POTTAG-HOVEY METHOD a for FRENCH HORN by MAX P. POTTAG AND NILO W. HOVEYFOREWORD Tat te intracor of ourunetl ac may beter apres te sma he writen, we scl Hh wo mention ‘eo ofthe min ejects by hich me were gel in popeteg se meshed fe pubuaon” Peary anon et fen 10 the ston of meer andthe rig of atch ach, when propel preted wil dacop in he Reming tude te mat debe musca hitaa, putcay ote ean of erode tte 0d ine Cing farce pirang Then, t ange tha mae ngs oe fem te sade of yl pegesion, et so te ge nd dip canoe at eo ey gol wt a sie umber of dab am areca a ‘The folowing eugene may prove Belg in obtnining se Hee ceva (2) Use evry care in clecing 4 god mentee One ith a madi cop and » medion rin it bot ate to the avenge eabouchore Avid the li fahioned mouthpiece wth eight cup and eal 2), The postin of the mouthpiece om the Lips depen 2 sme extent on te inva eabeachar, A gpd seen rule request che motipce be ped in the caer of hath with coral’ cn te upper hip and one Fi en the lower I ee tat a jr of peat ay play se stout 2/5 onthe oper Up and atin a fw ‘acpi cn this precede revered. with 1/3 on the sper ip. However, the abow nagestn of “hall and HIP the moe cannon advice of standing, tachre young keen (0) IMPORTANT: Before aging the fit exeches a0 page 3, acquit che aden ith the cnet rails of tne prodstion, eeing the inporance st (2) goo pasture and corect oston of the funda. (O) 2 Fim stack vo cach tone thot stem or scent (¢) suing he tnewithous change vn pick or quay, (2) Sai ‘ning 2 needy “eee of a" forthe durson Of ech toe ‘The tne is produce by the wraton of the lpn This vbraon it sxomplhe! by desing suden flow of tie tough the lip, sang te tongue ae tae fo rloue the 3, amir to he freien in pronmunceg de eabe “TOOO." (a sft tonpuing. the ube “DOOD” i layed) ‘The next tema imprtnt ont in the paducon of 2 Fae tone an the Pench homie the pn of the ‘ight hand inthe bell The wntars peer the meiod whch raqures the BACK. of the bund to be plead oo te Inde of the bal AWAY fom the payer int manner whch aleve the tone w pis By she palm and the weight of ‘he rtrunent to rex nthe tac of te thunk, "Toe band ava nx bx ene Tt, nor ina Talleped poi, she ext wl tallow the proper production of tone! tha mead apd atthe Begning, ede ‘revert fad the simple potion ia which fay otnaion can be cored by + ght Aleing or Mai ‘hing of she Band asthe ese may requre Te a te ese pion om which to change tothe cet palo for mating m duced on poe ‘The sudo should be reminded fequenty to “How THROUGH the Hora” rather shan “AT the mouth” “This prosdue isthe foundation of a bal and aegpng lonely, (Vary the tenth of sizoments scoring to the ably ofthe individual aude and the ameuet of tine spent in price (inorder vo fate th che mater ie tot ied io “emone") (1) Iodcate which poof bet med to the atdent whee ets ae mahed “opin, andadvie wheter or not to observe seg "ew (9) Question the put freunly cepacng de mning cf tims and amo that a employed inthe book, snd acd exhes that you bee ae cama, The hane apple to key and sine spate. 0) Tele sees meray tp dare ey in weekly stments for pactce owing when you belive the tae: Ins tenched the proper mage of event Tie ene which sce foved on the ae few page a fot itended to be used St tear dlmens. "The ae aplis m exries os the Jw tos page 48 (©), The impornce of slow and sccunte practice ann be overemphasized Cuca laying may easly cane decpreted tabi. "Make every note « fod one (©) Frequent 1 i advied when practice pvods ae lng At tht moment the Hips fel tied, or the wadert finds Nii resin 20 force cr a0 undue amount pene, the sme Ras cme for «Few minus of ladon‘Whole Notes and Whole Rests ‘15 Firat Wngerng indicated i for French Hore, (Malopbone or Alto logeringy aw in preathonis) 42 (a) Can you nasa each note in he above nee? (Gj Fete) 2) Can you tll he fingering of each note without hee- ation? “open tet ste © 199 (Rcd ELYMUS PUBLBHUNG CORP ‘A igs Ange tos Coville by ALERED FUBLISHING CO, [NG Ths Rese Re Lit, Mo, 78Half Notes and Half RestsHalf Notes and Half Rests mnQuarter NotesQuarter Notes ji s 10 A Hymn Tune 3 Mozart Air A* Quarter Notes 2 ©» 2 7 IntervalsThe Quarter Rest; Dotted Half NotesThree-Quarter Rhythm : low notes ed Bb). Pin ated oe semi-tne Key of G Spe OP Ceitatttep> TO THE STUDENT: Several ofthe pricing exercise are in he ey of G although the F# weno een ccpaigantare This ifnot an uncommon proceasre iz Horn music.) Raat eee af ie begining of euch exercne or tne sigitien thet each "F™ Oe ase naar rah vor played FHS unless canceled ty 2 natural sign, The fact Meare eee? ey cghetare makes i unnecessary fo place the sarpsign reat a ree ey Sil bceecenary for te player fo NOTE CAREFULLY we TE shichcnch xerctve iswitten before Paying French Folk Tune 2 . Waltz pe notes ad Libs March tow A$) Macstoso* 4 Note: “Macstoso"s mejenticaly (ete) tote” i lke mannerEighth Notes Scotch Folk Tune 2 , soe: [EE=] he peton of mic between the duble dete tars fe tobe repested,Eighth Notes o +o 2 + ne foot ne ‘The Seale +n footnote 7 ‘rte: Aot placed ever or under «note signifin thatthe note to be played “ataccato"weparated detached, 2—“——* eae Waltz in G Major Ktowarott) Waltz in E Minor G Dial Pine ig for D3) Seync? "D.S.al Fine" retvento the sign) and end at “Fine? x , 4 Notes A slur is corved mark drawn over two of more actes of ferent piteh indicating that theve notes SATS connectedfy eee ee g , . : s a Key of F $= (pris ced one seni-toe) op to (dow gotes ad Ib) ees 2 tow" Intervals a [Notes marked with the sign (>) are to be accented or played with emphasis, jin Thirds Counting Sun of my Soul Con spirite* ® ra? "O08 piitoTs with apis.= Dotted Quarters ‘There are several ways of presenting this new rhythmic figure, two of which are given below. Your instructor will preference, a 4Dotted Quarters (continse) - “Allegretto (modecately fast an fastas Allegro) 3 P dey Allegretto : ot Maroato (marked; withemphasis) Russian Hymn Macstove 107, 97 mexto-orte)« medion loud, and "7" sed racine egeadualy loader” The ayabol (==)Melodies in Legato Style “Legato” signifies that a portion of music so marked shall be played in @ smooth and con~ nected manner Lullaby “Andantine (moddrately slows not as slow a6 Andante) Brahms — SS = Prayer from Der Freischutz Weer Andantino = Ff “In The Gloaming ee 2 2 3 a tempo (origina! te 1 for ritardande, and meaning “a gradual slackening of tempo")Key of D 248 (rend *C'arersiet one eeni-tone (ch, ag) (fh. 2 2 4Q) 4 pr nates of bd Zio te ah)20 Chromatic co) i ser pageAlla Breve ‘You may review page # in Cut time. Play the quarter notes Lightly and stress the half and whore oot,Alla Breve (continue) Alla Breve March Rests on the Second and Fourth Quarter You may now play pages Wand ® in Alla BreveKey of Bb = (+0rand°s" are towered) co) ee (33) 20 The scaleRhythmic Exercises with eighth restsDuets a {also ¢) 2 2 2, x p—|=J— |r ”Key of A Git Gana G are raised = ich- Chromatic Exercises (see footnote) © ay GG» SSS SSS v Sts. * Fa sy G* pouatnte cut ptsd 9 the needs of the student. The top'P™ may be omitted Fee Rost te @ end tie low “ALCON and "G" may be omitted by making a cu from Bee, Note: This exercine can ensly be adapThe Eighth Note Unit 2 Te ones Air cea Song’ from “Martha” o Larghetto" Flotow P in moderate tempo- Larghetio- slow; between Largo and Andante,a Six Eight Rhythm Slow (@ bests) 2 3 Slow (6 vests) It Came Upon A Midnight Clear Silent Night eaeTriplets in Eighths ee Marcato cOptionst?Six-Eight Rhythm with two bents to a mengure For practical purposes we may presume that there art two kinds of six-eight rhythi ‘The first, in which there are six separate and di taken up previously and usually presents no pai inet beata to the measure, bas been feularly difficult problems. The second, tnd postibly the most common, is conducted wo beats to the measure, and often proves to be more difficult for the beginner to master. In this kind of rhythm we may consider the dotted-quarter note as the unity compar able to the quarter note in two-four rhythm. Thus, shere will be three eighth notes (72040 one beat, similar to the triple fs pee eee S (CEL et to two-fgur rhythm, we divided « quarter ote into two sighthsotes which are equal nvelves 8208 Z fe Tn six eight rhythm, however, we shall divide the dotted quarter note in- to two parte, the first of which will be ‘tice as Zong as the second: compare (29 ILLIA I THESE a RHYTHMS, te Saddld sleds did ‘note ‘The following patterns are among the most common: edd fad I70|. STD edd ITI) .d ddd i dd fed d did JSTDSix-Eight Rhythm oa with two Beats to a measure ‘Tempo di Marcia sOptionadd” Six- Eight Rhythm with two beats to a measure Allegretto 10 VY sD)Key of Eb xs n,x, and A are lowered’ a aio erae, Sepan Hepat teept ‘optioasiy (Wi)see Exercise on Tone Production Extending the regisier —= 7 Nitow"F* tet valve for French Hora ” -“ Sixteenth Notes Ate Fac Toptichat? avbreviation! StaccatoSixteenth NotesSixteenth NotesSyncopationThe Dotted-Eighth followed by a Sixteenth ‘A common figure in music, and yet one thet is often played incorrectly, is the “dotted-eighth followed by a sixteenth”, A detailed study of this figure at this point will save the pu} siderable difficulty when i fe encountered later in solo or ensemble playing, First, let us consider the dotted-cighth and sixteenth in slow tempo. It is important that the otted-eighth be oustained as Tong as THREE sixteenths, as shown in the rhythm patterns A~ [A-2, and A-3, and that the sixteenth note receive full value, The instrucior may prefer to. ap- [proach this problem by the method shown ia patterns B-t, B-2, and B-8. With either method, SLOW PLAYING is important in the carly stages. In faster tempo, there should be a litle mote space between the dotted-eighth and the sixteenth, and the Inter should be LIGHT and SHORT. The word *risp" describes the playing of this fig - Ute ia guick tempo, tention may be called to the fact ‘hat the sixteenth note is more closely connected to the, COUNT WHICH FOLLOWS, than itis to the count of which itis « part For example: Jo, IS 4) Snore pace here ——* “tha ee ‘A-conmon fault should be mentioned bere. When the dtved-quarier and cighth is used ia com- bination with the dotted-eigith and sixteenth, the EIGHTH NOTE is often played too short (Also see exercise 5, page 44) arrect Exercises <= ) dow Ceptioaad)THE DOTTED EIGHTH FOLLOWED BY SIXTEENTH oa Christmas Song Honda! SS cH =A Mozart Air Allegretto March from “Aida” Maroiale™ veri Excerpt from “New Werld” Syniphony Largot Droneiv Intervals Tarde a alrexcroses tobe played ) Mareato and 6) consecied by two) Octaves“0 Lip Slurs A, B, and upper line of © are adaptable to Horn or Mellophone. Lover line of C and D are for French Horn only. ty Ue first and tied valve———. (a) -———Use second and thied valves —— (3) Ute fot and aad valves. (4) se fist valve — (6)_-—Use second valve — “) Open——— (7) pe Ed and Bed — (8) ad tm ‘Second —— (4)_p=——— Open. (2) Use apt and ard £3) Use 1g and tod — ‘ete. (follow pattern of B-4) ete, (0) Uae at (51 Use ond ete. Se ee (0) Open—» | ceitnerp (2) Secon —y (9) Firs — ~~ (4) st and 2p —>ine Scales for Daily Practice Pattern Pattern Pattern Pattern Major Scales © Major eet ayo omitted al ll iE all|[= 4 4 qi 4 J gute =Major Scales conimea ” Common Minor Scales Melodie form A Minor eo $ aa gepre BS te eed = D Mizor“ TRANSPOSITION “The tnoiposen which wil probably prow wort wef 1 4 mony of aden, fram get wten for che 1b Ham. Atovgh 4 ge poon of the recent publessons lule pars fr the F Hor, many oder and sail esac eons have ely Bb Hom pata aati, ming aesy fr the stent teas ot ewe the Bo Conk The ltr pacer i nor gency remind, ance the row sade of he intone wil eel fied trnipontion 4 eset To Gypend on the ane of the ex “oaks i merely poponement of + ple whch the youngest sadets ele woth es We x oot the ely mend wed the re Base fund dt the mest conmon price tach dhe player to read the Eb prs 4 major exand (om hele ep) lower tan wen, Tha wen "GY on an Eb Hom ptt cel be phyed a8 “Foie we 2S oS ‘nay, he Hey spp will ao be + major seen lowe than the sgmeire on he Bb par or sane each pur, Tats il be aed to the eigoatre (or wo bars ebtrced if the sgmtre 6 in shars) The (Gwe an apps on 40 Eb Horn part wi be plged asthe Bb ele on the P Hon 7? aS Sowiat esons ae oat dened otc, By siting withthe single cerns at o near the besoning of the bonk, the ent wll be camipsng axenflly a & comparavey short paid of tne “The tron, being in freuen contact withthe Indl audent chs i be qa t determine te Inert tne to introduce the prclem of tampeaidan and io adet he exces which on eat be aed for ht warp USE OF THE DOUBLE HORN ‘Beau the double Hem is ply ioceing in poplar, 2 few words conceming (swe wil nt be aie a ths point Teck the purpose of he pita to elk ef us whch canna be change to wt the air Cf he wralent othe prefered method of the inmate, But to rpgut what we bree fo be 2 lial mid glot mong the vroue procedures Of considerable importance i the postion of he Tee hand which mat be sft rated to ionne 2 fre toe ofthe hum I he change tothe Bb Hom cuss 2 movement of the oarument, the enbruchire muy be dure, [As wha pint nd wale shoud the change be made? Opaion on he queion vary, br it may be conidly ttc tat this Soul depend to oe am eect onthe Sndvdalatadent ‘The higher the pole at which the chases tema, the more ely » sight diutance of the embouchute wll ue Drak in de tnt and for eit ron, ‘nly tn wih an etre “gh” Up soold ame the change a thet bine “FsOntee payee of experience and reputation advaate tat the dang de made a ently athe mond spice “A ‘Wie mgpening thc expimannon wll prove tobe rete in cack cat, wo below tat the mopey of play sel id second apace "A" to Fouts ie "Dt be he lope! point Fhe change is made 38 “A™ pry tet Te be sven to tone quay, whch mat aot be hin or far. I the quity oe mutate, we mecemnend De tethd shown fn exagle a sag Pie on Bb Horn ‘The ases Fem "O (line blow the aff) t@ "G™ (cond line inthe sf) sould be avd ae mich at rable on the Bb Horn beens of fly noma, ‘The player of « double Horm shad cones iam este of ene ich nly. When te Bb Horn ised 1+ impoant that the nes ofthe ots are et chug. For tample, Hf che Mh ine “Displayed onthe BS Hoon, 2 suid al be ooght of s0“D" aed net "A MUTING Const mang on te French Horn prams + dificult prblem-one which we mat so stempt © whe ia the ety woes of the mudeesprogrem bat one whch most aot be need shogaber, “We may ste atthe oat, thee stacy French Horn tutes may be potdand. ‘Thue ae of to tpn the ones whch do ot regu ta ‘pasion, and tove which require tnpoaton smi co tht wed i and ig. In fond mating, ue fteatn & 2 majer problem. Covet musing regu an sess eat and consider ipeence, Proper we ofthe gh nd i he Ell of east importance "The ingest te Held iether 22 {Srpreven dhe cape of aie, Then the Ind tied so Hse bl ov comple ne gol and pets 20 fat (uta the see of the player hapd wil permit. When te hind fit acct pation for mtg the itch wl be ‘acd one smione, making tapution neem. To compensate fr this roe im pth then, the Hotn pre mae Ie plied one ensue Tower than wet, er exile » writen "O°, when med, mat be payed ae Fd oe Hogg 0 GS] win be set Fa tm mates “The folowing advice may prove of ale tthe aude: (0) Do not stempt mutig wnt the embochue it wll deed, and intonation on the open Hoen i acute (2) Do no pay 4 Hom past muted ules dion on the prt efor mate Hoxr—wuly mated (4), (0) Hea eg Hora pape you ania pes, in ado boat and on msedigs. Sty ctl he fina eae of he laying, wih parce talon to tone quty an! phralgDaily Exercises on the Low Notes (French Horn Only) In playing these exercises, speed should nat be anobject. Tone quality and a good attack should receive primary consideration. ae tte (alurred and detached) oeFingering Chart Fingerings ace given for F Horn ‘above the notes), for Bb Horn above the notes in sqe[]s, and for Alto or Mellophone (below the notes and starting on the second fine? O38 il io ig a Se lee ieee er) Bar FOO) poe ede atiean jometimes used for low notes in French Hora music showed the tame noite an octave lower © of io do ic co han a AR) BC Chon D DRE &