by Ralph Lockwood

Ralph Lockwood and two of his favorite McCracken custom piston horns.

As a hopelessly right-brained, intuitive musician, I found in George McCracken (1931-2024) the perfectly balanced creator who could bring into reality his ideas, his curiosity set in tangibility—a transmuter of “lead into gold” through the alchemy of his (master) mind. I remember vividly having a horn quartet session in his basement in East Cleveland in the 1960s when George brought the prototype of his newly designed Eroica horn. We all played it, and we all despised it. It was like blowing across a coke bottle; there was no resistance (impedance) at all…nothing for the lips' vibrations to “grab hold of” or on which to gain a footing. George was as pleased about this as we were appalled. He averred that he would now take the horn and build in impedance, resolute that it would improve the design. And this he did, and the rest is history. For many years, he was chief designer/engineer at the King Instrument Company (now United Band Instruments) in Eastlake, Ohio, a place which became almost a second home to me. George turned his hands and brain and heart to the designs of trombones, tubas, and, certainly, horns, and he was also able to finesse some notoriously squirrely Wagner tubas with his acoustic tinkering. The Strobo-Conn and the (dreaded) anechoic room were invaluable tools; innumerable discussions ensued through the years. Dr. Arthur Benade entered the picture, and we became friends as a result, and more elucidating conversations with this immeasurably wise factotum transpired. But that is another story, and this is about George.

There are all sorts of "intelligences" in the universe. George's merger of the practical with the artistic was a true marriage of right- and left-brained brilliance. One time, he sold me a King horn hand-picked off the line, and I played on it for weeks, then returned it to him, saying, “This horn drains me; something is wrong. I think the bell is too thin!” “Impossible!” exclaimed George. Well, to make a long story short, after much hemming and hawing, I asked, “Please just get out your micrometer and measure the thickness of the bell throat.” He did, and, sure enough, it was several thousandths too thin. The intuitive part of me “felt” something was awry. George, always the true investigator, keyed into the mysteries of metals and the vagaries of instrument design, and his insatiable intellectual curiosity was part-and-parcel of his consummate skills. It was so valuable to be able to play for him, and for Dr. Benade, at their respective laboratories, to get expert advice and feedback. I tried so many mouthpipes and bell flares through the years in countless permutations; it’s enough to make the brain (and chops) swim.

My favorite horn for many years was a single F Conn piston horn, built in 1918, with extenders to pitch the horn in E, E-flat, and D. (It is now in the Selch collection at the Oberlin Conservatory of Music.) The efficacy of the piston valve seems a no-brainer to me, and so George designed and built first a wonderful B-flat/f alto descant horn with pistons, and then a full double piston-valved horn. The aforementioned Conn single was the cognate for these. Exceptional designs and horns, these were a joy to play.

Genius is a not a term to be lightly bandied about, but it may be applied to George without reservation. Veni Creator Spiritus shouts the chorus in the opening of Mahler's 8th Symphony, and that creative spirit is an indelible part of George's indomitable persona.

by Vidhurinda Samaraweera

In February 2025, Sri Lanka's horn playing community experienced an unprecedented event as Professor Peter Arnold, a distinguished German hornist, conducted a series of masterclasses and culminating recital in Colombo. Historically, opportunities for specialized horn training and ensemble performance in the region have been scarce, primarily due to a lack of formally trained educators. This initiative, organized by the Gustav Mahler Society of Colombo (GMSC) in collaboration with Musicmatters Sri Lanka, marked a significant milestone in the region’s horn playing journey.

On February 13th and 14th at Musicmatters Sri Lanka, Professor Arnold led intensive masterclasses attended by local horn players and enthusiasts. Demonstrating his commitment to nurturing talent, he generously provided each participant with a Markus Arnold 'BuzzR', a specialized tool designed to practice buzzing without the instrument.

The sessions explored several critical aspects of horn performance. Professor Arnold emphasized the importance of correct breathing techniques and posture, introducing exercises to rectify common breathing habits and promote diaphragm engagement.

Participants engaged in buzzing exercises aimed at strengthening embouchure and improving tonal quality. Revisiting the instrument's roots, the masterclasses incorporated fundamental natural horn exercises, offering players both historical context and technical proficiency. Although natural horns were not available, participants used their instruments like natural horns by playing in only a single harmonic series at a time. A significant focus was placed on solo horn repertoire with Professor Arnold sharing insightful interpretations and practical approaches to mastering the works. Additionally, a five-member horn ensemble received training while exploring diverse genres and ensemble dynamics under his guidance.

The culmination of this endeavour was a recital on the morning of February 15th. Professor Arnold began the event with two solo pieces, captivating the audience with his artistry and technical prowess. Following his performance, students showcased the results of their intensive training.

The recital also featured ensemble works arranged by Professor Arnold, including Glottertäler Hornruf, an evocative piece highlighting the ensemble's cohesive sound. (This is often played at the well-known Hornissimo Festival hosted by Prof. Arnold in Germany.) Ave Maria and Blues for Horns (a spirited piece which concluded the recital on a high note) were highlights which the audience seemed to enjoy.

Professor Arnold's visit left an indelible mark on the Sri Lankan horn community. Participants not only enhanced their technical skills but also gained a renewed appreciation for the instrument's rich heritage. As Country Representative of India and Sri Lanka for the International Horn Society, I am happy to share with our global horn community the report of this momentous occasion. It stands as a testament to the unifying power of music and the continuous pursuit of artistic growth.

by Vidhurinda Samaraweera

The horn maintains a distinctly limited position in South Asian popular music, primarily confined to orchestral settings and film scores rather than mainstream popular genres. Even in film music, horn parts are often played using electronic synthesizers. This limited integration stems from both practical and cultural factors that shape the instrument's role in the region's musical landscape.

In Sri Lanka, the horn's presence emerged through military bands and orchestral ensembles during the British colonial period (see Horn Playing in Sri Lanka). Despite the influence in classical spheres, the impact on popular music remained minimal due to the lack of awareness, interest, and demand, limitations in knowledge, and acoustic characteristics that pose challenges in amplified settings. Unlike other brass instruments prominent in regional genres like Papare music, the horn's softer timbre makes it less suitable for unamplified outdoor performances and large venues (see Sri Lankan Papara Music).

The Indian film industry, particularly Bollywood, has integrated the horn more extensively. Composers such as A.R. Rahman use the instrument in film scores, although primarily in orchestral arrangements rather than pop compositions. Notable examples include Rahman's use of horn in Dil Se (1998) and Rang De Basanti (2006), where the instrument provides dramatic underscore rather than melodic content. In Bollywood, Tamil (Kollywood), and Malayali Indian film scores, notable horn calls and big layers of section soli can be heard. However, it was only in 2016 that music for an Indian film was first recorded with a live symphony orchestra. Sairat achieved this feat with a Hollywood orchestra in 2016.

Contemporary horn players have emerged in cross-cultural musical endeavors, performing with both orchestras and various contemporary ensembles. Such work demonstrates the instrument's potential in bridging classical and popular idioms, although such crossover remains exceptional rather than normative in the region. More recently, the use of horn in live pop orchestra settings have become a trend in Sri Lanka, and if the industry continues to develop, the horn could potentially become standard in pop orchestras.

I have had the fortune of contributing to the Sri Lankan popular music industry by playing in several television recordings and live performances. Music Directors such Mahesh Denipitiya, Charitha Attalage, and Eshan Denipitiya are three of the notable musicians who used horn in their compositions. The horn was featured for the first-time in recent Sri Lankan television history in a program titled Dell Studio Season 02 in 2015. A popular song titled Romanthika Operawa by contemporary Sri Lankan artist Kasun Kalhara was featured in the program. Thereafter, the horn was featured sporadically in 2017 and 2018 in live performances but mostly remained unused. After a long hiatus, in 2023, Charitha Attalage, a French-born Sri Lankan musician and producer, employed the horn in his orchestra at a concert titled Kuweni Live in Concert held at the Nelum Pokuna Theatre in Colombo. The horn was also used as part of a funk ensemble in several of his compositions.

In my opinion, Eshan Denipitiya, who is a classically trained virtuoso pianist, is a contemporary composer who has been able to bring the best out of the horn, both as an orchestral and pop instrument. His rise to the popular stage as a music director came in 2023 with a concert called Dream Fest 3.0 held in Colombo. His arrangement for a 4-part wind section, including a horn, for a popular song called Ciao Malli became a highlight in his debut. It was even performed as part of a surprise act in a recently concluded stadium concert in Colombo titled Naadha Gama 360° just one year after its premiere. Naadha Gama 360° included many other songs in which horn was featured. While Eshan masterfully made the arrangements, Nuwan Gunawardhana (trombonist and arranger for A-Team Horns) did the voicing tastefully. 

A-Team Horns

The success of the integration of the horn into popular music is not only attributable to pioneering composers. The only ensemble in South Asia that uses a horn in a 4-part wind section is A-Team Horns Sri Lanka. A-Team Horns have been the cornerstone of wind section playing in pop and funk settings here and includes trumpet, saxophone, trombone, and horn. There is a growing demand for such sections in South Asia, especially in India and Sri Lanka, given that composers such as A.R. Rahman, Eshan Denipitiya, Charitha Attalage, and Mahesh Denipitiya continue to compose for horn. The emergence of concerts and recording opportunities has established industry benchmarks and will certainly encourage composers, event organizers, artists, and players to push their limits.

Given that almost all pop concerts are held in large venues, amplification is required, and something Sri Lanka lacks is technical know-how in equalizing, i.e. EQing, the horn sound. I have worked with multiple audio engineers and still have not had a satisfactory outcome. It remains a challenge both from a player’s perspective and that of an engineer. Besides avoiding bleeding of sound into nearby microphones, achieving a good timbre in the output remains a challenge.

I believe we can look forward to more South Asian productions to include horn in the future; however, it is evident that more knowledge is required for further improvement. (I would humbly request that anyone reading this article with expertise in EQing horns, and kindly willing to do so, to contact me at vidhurindasamaraweera@gmail.com. Technical education would certainly help horn players take another big step in South Asia.)

Understanding Lip Dehydration

by Inman Hebert

A recent polar vortex brought extremely low temperatures to much of the United States. Horn players from temperate-weather zones encountered record-breaking snow. Who thought 10 inches of snow would be seen in New Orleans? Whether an anomaly for your region or the standard for your area, some of us, including myself, are experiencing dry, chapped lips. Gaining insight into this phenomenon can help us protect ourselves and maintain consistency in our horn playing.

First, we must understand the concurrence of factors. As lips have only a thin protective barrier, they become easily susceptible to dehydration. Winter acts as a catalyst. Colder, low-humidity air, in combination with wind, creates conditions for dry, stiff lips. Buildings that provide relief from the bitter temperatures keep their heating systems running constantly, and this evaporates moisture out of the air. Breathing through the mouth while sleeping or because of sinus congestion leads to additional dryness.

Constant exposure to dry air, outdoors and indoors, dehydrates the lips and may cause pain, sores, and cracked skin. These conditions make the lips more prone to infection. Dryness and stiffness also affect the embouchure, decreasing flexibility when playing the horn.

What can be done? If your residence constantly has a heating system running, consider using a humidifier to add moisture back into your environment. While we consider wearing a jacket outside in the winter, covering the mouth with a scarf should be a priority. Avoid practicing or warming up outside in the cold weather. Drinking water throughout the day keeps your whole body hydrated and restores moisture to the lips. While licking the lips seems instinctive, it can have a detrimental effect: the digestive enzymes in saliva remove the protective layer on your lips, damage the skin, and, as the saliva dries, draw additional moisture from the lips.

Lip balms can help provide a protective barrier on the lips, but horn players should be cautious. Balms containing camphor, eucalyptus, menthol, or even aspirin may seem helpful initially but may also dry the lips faster and worsen dehydration. Some lip balms also contain chemicals which can irritate your lips over the long term. Search for ones that are more friendly to musicians’ lips.

Finally, whether walking across campus for a rehearsal or flying north for an audition, consider the weather and give yourself extra time to warm up. Even if you had your usual warm-up for the day but had to spend some time outdoors, give your lips additional time to warm up with lip slurs or buzzing exercises. Don’t go into a rehearsal, lesson, or audition “stone-cold.”