In my discussion concerning Musicianship 101, I neglected one VERY important member of the horn section, that is the Assistant Principal.

I believe it was Anton Horner who first insisted on this position as a regular section player in the US.  All succeeding Principals owe a lasting gratitude to him.

I attended a Master Class by Gail Williams on this very subject.  She stated that the Assistant has probably the hardest job of all the section players.  This is probably accurate.  The assistant should be ready, and able, to perform all solo passages at a moment's notice (Principal becomes
indisposed for some reason).  Also, having a strong assistant will allow the Principal to rest, reserving strength and/or lip to be ready for the solo or high danger passages which are notoriously difficult.

During these interim moments, the Assistant assumes the role of the section leader.  However, the responsibility of the assistant does not stop there.  Many times the assistant is also a utility player meaning that should any other member of the section become ill, or asks off a service, the
assistant assumes that chair.  Thus, the competent assistant should be aware/familiar will ALL four horn parts should any unforeseen catastrophe arise.

Assistants are sometimes maligned by egocentric Principals.  It is too often that assistants are not used effectively, sitting for extended periods of time.  There is an art to using an assistant, but more than that, a professional courtesy should be followed.

I am aware that, according to circumstances, all assistants are not created equal.  However, intelligent Principals know how to effectively use their assistants without being heavy handed or self-serving. Remember how it would feel to sit for long periods of time and then be asked to play
pianissimo entrances at the top of the staff.

Thus, it is imperative that the Assistant is prepared for every circumstance.  One might find themselves playing soft passages one concert, and tearing out fortissimo held notes on the next.  Being able to adapt is essential for these hornists.

Some time ago, one of our participants on the horn list responded to my Musicianship 101 addendum in which I addressed my thoughts on the Assistant Principal Horn position.  Specifically, it was requested that I use an example from symphonic literature, the Shostakovitch Symphony No. 5 being a prime example.

Before I begin, let me reiterate that this position is a crucial chair within the horn section.  Not only does this hornist have to be able to spell the Principal and lead the section, but may also have to step in at a moment's notice if the Principal becomes indisposed (sudden malfunction of
equipment, coughing or other breathing problem, sudden illness, unforeseen personal problem, etc.), in essence be able to take over at any time.  However, it doesn't end here, this person may have to suddenly take over the role of any of the other parts, especially if sudden illnesses occur.
Thus, a totally prepared Assistant will (or should) be familiar with EVERY part.

Depending upon the circumstances, the quality and strength of the Assistant varies.  Ideally, this person should have the same inherent qualities of those exhibited by the Principal.  Strength of tone throughout the range (especially high register), security of performance, and an ability to lead.  There also needs to be developed between the Principal and Assistant a special bond/trust that equates to an understanding of when and how the Assistant is expected to be used.

Some colleagues of mine are very clear as to when they wish the Assistant to play by bracketing those portions to be performed.  Some have a standing agreement that at a certain dynamic level or in certain scoring, the assistant should automatically come in (somewhat nebulous).  Others simply rely on the Assistant's discretion and good musical taste.  If they wish the assistant to join in, they may use some specific signal such as moving the left elbow.

Sometimes, one may find the Assistant is not up to the challenge of carrying the section in absentia of the Principal due to deficiencies in range, tone, or leadership.  While this is indeed unfortunate (and should not happen), often hornists do not live in an ideal world.  Thus, the
Principal should take care and use this person wisely in more of a full score setting.

Personally, when I have had a competent Assistant, I am not loathe to passing off some small passing solo passages or moments of chamber scoring to this person.  Certainly this makes for a more worthwhile experience for the Assistant.  How frustrating it must be to continually sit contentedly by and wait for a few morsels to be passed on by the "master."  I personally find this reprehensible.

To be sure, there are many concerts where an assistant is not warranted. In fact, to have an Assistant is a luxury.  For me, I'm just happy that another fellow musician is able to find gainful employment; the more the merrier.

I distinctly remember one Assistant of whom we were fortunate enough to have.  I believed that this gentleman  was a much better musician than I.  He and I had a mutual respect for one another and I deferred many passages and high musical moments to this individual because he deserved it.  However, before such decisions are made, it is essential to let the Music Director know in advance (a word to the wise).

I believe that it is an insult to any hornist to have to sit on stage for long periods of time without anything to play.  The Principal at times needs to get a reality check if they plan to use an Assistant.  How frustrating it would be to sit for 5-10 without anything to play and then be asked to enter on a pianissimo f#''.  This would be similar to setting up someone to fail.  If such an entrance is desired, perhaps the assistant could come in earlier and have a chance to get the lips flexed and prepared.

This also addresses the manner of professional respect.  Depending upon circumstances (competency of player and rehearsal time), it is ideal to afford the Assistant an opportunity to run the big solos in rehearsal, just in case something does go awry.  I have been known to reverse roles with the Assistant, allowing them to do the duties of Principal.  Again it is
imperative that you get the Music Director's approval beforehand.  Unless you are absolutely sure that the Assistant is up to the challenge, I would be extremely careful as I would not let this person be put in an embarrassing or potentially career-ending position.  Doing this gives the
Principal a better perspective on the musical experience the Assistant has.

Another duty of the Assistant is to help keep the Principal in check.  This is done by being observant as the music continues and counting rests. Principals do make mistakes, playing and counting.  Assistants may have to corral the Principal if there is a miscount.  It may not happen often, but in the heat of battle, mental fatigue can cause errors.

Before I begin this post, I wish to address an excellent point made by our esteemed colleague David Thompson.  In certain orchestras, an Associate Principal may be designated to take over the duties of the Principal Horn.  Many times this Associate may take over the Principal role on lesser works on the programs, or even on the concerto accompaniments.

Associates are often designated when the quality of the Assistant may not be up to the caliber of leadership or soloistic abilities of the Principal.  Though this Associate may be the third hornist, I have seen instances where the second player or some utility player has been used.

With respect to my comments on getting the Assistant to play through the part as the Principal, not all orchestra rehearsal schedules will allow this.  In fact, most major orchestras have precious little time to rehearse.  With this fact, often the standards are run through only a few times.  This allows the principal chairs to have a short re-acquaintance with the solos.

My comments perhaps are more applicable to those in regional, community, and collegiate ensembles.  With that said, here is an example of how an Assistant can be used.  Remember, there may be some disagreements in the horn community about these recommendations.  We are all different and each Principal will have his or her own view on how to best use their colleague.

Example of how to use the Assistant Horn.

Shostakovitch:  Symphony No. 5

Movement I

Up to rehearsal 9, The Principal should take these bold passages alone.  These flourishes, though bold, are in the context of a chamber setting.  More than one, and you are risking disaster.

Rehearsal 14-I may have the Assistant enter here (I would still play quite softly to help secure the Assistant's piano entrance).  This would allow the Assistant to join in the festivities in the tutti low passages at 17.  However, I would have this person end prior to the concluding rise to the high Bb in order to control intonation problems.

Rehearsal 22-27  I would probably use the assistant exclusively here either alone or in tandem.

Rehearsal 29-39.  In all probability I would use the assistant in all these passages, especially on the triple forte passage at 36 so I could be fresh for the delicate horn/flute duet after 39.  After 39, I might take the rest of the movement myself.

Movement II

Depending upon circumstances and assistant's ability, I may have them play the first entrance up to 50.  This is a relatively safe passage with unisons in the section.

54 Despite the volume and energy demands, I would play this alone as it is doubled in the 3rd horn.  Intonation is dicey enough with 2 people; with more added to the mix, you are flirting with disaster.

3 bars before 57 to 65.  There is really no need for the Principal to play this unless personal desire dictates.  This can be easily passed to the Assistant.

I would take 69 to 73 for continuity and then have the assistant join in the concluding 4 measures of the movement.

Movement III

Call out for delivery or catch some Z's  :-)  Assistant wakes up Principal prior to the 4th Movement!

Movement IV

97 I would have the Assistant come in softly in order to get the lips going.  I would want to take the brunt of the aggressiveness in this crescendo.  I would have the assistant bail out at 100.

101 - the assistant would come in again and stay in until one measure before 107.  If the assistant is solid, then perhaps stay in and help me nail the high Ab passage that leads into 107.  That way I won't die alone!

109-112 I would keep the assistant in and play as I so desire.  Discretion is needed so you are  ready for the solo at 112.

112-113 Because of the extremely long phrases (and sometimes RIDICULOUSLY slow tempos of some conductors), you may need to use the assistant for dovetailing as you take breaths.  Look for long notes for the assistant to sneak in and quickly come up to your volume.  As the assistant matches you, fade quickly and grab a breath to likewise dovetail with the assistant to make a seamless transition.  There is an art to this and there is a spot in hornist's heaven for assistants that get this procedure down to an art form.

(One essential piece to use this procedure is in the Howard Hanson Symphony
No. 2, movement 2)

117 - 121 Depending upon circumstances this may be relegated to the assistant

The low E before 122 EVERYONE tries to get this.  Heaven knows that at least a few of the 5 will get this!  This note has been my nemesis!

123 I would play this.

128 I would have the assistant join in from here to the end.  However, depending on the control of this person, I might elect to take 129-131 alone.  In that case, the assistant would come in at 131 and stay to the end.

The part for reference I use is the Kalmus Edition.  I hope this post and the example I have included will give the reader insight as to how to effectively use an Assistant Horn.