Transitions—Past the Finish Line
by Brian McLaughlin
I have crossed into uncharted waters. After more than 40 years as a music teacher, I have retired. Gone are the familiar days of schedules and routines, of deadlines and concerts to prepare, of dealing with parents and administrators, of trying to get students to go beyond the notes and reach for artistry. Life is different. There is a tremendous joy in being released from the details of so many time-consuming and unimportant tasks. I am able to turn my efforts and attention to the things that matter, at least which matter to me. But when former colleagues ask me what retirement is like, I have to say that I don’t really know…I’m only a year into it.
Like many retirees, I entered this next season of life with dreams of doing all the things I didn’t have the time to do when I was bound by clock and calendar. My wife and I have traveled quite a lot, going somewhere nearly every month, including a trip to Europe that was a retirement gift from my former students and their families! As avid outdoors people, we have hiked well over 100 miles in the last year. I have rediscovered the joy of listening to music for its own sake—which, after so many years of critiquing and evaluating, has been surprisingly difficult. To simply listen to a long work and enjoy the musical journey seems extravagant, but it has led to the discovery of an array of pieces I did not know. I am also more well-rested than I was at any point in my career.
If you’re thinking that this sounds like a good thing, you’re right! It is—but only because we prepared for it. I’m not talking about financial planning, although that is important. I’m talking about preparing yourself for a change in identity. Most people in Western society equate what they do with who they are. We get our sense of identity from the career we have; the better we are at our craft, the better we feel as people. The sudden loss of that career often sends people spinning: “If I’m no longer a (fill in the blank), then who am I? What good am I?” We go from a life where people respected our opinions and sought out our expertise to a life where others may not even know our names. So it is prudent to give thought to who you are apart from your career. I am convinced that it is as important to set your sights past the finish line of retirement as it is for students to look beyond graduation.
Experts say that there are four stages of retirement: Vacation, Loss, Trial and Error, and Reinventing (Moynes, Riley. “The Four Phases of Retirement.” YouTube, uploaded by James Conole, CFP. June 18, 2024.) In my experience, they are not so much a progression as they are like rooms in a house. You sort of wander from room to room, maybe staying in one for a bit longer depending on the day.
1. Vacation: This initial phase is characterized by excitement and freedom. Retirees may indulge in travel, hobbies, and leisure activities that were previously limited by work. For the most part, this is where I live at the moment. It’s exciting to have all this free time, but I am too experienced to think that this can last for long. As Tom Higgins wrote about mountain climbing:
The mountains always made the regular, flat world bearable, and the flat world made the mountains a sanctuary. It was the pull between the two which nourished. School and work without the mountains would have been deadly. The mountains without the nervous struggling down below would have been limbo, not heaven. (Higgins, Tom. "In Thanks." Ascent 1976, Sierra Club Books, San Francisco: page 23.)
Too many open hours each day can have a negative effect. I have a friend who also retired, and within a few months he was miserable. His friends told him to find a job—any job—and when he did, he became a decent person to be with again. Some just require an external framework to be happy.
2. Loss: This phase can involve feelings of uncertainty and loss. Retirees may miss the structure, purpose, and social connections that work provided, and struggle to find new meaning and routines. This phase is where my friend immediately went, and it's what I tried hard to hedge against. I knew that—unless I keeled over on the podium, or, still clutching my horn, fell out of my chair—I was going to have several years where I would likely no longer actively or regularly participate in the music making that has given so much meaning to my life. What will give meaning when those things are no longer available?
I will pause here for a moment because this issue is too important to gloss over, and the response to it makes all four stages much less difficult. It’s also what I meant when I said that we had prepared for retirement. The solution is in relationships. It helps if you imagine relationships to be like bank accounts. You have to make regular deposits if you ever hope to make any withdrawals. You have to care for and nurture your relationships while you are working if you hope to have strong ones when you retire. I have heard many people say that once they retired, their spouse seemed like a stranger, and the rate of divorce among retirees is the highest among all age groups in our society. Our careers can be a convenient distraction from the cultivation of relationships. We are busy enough to use work as an excuse for not prioritizing each other; but when career is stripped away, we suddenly see the actual state of our lives. This is true not only of our spouses or significant others but also of our children and friends.
Musicians are particularly susceptible to this problem, regardless of whether we are performers or educators. Our craft is highly demanding of our time and concentration, but it is our choice whether we make it the most important thing in our lives or not. Age eventually comes for us all. I’ve gigged with some players who have spent their entire lives propping up their professional prestige rather than paying into any relationships, and as they age and the gigs become fewer, all that remains is a bunch of cellphone photos of themselves with celebrities who wouldn’t know them if they saw them on the street. They are some of the loneliest people I have ever met. Not investing in our relationships comes at a high cost.
3. Trial and Error: In this phase, retirees experiment with different activities and lifestyles to find what brings them fulfillment and purpose in retirement.
4. Reinventing: This final phase involves a renewed sense of purpose and satisfaction. Retirees have adapted to their new lifestyle and found meaningful ways to engage in activities and relationships.
I’ll leave these last two issues for now. I may experience them as the months pass, but I am also pursuing several different activities. There needs to be an outlet for all that musical energy that drove my heart for so long, so I have done a few clinics with local high school bands and enjoyed them. Perhaps I will be able to do some adjudicating as well. We are getting involved in a local church and meeting new people in the community. I’m also heavily involved with our local Mountain Club, going on climbing trips and teaching some of the younger members what I know from decades of climbing. Serving others seems like a good way to move forward.
These are uncharted waters indeed. What will the next several years look like? I’ll let you know when I get there!
Composer Spotlight—Avril Coleridge-Taylor
by Caiti Beth McKinney
Hello everyone!
This month I want to introduce another outstanding orchestral composer, Avril Coleridge-Taylor (1903-1998). While you may recognize her surname thanks to the increasing popularity of compositions written by her father, Samuel Coleridge-Taylor (1875-1912), the works of his equally-skilled daughter have yet to gain proper recognition. Avril had unique access to quality music education thanks to a combination of musical parents; her mother, Jessie Walmisley, was a talented singer. Avril was born into challenging circumstances due to racial bias; the Walmisley family disapproved strongly of Jessie’s marriage to Samuel due to his African ancestry (his father was a Creole man from Sierra Leone, while his mother was white). The Coleridge-Taylor family experienced frequent financial hardship, and after Samuel’s passing in 1912 when Avril was only nine years old, Jessie banned music in the household.
Despite these devastating circumstances, young Avril taught herself piano by practicing works left behind by her father, and she eventually won a scholarship to the Trinity College of Music in London to study music. While in school, she studied with another composer whose name should be familiar to horn players, Gordon Jacob (1895-1984). The entirety of Avril’s life is a testament to resilience and fortitude in the face of adversity; a loveless marriage, racial discrimination (she was forced to flee a music tour in South Africa after her heritage came to light), as well as bias towards her gender. Even so, she became the first woman to conduct the Royal Marine Band, and she guest conducted ensembles like the London Symphony Orchestra and the BBC Orchestra.
In addition to her accomplishments on the podium, her compositions are likewise outstanding. My personal favorite—and one that feels especially timely—is a work entitled Sussex Landscape, Op. 27. (Here is mvt. 1, Largo, from this work.) This twelve-minute tone poem, despite its idyllic and pastoral sounding name, was actually written about Avril’s heartbreak at the outbreak of World War II. Coleridge-Taylor uses horns and brass to great timbral effect in this work, including a variety of chorales and solo moments that allow the performers to show off a variety of tone colors and moods. Deeply emotional and moving, Sussex Landscape is a valuable and noteworthy addition to our orchestral repertoire.
Additional Health Considerations for the Horn Player (Part 4)
by Todd Goranson
In addition to performance anxiety and musculoskeletal injury prevention, there are several other health considerations that merit attention by the horn player. These include the topics of hearing loss, focal dystonia, and holistic wellness.
The high level of loud sound/noise inherent to the musical workplace creates a significant risk of hearing injury for the brass player. In a 2014 study of German professional musicians, data indicated a fourfold hazard risk for noise-induced hearing loss as well as a 57% higher rate of tinnitus (ringing of the ears) for musicians compared to the general population.[1] The constant exposure to high decibel levels can cause gradual damage that may not be noticed until a significant deficit is present. Fortunately, there are several commercially available earplug options that attenuate sound evenly through the frequency spectrum (unlike foam earplugs) that are designed for musician use, as well as others that can be custom-fitted for players by an audiologist. Creating a habit of decibel-level awareness, as well as using hearing protection in practice, rehearsal, and performance can prevent hearing injury and mitigate future hearing loss. Other steps to decrease risk may include appropriate use of plexiglass shields and risers in rehearsal and performance spaces, taking regular breaks when in a loud environment, increasing space between oneself and students during teaching, and choosing the safest possible acoustic spaces for practice and rehearsal. When listening to music on personal devices, be mindful of the volume and, if possible, use over-ear headphones rather than earbuds or AirPods to reduce risk of hearing injury. (Over-ear headphones generally provide better passive noise-blocking and lower risk of ear infection than in-ear devices.)[2]
Focal dystonia is a neuro-muscular disorder that impacts muscles in any single region of the body by causing them to move or pose abnormally. At least 1% of musicians are affected, which is a rate several times higher than the general population.[3] Brass players are particularly susceptible to focal embouchure dystonia (FED). For those impacted, symptoms can vary anywhere from a rare, single pitch inaccuracy, to a completely debilitating condition that makes regular playing unfeasible. It is sometimes compared to a “short circuit” in the nervous system, and the symptoms include tremors or involuntary contractions of the mouth, as well as air leaks at the corners of the embouchure. The affected muscles can include any of the facial muscles, including those of the jaw, mouth, or tongue. While focal dystonia is alarmingly common among musicians, it is a confounding condition that may involve several risk factors (including repetitive motion, mouthpiece pressure, psychological trauma, family history, and gender, as most affected individuals are male).[4][5] Focal dystonia does not have a known cure, but treatment currently centers around retraining the body/nervous system to perform the impacted musical task without triggering the dystonic response, rest, and stress management. There are several international support organizations for individuals with focal dystonia, and a promising 2024 journal article by Joy Grifoni et al in Frontiers for Neuroscience advocates for a “comprehensive, multimodal therapeutic approach that recognizes the multifaceted nature of the condition.”[6] The authors proposed a combination of personalized psychotherapy, physiotherapy, and neuromodulation (remapping neural pathways) for treatment of affected musicians.
Finally, the pursuit of holistic health is of vital importance for the artist-athlete. Amid the demands of deadlines and performance schedules, musicians frequently prioritize musical or vocational goals above their personal well-being. However, we are limiting ourselves when we sacrifice our long-term health for short-term accomplishments. “Check in” with yourself frequently. Remember to take breaks. Adequate sleep and rest, proper nutrition, and regular exercise that promotes flexibility, strength, and cardiovascular health will enhance our ability to perform and our enjoyment of life. There is wisdom in the avoidance of toxic circumstances and substances. Reserving moments of mindfulness each day, finding time to enjoy quiet, and connecting with friends and loved ones with intentionality will not only help us achieve optimal physical and emotional health, but will remind us why we have chosen the path of an artist.
Todd Goranson, DMA, BSN, RN
Professor of Saxophone & Bassoon, Messiah University
[1] Tania Schink et al., “Incidence and Relative Risk of Hearing Disorders in Professional Musicians,” Occupational and Environmental Medicine 71, no. 7 (April 30, 2014): 472–76
[2] Ammar Yousif Omar et al., “Bacterial and Fungal Growth in Males Wearing Mobile Earphone Appliances,” Mustansiriya Medical Journal, December 10, 2024.
[3] E. Altenmüller and H.‐C. Jabusch, “Focal Dystonia in Musicians: Phenomenology, Pathophysiology and Triggering Factors,” European Journal of Neurology 17, no. s1 (June 8, 2010): 31–36
[4] Ibid
[5] Christos I. Ioannou and Eckart Altenmüller, “Psychological Characteristics in Musician׳s Dystonia: A New Diagnostic Classification,” Neuropsychologia 61 (August 2014): 80–88
[6] Joy Grifoni et al., “Musician’s Dystonia: An Opinion on Novel Treatment Strategies,” Frontiers in Neuroscience 18 (April 8, 2024),
Research to Resonance—Don’t Toss the Tuner, But….
by Katy Carnaggio
PERFORMANCE REMINDER: Nobody’s coming to see a perfectly resonant, in-tune G…they are coming to see you! The same quirks and qualities that endear you to your friends can also captivate an audience. If the pressure to “get it right” in your final moments of prep becomes overwhelming, try this:
- pick 3 of your favorite personal characteristics
- ask a friend to give you 3 more
- bring this list to your repertoire
Are you funny? Turn your appoggiaturas into inside jokes. Thoughtful? Let the rests breathe like they’ve just said something profound. Empathetic? Explore how your instrument wants to vibrate and how it interacts with surrounding objects in the room; even the ceiling has its own sound and resonance.
With added depth to your music, focus to your practice, and authenticity to your performance, you can’t go wrong by leading with your best qualities!
South Asia—Breaking Barriers: Hornissimo 2025
by Vidhurinda Samaraweera
For horn players worldwide, "Hornissimo" is a name synonymous with excellence. This prestigious festival—dedicated to teaching, knowledge-sharing, and empowering horn players across all skill levels—recently marked a historic milestone with its first-ever participant from South Asia.
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| Hornissimo Ensemble in rehearsal |
A Festival Born of Passion
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| Hornissimo founder Peter Arnold |
The Hornissimo Festival is the brainchild of Professor Peter Arnold, a distinguished German horn player and educator whose contributions to the instrument have earned international acclaim. What began modestly in 1998 in Glottertal, Germany, with just 25 participants has evolved into a cornerstone event for the global horn community. Since relocating to Staufen in 2003, the festival has grown exponentially, now attracting over 100 participants annually from across the globe.
The 2025 edition, held from June 19-22, showcased this international appeal with representatives from over ten countries, including Australia, China, Hong Kong, Japan, Korea, Poland, Spain, Switzerland, Taiwan, and Ukraine. This year's festival was particularly significant as it welcomed its first participant from the South Asian region—a moment that could reshape opportunities for horn players across the subcontinent.
World-Class Faculty and Industry Support
Hornissimo provides an exceptional combination of renowned faculty, innovative programs, and industry support. The 2025 faculty featured a stellar line-up including Christoph Eß (Director), Peter Arnold, Christian Lampert, Samuel Seidenberg, Will Sanders, Saar Berger, Dariusz Mikulski, Philip Römer, and Martin Grom, each bringing decades of performance and expertise to the table.
Leading instrument manufacturers and dealers, including but not limited to, Gebr. Alexander, Hans Hoyer, Ricco Kühn, Juhász Zoltán, Dotzauer, Josef Klier, and Durk Horns supported the festival. On-site sales and marketing proved to be a useful method for creating invaluable networking opportunities between participants and industry professionals.
Immersive Learning Experience
The festival's unique structure allowed each attendee to participate in horn ensembles conducted by various faculty members in addition to receiving individual lessons. The state-of-the-art facilities of the Bund Deutscher Blasmusikverbände (BDB, the Association of German Brass Bands) provided an ideal setting for this intensive learning experience, with accommodation and meals provided for participants.
Competition and Performance Opportunities
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| Competition winner Hanna Arnold |
The festival opened with the finals of the Hornissimo competition, featuring finalists of three age categories: horn4kids, born4horn, and horn4pros. This year's festival concert on June 20 in Bad Krozingen showcased emerging talent, with 20-year-old Hanna Arnold claiming first prize in the horn4pros category. Eloy Tamo and Oskar Szathmáry secured second and third places, respectively. The celebration continued with final concerts on June 21 and 22 at the BDB Musikacademie where competition winners and participants shared the stage.
Cultural Bridging and Future Implications
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| Vidhurinda Samaraweera |
The attendance of South Asia's first Hornissimo participant represents more than a personal achievement; it signals potential transformation for the region's horn community. This breakthrough, supported by Professor Peter Arnold's encouragement and a full scholarship offered by Gebr. Alexander, addresses a critical gap in formal horn education across South Asia. The connections forged at Hornissimo 2025 could catalyze improved playing conditions, higher performance standards, and expanded educational opportunities across South Asia.
Hornissimo remains not just a festival, but a gateway to excellence—one that now extends its reach to new corners of the world, promising a more inclusive and diverse future for players of our noble instrument.
Escritório Europa—Low Horn, Parte 2
in EnglishOportunidades, Desafios e Novos Recursos
por Ricardo Matosinhos
Este é o segundo artigo de uma série dedicada ao registo grave da trompa. Se ainda não leu a primeira parte, pode encontrá-la na edição de Junho da Horn and More.
O registo grave hoje: oportunidades e desafios
A distinção entre trompa grave e trompa aguda continua a ser relevante no repertório orquestral e na prática performativa em geral. Embora um profissional deva dominar toda a extensão, do Fá pedal até ao Dó sobre-agudo e mais além, muitos intérpretes tendem a especializar-se na zona que melhor se adequa às suas características físicas.
Muitos especialistas em registo grave começaram esse percurso por dificuldades no agudo ou porque o seu papel nos grupos exigia tocar frequentemente a 2.ª ou 4.ª trompa. Um aluno que toca repetidamente as vozes mais graves desenvolve inevitavelmente maior destreza nesse registo, mesmo que tal não fosse a sua preferência inicial.
Outro desafio importante é o uso de aparelho ortodôntico. Os brackets limitam naturalmente o acesso ao registo agudo, e quando o repertório proposto não tem em conta esta realidade, o aluno pode sentir frustração levando, por vezes, ao abandono do instrumento. Abordei esta questão no meu artigo “Orthodontics and Horn Performance” (The Horn Call, fevereiro 2016). Passados quase dez anos, é urgente retomar o tema, em particular no que toca ao repertório apropriado para alunos com aparelho ou para qualquer intérprete em processo de desenvolvimento do registo médio-grave e grave.
Ferramentas e estudos para desenvolver o registo grave
Quando publiquei o referido artigo, o dispositivo Stratos, concebido para reduzir a pressão da embocadura, existia apenas numa versão metálica dispendiosa. Entretanto, Marcus Reynolds lançou a versão Stratos Performer em plástico, mais acessível, e que tem recebido comentários positivos da comunidade de trompistas.
Estudos que se focam no trabalho do registo grave:
- Caliendo, K. (2021) 18 Virtuosic Concert Etudes for Low Horn
- Denniss, G. W. (1993) Studies for Low Horn
- Frehse, A. (1954) 34 Etüden für tiefes Horn
- Grabois, D. (2009) Twenty Difficult Etudes for the Horn’s Middle Register
- Hackleman, M. (1990) 34 Characteristic Etudes for Low Horn Playing
- Matosinhos, R. (2013) 15 Low Horn Etudes
- McCoy, M. M. (1986) 46 Progressive Exercises for Low Horn
- Miles, P. (2009) Low Horn Etudes and Drills for the Intermediate Horn Player
- Neuling, H. (1951–1986) Spezial-Etüden für tiefes Horn e Studien für Horn
- Pitarch, V. Z. (2002) 20 Estudios para Trompa Bajo
- Ware, D. (2006) Low Horn Flexibility Studies
- Weingärtner, F. (2009) Etüden für tiefes Horn, Vols. 1–3
Para além dos livros de estudos, a trompa oferece a possibilidade de transposição e praticar em Dó, Si♭ basso ou até ottava bassa, estará simultaneamente a desenvolver o registo grave e as suas capacidades de transposição.
Repertório para trompa grave: um catálogo em expansão
No que toca a peças a solo para trompa e piano, o repertório ainda é modesto, mas tem vindo a crescer. Tenho procurado contribuir activamente para essa expansão, com obras que exploram tanto o potencial expressivo como técnico do registo grave.
Importa realçar que muitas peças que exploram o registo grave são virtuosísticas, o que pode não ser adequado para quem utiliza aparelho ortodôntico, pelo menos nas fases iniciais. Já tive alunos que conseguiram tocar, por exemplo, o Romance op.67 de Saint-Saëns com Si agudo, ou o Concerto de Michael Haydn com vários Lá agudos, mas cada semitom nesse processo foi conquistado com suor, algumas lágrimas… e, felizmente, sem sangue!
Aqui ficam algumas sugestões comentadas:
- Gillie, Gina (2019) – Reverie. Focada no registo médio, evita grandes saltos. Foi pensada para recuperação de distonia focal, mas ajusta-se bem a músicos com aparelho.
- Miller, Brett – Hunting Songs. Três andamentos expressivos do grave ao Dó agudo.
- Miller, Brett – Tardigrade. Enfatiza o registo médio-grave (Ré grave ao Mi agudo).
- Yenque, Dante – Tanguito. Peça divertida com passagens bem resolvidas no dedo — do Lá grave ao Sol médio.
Algumas obras compostas por mim:
- 5 Miniatures op.89b – Inspiradas em canções portuguesas; dificuldade progressiva, do Fá pedal ao Fá agudo.
- Low Horn Suite n.º 1 – Três andamentos contrastantes, do Dó grave ao Lá médio.
- 4 Peças – Exploram claramente o lado em Si♭ da trompa; Dó grave ao Si médio.
- Low Horn Suite n.º 2 – Mais exigente que a Low horn suite 1; Dó grave ao Mi agudo.
- 4 Impressions – Baseada em canções tradicionais; Dó grave ao Fá agudo, com ossias mais acessíveis.
- 5 Miniatures op.88 – Gradual, dos primeiros 5 anos de aprendizagem; do Dó grave ao Sol agudo.
- Katharina’s Suite – Predominantemente no registo médio; espaço para improvisação permite ajustar a tessitura.
- Reflections – Vencedora do concurso IHS 2016; do Sol♯ grave ao Sol agudo, foco no médio-grave.
- Iberia – Vencedora do concurso IHS 2024 e da BHS. Do Dó grave ao Fá/sol agudos, com multifónicos e ossias adaptáveis.
- Blues for Marco – Peça mais desafiante; do Dó pedal a Fá agudo (com ossia Fá grave–Fá agudo).
Considerações finais:
Se decidir investir no registo grave, lembre-se de que pode sempre transcrever ou compor novas peças ajustadas à sua tessitura ideal.
Espero que estes artigos tenham despertado mais interesse pela exploração do registo grave da trompa. Divirta-se a tocar neste maravilhoso e muitas vezes negligenciado universo sonoro!
Europe Desk—Low Horn, Part 2
em portuguêsOpportunities, Challenges, and New Resources
by Ricardo Matosinhos
This is the second article in a series dedicated to low horn playing. If you have not read Part 1, you can find it in last month’s edition of Horn and More.
Low horn today: opportunities and struggles
The high horn/low horn divide remains relevant in orchestral repertoire and in general performance practice. While professionals should master the full range, from pedal F to high C and beyond, players tend to gravitate toward the register that best suits their physical characteristics.
Many low horn specialists followed that path either due to difficulty with the high register or because they were often assigned to second or fourth horn parts. A student who frequently plays the lower parts naturally becomes more proficient in that range, even if it wasn’t their initial intent.
Orthodontic treatment adds another layer of difficulty. Braces often limit access to the high register, and if the repertoire doesn’t accommodate this, students may feel frustrated, sometimes enough to quit. I addressed this issue in my article “Orthodontics and Horn Performance” (The Horn Call, February 2016). Nearly a decade has passed, and it is clear that we need to revisit the topic, particularly regarding repertoire suitable for students with braces or for anyone developing their middle-low and low register.
Tools and studies for low horn development
At the time of my 2016 article, the Stratos device, designed to reduce embouchure pressure, was only available as a costly metal version. Since then, Marcus Reynolds has released the more affordable Stratos Performer in plastic, which has received positive feedback from the horn community.
Etude books focusing on the low register:
- Caliendo, K. (2021) 18 Virtuosic Concert Etudes for Low Horn
- Denniss, G. W. (1993) Studies for Low Horn
- Frehse, A. (1954) 34 Etüden für tiefes Horn
- Grabois, D. (2009) Twenty Difficult Etudes for the Horn’s Middle Register
- Hackleman, M. (1990) 34 Characteristic Etudes for Low Horn Playing
- Matosinhos, R. (2013) 15 Low Horn Etudes
- McCoy, M. M. (1986) 46 Progressive Exercises for Low Horn
- Miles, P. (2009) Low Horn Etudes and Drills for the Intermediate Horn Player
- Neuling, H. (1951/1986) Spezial-Etüden für tiefes Horn and Studien für Horn
- Pitarch, V. Z. (2002) 20 Estudios para Trompa Bajo
- Ware, D. (2006) Low Horn Flexibility Studies
- Weingärtner, F. (2009) Etüden für tiefes Horn, Vols. 1–3
In addition to etudes, the player’s need to transpose is a useful asset. Practicing in C, B♭ basso, or even ottava bassa helps you develop both your low range and transposition skills simultaneously.
Low horn repertoire: a growing catalogue
The list of solo pieces for horn and piano focusing on the low register is still modest but growing steadily. I’ve made it a personal mission to help expand this repertoire, creating works that highlight both the expressive and technical potential of the low horn.
Often, works for the low register are highly virtuosic, not ideal for someone wearing braces, at least at the beginning of the treatment. I’ve had students successfully play pieces such as Saint-Saëns’s Romance Op. 67 (ending on a high B) or Michael Haydn’s Concerto (with high A’s); but early on, each half-step in the high range must be carefully conquered, with sweat, a few tears, and hopefully no blood!
Here is a selection of recommended pieces, with comments on their difficulty and range:
- Gina Gillie, Reverie – Mostly in the middle range with a couple of high F’s. Designed for recovery from focal dystonia, but also very suitable for players with braces due to the gentle intervallic writing.
- Brett Miller, Hunting Songs – Three expressive movements ranging from low G to high C.
- Brett Miller, Tardigrade – Focused on the middle-low range, from low D to high E.
- Dante Yenque, Tanguito – Playful and idiomatic writing, with a range from low A to middle G.
…and some of my works:
- 5 Miniatures Op. 89b – Inspired by Portuguese folk melodies; gradually increasing difficulty. Range: Low F–High F.
- Low Horn Suite No. 1 – Three contrasting movements from low C to middle A.
- 4 Pieces – Focused on use of the B♭ side of the horn; range: low C to middle B.
- Low Horn Suite No. 2 – More advanced than Suite No.1; range: low C to high E.
- 4 Impressions – Based on Portuguese folk songs; range: low C to high F (ossia sections available).
- 5 Miniatures Op. 88 – Designed for the first 5 years of learning; range from low C to high G (the first 4 pieces have a maximum of high E)
- Katharina’s Suite – Mostly in the middle range (from low A to high F), with optional improvisation sections that allow range adaptation.
- Reflections – Winner of the 2016 IHS Composition Contest (Featured Division); range: low G♯ to high G, with a focus on the low register.
- Iberia – Written range from low C to high F/G. Features optional multiphonics and ossia sections for range adjustment.
- Blues for Marco – For the brave! Range: pedal C to high F (ossia available: low F to high F).
Final thoughts
If you decide to work on your low horn playing, remember you can always adapt, transcribe, or compose works to suit your range and needs.
I hope these two articles have sparked greater interest in exploring the low horn. Have fun discovering the beautiful, often-overlooked lower range of the instrument!
