Course Description
MVB2322 — Principal Applied French Horn is the sophomore-level continuation of one-on-one applied horn study for students whose principal instrument is horn. The course extends the technical foundation built in MVB1312 (freshman applied horn) with increased range and endurance demands, more advanced etude literature (Maxime-Alphonse Books 2–3, Gallay, Reynolds), broader solo repertoire spanning Baroque through 20th/21st-century works, expanded transposition fluency, refined hand-position technique, and growing exposure to standard orchestral excerpts. The course pairs directly with MVB1312 as the freshman/sophomore principal applied horn sequence.
This course is offered at approximately 25 Florida public colleges and universities. Florida State University identifies MV_2321–2326 as the sophomore principal applied music sequence in its degree maps; the University of South Florida lists MVB 2322 — French Horn Principal in its applied-music inventory.
The Statewide Course Numbering System (SCNS) encodes information about applied music courses in the digits of the course number. Following the convention documented by Florida State University's College of Music, the first digit indicates academic level (1 = freshman, 2 = sophomore, 3 = junior, 4 = senior), the second digit indicates the applied music placement (2 = secondary, 3 = principal, 4 = performance), the third digit repeats the first, and the fourth digit indicates the specific instrument within the prefix family.
For MVB2322, the prefix MVB denotes Applied Music: Brasses; 2 indicates sophomore level; 3 indicates principal placement; 2 repeats the academic level; and the final 2 places horn second in the brass score order.
Learning Outcomes
Required Outcomes
Upon successful completion of MVB2322, students will be able to:
- Demonstrate refined tone production, range, and endurance across an extended sophomore horn range (typically pedal F through high B-flat or C above the staff).
- Apply secure intervallic technique across wide partials, with reliable response in both lyrical and rapid passagework.
- Perform all major and minor scales (harmonic and melodic) at increased tempo, full sophomore range, with refined articulation patterns.
- Perform arpeggios and chromatic scales across the full sophomore range.
- Apply fluent multiple tonguing: double-tongue at sophomore-standard tempos.
- Demonstrate fluent transposition in the most common keys (E-flat, D, E, F, A, and concert pitch as needed).
- Prepare and perform advanced etudes from sources such as Maxime-Alphonse 200 New Studies (Books 2–3); Kopprasch 60 Selected Studies (Book 2); Gallay 30 Etudes Op. 13; Reynolds 48 Etudes.
- Prepare and perform solo repertoire from at least three contrasting style periods: a complete Classical concerto (Mozart Concerto No. 2, 3, or 4 — or a contrasting movement of one introduced freshman year; Haydn Concerto No. 1 or 2); a Romantic work (Strauss Concerto No. 1, Op. 11; Schumann Adagio and Allegro; Saint-Saëns Romance Op. 36); and a 20th/21st-century work (Hindemith Sonate; Glierè Concerto; Heiden Sonata; contemporary American works).
- Apply standard orchestral excerpts with introductory familiarity (Beethoven Symphony No. 3 trio; Mendelssohn A Midsummer Night's Dream Nocturne; Strauss Till Eulenspiegel opening calls; Tchaikovsky Symphony No. 5 second movement).
- Demonstrate improving sight-reading at a level appropriate for chamber music and intermediate orchestral repertoire.
- Perform a sophomore-level faculty jury demonstrating prepared scales, etudes, transposition, and solo repertoire.
- Continue concurrent participation in allied ensembles (wind ensemble, symphonic band, orchestra, brass choir, horn ensemble, or chamber music).
Optional Outcomes
- Develop natural-horn technique (hand-stopping, harmonic-series fluency) for historically informed performance of Mozart, Haydn, and early Beethoven.
- Engage in brass quintet or woodwind quintet chamber music as part of the regular workload.
- Begin study of advanced 20th-century concerti (Strauss Concerto No. 2, Glierè Concerto, Schumann Konzertstück for four horns) for performance in upper-division years.
- Develop introductory Wagner tuba awareness where instruments are available.
- Perform a 20-minute sophomore recital with repertoire from at least three contrasting periods.
Major Topics
Required Topics
- Refined Embouchure and Air Support: Endurance pacing across longer programs; refined tone control across registers; stable intonation in lyrical and rapid passages.
- Hand Position Mastery: Refined hand-in-bell technique with awareness of effects on intonation, tone color, and articulation; controlled hand-stopping for muted effects.
- Daily Technique Routine: Continuing Pottag-Hovey method; expanded Kopprasch lip-slur and articulation studies; Schlossberg-style daily drills; long tones across full range; specialized harmonic-series exercises.
- Advanced Etude Literature: Maxime-Alphonse 200 New Studies (Books 2–3 at sophomore level); Kopprasch 60 Selected Studies (Book 2); Gallay 30 Etudes Op. 13; Reynolds 48 Etudes.
- Multiple Tonguing: Double-tongue (TKT-KTK) clarity at sophomore tempos; multiple-tongue endurance development.
- Fluent Transposition: E-flat, D, E, F-natural, A horn parts at sight; concert-pitch transposition for orchestral parts; transposition fluency exercises.
- Classical Concerto Repertoire: Mozart Horn Concertos (complete Concerto No. 2, 3, or 4 at the sophomore level); Haydn Concertos (Nos. 1 and 2).
- Romantic Repertoire: Strauss Concerto No. 1 Op. 11; Schumann Adagio and Allegro; Saint-Saëns Romance Op. 36; Glazunov Rêverie; Dukas Villanelle.
- 20th/21st-Century Repertoire: Hindemith Sonate; Heiden Sonata; Beethoven Sonata in F Major; Glierè Concerto (introductory at sophomore level).
- Standard Orchestral Excerpts: Beethoven Symphony No. 3 (Eroica) Scherzo trio; Mendelssohn A Midsummer Night's Dream Nocturne; Strauss Till Eulenspiegel opening calls; Tchaikovsky Symphony No. 5 second movement; Wagner Siegfried short call; Mahler symphonies.
- Performance Preparation: Memorization (where required), management of performance anxiety, jury preparation, recital programming.
Optional Topics
- Natural Horn: Hand-stopping and harmonic-series technique for historically informed performance; instruments available at FSU and certain other Florida programs.
- Wagner Tuba: Introductory familiarity for advanced orchestral programs.
- Chamber Music: Brass quintet (Ewald, Ewazen); horn ensemble (Lo Presti, Reicha); wind quintet (Reicha, Hindemith).
- Advanced 20th-Century Concerti: Strauss Concerto No. 2; Glierè Concerto; Schumann Konzertstück for four horns — works to begin study at sophomore level for senior-year performance.
- Cross-Genre Performance: Jazz horn awareness (small jazz ensemble, big-band horn parts where present); world-music applications.
Resources & Tools
- Studio Faculty Member: Continuing 60-minute weekly lessons; many institutions assign students to the same teacher across freshman/sophomore years.
- Practice Facilities: Dedicated brass practice rooms; access to mutes (straight, stopping, pixie) and basic accessories.
- Foundational Methods (Continuing): Pottag-Hovey Method for French Horn; Farkas The Art of French Horn Playing; Hill Horn Excerpt Studies.
- Advanced Etude Books: Maxime-Alphonse 200 New Studies (Books 2–3); Kopprasch (Book 2); Gallay 30 Etudes Op. 13; Reynolds 48 Etudes; Schantl method.
- Solo Repertoire Editions: Mozart concerti (Bärenreiter, Henle); Strauss Concerto No. 1 (Bärenreiter); Hindemith Sonate (Schott).
- Excerpt Books: Hill Horn Excerpt Studies; Orchestral Excerpts for French Horn (International Music Company).
- Equipment: Continuing quality double horn (F/B-flat); some students transition to Geyer-wrap horns at sophomore level for orchestral work; refined mouthpiece selection.
- Jury Committee: Sophomore juries typically expect longer programs and additional transposition demonstration compared to freshman juries.
- International Horn Society (IHS): Continuing membership and engagement; the IHS Symposium provides masterclass and competition opportunities.
- Florida French Horn Festival: Continuing participation provides Florida-specific performance and networking opportunities.
Career Pathways
- Music Educator (K–12, post-completion of BME and Florida teacher certification through FTCE Music K–12).
- Performing Musician in regional orchestras, opera and ballet pit orchestras, theatre productions, jazz ensembles, and chamber groups. Florida hosts the Florida Orchestra (Tampa Bay), Naples Philharmonic, Jacksonville Symphony, Orlando Philharmonic, Sarasota Orchestra, Palm Beach Symphony, Florida Grand Opera, and the Sarasota Opera.
- Theme Park & Entertainment Performer at Walt Disney World, Universal Orlando, SeaWorld Orlando, Busch Gardens Tampa Bay, and Disney Cruise Line.
- Cruise Ship Musician for vessels homeporting at Florida's major embarkation ports (PortMiami, Port Canaveral, Port Everglades, Port Tampa Bay, Jacksonville).
- Worship and Liturgical Musician for churches across Florida's metro and rural communities.
- Private Studio Teacher, often credentialed through the Music Teachers National Association (MTNA) or instrument-specific Florida professional associations.
- Military Musician with U.S. Armed Forces premier bands or regional service bands (audition required; competitive).
- Studio Recording & Session Work, particularly in the Miami, Orlando, and Tampa recording markets.
Students intending to pursue performance professionally should plan on completing a Bachelor of Music (BM) in Performance at a Florida university — typically Florida State University, University of Florida, University of Miami (Frost), University of Central Florida, University of South Florida, University of West Florida, Florida Atlantic University, Florida International University, Florida Gulf Coast University, or Florida A&M University — and continuing to graduate study or competitive auditions.
By the sophomore year, horn principals should investigate specific career destinations: military service bands (Marine Band, Army Field Band, Air Force Band, Navy Band — horn positions are highly competitive); regional orchestral positions (Florida Orchestra, Jacksonville Symphony, Sarasota Orchestra, Naples Philharmonic each have multiple horn positions); theme-park ensembles at Walt Disney World and Universal Orlando; and commercial/film recording work.
Special Information
SCNS Transferability
Applied music courses with prefixes MVB, MVH, MVJ, MVK, MVO, MVP, MVS, MVV, and MVW are not automatically transferable under the Florida Statewide Course Numbering System. Per FSCJ's published policy on the SCNS, these courses require evidence of skill achievement (audition, jury performance, or portfolio) and must be evaluated individually by the receiving institution. Students transferring to a four-year music program should plan to audition with the receiving institution's applied faculty regardless of credits earned. The Florida Common Prerequisites Manual (available at floridashines.org) lists state-wide prerequisite expectations for music majors transferring to State University System institutions; faculty in the receiving program place students into the appropriate applied level based on audition.
Continued Audition Standing
Continuation in MVB2322 typically requires successful completion of MVB1312 (or equivalent freshman applied horn sequence) with a passing jury. Some institutions hold a sophomore "barrier" jury evaluating readiness for the 2322 series.
Credit Hour Variation
Credit values for MVB2322 vary across Florida institutions, ranging from 1 to 2 credits per semester. The 2-credit / 60-minute lesson model is most common at institutions with established music programs.
Continuation Sequence
MVB2322 is followed in the standard sequence by a continuing sophomore semester (often a repeat of MVB2322) and then by MVB3332 at the junior principal level. Successful completion through MVB3332 (by jury) is a degree requirement for the Bachelor of Music Education at FSU and similar requirements at peer institutions.
Endurance and Pacing
Sophomore-year horn study requires careful management of face-time pacing: students typically increase total daily playing time to 3–4 hours but must structure that time into multiple shorter sessions (20–40 minutes) with rest between, to avoid embouchure damage and persistent fatigue. Faculty will guide students in building these pacing habits.
Sophomore Recital
Some institutions require a sophomore-year recital at the conclusion of the MVB2322 sequence. The 20-minute recital format is standard, typically including one Mozart concerto movement, one Romantic work, and one 20th-century work.