John Kember & Tom Bettley 
Horn Sight-Reading [PDF ebook] 
A fresh approach

This collection of original tunes presents 193 carefully graded sight-reading pieces and exercises in a range of musical styles. Taking an approach based on self-learning, the 11 sections of the book focus on developing different key technical skills as well as introducing the student to a plethora of musical terms.
Each section of the book contains solos, as well as horn duets and pieces with piano accompaniment for practising ensemble sight-reading. Suitable for preliminary, to advanced level students. Part of the comprehensive Sight-Reading series published by Schott and edited by John Kember.

Tabela de Conteúdo

To the pupil: why sight-reading? – Section 1: Notes C and D – Solos – Duets – Accompanied pieces – Section 2: Notes C-G, 4/4 und 2/4 time, introducting slurs – Solos – Duets – Accompanied pieces – Section 3: Notes E and F, new keys G major, C und E minors. Introducing 3/4 time and the dotted rhythm – Solos – Duets – Accompanied pieces – Section 4: Range A-A, new keys E and D minor, D major, introducting, 3-time, quavers and dotted rhythms – Solos – Duets – Accompanied pieces – Section 5: Range A-C. New Notes C and D. Keys of A minor, A major, F major and B major – Solos – Duets – Accompanied pieces – Section 6: New Keys: E and A major. New time signatures of 3/8, 6/8 and 9/8 – Solos – Duets – Accompanied pieces – Section 7: All keys up to 4’s and 4’s. Triplets in simple time. 5/4, 5/8, 7/4 and 3/2 – Solos – Duets – Accompanied pieces – Section 8: Transposing down a tone as for Horn in E. Semiquavers and some chromatic movement – Solos – Duets – Accompanied pieces – Section 9: Further transposition. Syncopation – Solos – Duets – Accompanied pieces – Section 10: Transpositons of a minor 3rd and perfect 5th. Chromatic and modal tonalities – Solos – Duets Accompanied pieces – Section 11: Baroque to Atonal. Double sharps abd double flats – Solos – Duets – Accompanied pieces – Glossary

Sobre o autor

John Kember studied at Trinity College of Music, London and has enjoyed a varied career in both performing and academic spheres, ranging from teaching in schools and privately, to working as composer, arranger, pianist and conductor in Concert Halls, theatres and recording studios. Currently John is working on a number of new and exciting projects for both publication and performance. He has a busy private teaching practice in south east London and teaches for Kent Music School and the Kent Centre for Young Instrumentalists in Maidstone. John was an examiner for the Associated Board of the Royal Schools of Music from 1989 until 2005