EMBOUCHURE UTED) for : HORN INF sand Double Horn for daily use by LOWELL LITTLE with any methodJad eddaes SEEELLLLE EE ESSERE E DEEL EEE LED EEL LELLLELULLLELELLEE: EMBOUCHURE BUILDER for HORN IN F and Double Horn for daily use with any method by LOWELL LITTLE (©1969 (Renewed 1997) Bel All Rights Assigned to and Cc ‘All Rights Reserved including Public se. Printed in USA. Pro Vol.1090INTRODUCTION Two of the most valued qualifications possessed by the sucessful French Horn player are flexibility or elasticity of the lips and the ability to support a free-flowing, sonorous tone with the breathin all registers. Itis through the development of these qualities only that endurance (the ability to play for long periods of time without undue fatigue) and a pleasing, musical sound may be achieved. Afree and flexible upper register can be developed only through the develop- ment of A COMPLETELY RELAXED LOW AND MIDDLE REGISTER! ‘The great majority of instruction books on the market today neglect the low register almost completely and take the student into his upper register long be- fore he has learned to support his tones properly with his breath. This can result only in excessive mouthpiece pressure, excessive strain, and a forced and inac- curate tone placement. The ability to play except for short periods without fatigue and bruising abuse to the lips, sometimes beyond repair, becomes impossible. THERE ARE ABSOLUTELY NO SHORTCUTS TO FLEXIBILITY AND ENDURANCE! These qualities can be achieved only through diligent, daily, concentrated prac- tice toward developing a relaxed physical attitude, free from force or strain. Many misguided students are encouraged to use smaller mouthpieces as a shortcut to endurance and high register. However, the tremendous sacrifice in tone quality and unmusical results can generally never achieve the desired results. Pro Vol 1090 ane Ome eee eee ROT ee EEE T TT ELLE LESSEE KEKE R LETT TTR EE:5 o o » ° » o ° ° o eo ° cy ° ° e e e e e e e e e a ® ” THE PURPOSE OF THIS BOOK This book hasbeen designed as a supplementary study to be used along with any Standard method book. The studies contained herein are excellent for use in the warm-up period prior to each daily practice or performance session. The tech- nicality of the fingerings is comparatively simple and the studies can be used to ad- vantage hy the young student with only a few weeks of formal study. This book con- tains much valuable niaterial essential to successful performance not found within Standard instructional material, ‘The udvanced student will’ also find much of value in helping him to keep his embouchure and breath support in “tip-top” condition. Many of the exercises can be memorized and utilized as short warm-up drills prior to group rehearsals or public performances. Just as an athlete would never think of entering into a stren- uous sport before warming up and limbering up his muscles neither would a true musician think of immediately beginning to play the high register of his instrument or play forte passages without a period of preparation. SUGGESTIONS FOR THE USE OF THIS BOOK When practicing sit or stand in an erect relaxed position. The entire body, including the hands, arms, shoulders, neck, and face should assume an attitude of Physical comfort free from any feeling of anxiety or strain. This cannot be em- phasized too strongly ! While the exercises contained here are to be practiced slurred as marked, they can also be played with legato, detached, or staccato tonguing for the advantage of additional dexterity after they have been mastered by slurring. BREATHING Breathe naturally but deeply through both the corners of the mouth and the nose. Do not raise the shoulders or allow them to become rigid. Practice holding the lungs full of air with the throat and mouth open before taking up your instrument. Never hold the air in the lungs by closing the throat. Then, try placing the hands over the waist and abdominal area and pronounce the word “‘hut"”, with some force, holding the “‘t’”, Note how the mid-section and abdominal muscles contract against the hands. This is the natural manner in which these muscles should contract When expelling the air from the lungs into the instrument. The amount of contrac- tion will, of course, increase with the volume desired or the amount of speed re- quired by the column of air passing through the lips to sustain a given pitch. The student must learn through application the exact amount of contraction needed at any giventime. Many students find it helpful to wear a wide canvas belt around the waist when practicing until automatic habits are established. © Vol 1090THE EMBOUCHURE The French word, embouchure (pronounced ‘ombooshoor'), is employed in the American language to denote the lips and the entire facial area used in the production of musical sounds onall of the wind instruments, How this area of the body is employed varies with the differ ent wind instruments, While its use is very similar for the playing of all brass, cup-mouth- piece, instruments, some French horn authorities claim that the mouthpiece should be set more on the upper lip than on the lower. However, due to individual differences in lip, jaw, and teeth structure, a player should, through experiment, find the position where his lips will respond the most easily. Tone is produced by setting the colunm of air within the instrument into vibration in sym pathy with the vibration of the lips. The lips are set into vibration by the air from the lungs passing through the aperture or opening between them. The ability of the lips to respond with flexibility and ease can be developed only through their gradual development by giving them ample opportunity to become accustomed to this sustained action. Forcing the'lips into a vi~ brating position through excessive mouthpiece pressure will result in their becoming swollen and can result in perinanent damage to the tissues. First, the teeth are placed approximately 1 8 of an inch apart with the upper and lower teeth on an even plane, Then, after rolling the red area of the lips slightly inward, contract them somewhat over the teeth with the edges evenly together but not squeezed together, Hold the corners of the mouth in against the teeth but not too rigidly. Never stretch the lips into smiling position whereby the mouth is wider than when relaxed, Keep the cheeks in against, the sides of the molar area, Feel a slight antagonistic tension between the lip area and the corners of the mouth and cheeks to avoid air pockets from forminy when air is blown through the lips. Place the mouthpiece only (without the instrument) lightly in the center of the lips, Place the tongue in the 't’ position behind the upper teeth after taking a deep breath. Then, allow the air to escape suddenly by dropping the tip of the tongue. In the event that the lips do not begin to vibrate continue to blow air through them in the above manner until they do. The first note in this book corresponds in pitch with middle C on the piano. Never begin practicing any excercise without first establishing the proper pitch! The lower the pitch de- sired the more relaxed the embouchure must be and the larger the opening between the lips. As pitches ascend muscular tension is gradually increased in the liparea and the opening be- tween them becomes smaller. This is achieved by concentrating the flesh of the lips toward their center and raising the lower lip upward more toward the upper lip. As this opening be- comes smaller the speed of the air must be increased through them to overcome the greater Tesistance to its passage. A high degree of coordination must be developed between the a- mount of muscular contraction of the embouchure and the amount of muscular contraction of the blowing mechanism, IN ORDER TO USE THIS BOOK EFFECTIVELY THE STUDENT SHOULD NOT PROCEED BEYOND THE POINT WHERE HE CAN PLAY THE EXERCISES WITHOUT STRAIN AND DIS- COMFORT!! HE SHOULD CONSTANTLY REVIEW BACK TO THE EARLIER EXERCISES AS HE PROCEEDS! ALWAYS REST A FEW SECONDS BEFORE PROCEEDING FROM ONE EX- ERCISE TO THE NEXT, WHEN THE EMBOUCHURE MUSCLES BEGIN TO FEEL QUITE FA- TIGUED REST FOR SEVERAL HOURS. Pro Vol 1090 Ree PITA AAAI AAAI AITIIGMVIAS HH IVMAVH HSL TTTTTTTTTTITTTIILTY«” ~ ~~ ~ ~ ~ a - - - t ~ a“ “~- “ “ ~~ ~~ = ~~ ~ E - - re te ve 5 Be Sure That You Have Read the Introduction! ! Allow the lipe and the continuous flow of air do the work. Hold mouthpiece pressure to a minimum. For the lower tones relax the lips more and open the jaw slightly more. Breathe deeply but keep arms, shoulders, neck, and upper body relaxed fully. Establish proper starting pitch before proceeding. Horn in F slowly J = 60 (For finding starting piteh) "P ———= "fF After attack of starting tone keep tip of tongue against inside of the lower teeth and the rest of it low in the mouth and well forward. Prepare for drop to lower interval by raising center of tongue slightly to “ee” vowel position on last count of note. At start of second note relax embouchure, open lips slightly, and return tongue to “ah” vowel position simul- taneously. ‘p Slow! 3 GE = Be certain you are starting on correct pitch. 2 you ers s ao © 1969 (Renewed 1997) Belwin Mills Publishing Corp. (ASCAP) All Rights Assigned to and Controlled by Alfeed Publishing Co. Inc. Rights Reserved including Pablic Performance. Printed in USA.6 IMPORTANT — Constantly inerease volume of air throughout the phrase by gradually increasing the contraction of the stomach area and abdominal, muscles. Prepare lips for upward slur on last count of the first note. As you execute the upward slur raise center of tongue to “ee” ~ vowel position. Return tongue to “ah” vowel position immediately after the upper pitch is achieved. NEVER ATTEMPT TO FORCE UPWARD INTERVAL BY MASHING MOUTHPIECE AGAINST THE LIPS OR CONSTRICTING THE THROAT! Relax Lips slightly going down — contract slightly going up. Slowly Slowly ‘3 oF 7 Q=S= Pro Vol 1090 POOP ATA TAATE SEALE LL ELA TT LATE EEE EEE EEE EK KEKE KEKE CETTETEER Rasa aa abd ddd b bbb bbb bdddssssssdTTTETTSSTSSESSI ¥ Pro Vol 1090 riSlowly 10 $e 2 Do not proceed beyond this point until you are able to play all of the preceding exercises with a free and open tone without discomforting force or strain!! Have you remembered to keep “blowing” muscles and lip muscles constantly in motion as you descend and ascend? J- 6-120 ae Pro Vol 1090 Mea mec cccccccccaacaaacceaccaceceececercercececrceccereceeceeeeceeceqe zt Are you able to play everything thus far without strain? = Pro Vol 1090 CCRC RAA EEE A CELE EEE EEE AEE LEEL ELEExtending the Lower Register n Gradually open jaw and relax mouth corners in descending. eeee COFFEE HFCHFHH HHH HOSOEBass Clef Pro Vol 1090Pro Vol 1090Pro Vol 1090Combination Studies for Horn in F and B Flat Pin Boin Ff Bb ebb eb ro» oe 8 T 7 3 F Bb F Bb E Bb Bb F gee Pro Vol 1090 * * e a a a rd + 2 2a 2 a * a oJ * ib tb s s 2 e a a a a a a a oe aSS sss = ae I — se Bi EF ___ — oat 16 Pro Vol 1090