Cors de chasse - Score
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By the early 17th century, there were two main types of hunting horns, both designed to deal with the problem of providing a tube long enough to allow playing higher partials, while at the same time allowing the instruments to be played on horseback. In German, the word "trumpet" was usually qualified by "Italian" or "hunting", to distinguish these coiled horns from the military or courtly trumpet, though spiral trumpets sometimes called trombae brevae pitched in D and played in clarino style also existed.
Although these came to be associated especially with France, the first known example was made in by the German maker Starck, in Nuremberg. In French, they were most often called trompe de chasse , though cor de chasse is also frequently found. It was soldered to a mouthpipe, which in turn was often soldered to the body of the instrument and strengthened by a crosspiece, as was also the bell, rendering the horn more solid. Change of pitch was effected entirely by the lips the horn not being equipped with valves until the 19th century.
Without valves, only the notes within the harmonic series are available. Since the only notes available were those on the harmonic series of one of those pitches, they had no ability to play in different keys. The remedy for this limitation was the use of crooks , i. The earliest surviving crooked horn was made by the Viennese maker Michael Leichamschneider and is dated In cases where it was necessary to specify the older, hooped horn without crooks, the English called it the "French horn".
By the second decade of the eighteenth century horns had become regular members of continental orchestras.
for Trumpet, Trombone and Orchestra
In Johann Mattheson stated, "the lovely, majestic hunting horns Ital. Cornette di Caccia , Gall. The most useful have the same ambitus above F as the trumpets have above C. However, they sound more poetic and are more satisfying than the deafening and shrieking clarini One performing difficulty raised by the use of crooks inserted at the mouthpiece end of the instrument was that players were obliged to hold the horn in a way that the crooks would not fall out.
For the hunting horn played on horseback, the left hand held the reins while the right hand gripped the body of the horn, but with crooks the left hand was required to hold them and the instrument securely together, with the right hand grasping the bell or the body of the instrument. The solution came with the creation of the Inventionshorn in about by the famous horn player Anton Joseph Hampel in collaboration with the Dresden instrument maker Johann Georg Werner.
In this type of instrument, the relationship between the mouthpiece and lead pipe is usually undisturbed and a series of cylindrical-bore sliding crooks are fitted into the central portion of the instrument to lower the pitch from E downwards. These sliding crooks also had the function of tuning slides, obviating the need for tuning "bits" inserted before or after the crook. In order to raise the pitch above F, however, it was necessary to insert a new, shorter lead pipe, acting as a crook. This design was adapted and improved by the Parisian maker Raoux in about , and adopted by many soloists in France.
Orchestral horns are traditionally grouped into "high" horn and "low" horn pairs. Players specialize to negotiate the unusually wide range required of the instrument. Formerly, in certain situations, composers called for two pairs of horns in two different keys. Eventually, two pairs of horns became the standard, and from this tradition of two independent pairs, each with its own "high" and "low" horn, came the modern convention of writing both the first and third parts above the second and fourth. In the midth century, horn players began to insert the right hand into the bell to change the effective length of the instrument, adjusting the tuning up to the distance between two adjacent harmonics depending on how much of the opening was covered.
This technique, known as hand-stopping , is generally credited to the self-same Anton Joseph Hampel who created the Inventionshorn. It was first developed around , and was refined and carried to much of Europe by the influential Giovanni Punto. This offered more possibilities for playing notes not on the harmonic series. By the early classical period, the horn had become an instrument capable of much melodic playing. Valves' unreliability, musical taste, and players' distrust, among other reasons, slowed their adoption into mainstream. Many traditional conservatories and players refused to use them at first, claiming that the valveless horn, or natural horn, was a better instrument.
Some musicians, specializing in period instruments, still use a natural horn when playing in original performance styles, seeking to recapture the sound and tenor in which an older piece was written. The use of valves , however, opened up a great deal more flexibility in playing in different keys; in effect, the horn became an entirely different instrument, fully chromatic for the first time.
Valves were originally used primarily as a means to play in different keys without crooks, not for harmonic playing. That is reflected in compositions for horns, which only began to include chromatic passages in the late 19th century.
When valves were invented, generally, the French made narrower-bored horns with piston valves and the Germans made larger-bored horns with rotary valves. The variety in horn history includes fingerhole horns, the natural horn, Russian horns, French horn, Vienna horn, mellophone, marching horn, and Wagner tuba.
Animal horns adapted as signalling instruments were used from prehistoric times.
- Benvenuti in tempi interessanti (Italian Edition).
- EERILY FAMILIAR.
- Symphony 'de Chasse', RH 41 (Gossec, François Joseph);
- Cors de Chasse.
Archaeologists have discovered cow horns with fingerholes drilled in the side providing a more complete musical scale dating from the Iron Age. This type of rustic instrument is found down to the present day all over the Baltic region of Europe, and in some parts of Africa. In Scandinavia it is known by many names: In Estonia it is called sokusarv and by the Bongo people mangval.
The cornett, which became one of the most popular wind instruments of the Renaissance and early Baroque periods, was developed from the fingerhole-horn idea. In its most common form it was a gently curved instrument, carved in two halves from wood. The pieces were then glued together and wrapped in black leather hence the term "black cornett" , and a detachable mouthpiece added.
Imagin'd Corners
Another variant, called the "mute cornett", was turned from a single piece of wood with the mouthpiece an integral part of the instrument. Because the types of wood used were usually light in colour, these were sometimes referred to as "white cornetts". Amongst the earliest representations of the cornett, showing its characteristic octagonal exterior, is a carving in Lincoln Cathedral from about , which shows an angel apparently playing two cornetti at once. The earliest use of the name in English is in Le Morte d'Arthur from about where, as in most subsequent sources it is spelled with a single T: The spelling with two Ts is a modern convention, to avoid confusion with the nineteenth-century valved brass instrument of that name, though in Old French the spelling cornette is found.
The name is a diminutive derived the Latin cornu , "horn".
In the sixteenth century still larger versions of the cornett were devised. In order to put the fingerholes within reach of the human hand, these bass instruments required so many curves they acquired the name " serpent ". Toward the end of the eighteenth century various attempts were made to improve the serpent. An upright version, built on the pattern of the bassoon and made sometimes of wood, sometimes of metal, sometimes a combination of the two, were called "bass horn" or " Russian bassoon ".
The ophicleide only remained in use until the middle of the nineteenth century when it was eclipsed by the superior valved brass instruments. Natural horns include a variety of valveless, keyless instruments such as bugles , posthorns , and hunting horns of many different shapes. One type of hunting horn, with relatively long tubing bent into a single hoop or sometimes a double hoop , is the ancestor of the modern orchestral and band horns. Beginning in the early 18th century, the player could change key by adding crooks to change the length of tubing.
It is essentially a hunting horn, with its pitch controlled by air speed, aperture opening of the lips through which air passes and the use of the right hand moving in and out of the bell. Today it is played as a period instrument. The natural horn can only play from a single harmonic series at a time because there is only one length of tubing available to the horn player.
A proficient player can indeed alter the pitch by partially muting the bell with the right hand, thus enabling the player to reach some notes that are not part of the instrument's natural harmonic series—of course this technique also affects the quality of the tone. In , Prince Narishkin, Master of the Hunt to Empress Elizabeth of Russia , had a set of sixteen carefully tuned metal horns made to ensure that his huntsmen would sound a harmonious D-major chord while signalling to each other.
He then got the idea of enlisting a Bohemian horn-player, J. Peterburg to organize these new horns into a band. Maresch had made a second set of thirty-two or perhaps thirty-seven horns, each capable of playing a different, single note—the second harmonic of the instrument—from a C-major scale covering several octaves. Later the size of the band was increased to sixty horns encompassing five octaves. The instruments were straight or slightly curved horns made of copper or brass, had a wide conical bore, and were played with a cupped trumpet-type mouthpiece.
A metal cap fixed to the bell end was used to adjust the tuning. Each man in the band was trained to play his note in turn, similar to the way in which a group of handbell ringers perform melodies by each sounding their bells at a predetermined moment. This horn band, effectively a giant human music-box of the sort only feasible in a slave culture, played its first public concert in or and debuted officially at the Grand Hunt concert in , creating a fashion that spread outside of Russia and continued for eighty years. With proper training, such a horn ensemble was capable of playing relatively complex music in full harmony.
The Russian nobility developed a taste for horn bands, which were sometimes sold as a body—the performers along with horns—since most of the players were serfs. Some bands toured Europe and the British Isles, playing arrangements of standard concert repertory and Russian folk music, as well as original compositions. Although received with praise for their accomplishment, they were also criticized for "reducing man to the level of a machine". In Eastern Germany, workmen's bands modified the technique of these horns by adding the upper octave to each instrument's note, and the use of hand-stopping for the smaller horns to add one or two lower semitones.
The German horn is the most common type of orchestral horn, [22] and is ordinarily known simply as the "horn". A musician who plays the German horn is called a horn player or, less frequently, a hornist. Pitch is controlled through the adjustment of lip tension in the mouthpiece and the operation of valves by the left hand, which route the air into extra tubing. German horns have lever-operated rotary valves. The backward-facing orientation of the bell relates to the perceived desirability to create a subdued sound, in concert situations, in contrast to the more-piercing quality of the trumpet.
The more common "double horn" is found almost exclusively in the German design, only rarely in the French horn, and never in the Vienna horn. This configuration provides a high-range horn while avoiding the additional complexity and weight of a triple. The French horn as distinct from the German and Vienna horns , is also usually referred to simply as the "horn" by orchestral players.
The bore of the French horn is small, between A musician who plays the French horn, like the players of the German and Vienna horns confusingly also sometimes called French horns , is called a horn player or less frequently, a hornist. Although double French horns do exist, they are rare.
A crucial element in playing the horn deals with the mouthpiece. Most of the time, the mouthpiece is placed in the exact center of the lips, but, because of differences in the formation of the lips and teeth of different players, some tend to play with the mouthpiece slightly off center.
But, although some pressure is needed, excessive pressure is not desirable. Playing with excessive pressure makes the playing of the horn sound forced and harsh as well as decreases endurance of the player by about half. The Vienna horn is a special horn used primarily in Vienna , Austria. Instead of using rotary valves or piston valves , it uses the Pumpenvalve or Vienna Valve , which is a double-piston operating inside the valve slides, and usually situated on the opposite side of the corpus from the player's left hand, and operated by a long pushrod. Unlike the modern horn, which has grown considerably larger internally for a bigger, broader, and louder tone , and considerably heavier with the addition of valves and tubing in the case of the double horn the Vienna horn very closely mimics the size and weight of the natural horn although the valves do add some weight, they are lighter than rotary valves , even using crooks in the front of the horn, between the mouthpiece and the instrument.
Vienna horns are often used with funnel shaped mouthpieces similar to those used on the natural horn, with very little if any backbore and a very thin rim. The Viennese horn requires very specialized technique and can be quite challenging to play, even for accomplished players of modern horns. The Vienna horn has a warmer, softer sound than the modern horn. Its pumpen-valves facilitate a continuous transition between notes glissando ; conversely, a more precise operating of the valves is required to avoid notes that sound out of tune.
Two instruments are called a mellophone. The first is an instrument shaped somewhat like a horn, in that it is formed in a circle. It has piston valves and is played with the right hand on the valves.
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