Can't find what you are looking for?
Email Kate Linton the Music Librarian for Instruction and Outreach for research assistance and searching strategies.
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Check out the Library Search which finds print and electronic items, including journal and newspaper articles, book chapters, books, reviews, legal documents, and much more. Note: Due to licensing restrictions, some content is only available to current students, faculty, and staff.
Finding Repertoire:
If you're looking for new repertoire to perform, it is often helpful to browse the Music Library's shelves. The following call number ranges are for horn music; individual works within these numbers are arranged alphabetically by composer or arranger:
- M80-M84, Horn alone
- M255-M259, Horn and piano
- M357.2, Brass trios
- M557.4, Brass quintets
- M1028, Horn with orchestra (full score)
- M1029, Horn with orchestra (piano reduction)
- M1128, Horn with string orchestra (full score)
- M1129, Horn with string orchestra (piano reduction)
- M1366, Jazz ensembles
Etudes, excerpts, and instructional materials are located in the MT range:
- MT420, General works
- MT422, Systems and methods
- MT425, Studies and exercises
- MT426, Orchestral studies (excerpts)
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A Singing Approach to Horn Playing
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In A Singing Approach to Horn Playing, author and renowned teacher-musician Natalie Douglass Grana develops the fundamental sense of pitch that is essential to play the horn. The book begins with simple songs to sing on solfège, buzz on the mouthpiece, and play on the horn, followed by inner hearing, transposition, and polyphonic exercises. Readers learn to fluidly hear the notes on the page before playing them, through sequential exercises with songs, improvisation, stick notation, and duets. Training continues with progressively challenging melodies, including canons as well as vocal etudes (solfeggi) like those of Giuseppe Concone. Finally, hornists apply their musicianship skills to standard etude, solo, and orchestral horn repertoire. Horn parts are provided with important lines from the orchestra or accompaniment, transposed to also be sung and played on the horn. Accompanying rhythmic and harmonic exercises enable performers to learn to hear the parts together as they play. Through a wide-ranging synthesis of theory, practical advice, and exercises, Douglass Grana puts forth a crucial guide for a new generation of horn players and burgeoning musicians seeking to improve and perfect their sense of pitch.
Call Number: E-book or MT420 .G74 2022 -
The Horn Handbook
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Call Number: E-book, Online Access -
Blow Your OWN Horn!
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Blow your OWN Horn is Fergus McWilliams 'take' on horn playing and more generally on music education.Written in a very spirited style, the book covers all aspects of playing and the profession, including, practical elements such as: auditions, embouchure, breathing, exercises. In addition, McWilliam explores topics such as: mind games, attitude, strategies, relativity, under pressure, why do we need teachers and much more!
Call Number: MT420 .M479 2011 -
Horn Technique
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The horn (AKA the French horn) is a captivating concatenation of curving copper that is renowned for being perhaps the most beautiful of musical instruments in its shape and sound, but also the scariest and most unpredictable to play. This book (fifteen years in the making) is a new look at how this beautiful beast really works. Horn players are blessed for the quantity and quality of repertoire and pedagogical materials in their tradition, but cursed at the same time for letting that tradition mute curiosity about what is still missing and what should be part of horn study in this new millennium. Horn Technique is a detailed, thoughtful (and occasionally tongue-in-cheek) look at ways old and new to get from one note to another, plus many musical examples and exercises detailing the most efficient ways to teach the instrument to students at any level. It is a comprehensive resource for teachers, and a combination road map and gold mine of information for serious students. Above all, it encourages the reader/player to combine the book's approach with what they already do, and, fueled by curiosity and imagination, to use the book as a springboard to make new discoveries about the best ways to master this ancient and amazing instrument.
Call Number: MT420 .A37 2017
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The Black Horn
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The Black Horn: The Story of Classical French Hornist Robert Lee Watt tells the story of the first African American French Hornist hired by a major symphony in the United States. Today, few African Americans hold chairs in major American symphony orchestras, and Watt is the first in many years to write about this uniquely exhilarating--and at times painful--experience. The Black Horn chronicles the upbringing of a young boy fascinated by the sound of the French horn. Watt walks readers through the many obstacles of the racial climate in the United States, both on and off stage, and his efforts to learn and eventually master an instrument little considered in the African American community. Even the author's own father, who played trumpet, sought to dissuade the young classical musician in the making. He faced opposition from within the community--where the instrument was deemed by Watt's father a "middle instrument suited only for thin-lipped white boys"--and from without. Watt also documented his struggles as a student at a nearly all-white major music conservatory, as well as his first job in a major symphony orchestra after the conservatory canceled his scholarship. Watt subsequently chronicles his triumphs and travails as a musician when confronting the realities of race in America and the world of classical music. This book will surely interest any classical musician and student, particularly those of color, seeking to grasp the sometimes troubled history of being the only "black horn."
Call Number: ML419 .W38 A3 2014 -
Horn and Conductor
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The former first horn of the Boston Symphony Orchestra writes about playing under Klemperer, Koussevitzky, Munch etc, the french horn, and specific horn passages. In this volume, Harold Meek, former first horn of the Boston Symphony Orchestra, shares anecdotes and insights about the joys and travails of playing under Klemperer, Koussevitzky, Munch, and others. He also brings together some important information about changes in the instrument itself, including a little-known letter from the great British horn virtuoso, Dennis Brain, about the virtues of different makes of horn. A valuable appendix prints interpretively challenging horn passages from three dozen masterpieces, and evaluates the solutions offered in recordings by various prominent conductors.
Call Number: ML419 .M44 A3 1997
