Since its early development in the 16th century, chamber music has had an extensive evolution. In recent years as composers have become more experimental concerning instrumentation in chamber music settings, many have began to combine wind instruments with percussion, thus creating a new genre. Even more specific genres have evolved from these happenings in chamber music, such as the duo of a solo wind instrument paired with a mallet percussion instrument. The horn, an important and diverse figure amongst the chamber music literature, has been no exception to this development. There has been an increase in popularity of music for horn and mallet percussion to be performed and recorded, but there has not been an extensive amount of scholarship on the topic. This study will focus exclusively on three works for horn and mallet percussion: HornVibes (1984) by Verne Reynolds, Sonata for Horn and Marimba (1986) by Charles Taylor, and The Call of Boromir (1996) by Daniel McCarthy. These works were selected based on their availability through professional recordings and publishing companies. Coincidentally, the three chosen works for this study were composed for Leslie and Christopher Norton. The purpose of this paper is to provide a performance guide for horn players who are considering these three works for a performance. It contains an introduction that displays the need for the study, a review of the role of the horn in chamber music, an explanation of the events leading up to the study, and methods used to conduct the study. For each individual work, there is a chapter containing a brief biography of the composer, an analysis, and performance preparation suggestions. Musical examples and tables are used in each chapter to aid in explanation. The goal of this performance guide is to provide an introduction to a newer genre of chamber music, and to provide horn players with insight and recommendations in order to properly prepare and perform works for this unique ensemble.