by Christoph Ess

During the covid pandemic, I started to write down my daily warm-up routine and created a book with many exercises and explanations. I was able to release this book last year, together with play-along videos on my YouTube channel. It features a large number of exercises I have developed for my personal needs, including exercises from my own teachers and professors as well as exercises from masterclasses and workshops through which I have been inspired by other players. These exercises are helping me every day to deal with the different challenges of playing the horn, to remain fit, and to improve myself by their regular use.

I have developed a warm-up and practice system which I am able to adapt and change depending on my daily mood and how much time I have for practicing. The system is divided into seven sections which cover the most important parameters of playing the horn. To me, it is very important to deal with all seven of these issues every day because that enables me to be completely and fully warmed up, even if I have just a little time to practice, to proceed with a rehearsal, a concert, or just another practice session. That is why every section has exercises which I can vary and select according to my situation.

Usually, I try not to start with extreme registers and dynamics. First of all, the muscles have to be warmed up and relaxed, comparable with our athletic activities. Only then can we expand our exercises downwards and especially upwards as well as advance to extreme dynamics.

Another basic principle of my system is to always combine two different parameters into one exercise, such as slow - fast, tongued - slurred, forte - piano in immediate succession so that our lips and the airflow can prepare for the different challenges.

1. Doodle exercises
I start my daily warm-up with some doodle exercises. It's literally about warming up the lips and circulating the blood as well as the activation of the breathing system. DON'T play these exercises in extreme registers but in a relaxed middle range and comfortable dynamics.

2. Air flow
After the doodle exercises, I typically continue with breathing exercises. Airflow is one of the most important aspects of playing the horn. In particular, it's about streaming the air evenly and homogeneously from the first to the last note of a phrase and building a vibrating air column, especially during the transition from one note to another. I always start with the long F horn fingerings (F123 or F13) as the airflow is automatically higher within the long F horn while the air pressure is lower. That helps a lot when we change to the shorter B-flat horn. These exercises should be played with a metronome to control steady air flow. It is useful to play two versions in direct succession: a slow one followed by a fast one, or slurred followed by tongued, for example, in order to phrase steadily during changing tempos and articulations.

3. Sound
The sound forms the emotional basis and heart of one’s performance. It's important to create an even, centered, and straight sound which doesn't shake, and which doesn't lose quality also during a crescendo or decrescendo. It is thus essential to practice making homogeneous dynamic changes during long notes. It's very helpful to use an electronic tuner here to help control intonation and to respond to small changes.

4. Natural horn and flexibility
While playing our modern valve horn, we are constantly "switching" between the many imaginary natural horns and their respective overtone series, but our embouchures (which are responsible for the modifications of muscle tension) and our air speed remain the determining factors for the connection between two overtones. Thus, flexibility is one of the parameters we should exercise daily. I usually start with a small ambitus (melodic range) first and then expand it continuously. During these exercises, I also advance into more extreme registers. All of these natural harmonics exercises are airflow exercises at the same time. Lead the air from the first to the last note and pay attention not to have air “bumps” in your phrase and especially during the transition between tongued and slurred notes.

5. Scales
We have to play scales in almost every piece we play, in most of our etudes and in many excerpts. Scales have to be included in one part of the daily practice in all different keys and variants, major and minor, slow and fast. This section offers many versions of scale exercises.

6. Stability
A steady sound with a good center is essential but also one of the most difficult aspects of playing the horn. We create a warm and resonant sound by playing it rich in overtones. This can be done through playing with a solid center. This is essential for the homogeneity in an orchestral horn group or for chamber music with other musicians as well. These are the most important parameters: to find a stable intonation and an optimal sound balance. We need to make sure that all notes have a good accentuated start. Don't think of a sotto di voce; rather, think of playing chimes. The center should be hit right after the impulse and not after a few milliseconds. The note should have a good, tongued start, but what is even more important is to push the air stream directly afterwards. Each note must be phrased and have an undefined ending on the consonant 'm'. This helps a lot to connect to the next note without a bump. It would make sense to use an electronic tuner here as well.

7. Power
We are progressively developing lip and embouchure strength. We start gently and increase slowly from week to week, not from day to day. When you start practicing again after three weeks off, you will have the impression of quickly being tired and exhausted. Indeed, it often helps to do the daily basics disciplined, without pushing forward into extreme registers. This will make your performance flexible and if you had a good embouchure before it will return soon. Basically, all of the stability exercises from chapter six are also power exercises if you play them into the upper registers.

Watch my warm-up program video masterclass with explanations and sound examples as well as some additional chapters on my YouTube Channel.

IHS 55—Artist Interview with Victor Prado

by Gabriella Ibarra

IHS 55—Highlight Reel

by Jefferson Montiel

by Layne Anspach

Hello everyone!

Chamber Music Corner is a new column that will explore chamber works which include horn. This month’s highlighted piece is Louis Spohr’s Quintet in C Minor, Op. 52 for piano, flute, clarinet, horn, and bassoon. While the most famous piano-and-wind quintets exchange the flute for an oboe (i.e., Mozart, K. 452 and Beethoven, Op. 16), there is a handful of wonderful pieces using Spohr’s instrumentation to examine in the future.

Louis Spohr was a German composer, violinist, and conductor born in Brunswick in 1784. He was an extraordinary violinist who wrote chamber compositions focused mostly on string works featuring himself. From 1799 through 1821, Spohr moved from one conducting/concertmaster position to another, all while touring Europe as a soloist. After 1821, he remained in Kassel as Kapellmeister until 1857, passing away two years later after a brief illness.

In 1820, Spohr was engaged by the London Philharmonic Society for the year. While in London, the health of his first wife, Dorette Scheidler, an accomplished harpist, started to decline to the point that she was unable to perform on harp. Considering this, Spohr wrote the Quintet in C Minor, Op. 52 as a piece for which she would play the piano part. The work features the piano heavily, almost to the extent of a piano concerto with wind accompaniment. 

The first movement, Allegro moderato, establishes a lively gesture between winds and piano in sonata form. The second movement starts to feature the piano as soloist; Larghetto con moto begins with a slow introduction in the winds led by the clarinet. The piano follows alone, after which the winds join in the harmony. The B section is led by a piano melody with wind accompaniment as an underlying triplet pulse. Spohr composed gorgeous melodic interjections by the winds with the piano accompanying. The movement ends with a repetition of the A section to close out the ternary form.

The Menuetto: Allegretto opens with a downward-falling horn solo which hands off the melody to the piano. The minuet is melodically shared between winds and piano, passing back and forth in turn. The trio is a fantastic feature for the piano, Spohr presumably featuring his wife’s playing. The movement repeats the minuet and trio followed by a short coda. Finale: Allegro molto is an incessant drive of sixteenth-note energy from the piano. Presented by the piano, the B theme of this movement is, in my opinion, the most beautiful theme in the entire work. A horn melody responds to the piano with the other wind parts following in response. In the development, the piano continues at a blistering pace as the winds have elongated melodies. The movement ends with a typical recap representative of sonata form. The horn leads a three-note motif with the other winds responding during the transition to the coda. The movement ends with the music building in intensity and activity until the final chords.

The recording links are from Les Vents Français’ album Romantique; Radovan Vlatković is the hornist on the album.

by Caiti Beth McKinney

Hello everyone! This month we’re taking a sharp turn away from the late-Romantic tonality of Ethel Smyth to the ground-breaking work of Roque Cordero. Perhaps the only well-known Panamanian composer to this day, Cordero got his start writing music for wind ensembles at the age of fifteen. Incredibly, at the age of twenty-one, Cordero also founded the National Orchestra of Panama, for the establishment of which he wrote his first orchestral work. His works range from tonal pieces from his younger years to far more avant-garde sounds, embracing rhythms and phrasing styles from Panamanian folk music while blending them with Modernist techniques.

For the horn, Cordero composed two chamber works: Music for Five Brass, a brass quintet, (available here), and Variations and Theme for Five, a woodwind quintet (available here). Both are incredibly challenging works, requiring great rhythmic dexterity and independence of line. Not for the faint of heart, Cordero’s woodwind quintet would make a great competition piece. The group that can give a convincing performance must be absolutely in sync, and furthermore must be highly conscious of texture and color. Challenge accepted, anyone?