breathing!

This exercise is very helpful in overcoming register breaks, therefore practice it predominantly in your weaker
registers.

Reflexive breathing exercise

u Spontaneously allowing the diaphragm to fall downward when

„
inhaling facilitates a faster accumulation of air volume: passive
suction effect. When exhaling focus on the diaphragm having an
hf even upward movement. This facilitates consistency of air

u
pressure.
Repeat this sequence with increasing speed and using the entire
lung capacity.
„
hf
u
„
hf
u
„
hf © Will Sanders 2015
 - 16 -

Natural tone exercise (harmonic series)

Practice with all valve combinations:

Bb horn: 0, 2, 1, 12, 23
F horn: 0, 2, 1, 12, 23, 13, 123

¢ = 104-112

A 24 Â Â Â Â
flutter tongue

I Â QÂ Â QÂ Â K
      Â
Â
A Â Â Â QÂ Â Â Â Â Â QÂ Â K
legato

   Â
Â
Â
           
A     Q        Q  K
breath attack

            
     
A Â Â Â QÂ Â Â Â Â Â QÂ Â K
Â
  Â
Â
Â
»
» Â » »        
A  »Â »Â Q»Â    »Â Q»Â »Â »Â   Q       Q  K
» Â
» »Â »Â         Â
             
»Â      

   Â
     Q Â
flutter tongue

A I Â QÂ K
      Â
Â
         Q Â
A Â Â Â QÂ K
legato

    Â
Â
       
               
 Q Â
A     Q   K
breath attack

             
     
   Â
A Â Â QÂ Â Â Â Â Â QÂ Â K
 Â
   Â
  Â
» » » »
 » » »               
Q  »Â       »Â  Q   Â Â  K
A  »Â »Â » » »Â »Â     Â
» » »Â »Â                Â Â   
     
»Â
© Will Sanders 2015
 - 17 -

ÂÂÂÂÂÂÂÂ ÂÂÂÂ
¢ = 88-112
ÂÂÂ
A 24 .. I ÂÂ Â QÂ Â Â QÂ Â
 Â
K ..
  Â
1.x flutter tongue
Â
             QÂ
2.x legato

A .. I Q Â Â Â ..
3.x staccato

 ÂÂ
ÂÂ ÂÂ Â
ÂÂ
A .. I Â QÂ Â Â Â Â Â Â Â Â Â Â Â Â Â QÂ Â K ..
ÂÂ Â Â
ÂÂÂ Â

A .. I Â QÂ Â Â Â Â Â Â Â Â Â Â Â QÂ Â Â ..
     Â
Â
A .. I
  Â
QÂ Â QÂ Â Â Â Â Â Â Â QÂ Â
    Â
K ..
Â
        Q  Â
A .. I Â Â Q Â Â Â Â Â QÂ Â Â Â Â K ..
 Â  Â
Â
        QÂ
A .. I Â Â Â Q Â Â Â Â Â Â Â Â Â Â Â Â ÂÂ Â Â
K ..
Â
ÂÂÂÂ
A .. I Â QÂ ÂÂÂÂ Â QÂ Â K ..
ÂÂ Â ÂÂÂÂÂÂÂÂ Â
ÂÂÂ Â

A .. I Â QÂ Â Â Â Â Â Â Â Â Â QÂ Â K ..
ÂÂ Â Â Â Â Â Â
    Â Â

A .. I QÂ Â Â Â Â Â Â Â Â Â QÂ Â K ..
ÂÂÂ Â Â
ÂÂÂÂÂ ÂÂÂÂÂÂ Â
Also switch sixteenth note (semi-quaver) groups with sextuplet groups.

© Will Sanders 2015

 - 18 -

Rip exercises (with preparatory exercises)

Inhale for two beats and exhale without interrupting the flow of air.
The air is then spontaneously ripped/catapulted upwards/outwards!
The air flow remains smooth during the entire exercise so that the sound quality remains the same in all
registers. The full sound of the lower tones is ripped/catapulted upwards.
Be aware of the tongue (improving the tongue flexibility)! It is particularly important to ensure that the tip of
the tongue is not pulled back, which would obstruct the air flow.
Objective: minimal embouchure movement

This exercise will give you extreme flexibility

Valve combinations: Bb horn: 0, 2, 1, 12, 23 F horn: 0, 2, 1, 12, 23, 13, 123

‰ ‰
¢ = 104

A .. J Â Â ..
QÂ Â Â Â Â Â Â Â Â Â
‰ Â Â Â Â
‰ Â Â Â Â
‰
gliss.
1.x flutter tongue
2.x normal

                     K
A 24 I
  Â
gliss.

Q Â Â Q Â Â Q Â Â
flutter tongue

   Â
 Â  Â  Â
     

                       
gliss.

A I Q Â Â Q Â Â Q Â Â K
   Â     Â     Â   

¢ = 132-160

˘
˘ ˘
flutter tongue

 Â
A J Â Â Â Â Â QÂ Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â
  Â Â
 ‰
˘ ˘ ˘
 Â
A J Â Â Â Â Â Â QÂ Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â
legato

 Â‰

˘ ˘ ˘                
 Â
A J        Q                                Â
staccato

                      Â
        ‰ 

© Will Sanders 2015

 - 19 -

¢ = 104
‰ ‰
A .. J ..
 Â  ÂÂÂ
ÂÂÂ ÂÂ ÂÂÂ ÂÂ
ÂQÂ
gliss.
ÂÂ Â ÂÂ
‰ Â ‰ Â ‰
1.x flutter tongue
2.x normal

2                         K

gliss.

I Q Â Â Q Â Â Q Â Â
flutter tongue

A4      Â  Â  Â

   

                        K

gliss.

A I Q Â Â Q Â Â Q Â Â
   Â
 Â  Â  Â
   

¢ = 132-160

˘ ˘ ˘ Â Â Â  Â Â
Â
flutter tongue

       Â  Â
A J Â Â Â Â Â QÂ Â Â Â Â Â Â Â ÂÂÂÂÂÂÂ Â
 Â‰

˘ ˘ ˘ Â Â Â Â Â Â  Â Â
  Â  Â
A J Â Â Â Â QÂ Â Â Â Â Â Â Â Â Â
legato

 Â Â
  ÂÂÂÂ
‰

˘ ˘ ˘      Â  Â Â Â Â Â Â Â Â Â Â  Â      
    Â  Â
staccato

A J      Q                         Â

            Â  Â
   Â ‰
  

The air is ripped as described above!

Be aware of your tongue flexibility

Minimal embouchure movement

Practice in all registers on both the F and the Bb horn!

© Will Sanders 2015

 - 20 -

¢ = 104
 ÂQÂRÂ
‰ RÂQÂ Â Â Â Â ÂRÂ
‰ RÂQÂ Â Â
A .. J ‰ Â Â ..
ÂÂ ÂÂÂ ÂÂ ÂÂÂ
QÂ Â Â ÂÂ
ÂÂ ÂÂÂ ÂÂ
‰ ÂÂ ÂÂ
‰
1.x flutter tongue
2.x normal

 Q  R         3x
A 24 I .. Ê QÂ Â Â Â Â Â .. K
flutter tongue gliss.

Â
     

    Q  R         3x
A I .. Ê
  Q  Â
gliss.
  .. K
    

¢ = 132-160
˘ ˘ Â Â QÂ Â Â R Â QÂ R Â Â
˘ Â Â Â Â Â Â Â Â Â
A J Â Â Â Â Â QÂ Â Â Â Â Â Â Â Â Â
flutter tongue

˘ ˘ ˘ ˘ ˘ ˘
˘ ˘
   Q  R  Q            ˘
        Q    ˘ ˘ ˘ ˘
A ˘ ˘ ˘ ˘ ˘ ˘ ˘ Â ÂÂÂÂÂÂÂ Â
˘  Â‰
˘ ˘ Â Â Â QÂ Â Â R Â QÂ R Â Â
˘ Â Â Â Â Â Â Â Â Â Â Â
A J Â Â Â Â Â QÂ Â Â Â Â Â Â
legato

˘ ˘ ˘ ˘ ˘ ˘
˘ ˘
   Q  R  Q            ˘
        Q    ˘ ˘ ˘ ˘
A ˘ ˘ ˘ ˘ ˘ ˘ ˘ Â ÂÂÂÂÂÂÂ Â
˘ Â Â
‰
˘ ˘ ˘                                  Q      R  Q  R    
J Q Â Â Â Â Â ÂÂÂÂÂÂÂÂÂÂÂÂ Â
staccato

A Â Â Â ˘ ˘
                  ˘ ˘ ˘ ˘ ˘ ˘
    Q   R   Q                                         ˘ ˘ ˘
        Q    ˘ ˘
A ˘ ˘ ˘ ˘ ˘ ˘ ˘ Â Â Â
  Â
˘                            
  ‰ 
The air is ripped as described above!

Be aware of your tongue flexibility

Minimal embouchure movement

Practice in all registers on the F horn!

© Will Sanders 2015

 - 21 -

E .. J
¢ = 104
 QÂ
‰ Â Â Â Â
‰ Â Â
Â
gliss.
       ..
   Â
‰ ‰ ‰
1.x flutter tongue
2.x normal

E 24 I  Q          Q          Q        
   K
ÂÂ ÂÂ ÂÂ ÂÂ ÂÂ ÂÂ
flutter tongue

       

gliss.

E  Q          Q          Q        
I Â Â ÂÂ Â Â ÂÂ Â Â ÂÂ K
  Â
          
gliss.

˘
¢ = 132-160
˘
E J Â Â Â B ˘ Â Â QÂ Â Â Â Â Â Â Â Â Â FÂ Â Â
flutter tongue

  Â     Â  Â‰

˘ ˘
E J Â B ˘ Â Â QÂ Â Â Â Â Â Â Â Â Â FÂ Â Â
legato

Â
        Â
     ‰

˘ ˘
E J Â B ˘ Â Â QÂ Â Â Â Â Â Â Â Â Â FÂ Â Â
staccato

Â
        Â
                                                            ‰ 

The air is ripped as described above!

Be aware of your tongue flexibility

Minimal embouchure movement

Practice in all registers on both the F and the Bb horn!

© Will Sanders 2015

 - 22 -

Coordination exercise

¢ = 104-112 ˘
flutter tongue
˘ ˘ ˘ ˘ ˘ ˘
˘Â
A 44 I Â Â Â Â Â SÂ Â Â Â Â Â Â
    S      Â
2 0 2 0 2 0 etc.

      ˘
staccato
˘ ˘ flutter tongue

A          S             Â
  S        Â
 Â
‰
J
˘ 2 2 2 2

˘ ˘ ˘
flutter tongue
˘ ˘ ˘ ˘ ˘
A Â Â Â Â SÂ Â Â Â Â Â Â Â Â Â Â Â Â Â SÂ Â Â Â Â Â
2 0 2 0 2 0 etc.

˘
staccato
˘ ˘ ˘ flutter tongue

A       S                  S      Â
       
‰ J
   
2 2 2 2

Constant air pressure is needed for an even flutter tongue and consistent tone quality.
Be aware of the flexibility of the tongue (back of the tongue and tip of the tongue).
Always keep the fingertips in contact with the valves and be aware of the coordination between the fingertips
and the tip of the tongue on the roof of the mouth.

Valve combinations:
Bb horn: 2/0, 1/2, 12/1, 23/12, 13/23
F horn: 2/0, 1/2, 12/1, 23/12, 13/23, 123/13

© Will Sanders 2015

 - 23 -

Bending exercise

‰. ‰.
¢ = 104 - 108

A 43 .. I
‰. ‰. Q ‰. ‰.
‰.
1.x flutter tongue p
2.x legato

I ‰. ‰. ‰. Q ‰.
A ‰. ‰.
p ‰.

A I ..
‰. ‰.
p ‰. ‰.

A 44 .. Â Â Â Â
¢ = 80
I Â QÂ Â QÂ Â ..
    Â
1.x flutter tongue p ‰
2.x legato

The natural tones of the harmonic series are progressively bent smoothly downwards and back up. The
embouchure remains stable with minimal movement.

The exercise serves to improve the sound and to find the true centre of the tone.

© Will Sanders 2015

 - 24 -

Compression exercise

¢ = 88

A Â Â Â Â Â K Â Â Â Â Â Â Â Â Â K
F-Horn without valve F-Horn without valve

A Â Â Â Â Â Â Â Â Â Â Â Â Â K
F-Horn without valve

A Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â K
F-Horn without valve

A Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â K
F-Horn without valve

A Â Â Â Â Â Â Â Â Â Â Â Â Â K Â Â Â Â Â Â Â Â Â Â Â Â Â K
F-Horn without valve

A Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â K Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â K
F-Horn without valve

Try to recreate “valve horn” intonation while playing “natural horn”!

This exercise stabilises the embouchure and leads to greater stability in all registers.
This exercise is extremely effective for overcoming register breaks.

© Will Sanders 2015

 - 25 -

Trill exercise
Inhale for four beats at the marked tempo
Minimal embouchure movement
Be aware of tongue movement: the tip of the tongue lies relaxed in the front of the mouth, the tongue surface
moves flexibly
Ensure steady air flow and air pressure!

Valve combinations: F horn 123-13-23-12-1-2-0 Bb horn 23-12-1-2-0

¢ = 112
˘ ˘
F 13 ˘ ˘
A I Â Â ÂÂ Â ÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂ Â „
˘ ˘ ˘ ˘
o e o e sim.

A I Â Â Â Â Â ÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂÂ Â „
˘ ˘ ¸ ¸ ˘ ˘
e o e o sim.

A I     Â„
˘ ˘ ¸ ¸ ˘ ˘
o e o e sim

A I      Â„
e o e o sim.

Á . Á
A Â Â Â Â Â Â Â Â Â L K Â Â Â Â Â Â Â Â Â L. K
¸ ¸ ¸ ¸
o e o e sim. e o e o sim.

Á Á
A Â Â Â Â Â Â Â L. K
                   L. K
o e o e sim. e o e o sim.

A ..                                                Â..
F 13

o e o e o e o e o e o e o e o e

A ..                                                Â..
e o e o e o e o e o e o e o e o
Repeat as many times as the air supply permits.

© Will Sanders 2015

 - 26 -

Staccato triads

     
¢ = 88-104

A 43 I      Â
     K K
           
˘  
       ˘     ˘    Â    Â
A Â Â Â Â Â Â Â Â Â Â Â Â KK
Â
    Â
  Â
      Â
  Â
    Â
    Â
    Â
 
         
     ˘      
   
   Â
      

     
  
K K
A        
           
˘  
       Â    ˘ ˘           K K
A     Â Â  Â
       Â
           
   
   
 Â   Â
˘  Â Â Â   Â
 Â Â Â       

.»
A 44     .»Â
.».»
  Á L.
breath attack stagato breath attack

Â
     .»Â .»
       .».».».».»
.» Â Â Â Â Â Â Â Â Â Â Â
.».».»
.».».».».»          

.»
A    .»Â
.».»
  Á L.
 .»Â
breath attack stagato breath attack

               .»Â .»Â .»           Â
.».».»
.»                  
Use a round, resonant attack.
Make the tone quality of the individual notes as even as possible in all registers.
Use vowel sounds such as oh, oo, ah (depending on native language).

Valve combination:
Bb horn: 0, 2, 1, 12, 23
F horn: 0, 2, 1, 12, 23, 13, 123

© Will Sanders 2015

 - 27 -

Resonance attacks

¢ = 63                        
A Â Â Â Â Â
           
           

         
    
Â
A       Â
                   
       
   

  Q     Q   Q         Q  
Â
 Q QÂ
A       Q  Q Â
R      
    
        Q    

Q  
 Q        
A       Â
R       Q  
    Q  
 

Q     Q         Q         R      
QÂ Q Â Q Â QÂ Â Â QÂ Â
A Q  
    Q     Q  
 

Connect the notes by fading after each resonant attack. There should be a smooth (seamless) transition
between the vibration of the previous note and the following note.

As in all exercises, it is important to ensure that the embouchure (musculus orbicularis oris) is stable with
minimal movement and that the flexibility in the oral cavity is trained.

Make sure the tone quality is the same in all registers!

© Will Sanders 2015

 - 28 -

Tongue exercises

˘ ¸
Ê Á
¢ = 60

A Â K Â Â K Â Â K Â Â. K Â Â K Â Â.. K Â Â...K Â K Â K Â
hu hu-du hu-du hu-du hu-du hu-du hu-du du du du
hu hu- tu hu- tu hu- tu hu- tu hu- tu hu- tu tu tu tu
Use a breath attack for all the grace notes and articulate with the tip of the tongue for the quarter notes
(crotchets).

The air and tip of the tongue are optimally coordinated for the last three quarter notes so that the lip can
vibrate freely.

˘ in out ˘ ˘
A K K Â K K Â Â K K Â Â Â K K ÂÂÂÂK K ÂÂÂÂÂÂ
in out in out
in out in out

A K K Â Â Â Â Â Â Â Â K K K
in out in in in

  Â

For this exercise the inhalation should preferably be through the nose, and the exhalation through the
instrument.

The basic tension of the embouchure should be maintained throughout the entire exercise.

The air and tip of the tongue are optimally coordinated for the last three quarter notes so that the lip can
vibrate freely.

A .. K K K K ..
in in in in

   Â

When inhaling through the nose set the tongue on the roof of the mouth. When exhaling the tongue is “puffed”
downwards into the relaxed/start position.
The basic tension of the embouchure should be maintained throughout the entire exercise.

Inhale through the nose only as much as is needed for the next tone. Should excess air accumulate, release it
(exhale it) through the nose during the rest.

Practice this exercise in various registers!

© Will Sanders 2015

 - 29 -

Long tones
The most important exercise of the entire series!

¢ = 60

A „g
r g r

Staying relaxed and loose, breathe in over four beats.

When exhaling the rib cage lifts slightly. Do not force the air out!
A free-flowing air stream feels good, and creates a full sound, rich in overtones.
Image: air cycle (smooth, flowing inhalation and exhalation, always with seamless transitions when changing
directions).

The tone quality determines the length of the note, and not vice versa.
Generally crescendo for 5 beats and diminuendo for 5 beats.
The dynamics should be an exact mirror image.
This exercise will help increase lung capacity.

Begin this exercise in the octave between middle C and pedal C, and later extend range in both directions.

Playing long tones involves mastering many facets of becoming a perfect instrumentalist.
It trains free air flow both in piano as well as forte, which regulates the vibration of the lips.
Long tones encompass the entire range of flexibility needed to play the horn.

Practising long tones with dynamics makes many legato exercises superfluous!
Of course, you can still do these exercises, but they are often a waste of time, because practising legato does
not improve the ability to play a long stable tone.
However, playing long tones does have a very positive effect on the ability to play fast and slow legato
passages.

Because the horn repertoire does include numerous long tones, practising them is absolutely essential and
will give us the freedom we need to play musically.

I wish you many “aha!” moments with attentive study.

“The journey is the reward” and the secret of success!

© Will Sanders 2015