by Volume and Number

The Horn Call February 1971 Volume I, Number 1

Stevens, Patrick. "A Firm Foundation." 8-12.

Stevens stresses the importance of the fourth horn to the section's overall tone, intonation, and rhythm and offers possible solutions to some of the inherent problems of this position. Among his suggestions are the placing of the third and fourth players behind the first and second, learning to play slightly ahead of the beat to compensate for the tendency of low notes to speak late, and a slight forte-piano style attack to help emphasize the beginnings of the notes. A brief discussion of the treatment of the fourth horn by a number of composers is also included. (Ens, Rng)

Fox, Fred. "The Key to High Notes on the Horn." 13-14.

Two basic principles are stressed by Fox: the importance of tightening the middle lip muscles (those used when saying "mmm") when ascending, and the movement of the tongue from the low range "aw" to the high range "ee" position. One lip slur exercise is given that is intended to help strengthen the middle lip muscles and aid in accuracy and endurance. (Rng)

Schweikert, Norman C. "Victor Pelissier, America's First Important Professional Hornist." 15-18.

Although little is known of the hornist Pelissier, Schweikert is able to piece together a sketchy biography of this composer, arranger, and professional hornist who was active in the United States between the years 1792-1817. (Bio, Hist)

Mead, Allen W. "Holding Device Used by Allan W. Mead." 18-19.

Mead's holding device replaces the little finger hook with a leather loop. It allows the player to support the horn with the part of the hand between the thumb and the first finger, permitting all of the fingers to move unrestricted. (Eqmt)

Hoss, Wendell. "Gadgets and Gimmicks (as Aids to Playing the Horn)." 20-22.

A variety of common horn playing tricks are detailed by Hoss. While many of these will be familiar to experienced players, this article should be useful for less seasoned players. A few of the gimmicks listed include amplifying a metal stop mute with the hand, adding a rolled up paper to lower the pitch of non-tunable mutes, and tricks for efficiently emptying water from the horn. (MtSt, Tech)

Mayer, Abby. "Summer Horn Teaching." 23-27.

Mayer describes his approach to teaching at a summer music camp and discusses ideas for master classes, private lessons, brass sectionals, and theory classes. (Ped, WkSh)

Schweikert, Norman C. "In Memoriam: Max P. Pottag." 38-39. (Bio)

The Horn Call May 1971 Volume I, Number 2

Schweikert, Norman C. "In Memoriam: Guy Gibbs." 12. (Bio)

Meek, Harold. "Recordings." 13. (Disc)

Gerstenberger, Richard. "A Teflon-Rim Mouthpiece." 14-18.

Testing was performed to ascertain the viability of using a teflon mouthpiece rim. Three primary characteristics made this an attractive choice: it is a low friction (slippery) material, there is no threat of it causing allergic skin reactions (which does occasionally happen with standard rims), and it has low thermal conductivity, making it feel warmer to the touch than standard mouthpieces. In testing against a normal, identical rim, it proved to be superior in a variety of temperatures and produced smoother and easier lip slurs. Dry lip arpeggios were much easier, except in the low range, and wet lip arpeggios were improved in all registers. Tone color was perceptibly darker and fuller. Gerstenberger ascribes this to the teflon's ability to produce weak harmonics at a stronger level than the standard rim. (Mthpc)

Meek, Harold. "The Horn!" 19-20.

Meek strongly advocates using the term "horn" rather than "French horn." (Misc)

Saxton, S. Earl. "Singing on the Horn." 22-35.

The technique of letting the vocal folds vibrate sympathetically with the primary vibrations of the embouchure is advocated by Saxton. This is said to add resonance to the sound as well as reduce the amount of air required for a good tone, thus enabling the player to reduce mouthpiece pressure and increase endurance. Saxton also discusses his theories on the need for a 2/3-1/3 mouthpiece placement and his concept of breathing being supported from the legs and feet. (Brea, Emb, Tech, Tn)

Uggen, Stuart J. "Simple Study to Help in Transition from Single F Horn to Double Horn." 39.

Uggen provides a simple exercise intended to get students accustomed to using the thumb valve. (Ped, Tech)

Robinson, William C. and Joseph A. White. "Formation of the International Horn Society." 40.

A brief background on the June 1970 founding of the International Horn Society is provided. (IHS)

Schweikert, Norman C. "Profiles: Arthur David Krehbiel." 43. (Bio)

Schweikert, Norman C. "Profiles: Dale Clevenger." 43-44. (Bio)

Schweikert, Norman. "Gumpert, not Gumbert!" 45-46.

Using a variety of sources, Schweikert concludes that the spelling Gumbert, used on all of the great horn teacher's published works, is incorrect and should read Gumpert. (Bio, Hist)

Cecil, Robert. "Comrades." 46-47.

The author reminisces about a chance encounter with a European horn player and discusses the common bond between all hornists. (Misc)

Grieve, Alexander. "A Letter from Dennis Brain." 48-49.

Grieve shares a letter from February 1953 in which Brain describes his Raoux horn. A photograph of the horn is also included. (Eqmt, Misc)

Fox, Fred. "Playing a Simple Crescendo-Diminuendo on Middle 'g'!" 50-52.

Fox discusses a simple eight-count crescendo-diminuendo, listing common problems encountered (excessive brassiness, uneven sound quality, etc.) and some possible solutions. (Ped, Tn)

Pyle, Robert W., Jr. "A Theory of Hand-Stopping." 53.

Pyle, an amateur horn player and an engineer at the Acoustics Research Laboratory at Harvard University, briefly explains his theory of the acoustics of hand-stopping. (Acou, MtSt)

The Horn Call November 1971 Volume II, Number 1

Leuba, Christopher. "Recordings." 13-17.

Intended as an addendum to Brisbin's Compendium of Horn Literature, Leuba provides a list of recordings that is organized by composer and includes label and record numbers, as well as the performing artist. (Disc)

Paul, Ernst. "Hunting Music in Austria." 32-39.

This is a reprint from Österreichische Musikzeitung and includes both the original German and a translation by Bernhard Brüchle. The author traces Austrian hunting music from its beginnings to the 1950s looking at such things as the hunting treatises of the fourteenth century and various instruments, including the alphorn. Local and regional differences in signals are discussed, and a number of musical examples are given. The evolution of hunting music from signals to the fanfares of the many Waldhorn-clubs of the late nineteenth century is described as are the pre- and post- World War II attempts to preserve pure Austrian hunting music. (Hist, NtHn)

Schweikert, Norman C. "Profiles: Lorenzo Sansone." 40. (Bio)

Schweikert, Norman C. "Profiles: Harold Fricke." 41. (Bio)

Klinko, Albert. "Using the 'A' Horn." 42-45.

The author discusses the benefits of using the B-flat/A horn and includes a fingering chart and a number of helpful hints. (Eqmt, Tech)

McConathy, Osbourne. "Virtuosity." 46-48.

McConathy explores the concept of virtuosity, warning against a return to the virtuosity-for-its-own-sake of the early nineteenth century, stating that "true virtuosity is based on a beautiful tone and true musical expression." (Hist, Misc)

Strucel, George. "Maintenance of the Horn." 49-53.

This article briefly describes the basics of horn maintenance. It deals primarily with finish and rotors, but does briefly touch on the problem of loose slides and cleaning, both home and commercial. (Mnt, Vlv)

Tuckwell, Barry. "The Horn Week at Pomona College." 54-55.

Tuckwell highlights the activities at the "horn week" at the Third Claremont Music Festival at Pomona College. Included is a description of the testing of twelve different makes of horns. (Acou, Eqmt, WkSh)

Henderson, Malcolm C. "The Horn Tests at Pomona: Some Results." 55-57.

Results of the testing of twelve different makes of horn are presented in table form and briefly discussed. (Acou, Eqmt)

Jaenicke, Bruno. "The Horn." 58-60.

In this humorous look at the horn and horn playing, Jaenicke discusses its history and the many difficulties encountered by hornists. (Hum)

Jones, Carlberg. "The Horn Player's Right Hand." 61-68.

The author discusses the history, mechanics, and acoustics of right hand use. Jones explores both viewpoints concerning whether stopping raises or lowers the pitch, concluding that it shortens the tube, thus raising the pitch. He speculates that the gradual lowering of pitch as the hand is inserted and the subsequent jump upwards is caused by the hand's movement through the various muting positions as it approaches the fully-stopped position. This fully-stopped position, he believes, is the only one that truly shortens the tube, and thus raises the pitch. (Acou, Hist, MtSt)

Mayer, Abby and Lloyd Mayer. "Better Breathing." 69-72.

The authors, one a doctor and the other a hornist, describe "diaphragmatic breathing." Included are illustrations and a number of exercises intended to either strengthen the abdominal muscles or teach proper breathing techniques and increase lung capacity. (Brea)

Meek, Harold. "Horn Personnel in Orchestras around the World, 1971-1972." inside front and back cover. (Prsnl)

The Horn Call May 1972 Volume II, Number 2

Brieglieb, Arthur and Wendell Hoss. "Music Available for Ensembles of Horns." 11-18.

Organized by ensemble size, this list gives author, title, and publisher as well as the addresses of the publishers. While not a complete list, it does give 250 works or collections of works. (Bib, Rep)

Meek, Harold. "Horn Personnel in Orchestras around the World, 1971-1972." 20-21. (Prsnl)

Schweikert, Norman C. "In Memoriam: Anton Horner." 22-23. (Bio)

Briscoe, Mary and Nancy Corporon. "A Guide to Orchestral Horn Playing." 34.

This humorous article supplies horn players with a variety of excuses to use when they miss a note. (Hum)

Decker, James. "Double or Nothing: How Tight Money in Hollywood is Popularizing Deskants and Tuben." 36-41.

Decker looks at the trend towards using these alternative instruments in Hollywood studio recordings. This movement, begun in the early 1960s, offers composers a wider variety of sounds but forces players to become adept at doubling on more than one instrument. (Eqmt, Jz, Rec)

Erlenbach, Julius. "The Lower Register and the Young Horn Player." 44-46.

Erlenbach looks at the often neglected low range of young horn players, advocating its use as a way to develop improved breath support, proper embouchure, clean attacks, full tone, and increased high range. Included are three short low range exercises. (Ped, Rng)

Seiffert, Stephen L. "The Technique of Hand Stopping." 47-51.

This article emphasizes the importance of using the harmonic series when determining stopped fingerings, pointing out that hand-horn tutors give hand positions for specific harmonics regardless of crook length. The varying views of Coar, Gregory, and Blaikley are investigated as well as those of a mechanical engineer who specializes in the action of gases in a partially closed tube. Also included is a B-flat fingering chart for stopped notes and a description of a simple experiment which suggests that "when the pitch is lowered through occlusion of the bell, the amount of lowering possible is determined by the spot where the occlusion takes place and by the harmonic being lowered." (Acou, MtSt)

Dunn, Richard. "Linguistic Notes on Brass Technique." 52-53.

Dunn looks at the practice of using speech as a guide for proper articulation, tone color, or embouchure formation. The article focuses mainly on the consonant sounds, such as t and d, and their use in articulation. (Ped, Tech)

Schweikert, Norman. "Horns Across the Sea." 54-59.

The Chicago Symphony's first-ever European tour, a forty-one day trip which began August 26, 1971, is chronicled. (Ens)

Trenner, Franz. "Franz Strauss." 60-65.

This is a reprint of a 1955 article which appeared in Neuen Zeitschrift für Musik. Although very short, it is a fairly detailed introductory biography of this great hornist and composer. Included is a bibliography of his works for horn and a facsimile of one of his horn quartets. (Bib, Bio, Hist, Rep)

Dalrymple, Glenn V. "The Stuffy Horn Syndrome: One Cause and Its Cure." 66-70.

When the author's horn suddenly develops two stuffy, nearly unplayable notes, neither he nor several repairmen can discover the cause. The mystery is solved when an X-ray of the horn reveals a pocket knife lodged inside the tubing. (Acou, Mnt)

Janetzky, Kurt. "Metamorphoses of Possibilities." 78-88.

Janetzky traces the evolution of the horn in terms of the changing aesthetic perception of its tone quality and the resultant compositional use of the instrument. The transitions from the Baroque clarino style to Classical style, and hand horn to valve horn are discussed, as is the re-mastering of the high range during the twentieth century. (Hist)

Leuba, Christopher. "Recordings." 89-92.

Recordings featuring Kurt Janetzky are discussed and a list of forty-five different recordings, primarily of chamber music, is given. (Disc)