Play them as duets (transposing to concert-pitch or as Horn in F) with a friend, or try them solo. These well-known inventions have been rendered many times by many editors into horn duets, but for a challenge try reading from a keyboard edition. Since they are written for flute, they are of are course very technically challenging. I would be reluctant to actually perform any of them in public. After college I picked these up and had a lot of fun learning them. I grew up with a flute-playing sister and heard her practicing these for hours. In the spirit of “killing two birds with one stone” working from the original cello part gives your bass clef reading and low horn chops a serious workout. While the classic Wendell Hoss transcription is an excellent edition to work with, I would also recommend working from an original edition in bass clef. This is a minor concern for any horn player who can (and should be able to) transpose. Schlossberg: Daily Drills and Technical Studies for TrumpetAs with the Arban book mentioned earlier, the only limitation in these studies is the low range.The well-known “flow study” from this book makes for a great long-tone substitute routine. Warm-ups & Studies for Trumpet by James Stamp.However, the enterprising student can easily make up for this by utilizing transposition skills. A limitation of this method is that it does not explore keys beyond three sharps or three flats. This method for trumpet contains most of the pedagogical rudiments – numerous variations of long tones, scales and arpeggios among them. I also like to read them in “horn-pitch” as a means to smooth out bumps in the middle to low registers. In three volumes, this series of vocalizes transcribed for trombone is an excellent means to not only work on concert-pitch bass clef reading, but also on smooth legato playing.

Some of my favorite palette cleansers include: Kopprasch, Maxime-Alphonse, and Gallay are among the staples of the French horn diet sometimes though it is a good thing to venture out and try other “foods” to stretch your palette.

Why limit yourself to horn-specific methods and etudes?

James stamp trumpet method pdf