Legato Etudes for Frech Horn, based on the vocalises of Guiuseppe Concone, addresses three specific problems faced by the French horn performer: interpretation of the legato phrase, extension of the low range, and familiarity with the bass (F) clef. Key signatures, time signatures, and dynamic markings have received careful consideration in relation to these problems.

This book contains all of Concone's famous Solfeggi: 30 Daily Exercises - Basic Legato Studies The first section-30 Daily Exercises-contains short studies to help improve legato sound. Exercise number 9 was a favorite of Mr. Arnold Jacobs, the famed former tubist of the Chicago Symphony Orchestra. When practiced in all keys and in both the upper and lower registers this exercise will improve control, intonation and tone color. 50 Lessons - The musical Vocalises of Concone Beginning with the section 50 Lessons, and continuing with 25 Lessons, 15 Vocalises and finally with the section 40 Lessons, Concone paints a compelling musical landscape. Learn to phrase properly, add dynamic contrast (dynamics are not printed in this book) and make each of the vocalises your own unique musical presentation. 25 Lessons - More complex melodies The 25 Lessons present slightly more complex and colorful musical ideas. Rhythms are more challenging, key signatures more varied and range is expanded. Still, the performer will have to interpret the dynamic contour of the music.

First to be published in the series was The Art of French Horn Playing by Philip Farkas, now Distinguished Professor Emeritus of Music at Indiana University. In 1956, when Summy-Birchard published Farkas's book, he was a solo horn player for the Chicago Symphony and had held similar positions with other orchestras, including the Boston Symphony, Cleveland Orchestra, and Kansas City Conservatory, DePaul University, Northwestern University, and Roosevelt University in Chicago. The Art of French Horn Playing set the pattern, and other books in the series soon followed, offering help to students in learning to master their instruments and achieve their goals.

These new etudes and solos, composed in a modern style, bridge a gap in the horn etude literature and function as a concise, modern version of the classic Schantl/Pottag book of Preparatory Melodies. The 26 short etudes focus primarily on technical issues, but the goals overall are accuracy and preparing students for performance of more difficult 20th-century etudes and works of a similar character which present a variety of challenges. The book concludes with a set of four new works that review the melodic materials of the etudes, formatted as solo horn works suitable for jury or studio class performance.

The Horn Player's Audition Handbook provides a handy, one-volume reference guide to the literature, especially for those players preparing for an imminent auditions, containing, as it does, the repertoire most frequently asked for by American orchestras. Since audition lists almost always include a few "non-standard" works, the well-versed student will also want to have employed the more comprehensive collections of excerpts in the course of his/her general preparation for an orchestral career. However, the advantages of having the most "important" audition material under one cover will readily be appreciated and makes this book a welcome addition to the literature.

Preparatory Melodies to Solo Work for B-Flat Cornet, selected from the Famous Schantl Collection (for French horn).

These are the only etudes Grigoriev composed specifically for tuba. They are very musical with a distinctive Russian style. Grigoriev makes use of every major and minor key, legato and marcato styles, and wide range. Although conceived for BBb tuba, these etudes work well for all tubas including CC, F and Eb. With instructive text by L. Keating Johnson, additional text and musical examples by Wesley Jacobs, Grigoriev 50 Etudes is a comprehensive book for tubists.