Ascending Valves
by Tiffany Johns (reprinted with permission)
If you are curious about brass instruments, you may have come across something called an ascending valve in your internet travels. If you’re not sure what that is, or you do know but would like to read about all the different kinds of ascending valves out there, this article is for you.
The concept of an ascending valve is pretty simple. A normal valve is inactive when it is not pressed down (via piston finger button, rotor paddle, etc.), so the air goes straight through and doesn’t detour through the additional valve tubing. When you press down the valve mechanism, the valve activates, redirecting the air through the valve tubing and lowering the instrument’s pitch. An ascending valve is set up the opposite way—the valve is active when it is not pressed, so its default state is using the additional valve tubing. Then when you press down the valve, it becomes inactive, raising the pitch.
In fact, there is an ascending valve that is completely standard in the modern brass world: the change valve on a double horn. The instrument stands in F, and then when you depress the change valve with your thumb it shortens to B-flat. (That said, some players will [set] the change valve to stand in B-flat, especially in Europe.)
Ascending valves have a long history and have been used on various brass instruments in many different ways. They had the most widespread use in French piston-valve horns (that can properly be called French horns!) from the late 19th century until the middle of the 20th. Probably the most interesting type is the Chaussier horn, an instrument developed in the 1880s.
The valved horn was still unpopular in France at the time, and the Chaussier horn was intended to be played essentially as a natural horn with built-in crook changes. The Chaussier horn had a valve system completely alien to modern brass players:
- Stands in F
- 1st valve is a normal 1st valve (descending whole step, resulting in E-flat)
- 2nd valve is an ascending half step (resulting in F#)
- 3rd valve is an ascending major 3rd (resulting in A)
- Thumb (4th) valve is a normal 4th valve (descending perfect 4th, resulting in C basso)
The use of all these valves allows you to set the horn in any key from B basso to B-flat alto. As the highest possible standing pitch is achieved with both ascending valves (2 and 3) deactivated, B-flat alto is the true length of the open horn. But as it stands in F, it is thought of as an F horn with 2 ascending valves.
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Selmer Thevet Ascendant
compensating double |
Alexander 203ST ascending
full double with stop |
When the French fully adopted valve horns, they continued with the ascending valve idea, but in a more conventional way. On many French piston-valved horns, the 3rd valve is an ascending whole step, while all the other valves are in the typical configuration used today. The result is an instrument that actually retains most standard fingerings, but with the added bonus of easier high notes using the (ascending) 3rd valve. It is still a compromise though; because you lose the descending minor 3rd of a typical 3rd valve, you lose a few notes in the low register.
A normal single F horn with descending 3rd valve can play chromatically down to sounding B1, while a single F horn with ascending 3rd valve cannot play lower than D2 (excluding pedal notes) and also can’t play A-flat2. Because of these compromises (easier high notes in exchange for worse low notes in the ascending horn, and vice versa for the descending horn), it was common in France for high horn players (1st and 3rd) to play horns with ascending 3rd valves, while low horn players (2nd and 4th) would play horns with descending 3rd valves.
A standard F/B-flat double horn with descending 3rd valve is entirely chromatic all the way down. If you exclude the F-side pedals (which most horn players can’t reach), it can play chromatically down to E1. If you do include the F-side pedals, the lowest real note is B0. (With false tones you could play even lower, into the double pedals.) Meanwhile, an F/Bb double horn with ascending 3rd valve cannot play D-flat2 (or D-flat1, a pedal), and without F-side pedals bottoms out at G1. Thus, French horn makers continued to make both ascending and descending models when double horns became standard.
Ascending 3rd valves didn’t catch on outside of France, but there are a few single B-flat horns with ascending valves that you can buy today, such as the 5-valve Ricco Kühn W125/C. There have also been a handful of modern ascending double and double descant models, though I don’t know of any currently offered.
To read the complete article and see numerous additional photographs, visit Tiffany Johns’ website at https://tiffanyjohns.com.
Chamber Music Corner—Catherine Likhuta’s Out of the Woods? (2011)
Chamber Music Corner—Catherine Likhuta’s Out of the Woods? (2011)
by Layne Anspach
Chamber Music Corner will start a new series on a different chamber instrumentation—horn, violin, and piano, i.e. horn trio. The first article in this series will focus on Catherine Likhuta’s Out of the Woods? (2011). Likhuta (b. 1981) is a Ukrainian-Australian composer and pianist. Her solo and chamber works for horn are regularly appearing throughout the horn community, notably on albums by Denise Tryon and Adam Unsworth. Likhuta has written extensively for wind band in addition to works for orchestra and chamber music. As described on her website, “[Likhuta’s] music exhibits high emotional charge, programmatic nature, rhythmic complexity, and Ukrainian folk elements.”
Out of the Woods? was commissioned by hornist Adam Unsworth in 2011. Likhuta writes in her program notes, “This is essentially a toccata that attempts to reflect the spectrum of emotions and actions of a person being chased. It jumps between a playful chase, an adventurous runaway, and a run-for-your-life escape.” She ends the program notes questioning whether or not the escape is successful, leaving it up to the listener to decide.
The trio starts with a rhythmic piano figure that continues with violin melody and frantic horn interjections. The horn and violin trade the melody back and forth as the piano varies its supportive motifs. The first reprieve is an upward violin glissando and a downward horn glissando, but it’s a brief moment that gives way to a horn melody and a new piano rhythmic figure. A slower piano alone section ends this first frantic episode as the work transitions to a new section which is marked Freely. High-tessitura violin and less-frantic figures from both horn and piano depict a still anxious section of the work. There is a continuing increase in tempo with each subsequent section, although the anxiety ebbs as the music pulses forward. Sections in this movement include Agitated; With Energy and Confidence; Focused, angry, suspicious, nervous; and, Ominously!
The work then comes to Playfully, focused in which the texture temporarily thins. Horn and violin take turns leading until the work arrives at Desperately, somewhat freely. The new section contains extended passages for violin and horn alone, responding to each other. The piano re-enters with another rhythmic motif at Focused, with energy as the violin and horn move forward with renewed energy to a short Cadenza for horn. The horn begins the Coda with acrobatic figures, and violin and piano join in turn as the ensemble races to conclude the work.
The reference recording is from a recital at the Queensland Conservatorium in 2014. Adam Unsworth is the hornist with the composer at the piano.
Meet the People—Chuck Ward
excerpts from an interview by Ellie Jenkins for Cor Values, The Horn Call, May 2018 (reprinted with permission)
What inspired your move from being employed by UMI to establishing your own full-time repair business?
After working 23 years in brass instrument manufacturing, I was ready for a change. I was very disappointed in some of the decisions being made, and I was doing the jobs of four people. I wanted these great companies to be great again, but their bottom line always won out. As more and more responsibilities were put on me, and as I realized my interests in the pro market were being ignored, I decided I needed to move on and transition my part-time repair business into a full-time venture. This was at the end of 1996. I wasn’t sure how UMI was going to receive this, but they did offer me a contract to continue designing and cutting all their screw bells at the rate of 450 per year, and this has continued since. Around 2000, United Musical Instruments was sold to the Steinway Corporation who also owned the Selmer/Bach Corp. In 2004, the Steinway Corporation purchased the Leblanc Corporation which owned the Holton Company. Confused yet? Around 2005 the Holton Company moved into the King/Benge/Conn factory. At that point I began cutting the bells and installing screw rings for them as well.
For what models—of horns, trumpets, trombones—have you been the primary designer? and of which are you the proudest?
I have been repairing and designing brass instruments for well over four decades, and I was in full-time business for myself by 1997. I was still very involved with Conn. Besides cutting and installing screw rings for the various Conn bells, I was building special models such as the Conn 12D and the Holton H200 descant horns in my shop. I built 75 Conn 88H Thayer valve trombones and 10 Conn 112H Thayer valve bass trombones in my shop as well. The longest project was the 8D Vintage project. This horn was to come as close to the Elkhart 8D as possible. Much work and experimentation paid off. I had just finished four prototypes for testing when the entire project was put on hold as a result of new ownership. Two years later, I was called into a meeting with the new plant manager who wanted to know how Conn could build a horn like the Elkhart 8D. I didn’t even know what to say except to inform him that two prototypes were sitting in the shipping room. He thought I was kidding, but from that day on, Vintage horns were in production. I also designed an 8D prototype horn that had a separate B-flat tuning slide. This horn was meant to appeal to the European market, but it never took off as Conn had hoped.
Of all the brass instruments that I’ve designed, I am most proud of the Benge 190F and 290 trombones, the Conn 36H alto trombone, the Conn 10D/11D and the 8D Vintage model horns. I also designed and built the contrabass trombone for the Cleveland Orchestra. I believe the fact that I was a professional horn player sets me apart. I could relate to all brass players, and they knew I would listen to their ideas and understand them.
What do you enjoy most about working on horns?
Working as a repairman for professionals is very worthwhile for me. I enjoy it thoroughly! My name is on the business, so I do all the repairs myself. My favorite job is valve rebuilding. Taking a worn-out horn and making it play again is very rewarding for me. I have my own plating system and the necessary tooling, so I can complete a valve rebuild in two days. Chemical cleans are numerous and I go beyond just cleaning: I tighten all the bearings, regulate the slides, and do minor dent work. The horn is like new or better. I even build custom horns for players, both horn and trombone. I’ve got the best of both worlds. I like what I do, and my shop is right next to my house in beautiful Chardon, Ohio. The Conn/Holton factory is only 20 miles away, which makes it easy for me to work with them.
What do you wish players would do better to care for their instruments?
One of my goals is to convince players with older horns to consider a valve rebuild before spending a fortune on leadpipes. I hear the same thing all the time: “I bought a new leadpipe, and I think it plays better, but I’m not sure.” I understand the desire to try new things that might improve your playing, but please have a competent horn tech (there are not many left) check out the valves first. Then consider a new leadpipe. Leadpipes don’t usually wear out, but valves do. Horn maintenance is another thing I would like players to know better. With each valve rebuild and chemical clean, I give a flyer on how to take care of your valves. I also give out a sheet on suggested lubricants. My biggest advice to all brass players is to oil your valves every time you play your instrument. Synthetic oil does not need to be applied quite as often, as it stays in the valves longer. Oiling lubricates and keeps the valves clean.
Chamber Music Corner—Jean Papineau-Couture’s Suite for flute, clarinet, bassoon, horn, and piano (1947)
by Layne Anspach
This month, CMC will focus on Jean Papineau-Couture’s Suite for flute, clarinet, bassoon, horn, and piano (1947). Papineau-Couture (1916-2000) was a Canadian composer and administrator. He studied composition with Quincy Porter at the New England Conservatory and later with Nadia Boulanger. Papineau-Couture taught at the Quebec Province Conservatory (Montreal) and then at the University of Montreal where he eventually became dean. Serving as president of numerous organizations, including the Canadian League of Composers, the Canadian Music Council, and the Canadian Music Centre, he proved to be an effective administrator. His compositions range from solo pieces to large orchestral works.
The Suite for flute, clarinet, bassoon, horn, and piano was composed shortly after his appointment to the faculty of the Quebec Province Conservatory. The work is considered part of his early neoclassical period. The reference recording can be found through the Canadian Music Centre Library here. The Suite is in four movements. Prélude begins with a flowing melody, theme A, presented by the flute then passing to the piano. The volley is repeated with varying accompaniment, and all with meter changes which keep listeners guessing. Theme B is led by the horn with countermelodic material in the flute and clarinet. Theme B is passed from member to member, and finally the piano retransitions to A. Both A and B themes come back in turn with a short coda on the A material which builds to an emphatic ending.
Starting at 3:17 in the recording, the second movement, Sérénade, is essentially a horn solo with piano accompaniment. The initial 5|8 meter adds an off-kilter lilt to the movement. The B section shifts to 5|4 with entrances in the lower register of the horn. The A section returns with elongated low horn notes and an unchanging piano accompaniment to finish the movement.
The third movement, Canon, at 6:37, is a duo between flute and clarinet. True to its name, the movement is a slow methodical canon between the two instruments. An ABA form unfolds with the middle B section encompassing quicker rhythmic motives to contrast with A.
Scherzo, at 9:51, reestablishes the use of the entire ensemble in a 7-part rondo form. The opening refrain is a display of continuous frantic sixteenth notes in the piano, set against a flowing line in the winds. The B section is a dialogue between winds and piano, but eventually the piano completely takes over. The refrain returns in a new voicing. The C section omits the piano, and changes tempo and character. ABA returns with re-orchestration of parts. The final A section starts strong, but slowly diminishes to set up a startling final chord.
Student Column—You Don’t Have to Live With Sluggish Valves!
by Inman Hebert
Do you have difficulty negotiating fast passages or rapid valve changes? Sluggish valves harm precision and can negatively affect pitch and tone. By not fully or quickly engaging, sluggish valves create improper airflow, leading to inconsistencies in playing. Whether or not our horn-playing has come to the point of showing these symptoms, we all need to incorporate regular maintenance for rotary valves into our routine. Understanding that the accumulation of dirt and debris, along with insufficient oiling, causes this sluggishness helps us identify some simple solutions.
For the buildup of dirt and debris, consider whether your horn has had a professional cleaning in the last year and whether you periodically have your own gentle cleaning routine scheduled. We must also not forget that a critical part of our maintenance routine includes oral hygiene. As students, we often eat on the way to class or rehearsal. Dirty buildup comes from our own mouths! Brushing our teeth or, at a minimum, thoroughly rinsing our mouths before playing will cause fewer problems with our horns.
Even though we may be busy, we should maintain a regular and sufficient oiling routine. Typical rotary valves need to be oiled first at the top (under the valve caps), as this location best allows the valves to rotate freely. Recommendations on the frequency of this range from daily to at least once a week, depending on a variety of factors, such as (primarily) the age of your horn. Remove the valve cap and place a drop onto the raised center of the bearing. A slightly heavier oil helps reduce noise and creates a tighter seal between the valve and the cylinder, but the viscosity needed varies by horn. Before replacing valve caps, check the notches on the center of each bearing for correct alignment of the rotors in their canisters; improper alignment adversely impacts airflow. Finally, gently tighten the valve caps or rotor movement may be restricted.
Then, turn the horn over and oil the other end of each rotor, the bottom of the rotary valves, at least 3-4 times each week. Whatever oil you choose, use a needle-tip bottle to ensure the precision placement of one oil drop in the small gap between each valve post and the turning rotor spindle (to which the lever is connected). Upon completion, pull out the tuning slides a little without pressing the levers to create some suction that will pull oil onto the bearing surfaces. Finally, wipe stray oil off the outside of the horn as it can damage lacquer. Oiling the tops and bottoms of rotors on the recommended frequent schedule means that a thinner oil may be used.
Methods vary on the choice of using the valve slides or the slide tubes to oil rotors, but in either case, removing slides while pressing the corresponding rotor starts the process. If dropping oil into the inner slide tubes, keep the levers upright and then insert the slides all the way into the horn. Rotate the horn so that the oil runs from the slide tubes into the rotors. Rock the horn back and forth and press down on all the levers repeatedly to ensure that the oil is distributed to all the rotors. Drain any excess oil. If oiling via the outer slide tubes, remove the valve slides, hold the horn so that the levers point to the floor, and use an eyedropper to squeeze oil as far down the slide tubes as possible onto the rotors, then return the slides. Again, rock the horn to disperse the oil, and don’t forget to return slides to in-tune positions.
As students, we understand that only through consistent practice can we improve and maintain our playing ability. Similarly, rotary valves need regular cleaning and lubrication to prevent sluggishness so that our playing is optimized. As lubricant maintenance protects your horn against internal sludge and oxidation, its playing life is prolonged. By adopting these maintenance practices, we can ensure a responsive horn that allows for consistent and precise control.
Editor’s Note: Related issues include misshapen, worn, or poorly-sized bumpers and old or worn lever springs. Have your teacher or a repairman help check for these issues at least annually. Also, snake out the leadpipe and clean your mouthpiece frequently; dirty buildup starts in these places.
Latin America—Wooden Mouthpieces, Part 1
by Fernando Ruiz
How does such a crazy idea come to make wooden mouthpieces?
It's somethi
ng as simple as looking at each instrument's past, further back than the bronze age and the use of metals. Wood, all parts of a tree, has historically been the most common construction material, from building a house to creating art. When we talk about wind instruments (such as the horn), one of the less obvious aspects, but profoundly influential, is the mouthpiece.
Most brass players use metal mouthpieces. Wooden ones are rare, but they are still used, not only for visual appeal, but also for the unique qualities they offer in terms of sound. High-quality woods were chosen for hand-carved wooden mouthpieces. The most common woods used are walnut and maple since they offer perfect hardness and durability. One of the instruments that is a great example of this is the alphorn, which in the 21st century continues to be built in wood and played with a specifically-designed wooden mouthpiece.
It is also true today that there are more materials to make both parts, instrument and mouthpiece, such as carbon fiber and plastic, but these do not offer that unique sound quality that wood can offer.
As technologies developed, humans achieved effective tools for shaping metal, leaving behind the use of wood and bringing about incredible evolution to instruments and, thereby, to music.
But again, curiosity arises, and in the desire to innovate, we ask ourselves, “Why not combine wood with current technology?”
The choice of mouthpiece has great importance in the way the sound of the instrument projects. Having studied mouthpieces for years, I have discovered that wood has important advantages for those looking for a warmer tone and softness; everything will depend on the wood selected. These mouthpieces give the player particular sensations that are different from other materials. An important issue is comfort—for example, not feeling the cold metal as we initiate sound or after a long pause has no comparison.
The type of wood used directly influences the quality of sound and the level of comfort. In Part 2, we will look at some of the most common woods used in manufacture of horn mouthpieces, although in the course of the time, I have discovered that certain woods (such as palo de serpiente or zebrano) stand out for their sound characteristics. When final test results are available, I will let you know.
Latin America—Boquillas de Madera, Parte 1
by Fernando Ruiz
Boquillas de madera. ¿Como surge una idea tan descabellada de hacer una boquilla en madera?
Es algo tan simple como mirar al pasado de cada instrumento, más atrás de la edad de bronce y el uso de los metales.
El uso de madera era lo más común, en todos sus ámbitos y secciones, desde construir una casa hasta llegar al arte. Cuando hablamos de instrumentos de viento como la trompa o corno francés, uno de los aspectos menos obvios, pero profundamente influyentes es la boquilla. La mayoría de los músicos (por no decir todos) suelen utilizar boquillas de metal, las boquillas de madera son poco frecuentes, pero si utilizadas, no solo por su atractivo visual, sino también por las cualidades únicas que ofrecen en términos de sonido.
Se usaban boquillas de madera talladas a mano, se seleccionaba una madera de buena calidad para comenzar a darle forma. Las maderas mas comunes que se usaban son el Nogal y Arce dado que ofrecían una dureza y durabilidad perfecta y uno de los instrumentos que no mejor nos expone este caso es La trompa alpina, la cual en pleno siglo XXI se sigue construyendo en madera y tocando con una boquilla especial y especifica en madera. También es verdad que hoy en día existen más materiales para hacer ambas piezas (instrumento y boquilla) como la fibra de carbono y el plástico, pero estas no ofrecen esa calidad sonora y única que puede ofrecer la madera.
Con el paso del tiempo la humanidad logró herramientas más efectivas para moldear el metal, dejando atrás el uso de la madera y dando una evolución gigante a los instrumentos y a la música. Pero nuevamente surge la duda y las ganas innovar preguntándonos ¿Por qué no usar la madera con la tecnología actual?
La elección de la boquilla tiene una gran importancia en la forma en que el sonido del instrumento viaja y se proyecta. Durante un largo tiempo de estudio de las boquillas he descubierto que la madera presenta ventajas importantes para aquellos que buscan un timbre más cálido y suave, todo dependerá de la madera que seleccionemos. Estas boquillas nos dan una sensación particular y diferente a otros materiales. Lo principal es su punto de apoyo y comodidad, por ejemplo, el no sentir el frio metal para comenzar a tocar o después de una pausa larga no tiene comparación.
El tipo de madera influye directamente en la calidad del sonido y la comodidad. Estas son algunas de las maderas más comunes utilizadas en la fabricación de boquillas para trompa, aunque en el transcurso del tiempo, he descubierto ciertas maderas (como lo es el Palo de serpiente o la Zebrano) que destacan por sus características sonoras que poco a poco y cuando estén los resultados definitivos les daré a conocer.
