The sound of the horn is an essential timbre in the blend of an ensemble.  The horn's importance in the orchestra is shown by the horn section being the largest brass section and the only section that is regularly divided into four parts equal in importance.  One reason why the horn has become so important in ensemble s is the variety of expression it can produce through its tone and range.  The absence of a well-controlled horn section in an instrumental group causes the sonority to become either hollow or strident.

An idiomatic horn tone is warm and sonorous; it should sound alive, enveloping the room in a glorious resonance.  A number of factors, including the lip aperture or opening, the vowel used, tonal consistency, breathing, articulation, and the player's carriage and placement within the ensemble, work together to establish correct horn tone.

Younger students often produce sound inefficiently, expending more effort than the sound produced would suggest.  For the most efficient use of effort, the lip aperture needs the correct "set", neither too tight nor too relaxed.  To practice getting the correct set, play mid-range notes with the air alone, without using the tongue.  For two seconds blow air into the horn, then sound the desired pitch.  If this is unsuccessful try another pitch.  When a pitch fractures, listen for the direction from which the fracture occurs.  If the split comes from above, the aperture is too tense.  Conversely, if the split not is from below, the aperture is too loose.  Move the mouthpiece completely away from the lips before each attempt and then reposition it.

Next, sing the desired pitch using an "ah" or "la" syllable (the most common vowels used for middle range horn playing).  Then buzz the same pitch into the mouthpiece, listening carefully to the quality of the buzz.  A tape recorder is an asset at this pint.  If the buzz sounds pinched or hollow now, it will only be exaggerated by the amplification of the instrument.  The correct tone will come from a very breathy buzz,  which differs from the crow-like buzz of a cup mouthpiece.  When the aperture is correct the lips should feel much more relaxed, and you will use substantially more air to generate the sound.

Strive for the best possible tone quality and use this tone as reference for producing all the other pitches.  After this reference pitch is under control, alternate adding notes above and below this pitch always attacking with the air only

1. Play at a mezzo forte volume
2. Articulate with air only
3. Use a relaxed, yawning breath
4. Hear the pitch before playing

A general rule in brass playing is the larger the instrument, the larger the vowel that is needed to accommodate the volume of air.  In this respect the horn is misleading.  Although it does use the smallest mouthpiece of the brass family, the length of the instrument's tubing is identical to that of the F attachment trombone.  Shallow vowels emphasize the lower overtones of a pitch, creating a darker tone.

Because the hornist, unlike some musicians, usually performs a variety of literature from various eras on the same instrument, it is important to understand the effect of different vowels on the tone.  Mozart,  Beethoven, and Strauss and their contemporaries each wrote for a specific instrument.

Before rehearsal, consider the style and period of the music, then select the desired vowel to enhance it.  The vowels are, from deep to shallow: awh, oh, ah, a, ee, or oo.

During the Baroque and Classical eras, horns had a much smaller bore and bell.  These instruments produced a subtle, subdued sound that fit nicely with the small performing forces of the day.  A lighter, brighter timbre will allow the musical line to sound alive and vibrant in baroque and classical pieces.  A dark, covered sound will make this style of music too dull and thick.

On the other hand, romantic and modern music was written for a much larger instrument.  With larger ensembles and a complete choir of brass instruments, a full-bodied sound is necessary to project successfully in literature from these periods.  A  more open "ah" or "oh" vowel aids in this type of projection and high intensity performance.

There are other considerations in choosing a tonal vocabulary.  when performing in chamber groups or in thin textured movements,  a hornist should match his tone to the group.  For instance, in woodwind quintet performance, try to approximate a woodwind-like quality somewhere between  the timbres of the clarinet and the bassoon.  Conversely, in large ensembles and brass quintets, use a more open vowel to project a rich tone and establish a separate identity for the horn.  Always gauge the correct tone by style period, the medium of performance, and the type of performance group.

Not only are these vowels used in approximating period styles, but also for different registers of the horn.  For example, the "awh" is used for pedal range and low bass clef notes.  As you ascend to the upper half of the bass clef, switch to "oh" or "ah".  The lower portion of the treble clef calls for an "ah" or "a" vowel, while the upper part of the treble clef can best be played with the "a" or "ee", depending on the brilliance desired.  Topmost pitches are better if the "ee" vowel is used, but the "oo" is also effective if more of a woodwind quality is wanted.

Establish the quality of tone you want, then, if necessary, adjust your normal tone.  An advanced student usually has an idea of the sound he wants, but in an ensemble the tone quality should be uniform throughout the section.  Either the principal hornist or the ensemble's director should dictate the section's tone quality.

Young students and players in rural areas often do not have a good concept of horn tone because they do not hear other horn players.  Nowadays, excellent recordings by internationally acclaimed hornist are abound.  Encourage students to listen to such recordings.  Another idea is to take students to concerts by university bands or orchestras, or best of a;l, professional symphony orchestras.  At a concert students can observe the amount of energy needed to perform.  Try to arrange to attend rehearsals and ask if students may sit on the stage to see what professionals can do with their craft.

Too often hornists perform using several changes of timbre throughout the instrument's range.  Strive for a particular quality of sound and use it consistently in ach register.  The most common faults are producing a tight, pinched sound on ascending passages, playing low range pitches with an unfocused flabby sound, and losing tone quality on loud passages.  To help remedy these problems always keep the air stream going down the center of the mouthpiece, use the correct vowel for the particular register, and learn to coordinate air and support correctly.

This last concept is probably the hardest one to grasp.  Notes within a given phrase should have a consistent intensity unless the score indicates a crescendo or decrescendo.  Keep in mind that as notes ascend, you need to use more air to keep the lips from pinching.  As notes descend, you need more energy to make these sounds as loud as upper  pitches.  Repeated pitches also need additional air to convey musical direction or movement.

The same amount of air is necessary to execute low range passages and high range passages.  The difference is in how you use the air and support.  When performing low passages, perform with a much larger vowel and a slow wide column of air, as if you were fogging  up a mirror or a pair of glasses.  High register passages require a faster air column with a smaller vowel.  The higher a hornist plays, the lower the abdominal support should be.

To help clarify the concept of vowels and playing, sing the lowest and highest notes you can.  Notice how the jaw naturally moves to help with sound projection on brass instruments.

To practice coordinating air control and the aperture, whistle a short familiar passage, such as one from The Star Spangled Banner, in front of a mirror.  With one hand in front of your mouth and the other hand on the abdomen, notice that the lip aperture focuses precisely for the higher pitches.  As you whistle the first passage and ascend to the higher pitches, the air moves faster as the bottom abdominal muscles roll in and up.  On the uppermost notes the tongue arches toward the roof of the mouth.  If you apply these observations to playing a brass instrument, range control will improve because of the economy of aperture movement.

As in high and low passages, think about how you use air in soft  and loud passages.  When playing softly think about filling the horn with a slow, wide column of air.  Imagine that the air and abdominal muscles are engaged in a tug-of-war that the air always wins.

Fortissimo playing also calls for a large open vowel.  Use a warm, unrestricted air stream in conjunction with good lower abdominal support.  To practice this, whisper a forceful "ho".  Notice the throat relaxes and that the lower abdominal muscles tuck in.  Whisper "ho" again, but this time sustain the syllable.  Now transfer this sound to a comfortable mid-range note on the horn.  Do not use the tongue.  Imagine that you are sighing, long and intensely, and imagine the tone slowly traveling to a spot 30 feet away.  This will aid projection and tonal integrity.

One of the most frequent and noticeable errors in high, loud brass playing is the production of a blaring, crass, uncentered sound.  This is caused by forcing the air into the mouthpiece, which creates more resistance and increases the likelihood of aperture pinching and muscle strain.  Maximum relaxation and awareness of the problems of loud playing will help.

Horn tone should be natural, never forced and have as singing quality.  Careful attention to the processes I have discussed will allow hornists to play  more efficiently and comfortably. *