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The author discusses studies or routines for young developing horn players. Topics covered include starting notes without tonguing for practice purposes, exercises to learn the proper way to introduce air into the horn, and using the tongue as a valve. Also mentioned are breathing techniques when playing and daily exercises for French horn embouchure development and maintenance.

The article discusses the idea of composing music and need of creativity for composers. It mentions that inspiration and preparation are those important aspects that might make composition easier. It further presents tips that can help while composing music including writing ten titles for potential pieces for horn and a description of what will happen in piece. It also reflects on need of practice to acquire familiarity while composing melodies.

The author discusses the need for consistent and creative practice in learning to play the horn. Topics discussed include the importance of observing one's regular practice schedule, the way singing during rehearsals contributes to music memorization, and the aural skill development which may be expected from free and mouthpiece buzzing.

The author offers tips on how horn music students may taste test their notes prior to a performance. Topics discussed include reasons why students need to avoid testing the first pitch, the use of one's muscle memory or pitch memory before playing the assigned part, and the suggested practice dialing of the required airspeed per note to ensure accuracy.

The article offers horn technique tips while composing notes. It mentions that we should be familiar with octave scale lengths and suggests that the best way is to start with the most basic unit. It further advises to negotiate the key cycles and inventing a random run through all keys. It also presents several core scale game for two or three players.

The article presents tips for young horn players on ways they can improve their playing. Topics covered include practicing at least three hours a day, attending concerts, and showing respect to teachers. Also mentioned are the importance of going to conferences and workshops, having long and short term contingency plans, and keeping one's horn in good working order.

The article presents the author's insights on the use of creativity in tuba-euphonium studio teaching. The stages of practice include identifying the problems in the piece using brackets or circles and the dissection of the problem using tools such as metronome and the piano. Projects that encourage the expansion of interests include bass line transcription and etude composition. A list of creative tuba players is provided.

The author reflects on the impact of aging on her horn playing. She describes the attitude of horn players at the Oslo Philharmonic toward younger horn players. She cites several horn players whose high age inspire her to play better as she grows old, including trumpet player Bud Herseth. She compares the lives of brass players and string players. The author emphasizes the importance of practicing more as the years go by.

The article provides tips on horn playing for young horn students. The horn can be played while standing through the right hand adjustments. Practicing air attacks may help train the tongue to stay away from the ends of notes. For the high range, the air can be blown in a downward direction to allow students to keep their chins firm. Students have to practice "air and valve" only for fast technical passages.