Horn Stuff

The Horn may be played seated or standing. For short students, the bell is to be at the side of the body. For average or tall students, the bell should rest on the thigh.(The bell should be directed away from the body)

The right hand should be used to "deflect" rather than muffle the sound. The trick to effective right hand placement is to cup the hand, with the thumb resting on the index finger and the back of the hand placed against the far side of the bell or on the bottom of the bell. The many uses of the right hand include, muting, stopping, changing the tone colour and adjusting intonation.

The left hand should curve in a "C" form, with the first three fingers resting on the valve lever.

The mouthpiece should be centred (side to side) on the lip with 2/3 of the mouthpiece placed on the upper lip. Lip should be wet while while playing.

With regards to body position, weight should be balanced on the chair ( if seated ) or on the balls of the feet ( if standing ). Your back should be straightwith your head/body drawn upward. It is important that your arms/shoulders are relaxed and not exerting excessive pressure on the lips.

An embouchure is defined as the structure/formation of the lips, jaws and facial muscles which enables the student to produce a tone on a musical instrument.

Some important points common to all horn players are mentioned below.

1. The angle of the mouthpiece should be such that pressure is evenly distributed between the upper and lower lip.
2. Lips should be against the teeth, "P" consonant.
3. Teeth slightly apart
4. Airstream is directed straight into the mouthpiece ( not up or down )
5. Avoid "bunching up" the chin ( esp. in the high range ) by maintaining a visible "U" shape.
6. Keep the corners firm at all times in all registers.

Mouthpiece buzzing is a helpful aid in working the embouchure. Use the mirror to check yourself and avoid stretching the lips into a smile by slightly puckering them.

A combination of ear/embouchure coordination results in accuracy and it is important for Horn players to develop the ability to hear pitches before they are played. Use daily warm-ups to focus the ear and lip. With constant practise, the embouchure learns to memorize the lip setting for each pitch. Always sing difficult phrases first, then buzz them on the mouthpiece and finally add the horn.

Establish a consistent daily routine that works for you and keep the overall purpose in mind - loosen up those muscles. Area to touch on include:

1. Lip flexibility - use lip slur exercises over the entire range.
2. Tone quality - long tone exercises in moderation to avoid fatigue.
3. Breathing
4. Intonation - use a tuner for reference.
5. Ear training - focus the lips and ear.
6. Review fundamentals ( i.e. articulation, dynamic ranges, etc. )
7. Expand playing range, both up and down.

Many factors influence the success/failure of your horn section.

1. Condition of instruments - Are all the instruments clean, well lubricated and in good repair.
2. Fingerings - All the players should be checked for incorrect fingering,( Any false or alternate fingering?)
3. Accuracy - Is each person playing the correct note?( esp. the inner parts )
4. Hand position - Check the right hand position of all the players.
5. Intonation - Check that each horn is in tune with itself, with the section and with the whole ensemble.

Tuning the horn can be a headache so here are a few tips on how to tune a horn effectively. Usually the 1st slide from the mouthpiece is the main or combination tuning slide. On the double horn, the F tuning slide is usually the main tuning slides. A few double horns ( Holten, Reynolds, Yamaha ) have a separate Bb tuning slide.( A little one in front ) Always tune open pitches first. On the double horn, always tine the Bb side first.

1. Use the combination slide, tune top line F and 3rd space C.
2. Proceed chromatically from the F or C tuning each valve slide. ( valve 2, valve 1, valve 1 & 2, valve 3, valve 2 & 3 )
3. Tune the open F horn with the F tuning slide.
4. Tune the valve slides on the F side os the horn. ( As above )

Due to the history of the horn, transposition is a necessary skill the horn player must acquire. The most common transposition for band is Eb. Other common transpositions are E, D, C, Bb all down and G & A (up)

A well cared for horn will last many years and make the player's job much easier. Major repairs will be avoided and the total repair time and cost will be minimal.

Daily maintenance - Empty water after each playing session and wipe down the valves and the bell section (remove skin acid). Securely store the horn in its case.

Weekly maintenance - Oil valves in three places:

1. Unscrew the cap and oil the bearing.
2. The underside post - the space between the axle and its bearing.
3. The valve itself by placing oil in the valve slide, rotating the horn to the upside down position and allowing oil to drain into the valves.

Monthly or periodic maintenance - Clean the entire instrument with warm water and dish soap. ( Warm water cuts the grease without damaging the finish. Hot water makes the lacquer peel off.

1. Use a bathtub or a deep sink
2. Remove all slides. Run warm water through the horn, starting at the bell end. Pour in some dish soap. Keep running water through until it comes out clear.
3. Clean the leadpipe with a "snake" or hard-running water.
4. Wipe the outer surfaces and let the horn dry while you clean each slide with dish soap and warm water.
5. Dry and relubricate the slides. Reassemble the horn. Oil the valves.

Check all corks/rubber stoppers and replace as needed. After removing the valve cap, make sure the marks on the bearing and the top plate line up. If not, the valve is improperly aligned and will affect your playing.

Check the water key ( spit valve ) cork for proper sealing. A poor seal reasults in an airy sound.

Replace strings once/twice per year with braided nylon. String one valve at a time using the others as examples.

Always store the instrument clean, dry and well lubricated.

Most beginners feel sure that the theory of the pitch going up half a step when the horn is stopped is all wrong. They are sure that the tone goes down half a step and will try to prove it. This however is wrong, hand stopping always require the player to transpose down a half-step when playing stopped notes.

In stopping the horn, try to completely cut off the air with the hand. Because of the shape of the hand, this attempt will not succeed; but the closer one can get to complete stoppage, the more clear the stopped tone will become and the steadier the pitch will remain. When the horn is not stopped sufficiently, the result will be a tone which is nothing more than a muffles hoot, and the pitch will be almost uncontrollable and quite sharp.

Strive to get the perfect intonation by learning which point the hand must stop the bell in order to raise the pitch exactly one half step. The farther into the bell the hand is placed when stopping, the higher the pitch.

NOTE : Stopping can only be done on the F horn,