Natural Horns vs Valved Horns

The full implications for the choice of these two fundamentals may be better evaluated after combining the two harmonic series as given in Fig. B-4.

From this multitude of natural horns, the valve horn in F has emerged as the generally accepted, sole survivor for orchestral scoring. Valve combinations change the fundamental of this instrument, thereby producing a full chromatic scale throughout its entire compass. It now serves as an all-purpose, "all-in-one" instrument. Its universal adoption does, however, require the player to make the transpositions from the older notations, along with those parts written in C by a few twentieth-century composers.

The horn in F has the advantage of being a middle-range instrument which places its best-playing two-octave spread where it is most needed. Its highest "insecure" tones are made more playable by the use of a double horn in F and Bb with a fourth valve. With this extra valve, these top notes become less difficult even for the inexperienced player.

PLAYING CHARACTERISTICS OF THE HORN IN F

The extraordinary blending qualities of the horn, its eloquent power as a solo instrument, plus its usefulness in adding strength and substance to the strings and wood-winds, distinguish it as the most valued member of the brass section. Its middle two octaves have an evenness of tone which is ideal either alone or in combination with other instruments. The lowest augmented fourth, starting on F, is noticeably weaker in carrying power than the middle or higher ranges, and this tonal difference prevails in loud passages regardless of the amount of unison doubling. This characteristic is not so serious a handicap in exposed solo passages in moderately soft dynamics. The highest sixth of its range demands a firm, sure embouchure and good breath control, which combine to make it a precarious range for the average player, especially if a double horn is not used. These highest tones are particularly difficult to control in the softer dynamic levels.

The horn is a peerless solo instrument capable of great expressiveness. Although its best results are obtained in comparatively slow tempos, the more rapid passages sound surprisingly clear and vital. Horn tone is distinguishable from the other brass instruments in that it is rounder, mellower, and slightly less precise in its attacks. Accents are less sharp and biting than those of trumpets and trombones. There is strength and weight, without coarseness. Some representative solo passages which illustrate its versatility are given in Example B-3.

Doubling Woodwinds and Strings

The horns are unexcelled in adding depth and substance to melodic lines and figurations in the strings and/or woodwinds. This applies to doublings with the horn either in unison or octaves and is particularly rewarding in the softer dynamics where there may be multiple-voice accompaniments. It is a scoring combination to be found quite frequently in the works of the Romantic composers.

Other forms of doubling include outlining (Example B-5a) and chord repetitions derived from melodic figurations (Example B-5b). Both types have tonal depth without distortion of the principal melodic ideas.

Horns have a second method of producing stopped, or muted, tones in addition to that made with a mute. It is achieved by combining lip tension and overblowing with the hand inserted far into the bell. Notation for this effect has crosses ( + ) over each note, usually with the word "brassy" or "cuivre" and a circle ( o ) over the note which starts the resumption of normal playing. The tone quality of notes thus stopped has a nasal, metallic twang in the stronger dynamics and a thin, distant sound at the softer levels. When used for accents, the attack is sharp and biting. The following example illustrates the markings for both types of stopped tone.

No other instrument has the same capacity for binding harmonic elements together with such sure results. A single note, sustained from a harmonic progression, can often create greater coherence and continuity than whole chords sustained in other sections. This unique feature of the horn has been fully exploited by composers of all periods.

Parts for natural horns are in three general categories: (1) short melodic phrases rather than full-length melodies, (2) limited sustaining elements, and (3) semifanfare figurations developed from the principal triads usually for cadences. In category 3, trumpets and timpani were invariably combined with the horns. Notation was necessarily diatonic and became a somewhat stereotyped formula.