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Generally, and this is important to remember generally, horn 1 is the guy (or gal) that gets the solo parts.
Often, a composer would take care to make "background" horn parts that were played by horns 2-4, leaving horn 1 to rest his/her lips until that big, exposed solo part coming up.
In these exercises, obviously, we're not taking that into consideration.
I don't believe it's really necessary any more to give extended rest-time to the 1st horn in most contexts.
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And a last comment to Mark: generally, when you have "dissonant" notes (ie: 7ths or suspensions, etc...) while you might not necessarily resolve them in a common-practice sense, it's important to understand that in a largely tonal context, they WILL tease the ear into WANTING a resolution. To get away with this effect without resolving, you will have to probably move a tiny bit further away from a really tonal sounding harmony.
I'd suggest that you at least treat thos "dissonant" notes as linearly as possible.
Even if they aren't resolving in the traditional sense, dissonant notes still require a bit of care. You may want to avoid leaping away from them, particularly if you're leaping from a dissonant note to yet another non-chord tone.
And again, this might be something you want to explore: having your dissonant tones move to other dissonant tones... it might create a strong sense of instability. However, be sure that the surrounding context is not so "common-practice" that it just ends up sounding like errors.
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"Those that know, do;
Those that understand, teach."
-Aristotle-
"toute audace engendrée par l'ignorance cesse d'être une audace et devient une maladresse"
-Debussy-
In musical criticism, when issues of craft and technical consideration are set aside, what remains is more subjective. However, until technical issues are dealt with, the subjective portion bears considerably less weight.
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