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From the preface by Henri Kling: \ The present Method is intended both for the Natural or Stop-Horn and for the Valve or Ventil-Horn. In order to obtain a thorough mastery in horn playing, it is extremely advisable to begin with the study of the Natural Horn, for the purpose of acquiring the true quality of tone characteristic of the instrument and which is attained by but few hornists. They generally treat the instrument as though it were a Cornet a pistons or a trombone, thereby depriving it of its genuine character. Some of the pieces contained in this work are written for two horns, to enable pupils to play both parts alternately and thus become acquainted with the entire compass of the instrument; the reasonable compass, that is, as it has been established by the most eminent professors. The pupil should only attempt those pieces which are proportionate to his powers and study the exercises contained in the present \ School\ consecutively, in the order in which they are presented. \ Short practices often repeated\ - the maxim of the celebrated hornist Dauprat - shall also be our own motto. \ As soon as the lips are getting fatigued and the tone becomes uncertain\ , practice should be discontinued.\ Contents of this Method for the Horn: 3 Designs: The manner of holding the horn Preparatory Exercises on tone production The Tongue-Stroke Short Exercises on the Tongue-Stroke Duets The \ stopped\ or closed Notes The tones of the Ventil-horn Easy Popular Airs (Volkslieder) for the development of taste and expression Transposition Major and minor Scales Exercises for Natural horn, on the diatonic scale Exercises on the lntervals Exercises on the chromatic Intervals Exercises on the chromatic scale Slurred Notes Duets The Embellishments in Music Easy and Progressive Exercises Exercise for sustaining the tone Exercises on the scale of C major Scales in different Keys Divided chords Thirty Exercises for Articulation Simultaneous Produ
