HORN (INSTRUMENT)

The 'horn' (also known as the 'French horn') is a brass instrument descended from the natural horn that consists of tubing wrapped into a coiled form. Modern horns have three or four finger-operated valves to help control the pitch. Someone who plays the horn is called a horn player or hornist.

Contents

General characteristics

History

Types of horns

Natural horn

Single horn

Double horn

Compensating double horn

Triple horn

Vienna horn

Marching horn

Wagner tuba

Other modifications

Repertoire

Notable horn players

Gallery

Footnotes and references

External links

General characteristics

The horn is a conical bore instrument much like the cornet and Saxhorns. This means the bore is tapered, steadily increasing in diameter along its length, unlike the trumpet and trombone which are considered cylindrical. Unlike most other valved brass instruments, which use piston valves, most modern horns use rotary valves, though earlier horns and some horns used in Austria and France still use pistons. Each valve toggles a length of tubing, changing the length of the instrument and therefore the pitch. Each length of tubing is a separate part, and is moved to adjust the tuning of the instrument, making them tuning slides. A modern double horn contains a total of 21 ft (6.4 meters) of tubing, including all tuning slides, although not all this tubing can be played at any one time.
Compared to the other brass instruments commonly found in the orchestra, the typical range of the horn is set an octave higher in its harmonic series, facilitated by its small mouthpiece and narrow leadpipe. In this range, the partials—notes available in a given valve combination simply by changing the frequency of the lip buzz—are closer together than on other brass instruments. This make the Horn more prone to playing wrong notes, even among professional players, due to not having precisely the proper lip tension.
Its conical bore is largely responsible for its characteristic tone, often described as "mellow". Horn music is often written in F, and sounds a perfect fifth lower than written, with the typical range starting at F-sharp immediately below the bass clef, to the C above the treble clef (sounding B below the bass clef to F at the top of the treble clef). Although this is the standard range found in classical repertoire, some players can play many notes beyond this range, both lower and higher.
Also important to note is that many pieces from Baroque to Romantic periods are written in keys other than F, with the player providing the final transposition to the correct pitch. This notion began in the early days of the horn before valves, when the composer would indicate the key the horn should be in (horn in D, horn in C, etc.) and the part would be notated as if it were in C. For example, a written C for horn in D would be transposed down a minor third, and played as an A on F horn. This tradition was only recently abandoned, being used as late as Wagner and Richard Strauss, albeit only for short passages (the majority of the piece being written for horn in F).

History

Early horns were much simpler than modern horns. These early horns were brass tubes with a flared opening (the bell) wound around a few times. These early "hunting" horns were originally played on a hunt, often while mounted. Change of pitch was effected entirely by the lips (the horn not being equipped with valves until the 19th century). The horn was used to call hounds on a hunt and created a sound most like a human voice, but carried much farther.
In orchestral settings, the horn (or, more often, pairs of horns) often invoked the idea of the hunt, or, beginning in the later baroque, determined the character of the key being played or represented nobility, royalty, or divinity.
Early horns were commonly pitched in B-flat alto, A, A-flat, G, F, E, E-flat, D, C, and B-flat basso. Since the only notes available were those on the harmonic series of one of those pitches, they had no ability to play in different keys. The remedy for this limitation was the use of crooks, i.e. sections of tubing of differing length that, when inserted, altered the length of the instrument, and thus its pitch.
Orchestral horns are traditionally grouped into "high" horn and "low" horn pairs. Players specialize to negotiate the unusually wide range required of the instrument. Formerly, in certain situations, composers would call for two pairs of horns in two different keys; for example, a composer might call for two horns in C and two in E-flat for a piece in c minor, in order to gain harmonics of the relative major unavailable on the C horns. Eventually, two pairs of horns became the standard, and from this tradition of two independent pairs, each with its own "high" and "low" horn comes the modern convention of writing the 1st and 3rd parts above 2nd and 4th.
Starting in the mid-18th century, hornists began to insert the right hand into the bell to change the length of the instrument, adjusting the tuning as much the distance between two adjacent harmonics depending on how much of the opening was covered. This offered more possibilities for playing notes not on the harmonic series. By the early classical period, the horn had become an instrument capable of much melodic playing.
Around 1815 the use of pistons (later rotary valves) was introduced, initially to overcome problems associated with changing crooks during a performance. The use of valves opened up a great deal more flexibility in playing in different keys; in effect, the horn became an entirely different instrument, fully chromatic for the first time, although valves were originally used primarily as a means to play in different keys without crooks, not for harmonic playing. That is reflected in compositions for horns, which only began to include chromatic passages in the late 19th century. When valves were invented, the French made smaller horns with piston valves and the Germans made larger horns with rotary valves. It is the German horn that is referred to in America as the French horn. Many traditional conservatories and players refused to transition at first, claiming that the valveless horn, or "natural horn", was a better instrument. Some musicians still use a natural horn when playing in original performance styles, seeking to recapture the sound and tenor in which an older piece was written.

Types of horns

Natural horn

:''Main article: Natural horn ''
The natural horn is the ancestor of the modern horn. It is essentially descended from hunting horns, with its pitch controlled by air speed, aperture (opening of the lips through which the air passes) and the use of the right hand moving in and out of the bell. Today it is played as a period instrument. The natural horn can only play from a single harmonic series at a time because there is only one length of tubing available to the horn player. The player has a choice of key through changing the length of tubing with crooks.

Single horn

Single horns use a single set of tubes connected to the valves. This allows for simplicity of use and a much lighter weight. They are usually in the keys of F or B-flat, although many F horns have longer slides to tune them to E-flat, and almost all B-flat horns have a valve to put them in the key of A. The problem with single horns was the inevitable choice between accuracy or tone - while the F horn had the "typical" horn sound, above third-space C accuracy was quite a big concern for the majority of players, This led to the development of the B-flat horn, which, although easier to play accurately, had a less desirable sound in the mid and low registers, and presented problems of its own. The solution was the development of the double horn. Today, single B-flat horns are used mainly by "high" horn players (1st and 3rd horns) and single F horns by students, as they are cheaper and lighter than double horns. Also, single horns (often B-flat, but sometimes F) are sometimes used by performers of jazz.

Double horn

Despite the introduction of valves, the single F horn proved difficult for use in the highest range, where the partials grew closer and closer, making accuracy a great challenge. An early solution was simply to use a horn of higher pitch -- usually B-flat. The use of the F versus the B-flat horn were a hotbed of debate between horn players of the late nineteenth century, until the German horn maker Kruspe produced a prototype of the "'double horn'" in 1897.
The double horn combines two instruments into a single frame: the original horn in F, and a second, higher horn keyed in B-flat. By using a fourth valve (operated by the thumb), the horn player can quickly switch from the deep, warm tones of the F horn to the higher, brighter tones of the B-flat horn. The two sets of tones are commonly called "sides" of the horn.
In the words of Reginald Morley-Pegge, the invention of the double horn "revolutionized horn playing technique almost as much as did the invention of the valve." [Morley-Pegge, "Orchestral," 195]
In the USA, the two most common styles ("wraps") of double horns are named Kruspe and Geyer (based on an earlier maker by the name of Knopf), after the first instrument makers who developed and standardized them. The Kruspe wrap locates the B flat change valve above the first valve, near the thumb. The Geyer wrap has the change valve behind the third valve, near the pinky finger (although the valve's trigger is still played with the thumb). In effect, the air flows in a completely different direction on the other model. Both models have their own strengths and weaknesses, and are a matter of personal choice among horn players. Kruspe wrap horns tend to be larger in the bell throat than the Geyer type.
In the UK and Europe the most popular horns are arguably those made by Gebr. Alexander, of Mainz (particularly the Alexander 103), and those made by Paxman in London. In Germany and the Benelux countries, the Alex. 103 is extremely popular. These horns do not fit strictly into the Kruspe or Geyer camps, but have features from both. Alexander prefer the traditional medium bell size, which they have produced for many years, whereas Paxman do offer their models in a range of bell throat sizes. In the United States, the Conn 8D is one of the most popular models in professional orchestras.

Compensating double horn

The first design of double horn did not have a separate set of slides pitched in F. Rather, the main key of the horn was B-flat (the preference of German horn players) and it could be played in F by directing air through the B flat slides, an F extension, and another set of tiny slides. This "compensated" for the longer length of the F slides, producing a horn now called the "compensating double". It was, and still is, widely used by European horn players because of its light weight and ease of playing, especially in the high register.

Triple horn

The current trend in the equipment that professional horn players are using is a gravitation toward the triple horn. This relatively new design was created to afford the player even more security in the high register. It employs not only the F and B-flat horns, but also a third, descant horn. This descant horn is usually pitched an octave above the F horn, though it can be pitched in E-flat alternatively. It is activated through the use of a second thumb valve. The triple horn was met with considerable resistance when it first appeared. Horn players were reluctant to spend far more money for a triple horn than they would for a double horn, and a feeling that using a triple horn to help with the high register was "cheating" was rampant amongst prominent horn players. Also, the horns were much heavier than the average double horn. Players noted that their arms became fatigued much faster. As these drawbacks were eliminated, the triple horn gained popularity. Like double horns, triple horns can come in both full and compensating wraps. Today, they can be found playing in many professional orchestras. Europe seems to have more openly accepted the triple horn than the United states. Their popularity continues to grow, and their impact on the modern horn scene still remains to be calculated.

Vienna horn

:''Main article: Vienna horn ''
The Vienna horn is a special horn used primarily in Vienna, Austria. Instead of using rotary valves or piston valves, it uses the Pumpenvalve. Unlike the modern horn, which has grown considerably larger internally (for a bigger, broader, and louder tone), and considerably heavier (with the addition of valves and tubing in the case of the double horn) the Vienna horn very closely mimics the size and weight of the natural horn, (although the valves do add some weight, they are lighter than rotary valves) even using crooks in the front of the horn, between the mouthpiece and the instrument. Although instead of the full range of keys, Vienna horn players usually use an F crook for most music, switching to an A or B-flat crook for higher pitched music (Beethoven 7th symphony, Bach, various Mozart and Haydn, etc).

Marching horn

The marching horn is a single horn, usually in B-flat, but can also be pitched in G (drum corps version, pre 2000) or F alto, is shaped more like a trumpet than a regular horn, with piston valves and a forward-pointing bell. These horns are generally considered better marching insturments than regular horns because their position is more stable, they project better, and they weigh less.
Sometimes, a derivative of the E-flat alto horn, commonly used in brass bands, called a mellophone is used. The first Mellophones, pitched in E-flat were shaped like a french horn, but had the chirality reversed to allow the trumpet player to cover Horn parts without making the difficult transition to playing with the left hand. Modern Mellophones are pitched in F alto, and, though they are usually played with a trumpet mouthpiece, their range overlaps the common playing range of the horn. This mouthpiece switch makes the Mellophone louder, but Mellophones are unpopular with Horn players because the mouthpiece change is difficult and requires a whole new technique. Another unpopular feature of the Mellophone is how it is played (with the right hand instead of the left, as with the French Horn), and is played with trumpet fingerings, which can confuse the horn player. Intonation is also a source of grief when playing the Mellophone.
In concerts, mellophones and marching horns have an inferior tone to regular concert horns, and are much more out of tune because the player cannot use their hand to improve tuning. For these reasons, marching horn is usually only played in marching bands and jazz bands, and not in concert settings.

Wagner tuba

:''Main article: Wagner tuba ''
The Wagner tuba is a rare brass instrument that is essentially a horn modified to have a larger bell throat and a vertical bell. Invented for Richard Wagner specifically for his work Der Ring des Nibelungen, it has since been written for by various other composers, including Bruckner and R. Strauss. It uses a horn mouthpiece and is available as a single tuba in B flat or F, or, more recently, as a double tuba similar to the double horn.

Other modifications

The triple horn (with an additional F or E-flat alto key) is slowly becoming more popular. It remains somewhat of a luxury item as it is both more expensive and heavier than more common double horns.
The horn, although not large, is awkward in its shape and does not lend itself well to transport. To compensate, horn makers can make the bell detachable. This allows for smaller and easier to manage horn cases. The player can attach the bell when performing. This also allows for different bells to be used on the same horn, somewhat alleviating the need for multiple horns for different styles.

Repertoire

The horn is most often used as an orchestral instrument, with its singular tone being employed by composers to achieve specific effects. Leopold Mozart, for example, used horns to signify the hunt, as in his ''Jagdsinfonie'' (hunting symphony). Once the technique of hand-stopping had been developed, allowing fully chromatic playing, composers began to write seriously for the horn. Telemann wrote much for the horn, and it features prominently in the work of Handel and in Bach's ''Brandenburg Concerto no. 1''. Gustav Mahler made great use of the horn's uniquely haunting and distant sound in his symphonies, notably the famous ''Nachtmusik'' (night music) section of his Symphony No. 7.
Many composers have written just one or a few notable works which have become established as favourites in the horn repertoire; this includes Poulenc (''Elegie'') and Saint-Saëns (''Concertpiece for horn and orchestra'', op. 94 and ''Romance''). Others, particularly Mozart, whose father Leopold and friend and patron Ignaz Leitgeb were both noted horn players, wrote extensively for the instrument including concerti and other solo works. Mozart's ''A Musical Joke'' satirises the limitations of contemporary horn playing, including the risk of selecting the wrong crook by mistake. By the end of the 18th Century the horn was sufficiently established as a solo instrument that the hornist Giovanni Punto became an international celebrity, touring Europe and inspiring works by composers as significant as Beethoven.^[1] Among horn players, the third movement of Beethoven's Ninth Symphony is famous for the extended solo found in the fourth horn part, which spans a range of greater than three octaves.
The development of the valve horn was exploited by romantic composers such as Richard Strauss, Bruckner and Mahler. Strauss's ''Till Eulenspiegels lustige Streiche'' (Till Eulenspiegel's merry pranks) contains one of the best known horn solos from this period.
Horn music in England had something of a renaissance in the mid 20th Century when Dennis Brain inspired works such as Britten's ''Serenade for Tenor, Horn and Strings'' and other works from contemporary composers such as Michael Tippett. Peter Maxwell Davies was commissioned by 50 amateur and professional UK horn players to write a horn piece to commemorate the 50th anniversary of Brain's death.
Much of the repertoire is scored as featured parts for the orchestral players, especially the principal horn. It is common for leading horn players to move from principal positions in the great orchestras to distinguished solo careers, a path followed by Brain and many since.

Notable horn players

★ Giovanni Punto, more famous than Beethoven, in his day

★ Hermann Baumann

★ Dennis Brain (Royal Philharmonic and Philharmonia Orchestras)

★ Barry Tuckwell (London Symphony Orchestra)

★ David Pyatt (youngest winner of the BBC Young Musician of the Year competition)

★ Philip Farkas (former principal of the Chicago Symphony, author, and developer of the Holton Farkas horn)

★ Dale Clevenger (current principal of the Chicago Symphony)

★ Philip Myers (current principal of the New York Philharmonic)

★ Vince De Rosa (LA Recording Artist)

★ James Thatcher (LA Recording Artist)

★ James Sommerville (principal of the Boston Symphony)

Gallery

Footnotes and references

1. Opus 17 for horn and piano, written by Beethoven for himself and Punto

External links

★ International Horn Symposium

★ Thefrenchhorn.net by Ameerah Morsy

★ The International Horn Society

★ British Horn Society

★ hornplayer.net

★ The Horn Player's FAQ

★ Horn maintenance at Paxman (compiled with the assistance of Simon de Souza)

★ Image guide about how to dismantle a horn's rotary valve

★ Quicktime movie, first steps of making a horn by hand

★ How the valved horn emerged from the early Industrial Revolution