Low Range for the Horn Player Douglas Hill SAMPLE SCORE International Horn Society www.hornsociety.org Contents Introduction .......................................................................................................................................1 Detailed Checklist for the Low Register ...........................................................................................3 Quick-fix Checklist ............................................................................................................................5 Mouthpiece/Leadpipe/Buzz Pipe/BERP ......................................................................................... 6 Pitch Perfect Centers ........................................................................................................................ 9 Vowel Validations ............................................................................................................................ 11 The Pivot and the Shift ....................................................................................................................12 To Shift or Not to Shift .................................................................................................................... 15 Solid, Secure Sounds ....................................................................................................................... 17 Power Playing ..................................................................................................................................18 Stop It .............................................................................................................................................. 22 Facility and Flexibility ....................................................................................................................25 Pushing the Pedals .......................................................................................................................... 28 Accurate Attacks ..............................................................................................................................SAMPLE 31 Low Long Tones ..............................................................................................................................SCORE 32 Mid-Low Tremolos ...........................................................................................................................33 Additive Articulations......................................................................................................................35 Flutter Tongue It ..............................................................................................................................37 Sing It ...............................................................................................................................................38 Considerations and Concerns ....................................................................................................... 40 Alternate Fingerings ............................................................................................................... 40 Playing 2nd and 4th Horn .......................................................................................................41 Mutes ........................................................................................................................................41 Warm-ups and Maintenance Sessions ...................................................................................43 Cool-down Exercises ................................................................................................................43 Old-notation Bass Clef .............................................................................................................43 Mouthpieces and Horns ..........................................................................................................43 Low-Range Literature ......................................................................................................................45 Etudes .......................................................................................................................................45 Solos ..........................................................................................................................................45 Orchestral Excerpts .................................................................................................................46 Books .........................................................................................................................................46 SAMPLE SCORE [1] Introduction The low range, those pitches found below the written treble clef staff, are often the most difficult to be administered. The length of the horn’s tubing certainly allows for pitches to be produced as low as the lower range of the tuba. But then the diameter of a horn mouthpiece is much smaller than most all of the other brass instruments which limits the size of the aperture opening. The diameter of the leadpipe on the horn is smaller than the trumpet’s, which helps to support the higher, but not the lower pitches. Then too, most of the orchestral, band, and chamber music horn parts, solos, and etudes emphasize the upper two octaves so players tend to practice and perform the lower two octaves far less often. Thus, when it is time to perform in these octaves, players often exaggerate what it takes to produce such pitches, or they simply administer ineffective techniques in a desper- ate attempt to perform in the low range. Producing a secure, centered, and resonant low range on the horn requires first, that one be able to control an open, relaxed, well-centered middle register, the written “middle c” to the top of the treble clef staff. From such a secure foundation there are some basic deviations that typically occur with success in the low range. As one descends, air compression lessens, it gradually slows down in speed while still requiring a substantial constancy. The oral cavity becomes more open as the tongue lowers from the vowel shapeSAMPLE “ah”, towards “awe” and “oh”. The lower tongue position consequently lowers the jaw as well with a gradual downward shift and a jutting forward. With this beneficial change in jaw configuration (down and SCOREforward), the leadpipe will need to pivot upward to allow for the mouthpiece pressure to remain equal on the top and bottom lips. This allows for the inside of the bottom lip to come forward and be more active in the production of the lower vibrations without curling outward. It also makes it unnecessary to slide or reset the mouthpiece lower on or into the bottom lip. As the player shifts into the lower pitches, the chin muscles remain flat and firm and the corners of the mouth remain firm and secure. With these changes it becomes easier to intention- ally direct the air flow upward into the nodal center of each pitch as one descends which also helps to secure and focus the sound within the lower two octaves. Regarding all aspects of the above, the player should do as little as possible, but as much as necessary to make it work. What follows is a set of exercises, suggestions, and recommendations that I sincerely hope will help in the development of low register control and improvement for intermediate level to advanced horn players. Of course, there are no short cuts or instant remedies, but these are the basic tenets 1 2 | Low Range for the Horn Player that have helped hundreds of students develop their low range control and proficiency. No one way will work for everyone, but investigating what is presented here with an open mind and creative attitude, adjusting as appropriate for every learning style and set of experiences should point the way towards significant improvement and greater efficiency within that warm and wonderful low register of the horn. Each exercise below suggests a pattern and manner of work. It is assumed that you will creatively expand upon each of the inclusions to fit your own needs and preferences. Some sections will work for you, some may not. Some may be too simple or advanced, feel free to modify. This book is not a typical, progressively arranged set of etudes, but presents various ways and means to reach your goal of having a more accessible, flexible, substantial, and powerful low range. The avid use of a mirror, a chromatic tuner, a metronome, a BERP and/or Buzz Pipe, and a recording device can reap many benefits and is highly recommended. SAMPLE SCORE [2] Detailed Checklist for the Low Register If you presently perform with an open, relaxed, well centered and controlled middle register (middle c’ to f’’), then the following recommendations are important activities to consider toward the development of a secure and effective low range. 1. Execute a maximum inhale, sounding the whispered word “How”, filling the lungs from the bottom upward, allowing the abdominal area to drop down and forward, feeling full. 2. Create a steady release of warm air through an open, relaxed throat, beginning at the lungs allowing the abdomen to follow with a gradual motion, eventually feeling empty. 3. Allow for a gradual lowering of the tongue position as one descends, changing the vowel for- mation from the “AH” of the third octave, through “AWE” within the second octave, toward “OH” only in the lowest octave.1 4. Allow the jaw to gradually drop both down and forward while retaining the general position of the embouchure muscles, corners tucked but not tense or