George Frederick McKay · section 18 of 111

The Horn

The horn is the most difficult instrument to articulate and, in writing for it, care must be taken to allow the player to "recuperate" and to prepare for his next entrance. The horn player cannot skip from one register to another very easily. The part should be written to move smoothly and consistently within a practicable pitch locale.

Originally the horn had no valves and was capable of only a limited use. The modern horn has a much wider capability and need no longer be thought of as a subordinate or background instrument. If given sufficient time between each entrance, the modern horn player is capable of playing almost any reasonably written part. Legato demands must allow for sufficient breathing. Staccato design must not be too rapid or too long.

As the top of its range is approached, the tone of the horn becomes extremely difficult to produce, and therefore can get too tense and vivid. Because of the extra long tubing of the horn it is possible for the player to produce certain unique and wonderfully deep low tones.

These bass clef tones are rather uncommon but possible for most players, but they cannot be produced in rapid succession or with a pointed staccato. When writing for this unusual register, give the player time to find, produce and terminate each tone.

When the horn is muted the tone is surprisingly insubstantial but, because of the mysterious, distant effect, very attractive. By inserting the hand in the bell the horn may be partially muted or "stopped"; this causes a sound which is mellower and less distant. To indicate this effect, write "stopped horn" at the point where it is desired.

The ordinary horn tone may be made bland or raucous, depending upon the amount of "rattle" or "buzz" that the player

imparts to the tone, and the composer can ask for varying degrees of gentleness or vigor by indicating the character of sound desired: e.g., sotto voce, "rough," "flexible," etc.

Hear the famous and challenging horn solo at the beginning of Till Eulenspiegel by Strauss. Also listen for the vigorous use of horn in the "Millers Dance" from The Three Cornered Hat by de Falla, the long solo line at the beginning of Pastorale d'été by Honegger and the opening horn call in the Oberon overture by von Weber.