Published in June 2018 at AvA Musical Editions
Also available at: June Emerson (UK)
Ca. 6' 30''
Four pieces for low horn and piano, que easy, written within c and b'
The repertoire specifically written for the low horn tends to focus mainly on the virtuosistic level. We can find several good etude books for practicing the low range on a student approach, but not many pieces. Following the Low Horn Suite no.1 and no.2, this piece was also written to fill this lack of repertory and it is thought to be played on the B flat side of the horn. This characteristic allows this piece to be idiomatically played on a Trombone or on an Euphonium.
Technically speaking, for most of the horn players, it is written in their embouchure shift range. If played on a double horn, it is a good piece for working the thumb movement. It is written on both treble and Bass clef, including ledger lines, so it is a good option for practicing different clef reading. Being focused on the low and medium-low range, makes this a good repertoire choice for practicing embouchure shifts and for players doing a orthodontic treatment as well.
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(ca. 1'10'') |
As the title says, the 1st movement is a fanfare, with emphasis on the perfect fifth music interval played both staccato and legato. |
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(ca. 1'33'') |
On the second movement, the idea of a rainbow appears because nearly every two bars the chords are changing, passing twice through all the different keys following a circle of fifths. This is an ideal piece to work on all the different notes in legato with emphasis on the arpeggios. |
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(ca. 1'33'') |
In the third movement we will travel to Marrakech. The bars 21-24 can be played optionally an octave higher. On the pedagogical point of view, it is also a good piece to work on the 1•2 & 2•3 fingering alternation and how to use the 3rd finger as an alternative fingering for 1•2. |
 
(ca. 2') |
Finally, a Chromatic Blues to work on the left-hand fingers, that increases the number of notes rhythmical speed every 12 bars. Intentionally were used notes with the same fingerings using the 3rd and 4th overtones as a starting point. (b.3 & 7; 15 & 17; 27 & 31) |
