Merton Johnson Warm Up For Horn Summary

Merton Johnson, the author of “Warm-ups for Horn,” begins by elaborating on what the “serious student horn” should focus its energies on. Johnson gives two topics: 1. Examine and compare professional horn embouchures to your own and find differences that may prove to be harmful to your horn playing, and may be harder to correct later down the road. 2. What is the difference between a'smart' and a'smart'? Develop a systematic warm-up to apply new embouchure changes into practice. Consequentially, Johnson provides examples of effective and commonly used warm-up patterns for horns and advises the reader to experiment with and vary their warm-up exercises to see what works best for them as a hornist.

Johnson notes that exercises using valve slurs should be performed using normal valve patterns, smoothly, connecting each note evenly on one line of breath. However, each note should be placed, without having to slide up or down to correct the note’s
This is because they are familiar with the layers and provide variability rather than playing and getting comfortable with one or two particular scales. Chromatic scales, slurred, timpani-tongued, then staccato, in sixteenth notes are shown frequently. The use of different articulations as well as rhythms while performing these exercises is highly recommended because they increase your ability to adapt and flexibility. Something else that is recommended is being able to play excerpts and scale patterns on both the F-only and Bb-only horns, as well as interchange. “Mixing up” these circumstances is a good way to improve flexibility for the player. Johnson writes, “As fluency develops, this exercise [below] can be played entirely on one breath. Use a light, smooth style with supple lip action as though slurring.” Below this text is shown a staff with staccato eighth notes moving in arpeggio patterns throughout