Horn

1) The extreme possible range of the horn (and those of cor alto and cor basso)

● Horn: Written C1, G2, C2- C5

● Cor alto: Written C3- C5

● Cor basso: Written C1, G2, C2- G4

2) Transpositions

● C alto: sounds as written

● Bb alto: a major 2nd lower than notated

● A: a minor 3rd lower than notated

● Ab: a major 3rd lower than notated

● G: a perfect 4th lower than notated

● F: a perfect 5th lower than notated

● E: a minor 6thlower than notated

● Eb: a major 6th lower than notated

● D: a minor 7th lower than notated

● C basso: an octave lower than notated

● Bb basso: a major 9th lower than notated

● A basso: an octave and a minor 3rd lower than notated

3) Differences between the old natural horn and the modern valve horn

● The old natural horn has no valves, and thus relies completely on the overtone

series of the horn. The pedal note is unstable, and partials above the 12th

weren’t used very often before Beethoven. Even though they had access to

valve horns, composers like Wagner and Brahms often used natural horns for

their characteristic sound. Horn players could play notes outside of the overtone

series by stopping the horn with their hand to raise the pitch. The modern valve

horn has access to all chromatic pitches in each partial of the instrument without

needing to stop the horn with the hand and altering the tone color.

5) The particular abilities and limitations of the horn.

● Abilities: Very versatile; can be used to symbolize cuckoldry or heroism for

example. Can blare above an orchestral tutti, or be a mellow accompaniment for

a solo or quiet section.

● Limitations: Less agile than a trumpet. Wide leaps and fast runs are particularly

difficult.

6) Special effects on the horn

 ● Trills and Tremolos: On horn, most trills and tremolos aren’t as clear as on

woodwinds, and can often have a comical effect. Tremolos larger than a 2nd are

very difficult.

● Glissandi: A loud “ripping” noise, sounds best in higher registers because the

partials are closer together.

● Cuivre: A very brassy sound, the performer increases lip tension, breath, and

attack, causing the metal to vibrate.

● Bells up: Instead of the horn facing backwards an the performer holding their

hand loosely in the bell, the performers take their hand out and face the bell

towards the audience, resulting in a loud, boisterous effect.

Listening:

● EXAMPLE 10-25. Mahler, Symphony No. 4, fourth movement, mm. 76–79: I

really liked the effect of a full horn section playing muted and staccato. The

result was piercing and buzzy, like any muted brass, but with a very large

presence that isn’t possible with a single stopped horn.

● EXAMPLE 10-16. Humperdinck, Hänsel und Gretel, Overture, mm. 1–8: This

example makes it clear that the horns mellow tone color, expressive qualities,

and extreme range makes a chorale using only Horns in F very effective and

beautiful.
● EXAMPLE 10-10. R. Strauss, Till Eulenspiegel, mm. 6–12: I really like this

passage because of how idiomatic it is. It takes advantage of all of the horn’s

best qualities and versatility, and shows off the whole range of the instrument in a

manner that allows the performer to focus on the shape of the line more than

difficult fingerings or leaps.