EXTENDED TECHNIQUES FOR THE HORN A Practical Handbook for Students, Performers and Composers by DOUGLAS HILL Professor of Music-Horn University of Wisconsin-Madison Dedicated to Karen Zaczek Hill, my loving wife and musical companion. Horns on front and back covers courtesy of he G. LEBLANC CORPORATION oto 88 EXTENDED TECHNIQUES FOR THE HORN CD TRACKING CHART OF EXAMPLES it a | i li i i % yiseasansoace seaeseancecassaree ! { eeuseuueuuzenteCONTENTS Forword by Barry Tuckwell ‘Acknowledgements .. Guest Introduction by Gunther Schuiler Introduction ....... Chapter 4. TONGUING/ARTICULATIONS Chapter 5 TRILLS AND TREMOLOS . Chapter 6 GLISSANDOS .. Chapter 7 HALF-VALVED EFFECTS... Chapter 8 VARIED TIMBRAL POTENTIALS. ... Chapter 9 VIBRATO... Chapter 10, QUARTER-TONES ..... Chapter 11 VOCALIZATIONS .. Chapter 12 ‘AIR SOUNDS Chapt MOUTHPIECE EFFECTS Chapter 14 MISCELLANEOUS ... Chapter 15 COMBINATIONS. Appendix: Index of (a Topical Listing) Qvertone Series Charts. 84 188 90 92 94 5 FORWORD. ‘This volume is the first complete documentation of the effects and extra musical sounds that can be produced on the horn. The ple format used makes it easy to find the accepted notation and method of producing the ‘sounds. It will be a stimulus to composers, professional players, teachers and ‘students who have hitherto been without any serious guidance on the subject Mr Hill has made an invaluable contribution to the development of contem- Boog M4 hut porary music Barry TuckwollACKNOWLEDGEMENTS. My blot in the importance of the extended techniques forthe horn has developed gradually over the years due to many positive experiences. Some of my most important ex: Beriences took place within various ensembles at Indiana University under Arthur Cora, at Tanglewood under Gunther Schuller and with Arthur Weisberg and the Contemporary ‘Chamber Ensemble of New York. While at Yale Univesity, Yehudi Wyner also contributed 19 ‘my expanding interest in the compositional potentials of the horn. To these few and many ‘thers | thank you for nurturing this interesting topic. “Those who have directly aided in the compilation and construction of this book need also be grateully acknowledged. Karon Zaczok Hil, Barney Childs, Les Thimmig, Joan Wildman, [Nanoy Becknell, Fiaydis Wekre, Paul Anderson, Kristin Thelander and Alice Breider among ‘thers, have Nelped inthe readings and corrections ofthe original ext To the librarians st the Library of Congress in Washington, D.C., and especially to Karen McNearny Famera ‘om the American Music Center in New York City | extend thanks fr their assistance and enthusiastic interest. Thanks also to Rita J. Koch for her extensive typing. 1 would like to express special gratitude Yo both Gunther Schuller and Barry Tuckwell for their generous contioutions fo ths book. Both of these men have done so much forthe development of contemporary music and forthe advancement of the horn and is techa- ‘ques. Thank you both GUEST INTRODUCTION by GUNTHER SCHULLER. “tracted tits unique beaut of sound, butare als often intimidated ts xlonsive range, fe varety of tmbral secs, and above als awesome ‘putaton asthe orchestra's mos! unmanageabi ad recalevant stunt. Sich feings are generated by evn he standard erature One may wll ‘wonder than how the composer ~ andthe performer — il cape wih the ‘stonshing ray of extended lechrques, pow avalable, ad so ashy ‘alalogued and described in the present work ‘Cleary theo acompeing need ora stody suchas this, forthe horns ‘one othe ichestofinevumonts tem ots technical capactosandits ‘ange of acoustytmbral tact, but one whose eudyItarature almost pally conservative, Douglas Hifs work goes along wey in rearessing this doiioney. "Tough ne techniques ae facts described hore may soem outlandish and novel o some, the fact etal mary of them are nota that new, and have ben known fo the more adventurous among the hoen fay Tor Some time. cal my own experiments as a young hom player 0 he 1940's, working out or exampo, a corpete threcoctave quartrtone scale, crusinga salt adapted cupmuteintne opening Rom alain the stow ‘movement of Gerewin'e Pano Concerto, back n 1943 with the incr ‘Symphony — to mention just two “extended techniques". Other players, |e Woldan Wiber on Barrows, and Jullus Watkins, dvelopedavarety Cfjazerelsod techniques and effects, nat exactly tobe found ne rane ‘and Kopprasch books. And of course, even the basic standard muting Technigves — wth ammo, hand-stopoing (+, hal-stapsing @® —are tie Understood and diferenistedby composereand, las, even among hom ‘layers. This handbook once again tempts fo rng larity to tha tangled Subject. From some ofthese perspectives alone then, we are indebted to Bug Hil for taking the trouble to collet this iwaluable compendian of 20th century hom tocnigues. wile some ofthe devices described herein ready havea venerable histoy, others are uly neve. Indeed some perso tis Book could not have ‘beenuien hry orfory years ago—or nsome respects oven twenty For ‘much olwhatistobefoundherecomostrom theworotlazz Other fects ‘Sern from the soni experiment that changed the face of contemporary Inthe mic-50s and early 60, especialy works such as uenza pieces, John Cage's experiments with new sone sh avant garde ofthe 606 — and fly though the infuenes of electronic music and fs new sound word ‘One word of caution regarding the presen studs, Isyppose, acisable, Is techniques and effects should be used Judctously and sparingly By ‘composers. Mr. Hilhas ntintondedt produce herewith acaltomount the ‘avant-garde baricades, expecting composers to now tlhe pleces with ‘ows ofthese effects —even serialized perhaps, Nol everything catalogued inthis primer is of equal valve musical, and euoly Mr. Hil dose sat ‘Suggest that the effects heron displayed should now form the basis of ‘composing the hom. They are rater to be seen 86 an evihnent. an ‘expansion of the bssic qualties and characters ofthe srument, ‘ales for which iis so jsty famous and loved. Perhaps the mest valuable component ofthis publication is Mr. il recorded demonstrations of meny techniques andetfect dacussed,T has not oni the vitue of atitoting the negative grumbings of any ‘doubting Torases’ as fo these techniques’ actual fasibity, But also a super account of precisely haw those concopts ar fo sound. Since In ‘theoe respects the ear ea thoussna tes better and quicker than the eye Inreadingtatty complex verbal desepions —musiol ae allan aural Mr Hil provided us all wih infec, an ivaluable audtery bonus. His excolent renderings of thase "extondod tachniques" prove that they are not hypothale fantasies, but fly realable an, inmost cases, ‘eminent practical In ths respect Dovglas Hl and his valuable work Tepresent the highest levels of present-day horstc reat, examen the best ofthe younger generation.) of horn payers Gunthor Schuler Newton Gente, MAINTRODUCTION tis hoped that whats included here will bath intersting and useful totheinqusive composer andthe concermed hornist. Tis isapresertation ‘of addtional vocabulary forthe hom fo be used when an ida carat be better expressed inary other way. With the extonion of vocabulary. ‘thought pattems fend fo evelve to mre complex loves, we ae capable of ‘more clearly expressing ourselves, and above all we are able to KNOW ‘ith greatr vision wha tis wo wish To express, ‘This handbook, However incomplete or obsolete it may eventually .ecome's important fortwo very important reasons. Nothing ofits kinds really avalable, aditadaresses problem whichhas been ignored tatoo tong Gomposers.ingeneralare offen arald to wrt forthe horn hal mest treacherous of ail instumerts, beeing that their music wil not be wel performed orin somo cases een attempted. Th culput in rcentyoarsby {he majority of active composers has consistently avoided, oat best ‘neglected the fom. The Tuba, tombone and trumpet have, however, ‘enjoyed a new surge of intrest and invention Kom many of those same ‘composers. We, the hom players, are largely to blame fortis neglect. We have great wor by Mozart, Beethoven, Schubert Schumann and Brats, 0 why concer ourselves wit the neds fr additonal repertoire? Bruno Bartoloez,n he book New Sounds for Woodhind has writen: “The evolution of etumental music has alwaye been brought about by reciprocal collaboration between composers nd performers. Te fact Feraing that tue instrumental conquests have never boon tho ful of ‘betract conception but of oleome dec experience," Upon reading the ‘accounts of mary ofthe famauo works for hom, one wl fd that most of {hom wore inspired by, dedicated to, or wrt fr a epectc performer. Today we have a few hom players who have consciously continued ths Important tradition, but we also have a large number who ignore or ‘Sencunce inenton and experimentation an openly Gacourage composers ‘tom utizing the numerous posses of our hy vesatle instrument. ‘There ls hope that this atttude fs changing withthe raped grow of young talent. young and enthusiastic hom players are encouraged Tobe recepive fo new techniques thee wil bean increase in our reperto father than a continuation ofthis period f seeming dsrterest. Many ofthe Included materiale cginated Wom my study of over 900 sooces ard numarous tons and articles on new notation and inetrumentl Techniques. No atlomot has been made to produce a compendium wih ‘extensive references. and extendod verbiage lustiving each inclusion VWinat has beon assombled isa collection afte mora carmen, effective, and in some cases, most Inventve sound potentials of the horn. Each Chapter is devoted fo a particular "Yamly" or eatogory of effects and is SSuded into tree distinc soctions, General considerations are iscussed briefly in the opening STATEMENT section. Next, the SPECIFICS are resented, nclusng the name othe eftoctechnigue, the mast common ce fost appropriate notation, a description of the resultant effect, some {echnical knowledge for its execution, and miscellaneous comments for further understanding andtor comploteness (as needed) The ra section Includes bet EXAMPLES of most ofthe effects n concentrated musica Context Each mosical examplo is based upon stuced materia, ten by humerous composers, ands original withthe authoe forthe eake of cant, Consistent effectiveness, angunormily. Echo! hese examples has bon Fecorded by the author fr that mast obvious reason: we areal primary Intereeted nthe sound! itis my sincere hope tha his handbook and its recording wil hep to ‘roc and inspire composers toward the extensive musical vocabulary of the hor, and aid and inspire the performer toward an open-minded _applcatonoftnese tectriquesandaeeper understanangotthermporance (tthe hor, that most versatile of lf inruments FROM COMPOSERS “Douglas Has book, Extended Tectninues for te Horns an ordty and thorough exertion of sounds hat have expanded fe musa! Ping of lat worth century composers and partermers. His laying on the rcord- Ing ants tat he a mosioan of exraorinary ski teligence ase ‘uty in aason fo bing one of Amereas most istngushed hor player teacher scholars” ‘Vene Raynols, Profesor Emerius of Horn and Composton ‘The Eastman Schoo f Muse “exonded Tetniqus forthe Homie abeoktely must for evry composer anda mest Rept refrence to conductors and ther musicans, have used ICevery your In my compostion sominars, and the reaction was aways “wow fo young wre ten do net know the eaces of weihg and Ineatng al he mmense posses” ‘re! Hus, Protessor Emertue of Compostion and Conducting Comme Univers, Pultor Prize 1968, Graworeyer Parad 1980 “Extended Tecniqus fe the Horns witout question a billant and ins ‘pensible pedagogical adlon for any composer intrested in wring forthe been Rae sth cccasion when Ido consut my volume on a queston of notion or technique, and | do ize Pe suggest notion ne verbal ‘explanations drecty out othe Book in my commpesttons. Equal valuabo to ‘ne compose are the recorded examples which alow you to hea and ina: Ine wnat te horn wit sound io inal ne Without Ps earaorsnary Sud "woud probaiy have let treat composing fhe horn tng age” ‘Br Mak Schatz, Award Wining Composer, Ector JOMAR Press “Lav recived your magrifeenty eet and Gar Horn Book. has 3 Clear format an string must example wil share ts wah my Suders land coleagues.| tank you most barty™ ‘incre Persichats, Professor Emits, Chai of Composition Department, The Jullad Sched, Itrnationaly Noted Composer “Tere should be, sadly thre Isnt, a book tke Dough His Exended fore Hon for ery instrument Ive consulted sent studerts {ot aed td tid and abt? ‘J Harisn, Proessor of Composition, Massachusetts Insite ‘of Tecnology. Pultzer Pie Winning Composer FROM HORN PLAYERS “Eidond Tocnigus fr he Hor doses prominent ae of honor nthe rary of evry consionou hoist and composer. Ths sa magnum opus ‘fa magotuge which render fone o he meet great resourese of ho 20m contr on he compostinal and prlrmancotchniques of shorn. We omits owe Cougs Hl a deb of prseund ratte fo uminaing, cs Ing and caving a subject requonayebuscated by contusion, misrormaton, Ineaitenles, and Gowri ear hore are mary rach bontiais of Proassr hls super for: nomi, composers steners and atsy ad ‘most imporariy the music ea "Poor Kiau, Associate Profesor of Horn ‘The Basan Schoo! of tse, Rochastr Prarie. "Professor Hilhas reduced a sigan ‘one oh king documents value ‘edonds boyond hornst al bass players and composers The presentation ‘of making vail sounds is very wel outed chal Hatt, Profesor of Hon tana Univrsity Past Pinal Hom, Cncenat Symphony Orchestra “Doug Hite donde Tecniqus fr the Hom san eeremay valuable and ‘igh ceab product rom a wtuoso hort. compoces, and padagoque. Tho {tis presereain aig organize, ough, and understandable manner, ‘ad Doug File patrmance on the damonsaton recording sf moe ‘uae han the pce of ie ante mated Exianded Tecigues. should bs {nthe parsonal rary of very composor ad heist” anal Garder, Second Horn, Pladtpia Orchestra Professer of Hor, Cincinal Conservatory of Muse "Extended Tectniques.. teizo he many unusual sounds we can produce ‘ont hon tls us how to prosoce hom, and demmonsaos how thoy shoud Seund(ithrcorded examples) And oe ofthe bat oases at ets the Standard othe notation of them. t's THE book that | recommend fo oom sors who are writng now music rte hon “Thomas Bacon, Professor of Hom, Arizona State Unies Past Pinpal om, Houston Symphony Orchesta “This toe wil probably become the most sgrifcant horn book ofthe decade because W demonstrates thatthe horn is hot he most eachrous ofall instrament but rahe, be mos eral of allumert "Randal Fast Roviows of New Mac and Books Tha Hom (Cl. Journal ofthe niematonal Horn SocietyChapter 1 RANGE |. STATEMENT ‘The overall playing range of the horn for the young profes: sionals of today is nearly four octaves. (There are those who fare capable of both flexible and accurate performance for ‘more than four octaves, but they are yet a minority) Such a Statement differs greatiy from the traditional textbook idea that a hornist must specialize In elther the high or low registers. ‘Such specialized categories began early in the classical period with the development of the “corbasse" players, the ‘new breed of Et horn players who strove for an ideal meliow tone quality through the modification of the mouthpiece {sign and placement on the lips. The “coralto” player con- tinued as an off shoot ofthe clarino playing from the Baroque period. Thus, very simply stated, composers began to write for “coralto" on the frst parts and “corbasse” on the se- ‘cond paris within the orchestra or within chamber music Players specialized in one or the other, using the necessarily Note: The old notation method of writing bass clet horn parts to sound a Pa higher i, with few exceptions, obsolete. Thus, new notation should be used. Make a notation in the score {and parts (Le. “new notation,” “sounds a P5 lower,” "loco, varied instruments. Authors of orchestration books, to this ‘day, continue fo advocate euch a concept of separation. Allo thie! might be convenient, but It is quite Inconsistent with ‘moder players and withthe great advances in horn design, ‘One will discover, throughout this book, an extensive varlo- ty of sounds and techniques possibie trom the horn. The reason for this versatility is due largely to: (a) the position of the horns playing range within the harmonic series (see AP pendix forall possible series), (b) the design characteristics (Ge, a small mouthpiece witha deep cup, a long and narrow ‘mouthpipe, the medium to large bore size, the usual two homs (82) within the one instrument, the large flare outward to the bell opening) (c)the right hand's positions) within the bell, and the consequent qualities of sound, from an extreme brassy ledge to a covered, mellow, distant hum, “The hors large range pitches and vast range oftimbresis what this book is about. ete) for absolute clarity. Horn players will usually be able to {ell which method is being used based on the context. For that reason we shall use new nofation throughout this book I. SPECIFICS NAME, * Note: All notations throughout this NOTATION COMMENTS -be careful not to overdo the top few notes if you wish the “average” hornist to perform your work well (many. per formers work too hard for those notes and tend to tre easily) * This specific example Is recorded | ook are for Horn in F with “new fe ex See Section ll EXAMPLES rotation” 2 Possible playing range ex2 ‘bass. clef (sounds a PS fewer than weiter) the extremes are extreme; check with your chosen performer first, if at all Possible, otherwise avokd -vory few technical or musical limitations 10 -don't overdo the top few notes “00d for controlled softer dynamicsNAME NOTATION COMMENTS. 5, Lessor power and projection -siexbilty problems for some players ‘often a warm and blending sound especially at Soft to medium dynamics 6. Not recommended (though possible) wery few players are capable of flex Ibiity within this range exe —— know your performer +480 a trombone or tuba if possib 7. Highest note possible ton a pinched sound with some ad tonal static -request “witha clear tone” to guaran- tee thatthe performer wil not attempt ich above his controlled range 8, Lowest note possible ‘soggy, uncentered and perhaps ‘wavering sound, very slow to Speak -roquest "with a solid sound” to avold ‘an overattempt for range if so desired " MM EXAMPLES re Included on the recording and identified by the example numbers (Le. examples 1 and 2) (Wo. 1) poco ereicn--- coop rete - SS 2Chapter 2 MUTES. |. STATEMENT ‘Muting Involves the insertion of @ foreign object Into the bell of the horn to alter its tone color. For the horn there are two types of mutes which are frequently used, with others ‘possible. The simple directive “mute” means to use the com- ‘mon “straight mute” with which the player need not {ranspose. The other is the “brass mute" (.2. transposing ‘mute) which requires a haltstep tlattening by the player. However, composers need only concern themselves with horn in F* regardless of muting requirements. ‘Both mutes tend to strengthen the upper partials in di. {erent ways. The “mute” provides a thinner, lighter, more brit tle sound than open horn, and the “brass mute” projects a ‘more compressed cutting and strident sound. Projection is hampered when using a mute, for these reasons: the general lack of resonance caused by the obvious ‘mutfing effect requested, the narrowing of the beam of ‘sound along the axis of the bell, and the horn's normal bell position (directed away from the istener). Muted brass instru- frente are the most effective when a bell-forward seating ar- rangement is employed. ‘Dynamics should be consistent with the overall score. The performer must make the adjustments and know the volume 8 being projected, regardless of the volume one “Yee increase of internal pressures within one's head while performing on the various mutes. “The lack of uniformity among the “straight mute” manufac: turers and the preferences of players result in a great variety ff sounds when the directive “mute” is used. Materials such iberboard,”" plastics, and Inuse. Try to know your performer's equipment aluminum whenever possible. ‘There Is a large number of objects which may be used as mutes ina horn bell: various bottles, plastic containers, sponges, fabrics, dowels, gourds, styrofoam cups with a hole fand tube in the middie (producing a very loud brass ‘mutelstopped horn quality), ad infinitum. The acoustical pro- Dems with such exotic requests are equally unlimited, Lack ‘of uniformity in the “mute” shapes and belllare openings. ‘should be enough to cause the farsighted composer to avoid ‘most of the above mentioned possibilites. ‘However, combining these most usable mute possibilities with hand-muted sounds (see Chapter 3) within multiple hora ‘groupings would provide the composer with a myriad of tim bral possibilities. ILSPECIFICS NAME NOTATION EFFECT a less resonant, lighter, more baits sound 1.straignt mute | mute - open {above te stath en A-o (much tess. fre ‘ent “a somauhat mut fled and hard Qual ty in soft and edgy ‘and brassy in the louder dynamics “This yoy A (lexd “attach a string to midcenter of ‘mute to hang from wrist for quick changes practice with mute to learn new resistances, TECHNIQUE ‘COMMENTS (AosOs) AFAP mo. fe (Nos. 9-10) Example 6 (No. 12)Chapter 3 HAND MUTING |. STATEMENT Perhaps the most frequently requested technique for the horist involves the variable positions ofthe right hand within the bell and the consequent varieties of timbre. Since the handnorn period (mic-eighteenth to midsnineteenth cen- turles) performers. and composers have frequently used the stopped + and 3/4 stopped (@) positions of the right hand. ‘The other degrees of stopping used by the hand:-hornist seem ‘almost too subtle to be used as coloristic effects on the ‘modern horn ‘With such popularity its strange that we find such a great deal of misunderstanding as to how these two effects actual Ty work. {will not try to explain why, but only what happens. 314 stopped () (often referred to as 1/2 stopped or echo horn) is simply a lowering of the pitch 1/2 step trom the harmonic being buzzed and fingered by the hornist. This causes a ‘gradual descending glissando If done slowly. Stopped horn C+}, when ina fully closed position causes the pitch being buzzed to sound the harmonic 1/2 step above the next lower harmonic of the same fingering as the original pitch." This is thought of by the player as a sharpening of the pitch by 1/2 stop for fingering purposes. To accurately perform a written 91,1, nd cas notated below, the performer must use finger Ings for g', @, and b to lower those resultant pitches down to the desired written pitch. Thus, both techniques cause @ Jowering of the pitch acoustically. There is no way in which {an ascending glissando from opan to stopped horn can take place. Nor ist possible for a gradual shift to be administered ‘without alteration of pitch, i and when the hand drastically Changes position within the bell 'An ascending glissando is possible from a closed to open position of the hand. It is recommended that composers use the symbol & (24 stopped) when maneuvering haltstep ac- tivities with open (0) horn. One should be completely fami ‘with all of the various overtone series and the related finger ings (see Appendix if requesting stopped horn( + }glissandl ‘Always remember to notate the pitches (transposed to F horn tobe heard and leave the further transpositioning to the performer open fingering pen fingering ‘open fingering a NAME NOTATION EFFECT TECHNIQUE ‘COMMENTS, 1.stoppednora | t+ © | compressed and | cup hand firmly over entire open- | -top two octaves are certain to get (stopped) (open) | nasal quality ing of the bell (do nat foros Inward | results (oo forthe pitch wll be sharp) use the above lower octaves ate often poorly ‘thumb position pulled stightly | played because of incompatible — Found In louder | backward often helps to attain | hand size to bel tare opening or dynamics; some: | peter seal Incorrect hand position more covered. in | -biow stronoly against resistance | use F hom for pitch purposes seteraynamics | ing pertormer must transpose | within the treble clef staff and down 1/2 step (as it E horn) below 2.44 stopped | ~ @ 0 | a very covered, | -rand position moves to a point | -excellent for 1/2 step glissandi Cy {@i4 sloppeayopen) | distant and mut. | where the pitch Is lowered 172 | (see No. 3 below) echo horn ‘en ted quality ‘step (thus, more covered for the e Use the above Upper, less covered Yor the lower | excellent echo effect for dia 112 stopped words most ettective | notes) Hogues, ete from mtpp practice often to learn the | -use instead of “cloth mute” (see -bogins to attain | various hand positions and thus, | Chapter 2) whenever possi (exo + symbol might} nasal sound when | varied resistances, need to be Played very loudly -the term “36 stopped” Is. the ‘explained for | (especially in the | -the performer must transpose up | most accurate term (rather than absolute certainty | top octave) ‘12 step (as it FF Hom) "echo" or "12 stopped") 3. Haltstep hand @o@ o | -asmooth side to slissando the subsequent note with an ob- ious tone color change (ox 10 like “ahooahoo” ‘administer the hand position | -a most effective technique (00 No. 2} in hyihm prescribed -often used Aisten closely for accurate pitch -alves a sighke sound ‘might need to increase alr pres: Sure for the ® note (e) to unity | -aiso similar to a common ynamics ‘electronic oscilationEFFECT TECHNIQUE COMMENTS: 4. Greater than haltstep hand alissanci ext 5. Unmeasured ra: id hand changes ‘th mutiple {onguing oF apie tenguing (ex 12 6. "Scoopup" In: toa note “scoop-down" in toa note Hext9 * this technique might need an ox planation due to uch misintorma: tion “about stop. ing + wit description similar to No. 3 Dut resulting in a more closed, Stopped sound similar to No. 3 but bring hand in 104 fully closed stopped position and allow the piteh to dip into place ke knowing the trombone slide positions -know the fngorings and Farmonio series relationships (S00 Appendix) “beyond a. 12 step ap (see No. 3) this technique can be used on any pitch or microtone before 12 step ‘above the next iower harmonic of the same fingering listen closely for accurate pitch be fully aware of harmonic series involved and any optional finger. Ings which might also work non-coordinated combination sttect quickly work Into and out of a Stopped position without moving the hom and disturbing the aper- ture much more versatile than rapid mute movements and more audi ble similar in tower registers with Chapter 2 No. 12, Dut more efective intop two octaves than the mute sill cause change of pitch while imute retains the original piten ‘simultaneously tongue as quickly as possible at an arbltary and un- Felated rate of speed volume will fluctuate between the ‘open and closed sounds ““scoop-up"-inger the open note land attack trom a lower covered pen "scoop-up” is ‘ot froquent but aective most. eflective “Sounds lke "doo: “scoopup” tends to have jazz ‘connotations ‘scoop-down’'use the resultant “seaopdown" Is tive into a stzbuz zing sound 23 EXAMPLES Allof the foliowing examples are included on the recording and identitied by the example numbers (Le. examples 8 - 13) Example 9 (Wo. 2) Example 10, (No.3) ©Example 11 (Wo. 4) epost times tototototo+ Example 12 $0 tototototo (No.5) see Chapter2 Example 6) Example 19, SR BEERS (Wo. 6) Chapter 4. TONGUING/ARTICULATIONS. |. STATEMENT In this chapter we deal withthe “consonant” potentials of ‘the horn; the beginning (transient) and end (decay) or attack land release of the tone. ‘The general quality of the horn transients isa bit less de- fined than those of the trumpet and trombone, especially when desiring incisive, crisp attacks. However, the hom pro: vides great potential on the smoother end of the spectrum. ‘The horn is capable of matching all articulations required of other brasses with the possible exception of the ‘ebound:tongue” and very soft flutter tonguing in the lower registers. Both of these techniques are more easily executed ‘on the somewhat more resistant, cylindri (euch as trumpet and trombone) Included below are some of the more acceptable notations for the various degrees of attack and release. Multiple ton- ‘Quing (2. doubletongue and tripletongue) is not often ‘guested by the composer as a specific “effect,” but is used, ‘a8 needed, by the players when quicker tempos oF ce Suggested nuances are present. Since we are dealing primari ly withthe peripheries of sounds, an air intensity “articula: tlon’ is algo included (see No. 3) 3 bore instruments. SPECIFICS NAME 1. Punctuate, aggressive transiente mos (ots mets 2. Less punctuae ted transients, though detached 3. Smoother, oF “softer” transients moss NOTATION ; he EFFECT most aggressive land shortest poss: De articulation aggressive attack but with more feng TECHNIQUE COMMENTS -compress a substantial amount of Behind the tonguoreleaso and ton fone immediately with tongue cur ame Wansiont a8 above But end with an ait release cta") has an explosive quality -most effective In top 212 octaves "aoceptabe in lower register, also “progressively Toss aggressive, but all short notes normal aocontua {ed articlation “progressively oss air compression behind tongue setting each with an air suspension reoase. “enough air compression to set the ‘ote apart stil Use ial" ‘he fret of these four might sug | ‘gest a Longue release to a player {or simple, non latant emphasis “éetnte, unacaen tes witha distinct separation progressively Tengar note engin, but ‘both etached -smooth, gentle, and more delicate antculation “ler attacks (Soft “P)with ai us pended silences “Gear attacks with no aooont, Bol ‘ith ait follow-through toa sudden, ‘though unaccented release -use the consonants “0, SNP with a gente air release “may beinterrl by some payors, as breath marks “suggests a squaredott quality 1o the tone shape simple use of the word “legato” ‘might be batter -potation may be confused with “Dena” (see Chapter 6 No. 12) a NAME, Hee15 ects free Pn NOTATION EFFECT TECHNIQUE COMMENTS. » + it aed an ex planation nearly “inaudible Beginning’ to the sound - the most Auletof transients -attack without the use of the tongue -begin with the alt as in the sound "hi -domands a sensitive aperture and ‘most easly dane within the mig de two octaves * EL 5 pe on “@ throbbing repo tition of tones, Gistinct_palpita attack without the use of the tongue ("n") and rhythmically un- dilate the al flow wil also result in @ possible fue: {uation of pitch’ alongwith the volume and intensity {ko 2 slow rato) 4. Miscellaneous transients exis + it need an ex planation “a short accented ‘ote resembling 8 plucked string Sound -attack with deliberateness and Simulate the resonance ofa siting cay. (quick but existent cimk vendo) thought of as typeof attack, but ‘unique quality comes in the release of sound socks wel unclean attack Intentionally indiscriminate ‘olse fron-piteh) before the note aim close to the note, with perhaps a Giferent fingering, attack roughly and slip quickly into the dested pitch experiment for most elective noise -exporiment with your performer if possible stace legato ea ‘gradual change ftom crisp distinet attacks to ‘smooth and. gen. tle ones with less ‘separation “gradual shifting of the amount of| {seal set by he tongue trom through "6" 10 "1 angler" verse and combinations ae also var fectiveNAME, NOTATION EFFECT TECHNIQUE COMMENTS, 5. Abrupt and ac | a | *aressive.oxag- | - white sustaining the tone, quickly | this and some of the other accen canted releases st | ceratec’ “accent | accantuste with a drastic burst ot | ted releases give an mpression of ° cafe | abrupty. stopping | air and cut off withthe tongue ike | reversed tape recording, the tone saying “what os ery ettective oe ee b similar to tne | -accent this release with a burt of | -equallyeffecthe but less aggres "| above buttess clip: | alr but end with at suspension not | sive ye | Pod ott withthe tongue (ike saying "wha" om 4 Ret re progressively less | -as with the fist of No.5, end each | 2 possible way to establish a de {ccented, yet def: | ot theso withthe tongue ("but | site point of release ely clipped re. | with progressively less air accent leases: eo ee 2 NAME: NOTATION EFFECT TECHNIQUE COMMENTS 6, Smooth roles | 2 —. | -progressively | -cach suggests a greater degree | excellent way to draw attention sesand decays | “8 | less exact | of diminuendo resulting in a | to the ends of sensitive phrases releases, from a | suspended alr stream and, | so that they will not be too abrupt ‘ontie suspended | perhaps, an “opening away” of sn = “niente” (to nothing) may need ‘an explanation ‘ound to a dying ‘may into nothing the aperture ther than a pinch: Ing shut of the aperture) seplaco the notation “n” with “lance” if elanty Is needed 7. Double tongu ing eee Oe rapid double repetitions of the jen pitches. in En even rhythm Jogato of “indie tinct” tonguing ‘could also be re- quested for a ‘Smoother effect * (labeled “iat by some) rapidly form the consonances and "k" as equally as possible over a consistent and open ait flow for legato or “aid!” (indistinct) tonguing use the consonances “dg” to "di" depending on ogres of logato ‘should sound no different than @ successful single tongue ‘matipe tonguing is used automat cally by players at extremely fast tempos without being specitically notatedNAME NOTATION EFFECT TECHNIQUE ‘COMMENTS ee Toole tongung | ° ‘api tipo repat- | -rapiciy form th consenances te | 4200 No.7) tions ofthe given | f"oe"¥s whichever most even Hat pitches in aneven | for you) with equal quality over a. | thus, No.7 and No, are mor tech mt alten and open ai ow inguts than eects, uness a opec: {olabe "6" when wl ees 0 legato to “nse: | Jagato options aso possible (sce | an explanation Is Usd for an ee tint” tonguing | No-n¢age"to"eiie?) treme iegato tect also posible Fed | iccotiorn + wit ned a bret explanation (be Sure the Ines fre tangled a8 ©. Rapid ireguar | + ‘erate, rapid ar | -mix rapid sng, double and wile | -qucky administered, mprowsato: tonguing £ teuitedptonee | ot Hatter in an iroglar manner | 1 roquest [© approptat tothe musical mo ‘mont -mosetecve as an angry and a reas sect + wit need a de- scription a NAME NOTATION EFFECT TECHNIQUE couments 10, Futtertongue | * g wory rapid anticula- | cur the flattened tongue upward in. | -a very popular technique largely be- z 2 ted’ pulsations of | arelaxad, yet fim manner against | cause ofits power and projection a the tore quite a9- | the root ofthe mouth allowing ito | from m= Hf 9 gressive when | “fatter” with a consistent a Tou, even angry" | stream - the actual tte feeling | -some players have trouble in the ftuter mene ‘may occur on one side ofthe other, | exteme upper registers, and at very —— not the centr ofthe tongue Soft dynamics In the mid and tow * use the word of ranges ‘tat test time this notation is used for eectain wom — | erty ‘regulon @ starting and | sl explanatory “etic and etectve ——~__| stopping "of ‘the SF | ten eae mam |v 2 lar manner ~ (oradualy faster) | a gradual increase | (eee "eomments") “these Iwo requests have boon in the rate of re ‘made but are, wth most all players, tion of the ater early impossibie to exeoute efor. z tively oF auiby onthe hom * il need an ex planation perhaps a crescendo of diminuen- => (0.8) 4 2S —wv=> wt “ Example25_p. (Nos. 9-10) ——————— S = ae Sj Slowly (8b-0) (8:1) (8b: 23) (F: 12) Example 26. (No. 11 - ike fingerings) — Example 27 (No. 11 - unlike fingerings) pilaChapter 6. GLISSANDOS 1. STATEMENT The glissando is another frequently used musical gesture downward simply withthe aperture and tongue, or () using which provides many opportunities for the composer. In ‘combinations of the above. These are the basic tehniques us: ‘General, a glissando is a rapid sliding across neighboring fed to create a much larger number of ettects. ‘ates. This can be done on the horn by: (a lttering the valves The horn's glissando capabilities are exceptional among While ascending or descending withthe aperture, () remain- the brasses due largely to the high placement within the over: ing with a single fingering during the aperture change ang tone series (causing closer harmonics), the bending poten- ‘sounding the notes of the resultant harmonic series, (c) using tials especially in the lowor register, and the right hand's halfvaive combinations causing a smooth whine (with some placement within the bell. Glissandovelated jazz effects probable breaks in the slide), (4) adjusting the hand In the belt found often in the music for trumpet, trombone and tuba are ‘and effective on the horn. for smooth slides of a limited range, (e) bending a pitch ‘equally poss! Note: An additional glissando effect (amplified mouthpiece ‘lissando) Is discussed in Chapter 13. 8 I SPECIFICS NAME NOTATION EFFECT TECHNIQUE COMMENTS: 1. Glissando a rapid and even | -aftera secure attack on the intial | both notations are common and FALE || slice” across “the | note, side, within tne given metr- | wil ned no explanation (he s=- Mx sounds available | cal time span, to the top note by | cond notation may be thought of betwen the fio Given itches, all within ‘the met cal length of the first aot fther rap fluttering the valves fora busy sound, or by fingorng the first not, gissing onthe F hom 123 and landing on the top pitch (in time) with is proper fingering (especialy useful for @ vary quick bss) ‘ae smoathe)| “with these notations. the player Will normally try to make the most number ‘of sounds’ Between” the nates and obscure any” strong reference to & particular series of pitches this notation assures the com- poser of @ specitic sounding ‘lssando pid and even ‘side. through the ‘overtones repre sented by the Gen pitches, all ‘thin the notated Fongth of the fi attr @ secure attack on the intial note, engage the necessary valves to. sound the harmonic Series. suggested, slur upward or downward sounding that series and engage the most secure fingering’ forthe final note Up0S anal ‘does tend to have such a strong tonal connotation as Yo sound tnt | used too frequently oF I incor porated into an atonal context this is especially true in tho mid dle two octaves where the harmo. ies are farther apart, stis notation assures the valve flutter ‘effect with a sense of an ‘organized’ and symetical pitch placement 3. Chromatic diissando a quick, totter ing, even slide between two closely positioned -engage the valves as accurately ‘3s. possible within. the given mmotrial time span man tbe more concerned with the rapid flissando effect than with an ac {curate sounding of sonorous ‘chromatic scale, At requested too. slowly the ‘lssando effect wil not occur ‘3nd one will hear” a apie cho. ‘matic scaleNAME NOTATION EFFECT TECHNIQUE COMMENTS 4. Vane fatter ailssando. 5. Contour ‘lisando (ex Will need a beet explanation a more erate rap- 1a and rough als: sande fan aggressive ‘sound at louder dy pamice 1 smooth, elongat 0, gliding gissan- fo which folows the “approximate contour designated inthe notation simply flutter vaNes in an une planned or random fashion wile ‘String to tha final pitch within the ‘ven metrical time span -use the crective “valve gis” fora ‘lear ‘stinction te the more ‘general indication gen in Na. 1 above recommended for the tonger gli Gandos in the mile and Tower 02. use @ haltvave setting of various halfyae settings which wil alow for the smoothest contour and the Teast umber of breaks beeen the harmonies ‘he sounding of a point or points of Interruption within a glissando 8 very gradual slide to the resut: -sxample(a) would be bent by distort ing the aperture size (etc) while) ‘would be dane {trough @ timbal istortion of the rote -bond the given pitch with the aper- ture and the tongue position alone Inthe lower two octaves forthe upper octaves use the right hand position as well © produce the uneven bending etfect -use the most effective technique Aiscussed above (within the given ‘eontext) with interruptions as notated -the bending of a harmonic in such ‘@ manner is an extension of No. 8 above for example (b) s0e Chapter 3, Nos. aaa tone color wit remain generally Constantin the lower two octaves the lower you go, the greater ‘amount of pitch bending Is posst be, especially botow the given pitch the necessary use of varied hand positions in the upper octaves will Fesult in audible timbral changes “an fective way of working melodic materials into a glissando passage -example (a) is especialy effective in the lower octaves, usually downward, however an_ ascend: bends possiti but from an initlly distorted pitch imited haltvaive possiblities (se Chapter 7)NAME NOTATION 11. Fast glissando EFFECT TECHNIQUE COMMENTS. Tee oat | any ater te eet, enn | aruaty eae ap a cig Son Hah no | Sasraeninieceactonare | Hou ‘ecueang te ‘iners wemartieam | tunesttee acim | Suen tut tenoay tasting matte | Sones Foret dara Frey | Seater the tngetngel ine note | ecommerce Gerrireetoxe | it sha eoupar be gs | ate tem ip” vod a men r tots wee ed ine pm fa at shou te in 12. Bond or dip -a bret loss of in- | -a brief relaxation of the aperture | -gives a note that “blue note” tensity within a | and air steam in mig-note with a | character rote, returning 10 | return to normal rormal rather -2 sot of lazy sound gesture ‘uickly “0° slight covering with the right ‘hand inthe bal returning to the or -wil cause asag or } mal open position 48, Dalnk of dott * may needa beet explanation 1300 No. 11 above and apply the | is a very unique effect, tke ‘iminuendo quickly ‘musical wink | ‘might be etfectve in certain ranges. | -the term “dot” is, perhaps, more theword"doink” | to use some hallvalve combina | common in jazz ckcles tions 14 Fallot or crop -a sudden loss of | -2 sudden relaxation ofthe aperture | tke a last gasp ora sigh depending piteh with a quick | and the a stream while using an ar- | on the volume. Slminvendo to no- | bitrary flutter ofthe fingers thing a NAME NOTATION EFFECT TECHNIQUE ‘COMMENTS 15. Spill, ees 16. Flip es + wil need a bot explanation 17 Rip or “Smear” ons * wil need a bret explanation 18. it or flare oes “8 chromatically felated faling of pitches causing a similar glissando toNo. 3 above with no resultant oF fh al pth ‘a sudden relaxation of the aperture and the air elream while fingering & ‘chromatic scale at last to bogin the glssando, a simple valve tut might be best after it has begun iilar to No. 14 above but some- ‘what more rofined and controlled With alight melodic suggestion -@ combination of No, 19 & No. 14 above with loss ofa fall -a bref rise and sudden fallott ftom the notated pitch -sound te pitch, pinch the aperture slighty and then relax Into an in Complete faltot (see No. 14 above) -sounds something ke a squeal “a quick scoop up- | starting from an unprepared pitch | inconsistently used pair of terms; ward into the nota: | level, ify Hutter the valves as you | “smear” often Used for a diy, er ted pitch sc09p into the notated pitch timed | atic and excessively wide azz til, lke a gracenote and “rip occasionally as in No.1 above similar to No. 17 above but some What more refined and controlled With a slight melodic suggestion “a ctvomatically ‘tiented sc00p up ward as in NO. 17 ‘above with slightly ‘greater duration “choose an etfeciv pitch below the notated pitch and quickly crescen- o through the chromatics up to that notated pitch allowing & bit ‘move time than a grace-note 18, Pion een ran | —— + wi need a bret explanation a quick drop down ‘Ward Into the nota ted piten stating from an unprepared pitch level, bry tute the valves a8 you ‘op into the notated pitch timed lke a gracerote produces @ less accented effect than a rip (se0 No. 17 above) -2 unique effect tke a subtle laugh|, EXAMPLES, {Al of the following examples are included on the recording and identiied by the example numbers (1, Example 28 Wo. 1) Example 34 (Nos. 16:19)Chapter 7. HALF-VALVED EFFECTS |. STATEMENT ‘The technique of partially engaging one, some or all of the valves causes two important results: 1) the color of the sound becomes chokedolt or constricted with a lesser degree of resonance, and 2) the stability of the harmonic “notch” becomes nonexistent, ths allowing fora potentially smooth slide across I. SPECIFICS NAME NOTATION EFFECT 7 Haltvaie ett | ~ “= chokedott and SS) seg ene * willneedbristex- | Potted pitches planation -esser_ projection than an open hom with the same oy ‘nami indiation 2 Haltvalved ¢r -a chokedott and efit pitch) somewhat uncer: tered quality onthe suggested contour 0.95 | witneedbrietexe | ands! only the ap- eae broximate pitch various pitches. This latter effect is limited, and broaks inthe ‘suggested slide occur depending on the amount of key depres: ‘sion, the valves engaged, the design ofthe specific hors valve structure and the til ofthe performer TECHNIQUE “gepress the Keys as far a nooded to cause the suggested effect and ‘center the aperture and air on the ‘iven pitches experiment with ll possible comb ations including Some fully e- pressed keys depress the keys as suggested ‘above and perfor the general con- tour and the exact rhythm notated 5 COMMENTS: “ise diamond-shaped note-heads vile applying all other aspects of tradltional notation "eeble" quality at times -do not expect rapid flexibility with ‘exact pitches (see No.2) the more valves engaged the more ‘choked the quality of sound fective for rapid motives and Short notes, -there wil be actual pitches but the dlifused center wil ender them In definite at a quick tempo NAME NOTATION EFFECT 3 "Ghost ones” nearly inaudible indefinite iten jabee all wien is usually fens? implednarmont * wit need bret ex- | cally planation 4 Hallvawed gl | cay) tvabel sandos (See Chap. |p V4 EAE 5 choked sound {or for various ‘with a smooth si types of gissana) Ing across the in er pitches (ox 38 some breaks in the sliga' may oc * either indication | Ur especially in should be under | the upper two oc Stood fe. Wane | taves oy) TECHNIQUE use ahaltvalve onthe “host tn” {and aim inthe general vin of the pitch, perhaps even sounding the Implied piten| allow the alr suppert to slacken on those “tones Valves. allowing the’ smoothest hallvalved slide, low more air in to the glissando for projection, ‘and finger the final piten (any 8 normal COMMENTS, -common effect in jazz of “swallow: Ing” certain lass signiticant notes -e use of halfvalve is not always recassary fortis effect, But might help in some cases ‘Nos. 1,5,8,9, 10,14 17, and 19 in Chapter 6 could albe done on 12 valve if desivd and requested mest effective in lower ranges, for slow lissandi within a limited ange, and for "contour gissandl TW. T para “eanaeliancae fot te Sater Seine ame ete | aR tear age mee Eee cut wa moran wn | reese smgaaton wt | tg rte attack the inital pitch and bend) around that pitch by use of the ‘aperture and tongue while engag: ing an effective haltvalved com: bination Tind_an_enharmonio _halbvalve combination and. quickly alter: rate between the two valve set. tings, Keeping the piten constant while allowing forthe alteration of {ands to sound Ike @ whine or ory ‘can be used for comic effects @ subtle and very effective tim bral oscillation ‘can sound like alr pulsations of Grticulated notes depending on the valve combinations used “choose the valve combination if you wish a specific degree of Break in the sound Joss effective inthe lower two oe tavesNAME NOTATION EFFECT TECHNIQUE COMMENTS: TA sound ang HV) ‘See Chapter 12 “AIR SOUNDS” Hattrave par | = double tore with | play the wrion 6” on tha F hom ‘monio the upper octave | and partially depress the first valve Fingeg as fom a | unti'the upper ectave sounds distance ihe use of Ralfvale causes aaah tional turbulence within the hom and thus a louder air sound “a moet United but unique efack “possible only on certain makes ot ome “elective only on the written? “don't use this unless an alternative ispresonte fr those payers wnose instruments are neapable ofthe et fect Pex. 98 Ml, EXAMPLES: ‘All ofthe folowing examples are Included onthe recording and identified by the example numbers (2. examples 35 - 30) (eb: 12) Se pci 7 ‘cand Example 35 fv) __ on SE Example 96 Wo.) fe Ur I Moderate Example 38 Wo. 4) ‘Example 28 (os. 6, 8 and 8)Chapter 8 VARIED TIMBRAL POTENTIALS. |. STATEMENT “This sot of effects demands a varlety of techniques and wil This the chapter which will perhaps. seem the most ne serve asa catchall of requests made for subte through Blatant complete to the advanced experimenter. It appears tha the poten istotions of the normal hoen tone. Most of those colristic tal variety of sounds is quite extensive. However, | have chosen potentials require @ complete contol of standard Techniques. those mere common, those found in the numerous. available (is only tom a firm contol and understanding of the aperture scores, as well as some effective Inventions. This chapter Is ‘nd alr stream that one can produce a“breathy sound” orasuck- meant to stimulate the search for more intaligent uses of the 4 pte for Instance) oer’ unique timbral abies ll SPECIFICS NAME NOTATION EFFECT ‘TECHNIQUE COMMENTS: 1 Brasey or (cule) “an edgy, forced a most over-bown ‘ually -will often nappen naturally at loud fst dynamics, Ey ‘iow forcefuly past were the shimmer or dg the tone ‘rasey” fe more @ color than @ technique {hie amore subtle valance ofthe -can be aided by a constcietion of | normal hon tone than is stopped the airstream inside the mouth (a | om ora brass mute higher tongue position) especk Riel ee cs aa Inthe softer dynamics indication of stopped hor, but tis, iS not ts tral meaning use both terms “cuivre” and "stopped" if so desired 2 Dark veiled “a somewhat unde. | position the Hight hand In direct | very usable effect on the Rom ‘ound fined and muttied | opposition to. the body. and quailty Clothing to Inhibit al tree flow of | can give both a senso of distance -not quite that of | sound andlor @ dull Ielessness to the ‘44 stopped, bits: tone hler ee Chaster | -cover slightly and adjust the 3No.2) pitch. upward accordingly, with z {he slide placementa, it possible -a*woolly" quality e ae in some cases 5 NAME, NOTATION EFFECT TECHNIQUE COMMENTS: 3. Brash, open ou “open tone” a * may need an ex planation for ely 1 brassy and po- tentially spread tone a mote direct ound with tie of the hom’s. charac teristic mellonness remove the righthand entirely from] -good for a rough and wild ‘any Interception of the projected tone Jouder dynamics ate most effec: adjust the pitch downward accord: | tive ingly, with the side placements i possile blends woll with other edgy brass ‘sound TF cwhite nose or “Static” “stati” TT + with a thorough explanation (ex. 40 “Breathy tone” | > may ee + with a thorough explanation ‘6 "Sucked pitch” | with @ thorough ‘xplanation| ox at an actual pitch with added and Consistent static pinched quality “an uncentored though actual tone vith dtinable pitch fand- additional breathiness “= Wesing andlor SSquealing sound ff obscure and often. indefinite pitches), possible ‘nly in mig tonigh ranges “atten or clamp down on the | — | smpttuse rater | Ine regular oc ieguar manner as ;T,8 7 tan th pten fe | requested onal sense 2 irogular ded. | cence be cerefulto contol consistent. | -2"Y combination possible with verbal insti (re. "ineoase 2000009, ditch ievel Intensity" "decrenc spend on a tenet) 7 "7 ———= ‘mutisi horns i all range exar | “will ood an ox = planation Srvembing | Vresncnnge | anovato ond tor | use the techniques desorbed In| proves © very etecine enue irate PEF | fortcuatone | Rott stove in a'nonous and ic | sity ‘Peronmal wirato | regular’ manner, perhaps possible nal anges but mos wit need an 2 Dszing the intensity element | fective n’middle. and lower te ex 4s | planation isters 6. Quariertone orate ‘widevibratoas |p up and down around the | he abily 40 contol this exact ending and. de. | notated pitch by 1H tone. amount of pitch change fers FT | senting ‘14 tone | suse the right and andretune te | withthe various ranges flower Is . ‘on either side of | hom, it needed, to place’ tho | Belle) and with te various hom wit oeed an ex- | tne given pitch | horns pitch center in an_ap- | designs planation Droprate setting to allow for this | use tho Indlcation InN, 3a above Technique exact 14 tone isnot necessary 7 wachine tne” |, “zraci, fap, and | shake the horn rapidly with bath | avery exaggerated bral, near irate vonreney | excessive undula- | hands causing sight changes ot | ing the sound of atl PST | tonstor'ne otich | pressive against thes while re | wit tie the player if used ex like an elect or | taining the notated pitch Gossively yex4s | ’macninetnar) | Gan or accordion snidr changes in lower register full expianation necessary E Wawa vba | Vann | controled dp | ‘band the Agni hand inward (not | see Ghapler5 No.3 Tora smiley “PF | ira enaat ie | gute ea Spoon and back to] though mor exact tchiave =T.__ | ates pier, wth | the norma setting causing an ex | orgs yo nave jazzy connotation Roe wa wa") | aenanglng timbre | aggorated vibrato beneath the | *ends have: + tut explanation | fromm a coat to\s | piten necessary Alistantqualty (weoowaco) & I, EXAMPLES, All of the following examples are included on the recording and identified by the example numbers (.e. examples 45 - 48) Vo Example 45 (Wo.2..b.€) V.wide ——> narrow Vv. wide Example 46 ye (Wo. 3.a.b.c) a= Example 48 (Nos. §,7 and 8)Chapter 10 QUARTER 1ONGS] eee |. STATEMENT Here we have a significant potential for the horn, and a ‘numberof significant problems. The hornist has the possibil ty of (1) adjusting the pitch with the right hand in the bell (Causing a change of color and diminishing projection), (2) bending the midale and lower range pitches at the aperture {ie a controllad “bend” causing an unstable pitch center and distortion of a desired resonance), (3) using the 7th, 11th and ‘ath partials within the upper 1 314 octaves (the complete scale requiring a full F-8') double horn, which is not too Unreasonable), and (4) tuning the full double (F-B} horn such thatthe longer F horn is 114 tone fat tothe “in tune" B® side of the instrument, allowing fora fll 1/4 tone “chromatic” scale {or approximately 31/2 octaves. Each of the above techniques become progressively more usable In theory, but all require an extension of awarenesses, both aural ang physical, which have not been studied by the m= jonty of today’s pertormers. A few composers are requesting {uartertones, most often in Isolated and primarily "chromatic" patterns. Indications such as “slightly flat,” “til as small as possible,” and "bend pitch” are examples of the microtonal re- {Quests other than quartertones made of the horist. With the character ofthe horn tone, any “microtonal system” smaller than {uariertones would be problematic almost beyond resolution, However, isolated requests for non-specitic microtonalintenvals do occur, with varied results. ‘What follows are fingering charts which use the Ttn, 11th, and 13th partials and the simple quarter-tone tuning of the {ull double horn, Performers will nead to davelop a most ac: curate perception ofthis inleval since the partials are nat ac- tually exact quarterones. Minute bending at the aperture and minimal right hand adjustments will cover for such Jorepancies without greatly distorting the tone quality and resonance. The uartertone tuning is theoretically the most ‘accurate method; however, performers are often uncomtor: table performing on the F sige of the horn in the upper octave, {and tone colors will probably not mesh in certain ranges for ‘many players. The other concern isthe fact that a few players: perform on single 6° horns oF BY-high F double horns. What this allows {sa full “chromatic” quarter-tone scale for the single 8° player trom the top of the range to a written second space “a! quartertone flat” with the exclusion of the written fourth space”e" quartertoneflat"That note is picked up bythe player witha high F (or scant) dition tothe B horn. Te com- Poser must remember to transpose the fingerings given for the “F-side” (onthe following chart) up one octave i high F hom is to be used I, SPECIFICS NOTATION ‘There are numerous notational designs for quartertones land most of them are distortions of existing accidental signs cebp. 6.9, 1mtatt Hw sar, eer Theee tan nt be nto he oi ang mans copy Src often ul oppon ob naan pling ope ten. e one ndeaton wich seats the sete vay and theron compranensib isthe anglad vow shove Ihe note te Bupapepret) tress wae wore ea theoretically equal tempered system It would be less com- plicated to use the quarter-tone flat symbol exclusively (Le. a Sesconding arrow above any normally notated pitch) COMMENTS It Is recommended that the composer list the fingerings near the note-neads forall requested quarter-tone pitches. Most performers have had no need to learn these and find ‘them difficult to remember.“QUARTER-TONE” FINGERING CHART FOR THE FULL DOUBLE HORN (FIB") he » dieph o Spee taht > “Te Tw Tate 11 2 19 1 a Te Th Ta Te To wore Tw To Tite 1 oT vo Ta 2 n va (0) Ti9(raytiz3 ws $B i &. 4 3 pw ow hue OD oe Cae 1 Tis “WB Tia *A*T" botore a number refers to the “thumb value” and denotes a 8 fingering. All others on F horn. ‘The above chart Is derived from the following sequences of “out oft full double hom (Le low F and BM, I'a Brhigh F hom isto be used, simply transpose the F hom finger Ings up one oct Yo 12H ToT TITI ral ebb bias ua Brion ade 45) F Horn vy kb ites seh 3 tun” Dae th 36 a Paria ———— “so 1 TTaTaTIZ o? 1s anim BrHom pW yy 4 4 vy Flom _p 4 4 4b 4 ¥_¥ a Pa ebe mh = Paras = Paninis QP ee Pes bea om nh aTeTIS O21 annie AN OPTIONAL QUARTER-TONE FINGERING CHART FOR THE FULL DOUBLE HORN (F/B") MADE POSSIBLE BY TUNING THE LOWER F HORN SIDE 1/4 TONE LOWER THAN THE B* HORN SIDE ‘ ba 4 y 2 bas Se be 2} be 7120 = ™ 2 7 oO 2 2 1 1 ™ 2 ™m 2B ] 0 2 2 a 0 Ta a OTe mo 1 @ 8 1 2 fat 7% (113) (7123) ™ RT of Sra eerie etiam ras es great Oe cries eto cre eee tea] Mi itu duo 2 2 13 1m 70 AP" before @ number refers tothe thumb valve and denotes a B fingering. Pitches without fingerings are not possible onthe “in tune” B side of the horn.I EXAMPLES ‘Al of the folowing examples are included on the recording and identified by the example number (ie. exam 49a and 498), continue scale throug x & f___om oe Example toa, Q= roe 70 72 (600 intl fingering chart above) 13 (2) — — aa rm_o Example 496. mm) Chapter 11 VOCALIZATIONS |. STATEMENT This category includes all sounds made with the help of the player's vocal cords, The most important of these techniques is the simultaneous sounding of a sung and normally vibrated pitch. When this technique involves two pitches. within a single overtone series, the theoretical results include an addi tional differential tone and summational tone, thus a four ‘note chord." Such "norn-chords” were requested as far back ‘8 Carl Maria von Weber with varied accuracy and results Before one gets too excited about this "theoretically un {que potential” a number of detalls should be presented. To ar- tive at an audible chord of substantial quality the player must first match the tone color ofthe horn withthe voice and then ‘must arrive at a perfect unfaltering intonation and dynamic ‘equality. Such control is rare, but possible in a few cases. 1 The theory behind these “horn-chords" is most easily defin fed by figuring the eum and the difference of the two frequen Clas to complete the notes of the chords. Thus, i the second note of a harmonic series is played and the third note of that Same series is sung, the difference tone (1c. 32=1) willbe the fundamental an octave below the played note, and the sum Perhaps the most effective use ofthis technique has invotved ‘the consequent production of “beats resulting from near-unison ‘dyads. The bending apart and Blending of the vocal and played pitches is quite effective and does not Involve the degree of ex ‘ciness necessary for the sounding of chords. ‘An important consideration in all ofthis is the obvious pro: blem of voice types and ranges of the many potential per formers of this: technique. The vocal ranges. should’ be presented by a composer in two versions, a mid-range male {and a mid-range female tessitura. Unlike the other brass in struments, there are at least as many, if not more, women horn players than men. The other “vocalizations” to be men tioned are dane separately from the horn of use the hom a a megaphone providing a moditied timbre to the vocally pro- ‘duced sound ion tone will be the fifth tone of the series (Le. 3+ ‘the major third of the chord, ShorI. SPECIFICS NAME NOTATION EFFECT TECHNIQUE ‘COMMENTS ‘Honcho “a enauectoraat | sing te gn note wt wows! | toot to con! all oscsumry Schyntowcaporsbicine | lant pes tenes sang Saye ne — any movement to other notes cop oat open in fang and | sted be sow an gorraly he secnolaeyene: ve the propa fagang tur. | veld any complex twopen ‘sultant tones cause | chord when possi marron bet ote could be aun, Banco than 27 | a taperecoreforanaccute | ROU tw common reuse ee eee avoid complex activity in either voice 2. Melody and pe Gal point 23 above, a lesser ‘ualty "of sound Dut a uniaue and ‘surprising effect I ‘exceptionally well recut -a8 above in all respects with the ‘xception of harmonic series (Le fingering) consideration use the most sacure fingering for the played note sustained note difcut to contro! * resultant tones not notated if mo: teay sof the mest Importance usually more difficult to sing a Decal point while playing’ the ‘mology (ex. 51 8. Unigon singing -distons the natu- | match the timbre of the horn as_| -avoid complex activity ‘and playing fal timbre of the | closely as possible and sing with hrm tone, becom | qual volume -eonsider the ranges and com Ing somewhat na pose an alternative or two Salandholiow | -avoid “beats” from intonation lscrepancies Bey * brief explana: tion n NAME NOTATION EFFECT TECHNIQUE ‘COMMENTS Tara “ample moda” | sing urioon and bogina gradual | an eielve and vretle leah iene bea nicn | alosance wth ne vce on iowa peed aoe worms 22804 T isen primary to the stable | voice can work equal well scat rater. | Sayed pitch ars dont aiow tte | above or below he Cove ofa Per pt an ox | neteieraranes | Sede upward wit ihe vac: nid | ngs 5 il oa ta choc coon ue peconon| | Saree eee Tatoray beam [TERRE] | acanvoved rom | atin oor th vio othe ip | vary Inprbabieroqeat Wo B25] ‘ber of beats perse- | in whichever direction is most fexse Soars sound. | easly contd and retain he Ss 1 | fae Sencatone’ oe securely no | he osu = mole vate sow "rates S8PS or = foo i reoeetods or an eae = wt need fut fen “waralo"l 10808 or mores explanation requested ‘general | sng and play holding the unison | ‘ost effecive inthe wor roqatow inNo.3 | pitch while adjusting the position | timbral variety wil not be heard above witha subtle | ofthetonguetoformthe gvenvowel | Untess prominently scored vowel” quality } sounds play ®8°0°8 | adulation a8 i somewhat more audible in “0 not allow the aperture to ated become Involved in the vowel + a belot explana. | Sphthonas between | sound formations . ‘xtreme vowel qua tion willbe needed | ites are tha most Stopped horn or with a mute avaible THom weed asa | verbal Instastion | ses the hom ne | dos directed “such requests have hed litle to ‘megachone Given near the | shape and metalic o with the horn and fis unique. Sent (ia hum in. | wraney, to a 0 potentials, but are Included here to the horn.” or | the voice of vocal fer completeness. Sing, yl mutter, | fects de by Hiss groan, cous | the performer sound coma spect | utero tt ie ytapiee er | ‘ting avete mu ants, cea} tained sound cau- see caging ot. istHl. EXAMPLES ‘lof the foliowing examples are included on the recording and Identifid by the example numbers (Le, examples 50 - 52) Example 5050, (No.1) play’ Example 51 - (0.2 4 Example 52” (0s.9,485) ay Chapter 12 AIR SOUNDS. |. STATEMENT Such effects 26 these a throughout the brass instrument family and are, thus, not un {que to the hom. | include them because of their popularity ‘among composers. ‘What thie category Involves is finding various resistance points; within the horn’s construction, and through conso- fant formations at the mouth, or varied combinations of both 0 a8 to cause an audible "wind sound” asthe performer's ale fushes past. Ths involves a short period of experimentation I. SPECIFICS NAME NOTATION EFFECT {or the performer to discover the best means (if the suggested technigve is Inadequate) and very ite technique beyond the conservation of the air if lengthy air sounds are required. “There aro examples in the terature which request a lissando for the alr sound. This, of course, suggests a {change of pitch which ie not possibie through “white-noise” {or wind) which theoretically Contains all pitches. Slight tim bral changes and amplitude adjustments could be used In such a case, TECHNIQUE ‘COMMENTS. 4. Air sound -simply the sound fof wind with. no tone or aiscemable piten * (ar only) —— * methods might be suggested see Techniaue) “wrap lips around mouthpiece and iow i. spread tips, apart but retain a “near aperture” and blow «form the letter“ with teeth and bottom tip then blow 4. wrap lips around mouthpioce and form the eters 2. “haltvaie” one or more valves ‘and blow against tat resistance {combine one or more ofthe above with @ haltvelve {9-reverse the mouthpiece and holdit at an angie next 10 the mouthpipe ‘pening and Blow against the resu- tant resistance “the techniques ited aren an order Of volume from softest to loudest suggesting one or mere of these ‘might inure the audit or subte- 'y desired “i morewhite noise" Is desited one ‘could suggest oF allow air loakage through the comers ofthe mouth sound whieh will not be ampli by ‘the hom its) hand BowNAME. NOTATION EFFECT TECHNIQUE ‘COMMENTS 2 Air Fuster (arent) | © vey aggrssve | apply many of the techniques | consider the volume characteris. aoe | air sound with re: | listed above (No, 1) with the addi. | lea of the above mentioned tech FR | mitonate at | ont tring tin tongia ne | nies. No, 1) wih he ovous ew 54 ations ‘Chapter 4 No. 10) or the valves (or | exclusion of the "s” oF “sh Tor both) mation at trogular pulse. tions are. desired se thevave itor (ate valves) 3 Miuaied ar ‘ax ony) | vite applied to | tongue aggressively Ino @ hall | most effective at louder levels sounds 2 ‘the more.suatle | valved or reversed mouthplace alr : +35 94 | air souna’ tech: | Sound for greatest volume air sounds wil never be “lout ATELETELD | tues ompared to the poem deo ox 4 a experiment with combinations | bals of a normal hom sound) EXAMPLES {lof the following examples are Included on the recording and identifi bythe example numbers (Le, examples 53 and 54) os yt. b)aieonty) ed (rH 1" or") a) HV. 4) (reverse ma) PS SS (Wo. a7 Techniques) (sironty) scampi se i) ___bowms) os.28 === —F ——— a Chapter 13 MOUTHPIECE EFFECTS. 1, STATEMENT [nother somewhat marginal potential of the horns timbral ‘output involves the mouthpiece Sounds withthe hor, partially Temoved, and totally detached, Due to the great variance in “dimensions with the other brass mouthpieces, hese effects for the most pat are unique fo each insttument ofthe brass family. ’Produeing a buzz through a detached moutnplece Is a nor. ‘mal request. However, avery fine book on new techniques sates that no precise pitches can be heard when the player I SPECIFICS NAME, NOTATION EFFECT “@ popping. sound which is amplified by the horn, to on: Iya moderate ay. * brit explanation aduisable “ase he fla of the palma ofthe ight and and stke the normally insert 2d moutpece in a flush manner SSrecting. the bell away from the body fo he greatest projection -be careful not to tapi so hard that ‘the mouthpiece 1s orced Into the blows on the mouthpioce unattached tothe instrument. This is Certainly not the case. The sound is alry and, with some players, less than a pure quality but the actual pitch can be heard and should be expacted by the composer (voiding the bottom octave and a half of the normal notated hornist's range). Good projection and extensive volume will not be possible TECHNIQUE COMMENTS “2 unique percussive effect and ar ‘ready a rather standard request although trumpets can also project ‘a subile pitch vatety by depressing “Strate soundrom ‘mati dynamic contrasts Pee eo therwetswihinthe ‘ombal NAME NOTATION EFFECT TECHNIQUE COMMENTS: suse normal nota: | a.variedand unpre: | a/b. do the best you can with these | a/b. obviously a request not favored tion for pitches | dictable distorted | requests and don' feel bad It they | by this wer demands all now om ‘desired, consider | homtoneand pitch | don't seem to work wel ‘bouehure techniques from a player ing the characters ‘and. tends to the the. performer ties of the new at- |. elther a. igh ‘uickiy tachments and in: | (ob08) oF low fas ‘clude adtionalin- | son nary uncon- structions. tollable, distorted Pitch with a roedy fd possibly state filed sound 5. Mouthploce ex: changing diferent brass rmoutrpiece use an oboe or bassoon reed 6. “Beat tones" | in uomeone | contoled beat | it beats are all that are requested, | {see Chapter 11, No.4 and No. 5) (etween. two or fluctuation be- | thendecide between the performers ‘more instuments) | 28PS-+58PS | twoen two blend | which ones) wil emain solid and | a dificult effect to control_but ing titres anion one wil adjust to cause the | becomes a milly intresting effect S beats match dynamics and tim. | when executed wall = res as closoly as possible “don't expect absolute numerical ac : -bend the tone slowly curacy with the beats explain tuty -an almost ethereal | -buld up some rosin on one point ot | requires preparation by the player Finging. tone of | your bell rim and draw the bow | and a new technique for en even ‘moderate. length | downward with an even pressure | bowing fd volume and speed at that point onthe fare 7. Bowing the bot] “ass bow on bell fim) a— eo will probably nave a single pitch, -experiment with various spots on } though nat predictable, depending the fae fand thickness of the ‘explain brioty -dotach the bel (i possible) for fr ther optionsXAMPLES the following examples are Included on the recording and identitied by the example numbers (i.e. examples 58 - 60). {vv sie lonen Example 58 “ae oe (ub neal Wos.t,2838) 7 Pd Got pao “Set dep) Example 59) © a ae QS ——— _—=—Ir w——s Cimatowenbelind gaat Gro ae ON tes 8 PS SS eS S ff Chapter 15 COMBINATIONS. 1, STATEMENT ‘The possible combinations are seemingly endless when fone begins to consider the nearly 200 effects discussed in this book. From this point it is more for the creative composer land performer to combine and discover than for me to con- tinue to list However, there are afew combinations which are ‘common enough to be considered standard. Some of these have been used in the brief recorded examples for the previous chapters (Le Examples 6,12, 42,44, 54 and 58). ‘Some of the more obvious combinations would involve the various muted qualities while executing many of the techniques Il. SPECIFICS NAME: NOTATION EFFECT (exe found in Chapters 4 through 14. Others might involve tis and ‘wemolos with Chapters 4.6. 7. 8 10.11. 1S and 14. glssandos with Chapters 487,11, and 13, alfvale with vocalizations and rato, quartertones with varias timbral potentials ad infinitum. Below are afew of the most frequent combinations. This, without @ doubt, the most incomplete, or rather the most ‘generously open-anded chapter within this Book. TECHNIQUE COMMENTS -excallant means to noisier, dtr pertorm- | gissando andos (see all mutings are possible also usable with many mouth piace effects see Chapter 13)NAME NOTATION EFFECT TECHNIQUE 2 Flattertongue tilts and tremoioe (Rox. 62 @_very raucous addition ‘to the Sounds of the many potential falls and tremolos (see Chapter 5) “Fier tha tip of he tongue (Chapter 4, No. 10) while performing the var lous tills and tremoios (see Chapter 5 COMMENTS ‘most effective with valve Wile {and tremoloe -valve tremolo will not be heard during @ tuttertongue all mutings are possible “an osclfating sow Trl the originating note as appro - most significant effect In the &. glissando giving a | priate, then begin a slow ascending | upper register S| feewoatecrone | valveiittred gissando upward FFF | auaity wnenintne | while continuing the tri action at | *¥0ldtoohigh an oigination point Spperrogistor | te ip descending not as atfectve exes all mutings are possi T Fuuterwiy —] = @ 0 @ | seeGhapiera No. | eve Ghapier2, No-Wand No 1a, | wseol he mutele hemost abe iterating muted and No. 12'and | Ghapter3 No.SandChapter4,No. | and. efective when in softer shtects Chapter 2, No.3 | $0 dynamics Sndcombie these EoE SE 68 — | ier ondlatons or sal sounds and ot tcl mas |, with a flutter to coordinate tongue Chapters, A-O-A-O | No. 10) brass mute os Name NoTATION EFFECT TECHNIQUE COMMENTS = Fister winvees | oy acational distur | “hold Wah to he hater onguedl | ‘more afloat to coordinate and iced lesando or | dance to he Boats | played pcm (Ghaptar No To}and |_ imitate payers vera ending wort £—— _| roduces ty near | inane preservesverancea ina | potential with the hom FHT | iinison"ocaton: | sinh tone ano volume (Chaser tiona (see Chapter | Ft Na.) a dieutingy angry, tough nt ne oes | sing nN.) essay aggressive sound Play -a dirty and unsta- “remember to compose alternative oy Be qaity anges forthe voelestons 71 torato} sing Ml EXAMPLES ‘allof the following examples are included on the recording and identified by the example numbers (Le. examples 61 - 65) Example 61 (Wo. 1b. 8) Example 62 (Wo. 28. &b)Example 64 Wo. 42.6. 80) OJ = ae 7APPENDIX. INDEX OF EFFECTS/TECHNIQUES PRESENTED A Topical Listing peune nena Most characteristic sound Greatest power and projection MUTES . Straight mute fron-ranspacing) Brass mute (ranspesig) Plungor mute cup mute Whisper mute Glass mute Cloth mute HAND MUTING. ‘Stopped horn sie than 12 step hand gissando TONGUINGJARTICULATIONS. Punctuatee, aggressive transients ‘punctuated, though detached transients ee) and projection Highest note possible Lowest note possible Gracual changes \Unmeasured rie mute changes Rythme mute changes \Unmeasuted raid mate changes ‘wth multiple tonguing frase mute vanations pel UUnmeasured rapid hand changes with muttipie or rap tonguing ‘Scoop.up and sceop-down into a note ween 6 ‘Gove tonguing ‘Trple tonguing Rapid staccatissimo TRILLS AND TREMOLOS.. wee Tels Valve remotos Microtone tails Flexible speod tris ernate tris Floxible speed vaive tremolos Iereguiar valve tremoles “remot Tiller temalo to open tube GLISSANDOS ............. nn 43 Gliesando at glissando orig Bond oF ip Dain or dot Faltott of drop Spi Flip. Smoar (rp) Litto flare Plop Slow glissando or 539 HALF-VALVED EFFECTS ... Haitvave (definite pitch) Haltvatve (ngetinite pitch) Ghost ton Haltvalved glissandos smoother of “softer transients Flit-tongue Hattvalve ovations Miscellaneous ansents Spittonge stacks Haitvaived temola AAbtupl and accented releases Gow! ‘ir sounds using Paltvatve Smooth releases and decays Hatalve « VARIED TIMBRAL POTENTIALS. .......-... 55: Slationany oats Brassy or cure Variable timbre Dark vad sound Horm used as a megaphone Brash open sound iit nae or sta AIR SOUNDS 5 “74 Brathy tone ‘sound (varied methods) ‘Sucked ich ater Buse ton Arteulted air sounds Vowel sound production Bel drecton 1 Bepplrstet MOUTHPIECE EFFECTS .... 76 nharmont fingerings mpiied mouthpiece glissando Diserptve sounds (aed) houtplece alone VIBRATO - 61 tated moctnpiene, Mibato os ste, whistle, mp.pop, mp.wheos ery Mounpioce nova isle, mp.p0p, mp.whoosh Viorate wat; wide, narrow, change Vibrato intonsiy; regular, regular rhythmic MISCELLANEOUS .......................78 ereting versio “Tubular fils and romolos Quarter tone vibrato Percussve ees ingernal hth, Machinete vibra Tingorna ils and Matter, mate ate, Wawa virto valve compression “thoy sympathetic ation: rf the plano, ‘QUARTER-TONES. 65 ino dum head ni. tater, Notaional considerations outbplace exchanging; diferent brass Fingering chart: ful double horn (18+) ‘movinpieces, oboe of bassoon re “Using 7, 4th & tah paral feat tones between wo of more netTuments 2. F tuned ta tone below 8 Bowing the bal VOCALIZATIONS 270 COMBINATIONS |... cee 4 Norn ehoras Fistertongue gissands Melody and pedal point Unison singing and playing Variable boats Fluttertongue fells and tremolos ‘riled gissando Fluttr with altornating muted effects Flutter with vosaized gissando or vibratoCOMPLETE OVERTONE SERIES. (Full Double Hor F/B") ii aly * All black notes are usable only as micro-tonal fingerings (.e. 7th, 11th, 13th Panta) (See Chapter 10)ALL POSSIBLE FINGERINGS. (Full Double Horn F/B) Fo 23 ° ee ° 2 1 12 ° ie RB RB B wo B ob: 2 i 2 2 2 + 12 2 ° 2 B 3 1% Bo 8 we 3E —— = F2 1 2 23 ° 2 1 2 Bo ow B om Tf BS ws mi 2 v v2 ob: 2 + nL] all k “Note: All“12" combinations can also be played “3° sounding slightly lower,SELECTED SCORES. SESTAEESet ea cocmin crores Hee marion cera eta ae nT ae tees oe a anes eee unc sania ee ED pr a te nt sce Hares Comanracrmmsee as se oe Sr tea sea ee Se Rete cy en eh rsa emcee Son Sieeimecreceeeatee seo SASS re cot tw are ct Sa Yer geese eS Sea eat tava SaaS a See ae ee ureter oe oe ttt seen oe sre se cet eco omer aect Tae Se wma oo aa co oe ET amc meneame soa teste nana renal eerie ca, Sep meee ‘ard Ghee) Anetean Caracas Alance ous, tus. he Gave he Wid ind Quo (97 Salat ior, Soi Uigtrn Ms ‘haste Abors Bomar (184 Boosey & Hawkes (1977 ‘itn hae KGAN Fr Mer and Pon) Eon MADE, ‘awe or os, en. Rateon (Sal Ho 970. MS. ‘rose lane Renee 0 Hom and vest Topes MS. (97) "aston eos Hom ad Cam Ot 7, Horson Sn Round ad Around Hora Percussion MS. (97) ir ator Sortie Fr Ha ana Pes ‘ets ptscnten 8) Hora, Hane Wome apa of Hrs. Seno 57 i gos ABSTRATIONS For Slo nd 8 Mere 20 “She Pm 63) das Solteae 9785, Stu P85) [SKETCHES for Soon Hom (1077 MS. Satog or om (87970 MS uaa, Ks Gone for ss Quite an Sing Ochs, ‘atone sue (17 ‘herimero for Bos Quint 07. Ascites 079 tae Gorge Clr Contato 8 oa A Ha ha Uta ‘Shaan, Raper Mtl tne "Sr Homa Sunes Pe ne 37) iar La Stnen Quo 1979) Tope Gam nF eroroxe ume €or Ca Macher arg, Karan lent 17 rte Masog NS Ole {ae ivan Concerta Buroes for Como» rare, cate eto (07 Menclpoe 974 ate Musca Susan (78) Let Gay arnt 60 Hay Le amaronner 0037 sen (197 Tense for nd Gut 6) Ser exe, Jc Imenon Par Co Cxbebe, Brussels (27, ‘few Ehan Pace arena Pomel inates for Seo Hom Sosa Mile Co (197) Marine, Oot Concert fo Win um ore Prescheme Myer iion: Deum Ene M's cab lone The Gaasee Toy Moran Plano Nowa C1875 toi Vian Troms Owns Son for Bat mt 1S Messiaen, ivi. Fam the Canyons 1th Stars VL Ae! ntrstalare Moss, Lawrence Auctions Woodwind QumeTepe. Cas acher ‘Musgrave, Tes, Hom Concerto 17 J &W. Chester, London ‘Mane for Horm and lan 1055 3.8 Chaser Nigh musi (165) £1 Cost (572) ‘ena, Ut Plone Monod Remsen (861) Josep, Solos for Horm (om and Tap) Cause Bonny Pres (174) Poison chore The Dee Mar (Sal Taba, 4 Home, Pocus) ‘ieeon Must Co. (175), Penderch Keay e hate Sonos. Moock Vrag Calo (157) ate, we Eta! (1965 Hom Plano) Hae Goi 73) Fosnéora, Googe. Chamba Symphony fr Nine instrament (950 Pressar Shaver Gunnar 1274 te MUG Mone Tire Paces fr Fre Hors 052 aran Musi ‘Studs for Unaccompanied Hom, Oster Uniorty ss (952 ‘sear Et Dement He? For 2 Hom Keyoars Payer) (868 ‘Sri Pblestone (1970). Rb 1079 (bss TorTope) Can Fischer ‘ature or Sings, Wings, Bras (969 Stous (367) SELECTED BOOKS Tha folowing books ae ales wore reered oa one tire or another cr lng the eampiaon of ti boo Thosa are whan sata) v0 ot ‘Special ina! du ota gusy content and comitanes Backus, Jn. The Acoustical Founda of Mie. Nato (0) aco rune, New Sounds or Woodind Oster Univers Press 1087) Ben, Artur A Conv Approach tothe French Hem. Chapel (17), Bort Benarn ana Edward T Con ohooh Prspectes on American ‘Compas Neston (171) “Perapects on Nlaon and Perfomance. are! Neto 1979 co, Joon Notations. Something Eee Pest (18), “Stance. MAT Prose (8) ‘cour, chad The Prnch Hom Dr, Bchar Cor (1847) (ete, Huge Sounds and Sis Aapects of Musial Notation ‘Oo Urea Pras (78), ‘Cope Dai: Now Decne Male WC Brown (876) ‘ow Mane Composton Sehna(877 “hw Mane Noten Renal, Mat (370) ‘lk Robart The ther lute #Parormance Manca! of Contemporary Tecnigne, OrforaUnrsy Pose (1978) “Fr a Pct eos The Language of Twenteth Cantar Mose, “A Dietnay of Teme, Some (75) Hosta Themes. oer Coneapts nu for ras. Ol (1962) ‘ty, Pcl Hom Chews: An Acoust Problem. 95 ‘Scher, Kur fr i, Hom und Kleven Moder (82) ‘Sova san Sty lr Hom and Tape (1776 huse SCERZANDO ‘Sher Nour lento for Hor toe ase te (08, ‘Smyth tel Concerts for Ven, Hom and Orchestra Cran & Sone Li (ica, 6. Scher ne ‘Stacy, Willa 8 HMO"REN For Hom Alona Lda Musi (874 “ur Pau Muse or Mine Home Op. 94 No.4 Sot Mise Cop. (975) Oona fo Horm and Piano Op. 28 The rate Pest (173) Varin, gar: Myperptam 124). Carmen, Landon imtpaes19261 J Cor, Lonaon (etenare (1824 J. Cuvon, London Strands 121 Behar 827, igs, Concertante om, Vo, Stings) (868 MS. ‘Wot Gvtstan Gur fr ome. Peer 087) Wournen Chavon Geta ars (90) ‘gn, Maunce. Chamber Symphony for Woodwind Quintet. aba (1579 Xenakis, amis. Anata Saber “nals Agom For Hor Tomtone and Tuba). Eations Saleben 1972 ‘Stm0:,280262 Boosey & Hawa (197) Ths Hom Gal, Novenbe, 77 in A Std o the Acoust! Elects of Mules ‘on Wind mstumens © Oi (150) ang, aul este. Probe of Modem Muse. Noon (952) ing, Pau Sd Nathan Broder ears) Contamporary Musi In Europe: “4 Comprebontve Survey. Noon (1985 anal, Dan Mhas Naar ConsoeDitnoy of Masi, Betray Press (1a) Rood, Gardner Contemporary InsvumeatlTecaigues Sehirme (575) ‘Mase Notation Ay and Bacon 068 Theesu of rchest!DnisenGreenso03 Pres (155) “senate Guha Hom Tecbigu, Onion Urey ross (96) ‘Setar. and Chin str) Contemporary Composers on ‘Contemporary Msi. iehat end Winston FS “nck Pat A Compranenie Perfomance Poet n Trumpet Lierture With Survey of Some Recon Developed Trumpet Tehalues ‘nd Elects Appearing In Contrnpoary Muse. DoztonlDsoaton, ‘erat eto re Turtchy,Brvan The Contemporary Contabess. ‘Uieraty of Cites Press (170) “Vinton Jon (ct, Dltonary of Contemporary Musi. Duton (1974) ‘si, Oavid Robert te Mftona Capen ot the Hem. ‘Doctor leeation Unieaty ofaDOUGLAS HILL - PROFESSOR OF HORN Dougias Hi, Professor of Horn at the University of Wisconsin- Madison since 1974, and past President ofthe Intemational Horn Society, has played principal hon wih the Rochester Phaharmonic, New York ity Balet, Martha Graham Dance Co, the Contemporary Chamber Ensemble (European tour and recording), "Mesty Mozart” at Carogio Hall, and present wih the Wisconsin Brass Quintet and the Madison Symphony Hil was the original hort in the Spoleto Festval Brass Quintet ad has ‘Soloed wih orchestras in tho US., Germany, and China, and as a recital ‘st and cinigan at numerous Intertonal, Natal, and Regional Hom ‘and Brass Workshops. His intrestin modern performance prasis i iy ‘demonstrated in his book Extended Techniques foc the Horn =A Practical ‘Handbook for Students, Performers and Composers, Douglas Hil was reconty included as one of only 20 hort in the ‘book of biographical sketches: Twnieth. Century Brass. Solists by Michaol Meckra. Profesor il has recorded two albums with pianist Karon Zacze Huon Crystal Records, "A Solo Voice" on GunMar Records (modem ‘unaccompanied work), and has recorded with tw St. Lous Symphony. ‘Contemporary Chamber Ensemble of Chicago, Wingra Woodwind Quintet Dick Shory at Carnage Hal and the Wisconsin Brass Quist on Summit FRocords. Hil has produced a ful lengh educational vdeo "HILL ON HORN: and frequenty contributes arteles to leading journals. He has ‘served onthe faculties of the Obertin Conservatory, Aspen Music School ‘Asian Youth Orchestra Rehearsal Campin Hong Kong, the Conservatories of Bojng and’ Shangha, the Sarasola Music Festival, tho Uniorsy of South Florida, Wilkes College, andthe University of Connoctot ‘AS afequont recipient of research gran, he has studied unrecord- led horn and piano repertoire, extended techniques, hand hor, extempo- Featon and composttonaltechriques and appicatons. Me Hil is aso & published and recorded composer including such works a: "Jazz St for Solo Hom” “Shared Reflectons for” Four Horns” “The Spit Wiri..Massacro and “Ceremonial images” or tribal drum and large ‘ensomla, produced for Nebraska Exvcatonal Televi (commissioned bythe Omaha Symphony)