Student Instrument Guide and Technique Assignments
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Every year at MVHS, your first semester project will be to complete this Instrument Guide. Download the attachment above and begin working on it as soon as possible. Different parts of the assignments will be due throughout the first semester. We hope you will find this information beneficial to your understanding of your instrument. This project is in conjunction with Mr. Scherr’s Master Degree through the American Band College.
Index
The French Horn Family Equipment and Materials - Parts of the French Horn - Required Equipment - Body Materials Maintenance, Instrument Brands, Upgrades Brands of French Horn Purchasing a French Horn Playing Posture French Horn Embouchure Tone Concepts Vibrato Tone Production Problems and Remedies Fingerings Charts Common Pitch Problems - Tuning Guide Warm Up Suggestions Method Books Solo Literature Extended Technique Resources and Helpful Links YouTube Videos |
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Styles of Horns
Most French horns being played in the U.S. are based on one of two well-known designs. They are either Kruspe-style horns or Geyer-style horns. In Europe, the Geyer-style is sometimes called Knopf-style.
Sound influenced by design
Although a French horn’s sound is most dependent on the mental concept that the player has, there are some general characteristics of each of these two designs. For example, the Geyer-style horn is usually described as brighter, warmer, and more compact. The Kruspe-style horn is usually described as darker, cooler, and broader.
Geyer-style
Geyer-style horns are best known for having been played in Chicago and Boston. Kruspe-style horns, especially the Conn 8D, are best known for having been played in Cleveland, New York, and Los Angeles. Players in other parts of the U.S. have traditionally used either one of these two horn designs and are often used in mixed sections.
The Geyer-style horn The Geyer-style horn traditionally has a smaller, medium-sized bell and bell throat. This smaller bell throat is most of the reason for its more compact sound but its warmer sound is usually attributed to its brass composition and lighter weight. It is usually played off the knee with the player holding it in the air, not touching the body.
The Kruspe-style
Horn The Kruspe-style horn traditionally has a larger bell and bell throat. This larger bell throat is most of the reason for its broader, darker sound but its heavier weight and nickel-silver composition also adds to its darker sound, especially in softer passages. It is usually played on the knee, touching the body and that position dampens its resonance a bit.
Thumb triggers Unrelated to tone color is the difference in the thumb trigger design. The Geyer-style horn uses a trigger that pushes a long rod to change the Bb flat valve, which is found farther away from the player, inline with the other valves. This is said to provide smoother slurs, but causes more delay in moving the trigger quickly.
The Kruspe-style horn has a trigger that works a Bb valve that is closer to the player’s thumb. Its convenient placement makes it slightly quicker and more reliable, but it does not enhance slurring like the inline Geyer-style valve does.
Common examples The most common examples of the Geyer-style horn in the U.S. are the Yamaha YHR667 and the Conn 10D. The most common examples of the Kruspe-style horn are the Conn 8D, the Holton H-179, and the Yamaha YHR668.
Many European horns are also based on one of these two designs but other designs and variations do exist such as the Alexander 103 from Germany and the Paxman horns from England.
Sound influenced by design
Although a French horn’s sound is most dependent on the mental concept that the player has, there are some general characteristics of each of these two designs. For example, the Geyer-style horn is usually described as brighter, warmer, and more compact. The Kruspe-style horn is usually described as darker, cooler, and broader.
Geyer-style
Geyer-style horns are best known for having been played in Chicago and Boston. Kruspe-style horns, especially the Conn 8D, are best known for having been played in Cleveland, New York, and Los Angeles. Players in other parts of the U.S. have traditionally used either one of these two horn designs and are often used in mixed sections.
The Geyer-style horn The Geyer-style horn traditionally has a smaller, medium-sized bell and bell throat. This smaller bell throat is most of the reason for its more compact sound but its warmer sound is usually attributed to its brass composition and lighter weight. It is usually played off the knee with the player holding it in the air, not touching the body.
The Kruspe-style
Horn The Kruspe-style horn traditionally has a larger bell and bell throat. This larger bell throat is most of the reason for its broader, darker sound but its heavier weight and nickel-silver composition also adds to its darker sound, especially in softer passages. It is usually played on the knee, touching the body and that position dampens its resonance a bit.
Thumb triggers Unrelated to tone color is the difference in the thumb trigger design. The Geyer-style horn uses a trigger that pushes a long rod to change the Bb flat valve, which is found farther away from the player, inline with the other valves. This is said to provide smoother slurs, but causes more delay in moving the trigger quickly.
The Kruspe-style horn has a trigger that works a Bb valve that is closer to the player’s thumb. Its convenient placement makes it slightly quicker and more reliable, but it does not enhance slurring like the inline Geyer-style valve does.
Common examples The most common examples of the Geyer-style horn in the U.S. are the Yamaha YHR667 and the Conn 10D. The most common examples of the Kruspe-style horn are the Conn 8D, the Holton H-179, and the Yamaha YHR668.
Many European horns are also based on one of these two designs but other designs and variations do exist such as the Alexander 103 from Germany and the Paxman horns from England.
Types of Horns
Q. What's the difference between single horn and a double horn?
The double horn in F/Bb is the choice of most professionals as their own instrument.
Single F Horn:
Single Bb Horn:
Double Horn
Triple Horn
- A double horn has four valves instead of three.
(The double horn has a thumb valve.)
- A double horn has more slides to adjust.
- A double horn is a bit heavier, although not any larger in size.
- A double horn uses different fingerings in the high range.
(It can also use the single F horn fingerings, if desired.)
The double horn in F/Bb is the choice of most professionals as their own instrument.
Single F Horn:
Single Bb Horn:
Double Horn
Triple Horn
Maintenance / Instrument Brands / Upgrades
Playing Posture
Correct posture is important to comfortably producing a good tone on the horn, as with any wind instrument. Using a poor posture can result in wavering pitch, inadequate air support, pinched or hollow sound, and various other playing difficulties.
While playing, the player's back and neck must always be in line. It is recommended that hornists (and most wind instrumentalists) sit with their backs off the back of the chair and feet flat on the floor for a slight "leaning forward" feeling. The most important thing to remember is that the posture must be as upright as possible without causing any excess tension; the entire body must be as relaxed as possible to avoid tension creeping into the sound.
Only the tips of the fingers should be placed on the valve levers. This allows for faster depression of valves, allowing the player to change pitches properly.
Correct posture will allow one to adjust dynamics more correctly and produce a better sound.
While playing, the player's back and neck must always be in line. It is recommended that hornists (and most wind instrumentalists) sit with their backs off the back of the chair and feet flat on the floor for a slight "leaning forward" feeling. The most important thing to remember is that the posture must be as upright as possible without causing any excess tension; the entire body must be as relaxed as possible to avoid tension creeping into the sound.
Only the tips of the fingers should be placed on the valve levers. This allows for faster depression of valves, allowing the player to change pitches properly.
Correct posture will allow one to adjust dynamics more correctly and produce a better sound.
Breathing
When you breathe for air when playing the horn, make sure that you do so, grabbing as much air as possible in the shortest time possible, without changing your embouchure. A good way to do this is though the nose, or on the sides of the mouth, if your mouth is big enough. But it is important that you never 'fall' from a note to take a breath.
What you can do to conserve more air, is to sit at the very tip-corner right side of the chair. Cushions (sofas, loveseats, ect.) are unnacceptable because it is to easy to slouch, even when you do not realize it. So, it is best to play on a actual 'chair', ideally with no backing.
It is often the best to include several breathing exercises in your daily warm-up routine. All are done in common time. When inhaling, make your mouth wider, but when exhaling, make it smaller, so that you have to push air though your mouth. Here are some exercises:
Assume 'b' is beat Assume 'c' is crescendo Assume 'dcr' is decrescendo
Breathe in for 4b, release for 4b
Breathe in for 4b, release for 8b
Breathe in for 4b, release for 12bc
Breathe in for 2b, release for 4b
Breathe in for 4b, release for 10bcd
and so forth.
What you can do to conserve more air, is to sit at the very tip-corner right side of the chair. Cushions (sofas, loveseats, ect.) are unnacceptable because it is to easy to slouch, even when you do not realize it. So, it is best to play on a actual 'chair', ideally with no backing.
It is often the best to include several breathing exercises in your daily warm-up routine. All are done in common time. When inhaling, make your mouth wider, but when exhaling, make it smaller, so that you have to push air though your mouth. Here are some exercises:
Assume 'b' is beat Assume 'c' is crescendo Assume 'dcr' is decrescendo
Breathe in for 4b, release for 4b
Breathe in for 4b, release for 8b
Breathe in for 4b, release for 12bc
Breathe in for 2b, release for 4b
Breathe in for 4b, release for 10bcd
and so forth.
Steps in Putting the Hand in the Bell Correctly
The American Method
The French Method
If you experiment with both of these positions, you will quickly learn how much the placement of the hand in the bell affects the overall timbre and volume of the instrument.
Miscellaneous Information
The hand should certainly "disrupt" the sound coming out of the bell. Otherwise, there would be no point to having the hand it the bell. However, the hand should not be disturbing the sound enough to cause it to sound stuffy.
Visually depicted, one should imagine as though sound is emerging as a stream of water and the palm is carefully guiding the stream along the back of the forearm.
- Assemble right hand as though it is going to be shaking another hand.
- Bring the thumb in so it points in the same direction as the other fingers.
- Place the hand inside the bell with the metal touching the back of the hand.
The French Method
- Hold right hand out flat with palm down and drop thumb to create a 90-degree angle with fingers.
- Place the hand inside the bell until the thumb hits the bottom wall of the bell.
If you experiment with both of these positions, you will quickly learn how much the placement of the hand in the bell affects the overall timbre and volume of the instrument.
Miscellaneous Information
The hand should certainly "disrupt" the sound coming out of the bell. Otherwise, there would be no point to having the hand it the bell. However, the hand should not be disturbing the sound enough to cause it to sound stuffy.
Visually depicted, one should imagine as though sound is emerging as a stream of water and the palm is carefully guiding the stream along the back of the forearm.
French Horn Embouchure
Embouchure is extremely important to producing a good sound on the horn. There are many different opinions as to which embouchure is "correct". However, a standard technique exists that most other embouchure styles are based upon:
- The corners of the lips must do the majority of the work of forming the embouchure. If the corners are not firm, then the player will be forced to push the mouthpiece hard against the lips, which will result in an unpleasant tone quality.
- No part of the embouchure should be tight except for the corners. In particular, the lips must not be jammed together. If the lips are too tight and/or jammed together, the horn will sound very bad, if it can produce a sound at all.
- Thus, a good embouchure has firm, tight corners, and the rest of the embouchure is loose. The lips should be slightly apart in the center so that the air can vibrate the lips easily. Forcing the air is a bad idea. The lips must be able to vibrate constantly and freely without requiring the pressure of the mouthpiece.
Mutes
Stopping Mute
Stopping mutes are often made of metal and are somewhat pear-shaped. Its use will have the same effect as completely closing off the bell with your right hand ("hand-stopping"), which is generally preferred over using the mute. It is very important to note that this will cause the note to jump up a half-step, so you will need to finger down a half-step. If, when hand-stopping, you find that the tone jumps down a half-step rather than up, it is because you are not completely closing off the bell. Make sure that there are no gaps between your fingers. It is not uncommon for there to inadvertently be a gap between your thumb and your index finger. If you want proof that jumping down a half-step is not correct, try playing a concert E arpeggio with open valves, hand-stopped. A + sign over the note indicates to start using the stopped horn (either hand stop or use the stopping mute) and o means to return to regular, unstopped horn. In other words, + means stop, and o means go.
Straight Mute
This type of mute does not require as much explanation. There is no alternative to the straight mute in music that calls for it. Straight mutes are usually cone-shaped and made of wood, but some are made of metal. con sord. (short for con sordino, Italian for "with mute") means to insert the straight mute. senza sord. (senza sordino - "without mute) means to remove it. Most straight mutes have wrist straps. It is strongly recommended that you hang the mute on your right wrist before beginning a piece that calls for it.
Practice Mute
Practice mutes are never used in concerts, thus their name. They simply make your sound much, much quieter to avoid disturbing others when you have to practice in hotel rooms, etc.
With any type of mute, it is a good idea to twist it slightly when you insert it into your bell. This will make it more secure and prevent it from falling out.
Stopping mutes are often made of metal and are somewhat pear-shaped. Its use will have the same effect as completely closing off the bell with your right hand ("hand-stopping"), which is generally preferred over using the mute. It is very important to note that this will cause the note to jump up a half-step, so you will need to finger down a half-step. If, when hand-stopping, you find that the tone jumps down a half-step rather than up, it is because you are not completely closing off the bell. Make sure that there are no gaps between your fingers. It is not uncommon for there to inadvertently be a gap between your thumb and your index finger. If you want proof that jumping down a half-step is not correct, try playing a concert E arpeggio with open valves, hand-stopped. A + sign over the note indicates to start using the stopped horn (either hand stop or use the stopping mute) and o means to return to regular, unstopped horn. In other words, + means stop, and o means go.
Straight Mute
This type of mute does not require as much explanation. There is no alternative to the straight mute in music that calls for it. Straight mutes are usually cone-shaped and made of wood, but some are made of metal. con sord. (short for con sordino, Italian for "with mute") means to insert the straight mute. senza sord. (senza sordino - "without mute) means to remove it. Most straight mutes have wrist straps. It is strongly recommended that you hang the mute on your right wrist before beginning a piece that calls for it.
Practice Mute
Practice mutes are never used in concerts, thus their name. They simply make your sound much, much quieter to avoid disturbing others when you have to practice in hotel rooms, etc.
With any type of mute, it is a good idea to twist it slightly when you insert it into your bell. This will make it more secure and prevent it from falling out.
Mellophone Embouchure
Fingerings
Tone Concepts
Horn players used to debate the subject of the perfect horn sound. The only conclusion that most came to was that there is no one ideal sound. Professional players will simply tell you that you should fit in with the prevailing standard in your region of the country in order to get work and to blend well in your ensembles.
Bright or dark Many players describe horn sounds as either bright or dark. Some describe horn sounds as either warm or cool. Others describe horn sounds as either compact and centered or full and broad. Since it is hard to even describe the sound of the horn, how is one to decide what kind of sound to develop?
The well-supported sound There is general agreement that a good sound is one that is well-supported by air. It begins with the player taking in a full, relaxed breath, spins forth on a wave of focused energy and maintains a consistent, relaxed fullness all the way to the end of each phrase. It should be a round sound, not a pinched one, and it should not be brassy except when asked for in the score.
Your air support should extend throughout all registers and throughout all dynamics. You should not artificially constrict your throat in order to play softly or to reach the high notes. You should not unnecessarily tighten the chest or force your sound forward in order to play louder. Your body mechanics should work in cooperation with the air stream and the physics of the horn itself in order to render just the minimum muscle tension necessary to do the job.
Bright or dark Many players describe horn sounds as either bright or dark. Some describe horn sounds as either warm or cool. Others describe horn sounds as either compact and centered or full and broad. Since it is hard to even describe the sound of the horn, how is one to decide what kind of sound to develop?
The well-supported sound There is general agreement that a good sound is one that is well-supported by air. It begins with the player taking in a full, relaxed breath, spins forth on a wave of focused energy and maintains a consistent, relaxed fullness all the way to the end of each phrase. It should be a round sound, not a pinched one, and it should not be brassy except when asked for in the score.
Your air support should extend throughout all registers and throughout all dynamics. You should not artificially constrict your throat in order to play softly or to reach the high notes. You should not unnecessarily tighten the chest or force your sound forward in order to play louder. Your body mechanics should work in cooperation with the air stream and the physics of the horn itself in order to render just the minimum muscle tension necessary to do the job.
Horn Accuracy: Achieving a Physical Memory of Notes on Horn
Matching the Aural Component with the Physical Component
- Play notes with a soft breath attack. (Soft Touch)
- If the note starts below the intended note the air was to slow
- If the note started above the intended note the air was to fast
- Play notes with a soft breath attack. (Soft Touch)
- If the note starts below the intended note the air was to slow
- If the note started above the intended note the air was to fast
Low Register and Upper Register
Common Pitch Problems - Tuning Guide
Stopped Horn, Eco Horn
Stopped Horn
- Hand needs to go in the bell as far as possible
- "All" (but in some cases cases) Stopped horn fingers should be done on the F side of the horn.
- Stopped horn needs much more air is very intense. A lot of compressed air (Imagine blowing a marble through a coffee straw)
Eco Horn
- Paralytically closed (2/3 to 7/8th) stopped
- Players must ready up a half step
- Hand needs to go in the bell as far as possible
- "All" (but in some cases cases) Stopped horn fingers should be done on the F side of the horn.
- Stopped horn needs much more air is very intense. A lot of compressed air (Imagine blowing a marble through a coffee straw)
Eco Horn
- Paralytically closed (2/3 to 7/8th) stopped
- Players must ready up a half step
Method Books
- Kopprasch
- Maxime-Alphonse
- Pottag
- Gallay
- Advanced Method French Horn Vol. I
Solo Literature
Extended Technique
As always with contemporary techniques, the notation is not standardized so the composer should include very clear instructions to the performer as to the desired effects and their intended method of execution.
EXTENDED TECHNIQUES:
-highest note possible
(often a pinched sound with some additional static; request “with a clear tone” to guarantee that the performer will not attempt a pitch above his controlled range)
-lowest note possible
(a soggy, uncentered and perhaps wavering sound, very slow to speak; request “with a solid sound” to avoid an over-attempt for range if so desired)
-plunger mute
(“wa wa” possible; not frequently used; numerous pitch problems; must describe degree of cover desired)
-cup mute
(hollow, somewhat covered sound; may project a jazz-like quality; not frequently used and not readily available; allow at least 5 seconds before and after use)
-whispa mute
(very distant, completely muffled sound; also called a practice mute; very seldom used)
-glass mute
(12 oz. bottle with small neck; a hard, less vibrant sound that a straight mute; not frequent but effective)
-cloth mute
(medium sized rag; totally muffled sound; many pitch problems; usable in the middle and upper registers)
-gradual transition
(mute to open, vice versa)
-unmeasured rapid mute changes
(a subtle wa-wa effect in upper two octaves; may project more like a timbral “vibrato”; very subdued effect, must less audible than other brasses; mute might hit the bell surface)
-rhythmic mute changes
(a prescribed rhythmic application of the subtle wa-wa effect)
-unmeasured rapid mute changes with multiple tonguing
(non-coordinated combination of effect which works best in second octave because of the occasional break; causes an almost cartoon-like sound; quite effective in multiple voice groupings)
-¾ stopped or ½ stopped
(most effective from pp-mf; excellent echo effect; use instead of cloth mute)
-half-step hand glissando
(a smooth slide to the subsequent note with an obvious tone color change; effective, often-used; gives a sigh-like sound)
-unmeasured rapid hand changes with multiple tonguing or rapid tonguing
(much more versatile that rapid mute movements and more audible; volume will fluctuate between the open and closed sounds)
-“scoop up” into a note, “scoop down” into a note
(tends to have jazz connotations)
-attack without the use of the tongue (“h”) and rhythmically undulate the air flow
-intentionally sloppy attack
-flutter tongue
-spit tongue attacks (very short, loud, sudden, indiscriminate pitch; purse lips together as in the consonant “p” and force out what little air is between the tongue and the aperture approximating the sound “pt”)
-flexible speed trills
-alternating trills (between half and whole step)
-contour glissando (a smooth, elongated, gliding glissando which follows the approximate contour designated in the notation; do suggest the use of half valve)
-slow glissando (a very gradual slide to the resultant note)
-half-valve harmonic (a double tone with the upper octave ringing as if from a distance; play a c2 on the F horn and partially depress the first valve until the upper octave appears)
-white noise pitch (an actual pitch with added and consistent static; difficult to sustain; good flexibility not likely; not possible at loud extremes or mid and low ranges; flatten or clamp down the aperture opening and force air through, holding a consistent distortion of the tone)
-sucked pitch (a kissing or squealing sound of indefinite pitch, possible only in mid to high ranges; suck air inward through the aperture causing a vibration at the lips which will be amplified by the horn)
EXTENDED TECHNIQUES:
-highest note possible
(often a pinched sound with some additional static; request “with a clear tone” to guarantee that the performer will not attempt a pitch above his controlled range)
-lowest note possible
(a soggy, uncentered and perhaps wavering sound, very slow to speak; request “with a solid sound” to avoid an over-attempt for range if so desired)
-plunger mute
(“wa wa” possible; not frequently used; numerous pitch problems; must describe degree of cover desired)
-cup mute
(hollow, somewhat covered sound; may project a jazz-like quality; not frequently used and not readily available; allow at least 5 seconds before and after use)
-whispa mute
(very distant, completely muffled sound; also called a practice mute; very seldom used)
-glass mute
(12 oz. bottle with small neck; a hard, less vibrant sound that a straight mute; not frequent but effective)
-cloth mute
(medium sized rag; totally muffled sound; many pitch problems; usable in the middle and upper registers)
-gradual transition
(mute to open, vice versa)
-unmeasured rapid mute changes
(a subtle wa-wa effect in upper two octaves; may project more like a timbral “vibrato”; very subdued effect, must less audible than other brasses; mute might hit the bell surface)
-rhythmic mute changes
(a prescribed rhythmic application of the subtle wa-wa effect)
-unmeasured rapid mute changes with multiple tonguing
(non-coordinated combination of effect which works best in second octave because of the occasional break; causes an almost cartoon-like sound; quite effective in multiple voice groupings)
-¾ stopped or ½ stopped
(most effective from pp-mf; excellent echo effect; use instead of cloth mute)
-half-step hand glissando
(a smooth slide to the subsequent note with an obvious tone color change; effective, often-used; gives a sigh-like sound)
-unmeasured rapid hand changes with multiple tonguing or rapid tonguing
(much more versatile that rapid mute movements and more audible; volume will fluctuate between the open and closed sounds)
-“scoop up” into a note, “scoop down” into a note
(tends to have jazz connotations)
-attack without the use of the tongue (“h”) and rhythmically undulate the air flow
-intentionally sloppy attack
-flutter tongue
-spit tongue attacks (very short, loud, sudden, indiscriminate pitch; purse lips together as in the consonant “p” and force out what little air is between the tongue and the aperture approximating the sound “pt”)
-flexible speed trills
-alternating trills (between half and whole step)
-contour glissando (a smooth, elongated, gliding glissando which follows the approximate contour designated in the notation; do suggest the use of half valve)
-slow glissando (a very gradual slide to the resultant note)
-half-valve harmonic (a double tone with the upper octave ringing as if from a distance; play a c2 on the F horn and partially depress the first valve until the upper octave appears)
-white noise pitch (an actual pitch with added and consistent static; difficult to sustain; good flexibility not likely; not possible at loud extremes or mid and low ranges; flatten or clamp down the aperture opening and force air through, holding a consistent distortion of the tone)
-sucked pitch (a kissing or squealing sound of indefinite pitch, possible only in mid to high ranges; suck air inward through the aperture causing a vibration at the lips which will be amplified by the horn)
Famous Players and Recordings
Dennis Brain (1950’s England)
Herman Baumann (1970’s Germany)
Gregory Hustis (1990’s USA – Texas)
Froydis Ree Wekre (1990’s – Scandinavia)
Barry Tuckwell (1980’s England)
Dale Clevenger (1990’s USA – Chicago)
Gail Williams (1990’s USA – Chicago)
Vincent deRosa (1970’s USA – Los Angeles)
Myron Bloom (1960’s USA -- Cleveland)
Herman Baumann (1970’s Germany)
Gregory Hustis (1990’s USA – Texas)
Froydis Ree Wekre (1990’s – Scandinavia)
Barry Tuckwell (1980’s England)
Dale Clevenger (1990’s USA – Chicago)
Gail Williams (1990’s USA – Chicago)
Vincent deRosa (1970’s USA – Los Angeles)
Myron Bloom (1960’s USA -- Cleveland)
References & Helpful Links
http://www.horntutor.com
The Perfect Horn Sound by Kerry C. England Music Director, Indiana Horn Ensemble French horn teacher, Purdue University |
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