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2015-2016 TMEA All-State Horn Instructional Video Series

Pottag/Andraud – 335 Selected Melodious, Progressive, and Technical Studies – Book 1, Gallay – #44 (Page 60)

Play from Beginning to end.

Tempo: Quarter Note = 88-120

Errata: In m. 12, beat 3 is the French notation for a quarter rest.  Although it looks like a backward eighth rest, it should be interpreted as a quarter rest.  The same goes for m. 34 on beat 3 and m. 35 on beats 1 and 3.
Many eighth note triplets are missing the “3” that further clarifies the notation.  If there is a group of three eighth notes beamed together, it is a triplet.  Ex. m. 10, beat 3. M. 13 beats 3 and 4, etc.  

Pottag/Andraud – 335 Selected Melodious, Progressive, and Technical Studies – Book 1, Gallay – #105 (Page 122)

Play from Beginning to end.

Tempo: Eighth note = 72-88

Errata: In m. 1-3 the very first note preceding m. 1 is a 32nd note as are the pick-up notes to m. 2 and m. 3.
In m. 2 should be a double dotted quarter note on beat one.
In m. 12-13, play F-sharp throughout each measure.

Pottag/Andraud – 335 Selected Melodious, Progressive, and Technical Studies – Book 1, Gallay – #52 (Page 67)

Play from Beginning to end.

Tempo: Quarter Note = 69-92

Performed by Mark Houghton – 3rd Horn, Pittsburgh Symphony Orchestra

Sponsored by Houghton Horns –

Produced by Adkins Multimedia

For more information and errata, visit or

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2015-2016 ATSSB All-State Horn Instructional Video Series

Kopprasch – 60 Selected Studies – #19 (Page 13)

Play from the beginning through measure 2 of line 7.

Tempo: Dotted Quarter note = 48-56

Errata: 1. There should be no A sharp accidental in measure 8. It is an A natural.

Kopprasch – 60 Selected Studies – #49 (Page 36)

Play first three lines.

Tempo: Eighth note = 100-120

Performed by Mark Houghton – 3rd Horn, Pittsburgh Symphony Orchestra

Sponsored by Houghton Horns –

Produced by Adkins Multimedia

For more information and errata, visit or

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2014-2015 TMEA All-State Horn Audition Video Series

Click here to access the official TMEA listing of etudes and errata

Kling 35 (Etude #1)

Dotted quarter = 54-66 bpm

Larghetto: fairly slow; faster than largo, but slower than adagio

mm. 1-14

Use the dynamic and hairpin markings to your advantage. Start at a comfortable piano dynamic, then expand into the high Bb in measure 2. Balance the accents and staccato markings on the descending eighth notes in measures 2 and 4, so that they are clear and separated, but not heavy. Provide gentle breath accents on the first notes of the sixteenth figures in measure 7. Don’t shy away from the hairpins in measures 9 and 10–your air-stream should match the shape of these lines. Start measure 11 at a piano dynamic in order to grow into measure 12–lots of support required here! Contrast the light staccato sixteenths in measure 13 with longer accents. Don’t linger too long on the fermata of that same measure. The trill in measure 14 could be somewhat free, but still rhythmic. Play this trill as a lip-trill using the 1st valve on the F horn–this will take some practice for most young players.

mm. 14-24

‘Toss-off’ the thirty-second pickup into measure 15–it’s only a lead-in to more important material. Again, not too heavy on the descending accented notes in measures 16 and 18. As before, apply a gentle push to the accents in measure 21. Make the grace notes in measure 24 noble and conclusive–not too fast. Convey a feeling of finality in the last bar.

Kling 34 (Etude #2)

Quarter = 60-72 bpm

Andante: moderately slow; ‘walking tempo’

Dolce: sweetly

mm. 1-16

Smoothness and phrasing are the keys to this etude. Regarding tone quality, imagine a Cello or an operatic Tenor. Observe all printed hairpins, and add your own hairpins in measures 1-2, 5-6 and 9-10. Sustaining through the longer notes in the middle of these phrases is critical to the shape and life of this music. You may need to experiment with a lower embouchure setting for the pedal notes–of which there are quite a few. Start softly on the first diminished arpeggio in measure 13, allowing plenty of room or growth and direction throughout the following bar. 

mm. 17-26

Create a contrast in this new dolce section–a new, sweeter color? Softer, maybe? Something to set it apart from what came before. Slur the turns in measure 19. Toss them off, and be sure not to drag. Don’t let the phrase relax until the sextuplets in measure 20. Play noble grace notes in measure 22, and relish the long, sinewy phrase in measures 23-24. In the penultimate measure, don’t observe the ritardando to soon. Saving it for the final triplet can be both musically effective and technically efficient. Hold the low G in the final measure as long as possible–this can will make a great lasting impression!

Kling 40 (Etude #3)

Dotted quarter = 54-72 bpm

poco a poco cresc.: growing louder little by little

mm. 1-48

Start this waltz at a comfortable piano dynamic. Think ultra smooth and sustained, but also carefree, and with a slight lilt. Accents are a gentle push and should not be overstated. Slurred eighth-note groupings in measures 20-21 and 28-30 should have a lyrical direction, with no hit of a clipped second note. By contrast, the staccato arpeggio in measure 31 should be bouncy and angular. Enjoy the contours ad hairpins in measures 33-48–have some fun. 

mm. 49-73

This section is resolute and more direct in nature. Accents can carry more wright, and staccatos should be nice and crisp. Don’t be afraid to experiment with some alternate fingerings for the arpeggios in measures 55 and 63–Bb hon is your friend here. Be sure to observe the piano dynamic marking at measure 65, making plenty of room for the ensuing crescendo. It may be permissible to take some time with the pickup into the recap at measure 74, but use good judgement.

mm. 74-98

Apply the same musical approach as in the first bars. At the staccato passage beginning at measure 88, careful to stay in time, while allowing the music to drive forward purposefully. Strive to play the upper octave in measure 95-97, and the pedal Ab in the final measure–finish strong and decisively!

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2014-2015 ATSSB All-State Horn Audition Video


Click here to access the official ATSSB listing of etudes and errata

Kopprasch 22

Eighth = 80 bpm

Adagio espressivo: slow and with expression

Dolce: sweetly

mm. 1-14

Approach this etude with an emphasis on a sweet sound with lyrical expression. Subdivide carefully–a metronome might be helpful. Phrases are long, and will require a sustained, efficient air column. Be sure to maintain the musical direction, especially through the first line, which is all within a piano dynamic. Use plenty of air as you arrive in measure 7, arriving at a forte dynamic. Sustain this volume (as indicated) until the decrescendo in measure 8. Observe hairpins and dynamics carefully from measures 9-14, and make the most of the contrasts. 

See indication at the bottom of the page that defines how the turns are to be played. 

Regarding the trills, the trill in measure 2 should be played as a valve trill, using 2nd valve (B natural) to open (C) on the Bb horn, and beginning from the upper note. The trill in measure 3 should be played as a valve trill, using 2nd valve (F#)  to open (G natural) on the F horn, and beginning from the upper note. The trill in measure 12 is optional–and if played–should be played on 1st and 2nd valve on the Bb horn. This trill should not start from the upper note. 

Kopprasch 43

Dotted quarter = 92-104 bpm

Allegretto: moderately fast

espressivo: with expression

mm. 1-31

Begin at mezzo-forte dynamic, with light and crisp expression–think clear and buoyant. Ensure that the grace notes are in-time, but not too fast–they shouldn’t be mistaken for missed notes. Try fingering the grace note (G) in measure 5 with 1st valve on the Bb horn, in order to eliminate a potentially awkward lip-slur. As always, carefully observe all of the crescendo/diminuendo markings, and printed dynamics. This is a very technical, rhythmic etude that requires an abundance of contrast and color. 

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Finke Horns – Germany 2013


Johannes Finke‘s shop is located in a light industrial area on the edge of Vlotho in northern Germany. Although it is an industrial area, it still backs up to beautiful yellow fields of rapeseed. The large production space is located on the first floor of the building while Finke‘s personal residence is on the top two floors. Johannes Finke‘s father, Helmut Finke ran the business previously and built the building in which it is currently located in the 1970’s.

Finke is one of a small handful of horn makers that who produces every part of the horn. It is common for others to purchase their bells and valve sections from other speciality makers like Meinl and Sandner. Finke uses their own high-tech composite rotors in all horns they produce. All of the bells are spun by Johannes Finke himself.

Finke produces 50-60 horns a year. In addition Finke makes Wagner tubas, trumpets, and trombones. Their horn models include the Brendan (medium taper), the Americus (medium large taper), and another model which we at Houghton Horns will introduce to North America this summer.

Finke horns play better today than ever before due to the multiple improvements Johannes and his employees have made to the production of the instruments. They are an excellent example of the finest in German craftsmanship.


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Dürk Horns – Germany 2013


Horn maker Dietmar Dürk runs his workshop in the small town of Bingen-Dromersheim. The shop is on the edge of town and faces beautiful farms near the Rhine river. The building in which the shop is located contains his family’s home and a small bed & breakfast. Dürk also runs a general music store in the same location.

Herr Dürk started his business after years of working for Alexander. He wanted to do things in a different and better way. He has two employees that help him to produce approximately 70 horns a year. 

Their models include the LDx5: a “Geyer” wrap horn,  the LDx7: a “C.F. Schmidt” wrap horn promoted by Dale Clevenger, the D3: an “Alexander 103” wrap horn promoted by Radek Baborak, and more. Duerk’s take on these classic designs all produce an amazing sound without the intonation and response problems of their inspirations.


In Dürk’s philosophy, horns need some weight in order to project properly and sound their best. He strives to constantly improve every part to make them better. Some of these parts have become proprietary upgrades to his horns including hand hammered bell flares, tails, and branches. We plan to offer some exciting new and exclusive offerings from Duerk horns in the near future!