Douglas Hill is professor of music and horn at the University of Wisconsin at Madison as well as a past President of the International Horn Society, and a respected teacher and clinician. The 27 chapters of Collected Thoughts cover topics ranging from getting started to preparing for college and professional auditions, and include other subjects such as composing and improvising. There are seven chapters on repertoire that include reviews of music and texts that are the most comprehensive of any horn (or other instrumental) text to date. The process of learning and teaching is extremely insightful for everyone, from the serious student to the most experienced instructor. This book is a must for anyone interested in the horn. It is invaluable!!

A 64-page concise handbook for professional and student writers, arrangers, copyists, editors or proofreaders -- anyone working with music manuscripts. Included are sections on general music notation, shorthand notation, proofreading, terms and type, choral/vocal music, instrumental scores and parts, pop and keyboard music, plus a special section with specifics for engravers.

This book introduces music education majors to basic instrumental pedagogy for the instruments and ensembles most commonly found in the elementary and secondary curricula. This text focuses on the core competencies required for teacher certification in instrumental music. The first section of the book focuses on essential issues for a successful instrumental program: objectives, assessment and evaluation, motivation, administrative tasks, and recruiting and scheduling (including block scheduling). The second section devotes a chapter to each wind instrument plus percussion and strings, and includes troubleshooting checklists for each instrument. The third section focuses on rehearsal techniques from the first day through high school.

The well-known standard for all questions concerning the technique and playing of the horn - now in English translation. The work is relevant to professionals as well as students. Apart from issues of daily practice and playing, it also deals with topics that haven't been covered within horn literature until recently: playing the high F-horn or the Wagner-tuba, the arrangement of the cadenza in the solo concertos (including cadenzas of all established concertos), personal management as a performer, and other subjects. The German edition has received the German award "Best Edition" 2000.

This comprehensive, annotated resource of solo repertoire for the horn documents in detail the rich catalogue of original solo compositions for the instrument. Intended as a guide for practical use and easy reference, it is organized into three large sections: works for unaccompanied horn, works for horn and keyboard, and works for horn and ensemble. Each entry includes publisher information, a brief description of the form and character of a work, technical details of the horn writing, and information on dedication and premiere. The authors also include commentary on the various techniques required and the performance challenges of each piece. Representing over ten years of careful compilation and notation by an expert in horn performance and pedagogy, and by a seasoned music librarian and natural horn performer, Guide to the Solo Horn Repertoire will be an invaluable resource for performers, educators, and composers.

Contains thoughts and exercises on playing well, warming up, practicing, facial muscles, dynamics, sound production, breathing, intonation, memorization, endurance, self-instruction, performance, etc.