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There is a large deficit in the horn’s repertoire when considering the number of available unaccompanied solos that are attainable by younger performers or players who are still developing the fundamentals of their craft. This deficiency prevents the developing player from benefiting from the skills that they can gain by performing these works, such as individual musicality, phrasing, interpretation, extended techniques, and self-confidence. In response to this deficit, this paper serves as an examination of the existing unaccompanied works to show not only what makes them so difficult but also what needs to be done to create an impactful unaccompanied work that is attainable by the developing player. Using the list of unaccompanied compositions from Linda Dempf’s and Richard Seraphinoff’s Guide to the Solo Horn Repertoire, and Dr. Lin Foulk-Baird’s “Horn and Piano by Difficulty” Scale, a selection of standard solo works were chosen, examined, and then graded based on their difficulty. These examinations showed that out of the 368 unaccompanied solos listed in Dempf’s and Seraphinoff’s annotated guide, less than 10 were noted as being potentially acceptable for a developing player. Additionally, the seven standard solos that were chosen for further examination all ranked in the highest two difficulty levels on Foulk-Baird’s grading scale. This study shows that to fix this deficiency in the repertoire, new unaccompanied works need to be composed specifically for developing hornists. The second half of this paper is dedicated to discussing the consortium that took place to facilitate the commission of a new unaccompanied work by Aliyah Danielle (b. 1997) that is dedicated specifically to this level of player.