On the Dilemma of Horns By Tom Dust he decline in numbers of young nusicians opting to play the hom in band can be countered. by returning to the ase of single hors for heginning-level students. As advancing students switch t0 double BYE homs, method books and teachers should pro- vide clear instruction on all aspects of hhow to use the double horn to maximize the benefits of the instrument. In my travels through school band rooms and in my work a8 a guest con ductor and adjudicator over the past 30 years, I have noted a decline in the number of hom students in school pro srams. The composers, arranger, and Publishers of band music ako recognize that hands now have fewer homniss than in the past. An examination of fuand repertoire at the grade 3 level, reveals that while the arrangements of 30 years ago had three or four hom pars, more recent arrangements typical: Iy have only one or two. It apparent that there are fewer school band stu dents playing horn, and the music pub lishing inchstry has addressed this by altering the expected instrumentation requirements for modem band music There are likely several contributing factors tothe diminished horn popula in band programs, Colle speculated that the perceived di ficulty of learning the instrument at 26 mueossrnenetaust Aru the beginning stages is a. substantial barrier to recruiting and retaining young horn players. Along with the difficulty, colleagues cite their lack knowledge or comfort with teaching the hom, lack of student familiarity with the horn when choosing a band instrument, and cost to own of rent as a few of numerous reasons why stu- dents do not play horn. teachers are using several sto increase the numbers and retention of horn players. Many teach: fers encourage students with natural aural skills, solid academic. skills, a good work ethic, and additional masic background to try the hom with the belief these stuxents will be more like ly to succeed, During the instrument selection phase teachers take an active approach to promoting the horn: playing musical selections that feature the hom, bring: older students to demonstrate ¢ ent, and pointing out the beaury and benefits ofthe instrument. Teachers might encourage skilled brass players in higher grades to consider switching to the horn and often support continuing hhorn students by procuring private instruction. Although these strategies are helpful and necessary for recruiting and retaining horn stxlents, it is also worth considering the instrument. Double Trouble Modern band method books present the double BYF horn as the standard instrument for beginnets. Interest coer band methexl books do not have fingering charts, pictures of, ot instruc tion on the use of the double horn. These okler methods limit their in struction to the single horn. Modern method books have deviated fom this red decision and typically port the double hom. The fingering chars include fingerings for both the B and F horn with indications forthe use ofthe thumb key withthe B> fingerings. Ie is noteworthy that these modem method books provide litle, if any information on when, wh, and how to use the Brside of the double hor, Ie is unclear how this change came about, but in any case, ee decreasing number of young heen students in band programs correlates with the rise in popularity of the double BY/F horn as the instrument of choice on which tostart beginners. The current trend of fund stclents dow wld be questioned. When discussing the advantages of the double horn, the most commonly cited answer is that beginning students should become familia with the finger ings and tuning techniques ofthe dou He hom because this will be know!cage they will eventually need if they continue with the instrument. Some suggest that the improved tone quality when the correct side of the double horn is used in high or low register isa good reaon to start everyone on the double horn. However, other teachers dispute this reasoning and maintain the different horns do not affect a ning student’ ton register. These advantages seem limited and especially tenuous when compared to the disadvantages of starting. stu dents on double horns Double horns are heavier than sin se horns and this could be a negati factor for younger and smaller stu dents, who will tire more quickly and might adopt poor playing posture of the weight of the instr ment. Also, double homs are_moee complicated. When to use the thurmb key, how to tune the instrument and valve sides, and which wrap to use ae all questions that cam lead to student frustration and discouragement The Single Hon ‘We know that early success o insrument isone ofthe best predictors of student retention in the band pro gram. Given the complexities of the double hor, the more approachable single hom, ‘which is less expensiv lighter, and simpler to play, might encourage more students to try the hor, experience more initial success with ‘less frustration, and deeide to stick with the horn. Single horns come in either For Be While a single horn in either pitch ‘would bea better choice for a beginner than a double BYF horn, the single B> hhas some definite advantages. Of the two singles, the higher-pitched Bb is shorter and lighter than the F hom and therefore more suitable for younger students. However, the most npelling and advantageous reason cart beginning hand students hom is its inherent pitch stab and the ease of finding the right pitch in rypical beginning-band registers ‘The B» hom enables easier and more confident production of pitches because the notes are lower inthe over tone series. The intervals between the notes in the lower part ofthe overtone series are langer than those in the upper part of the series. For a w C4, a player on an F hom plays the thint overtone (not counting the damental) of the open harmonic series, while a player on a Be horn will play the second overtone. For an F hor player, sounding the third overtone is the equivalent of asking beginning trumpet players to play a written C5. If weasked our beginn pet players tw play in the overtone series where we typically have hornists play, they would be playing between C3 and C6. nination of grade 1 band ‘music reveals that the horn part usu ly falls between written This is a register where all «good tone. For beginning hand stu dents, the Bt single hom isan excel lent choice that enables easier and mote confident sound production for nae of notes they will perform. aside, the stability of pitch and the relative lightness of the Br hoen rake it the ideal instrument for those band programs that include a spring marching unit in theie programming Conclusion ‘Whether opting to use double horns, single F hoens, o single Br horns with hers should ensure that beginners, t the chosen method book includes a fingering chart for the instrument, and in the case of the double horn, ade- quate instruction on when and how to use the BHF capability. When consid ering the challenges of the instrument for beginning band students, directors should make thougheful and informed decisions about how we introduce this instrument to them. Helping students conquer the initial difficulties and complexities of the hom will increase student success and interest and con- tribure to the resurgence of the horn in school band. Tom Dust is Professor of Secondary Music Education and Associate Chair man of the Deparment of Secondary Education at the Universiey of Alberta In addition to guiding the music education program, Dust is the conductor of the University of Alberta Convocation Band sand is founder and director of the University of Albe- na 2st Century Marching Band. Hie | wg has published articles ‘on music and musi ‘education in muamer- fous research and professional journals ‘nal co-authored, with Laura Dust, Band Aids: A Prog Guide for the New Band Director (Universal Publishers). Dust is active as bandleader, trumpet player, guest speakerlemcee, and festival adjudicator ‘Van Alexander's New Christmas Song for Voice & Orchestra! Craig Mason’s Innovative compositions for Winds, Band, Chorus & More! Free Shipping to USA/Canada, AlllentoffMusic.com (585) 490-9351 Bea visit us on the web at MAL LI Ceo Te Cae Quality Music Since 1973 www.trnmusic.com