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n this period of economic uncertainty, musicians are in- teen years in that the value of exposure to the natural horn is
creasingly seeking new ways to create income and per- viewed in a more positive way.
formance opportunities. Although a traditional education As an example, the knowledge of the harmonic series, es-
as an orchestral or ensemble performer likely includes a review pecially in relation to playing horn fifths, is critical for per-
of the relevant orchestral literature written in the time of natu- forming symphonies of 18th and 19th century symphonies,
ral horn use, few players are given the opportunity to actually including those by Mozart, Haydn, Beethoven, and Schubert.
perform this literature on natural horn. Indeed, unless it is part The notes that modern players adjust for intonation and blend
of the curriculum of a university graduate program, the mod- on these chords are already naturally in tune on the natural
ern hornist has little opportunity to learn about the resources horn, due to their placement within the harmonic series. That
available to anyone wishing to increase their proficiency and is, the printed E, which is the major third of the major chord, is
knowledge about playing the natural horn. Proficiency in per- already low (5th and 10th partials), and the printed C is pure
forming the natural horn can increase performance options as (2nd, 4th, 8th, and 16th partials). Performing these chords on
well as insight and depth to a players knowledge about the the valve horn with the natural horn fingering will demonstrate
horn. this: for example, with a colleague, play horn fifths using only
Having the ability to play the natural horn proficiently not the 1st valve, which will create a horn in E-flat (see example 4
only broadens the possibilities for employment through play- below.)
ing in authentic instrument ensembles, but also gives modern In the period in which the natural horn was used, the
hornists a historical perspective that increases their insight into choice of key and crook was an important consideration for the
the phrasing, articulation, and tonal variety that composers composer the tone quality of the composition was greatly af-
such as Mozart, Haydn, and Beethoven must have considered fected by the choice of crook even within the same composi-
when writing their works for horn. In addition, by concentrat- tion. For example, the outer movements of Beethovens Seventh
ing on the production of sound without the use of valves, mod- Symphony (horn in A) sound more brilliant than the outer
ern hornists are able to return to the basics; the generation of movements of Beethovens Second Symphony (horn in D).
sound with an emphasis on an efficient use of the air stream, Knowledge of this will influence the sound concept needed to
development of the subtleties of tone production, and an in- perform these great pieces so that not all compositions have the
creased recognition of the importance of right hand position. same tone color; this has relevancy even today for the modern
Other practical uses of natural horn technique include a deeper valve horn player.
understanding of orchestral transpositions and increased By playing the natural horn, the use of the right hand in
strength and flexibility. the bell as an active part of performing is explored, and the
Fortunately, numerous outstanding natural horn players player focuses more on the importance of right hand position
have recorded solo, chamber, and orchestral repertoire and and its effect on tone color and intonation perhaps more than
teach the instrument as well. Recently, I had the opportunity to when playing the valve horn.
discuss the practical advantages of learning more about the nat- Phrase nuances are discovered, especially in the sym-
ural horn with Dr. Paul Austin, hornist with the Grand Rapids phonies of Brahms. Notes that are bright, versus those that are
Symphony and author of the highly-regarded text, A Modern shaded, can bring a fresh approach to phrasing, even in music
Valve Horn Players Guide to the Natural Horn. In this book, Dr. written in the early twentieth century.
Austin includes discussion about the history, playing tech- The muscle flexibility used in natural horn playing trans-
niques, literature, and other topics that are relevant for the lates to embouchure strength on the valve horn. As a case in
modern hornist in acquiring an understanding and insight into point, a few weeks after I performed the Haydn Second Horn
natural horn playing. Concerto with Ars Antigua (a Chicago-based period instrument
group), I had emergency back surgery. As a result, I was away
Richard Chenoweth (RC): What reasons might a valve horn
from my symphony job for two months and was told after sur-
player have for playing and learning more about the natural
gery not to lift anything heavier than five pounds. That gave
horn?
me the idea to play the natural horn when I was ready to get
Paul Austin (PA): When my book first came out in 1994, a sec-
back in shape. Not only was it a lighter instrument to hold, but
tion horn player in an American orchestra said to me that they
I could address the fundamentals of playing on this instrument
did not see the need to buy a natural horn book because it did
as I prepared to return to work.
not relate to his job. Today I can report that all of the horn play-
Finally, the knowledge of natural horn idioms on orchestral
ers in at least one major US orchestra own a copy. The mind set
excerpts translates to confidence on the valve horn, which leads
of orchestral horn players seems to have shifted in the past fif-
to successful performances and auditions.
Adding the pitch f'' (top line) opens up the number of nat-
ural horn excerpts that you can discover. Notice how your
knowledge of horn fifths will assist your performance of this
beautiful duet. Just shade the f'', as it is a covered note and not
stopped. Try pulling out the tuning slide and playing the other
notes more open if the f'' cannot be pulled down enough by
Valve horn players can really free themselves by trying this using your hand and embouchure. Again, the printed f'' should
passage on the natural horn, to capture the fanfare style as well not sound like a valve horn stopped pitch, but a natural horn
as focusing on rhythm and articulation; this also takes the right shaded pitch.
hand out of the equation, so that they are not concerned with
Example 6: Handel Water Music, Suite in F Major, HWV
manipulating the notes.
348, Movement 4, Menuet, Horns 1 and 2 in F
Example 3. Wagner Overture to Das Rheingold, meas. 35-58,
b.
Horn 2 in E