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Opportunities, 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!

The 58th International Horn Symposium will be held at the Krzysztof Penderecki Academy of Music in Kraków, Poland, July 7-12, 2026, and hosted by Wojciech Kamionka.

Bookmark symposium.hornsociety.org and check regularly for updated information!

by Payton Grotewiel

The task of buying a personal horn can be daunting, especially with a four- to five-figure price tag attached. Luckily, purchasing a second-hand horn can provide you with a manageable, lower price. Finding a quality used horn can be easy if you know two things: where to look, and what to look for.

Instrument manufacturers and suppliers, such as Yamaha Corporation, and retailers, such as Houghton Horns or local music and instrument shops often sell online. These shops usually contain a dedicated page or filter for “pre-owned” or “used” horns, allowing you to narrow your search on their website.

The second place you can search is in online community markets, like Facebook Marketplace. Advantages of purchasing from these markets include the ability to ask about the instrument directly with the owner and inspect it in person before buying. As these markets often require little verification from their sellers, know in advance exactly what to look for when buying.

Once you find a horn that fits your needs, note the price, damage, any accessories, as well as the seller’s credibility. If you do not make your purchase from a credible seller, there is a chance you could lose a lot of money or purchase a horn different from what was listed. To verify a seller’s legitimacy, check their reviews both on the site and on other online venues. If a website requests too much personal information or has a vague return policy, avoid them. To ensure reliability, stick to familiar and popular sellers that allow returns on products.

Price is another key factor to consider before purchasing your horn. Used horn prices will vary, but you can expect a price of $2,000-$7,000 depending on the model and condition. If the price is over $8,000, you should be looking at a high-quality model with minimal damage. If a price seems extremely low, it could be due to damage to the horn, which is why you should closely inspect all photos of the horn. Any dents or scratches to the bell of the horn will not likely impact the instrument's sound, but damage to the leadpipe, main branches, or tuning slides will require costly repair. Remember that it is okay to request additional photos and to negotiate the price before purchasing.

Accessories included with the horn will also affect the price. Many instrument companies will not sell a mouthpiece with a preowned horn due to sanitary concerns. Additionally, some sellers may not include a case or maintenance supplies. Thoroughly read the description of the product so that you can re-adjust your budget for the remaining items.

Owning a horn is a significant milestone in a player’s musical journey, so it is important to be cautious when selecting yours. If you shop online and apply these crucial guidelines, you should not have any trouble finding a horn that suits your needs. Good luck!

by Matthew Haislip, DMA

Hello, everyone! I am Dr. Matthew C. Haislip, Associate Professor of Horn at Mississippi State University. I currently serve the International Horn Society as Media Reviews Editor for The Horn Call and as Mississippi Area Representative. I am a founding member of Quintasonic Brass and am a contracted member of the Starkville Symphony, North Mississippi Symphony, Meridian Symphony, and Missouri Symphony. Additionally, I serve on the faculty of Blue Lake Fine Arts Camp in Michigan during the summer months and have performed with ensembles across the nation, including the Cincinnati Opera, Opera Naples, Omaha Symphony, West Texas Symphony, and Billings Symphony, among others.

The International Horn Society has filled me with a strong sense of community ever since Shawn Hagen, retired hornist of The United States Army Band “Pershing’s Own,” bought me a three-year membership to the IHS when I was in junior high school. His influence on me as a family friend who inspired me to take up the horn and who supported me in my studies demonstrates the generous camaraderie of horn players that countless others have also experienced from members worldwide.

As a composer, I feel that new music is vital for our future as hornists. My book, Dueling Fundamentals for Two Horns, published in 2019 by Mountain Peak Music, has been endorsed by several international hornists. I was ecstatic to learn that players of all levels found it to be a helpful and enjoyable pedagogical tool. I am also proud to have had the opportunity to lead the successful commissioning consortium for Anthony Plog’s Horn Sonata and to have performed the world premiere of this riveting new work in 2023. The IHS offers members help with commissioning new music through the Meir Rimon Commissioning Assistance Grant Project. Consider the relationships hornists have cultivated with composers that brought us masterworks such as Benjamin Britten’s Serenade for Tenor, Horn and Strings, or Krzysztof Penderecki’s Winterreise Horn Concerto. Perhaps we could see a new horn concerto by a thrilling contemporary composer such as Caroline Shaw someday! With each endeavor, we hope that future generations will look back on this era in the international horn community and see our work as having been meaningful and enduring…and I believe that they will.

Our horn world has never been richer, and the IHS is leading the way with profound artistic performances, groundbreaking commissions with prizes awarded to repertoire by composers of diverse backgrounds, excellent regional and international symposia, a regular podcast, celebrations of stylistic freedom for maximal artistic expression and exploration, and decades of educationally enriching publications available at the click of a button—including The Horn Call and Horn and More. How will you make your own unique mark on the horn world? We can’t wait to see!