by Katy Carnaggio
Beyond data and drills, there’s you. Your imagination. Your preferences. Your sound. Last month, we explored why great horn playing relies on predictive reasoning (our ability to anticipate sound before it’s made). Next month in Part II, we’ll dive into the cognitive science behind how to train that ability. But before we get to the methods, let’s start with the most important variable: you.
Improbable.
A word sometimes playfully associated with a Verne Reynolds etude. But you also sit down in your practice room, turn to any page, and with just air, flesh, and metal, make meaning. Maybe you’ve felt it—that moment when it’s not just sound, but something that feels like you.
Music is improbable. Music is beautiful. Music is afraid of nothing.
And so are you.
As Bill Bryson writes:
“Not one of your pertinent ancestors was squashed, devoured, drowned, starved, stranded, stuck fast, untimely wounded, or otherwise deflected from its life's quest of delivering a tiny charge of genetic material to the right partner at the right moment in order to perpetuate the only possible sequence of hereditary combinations that could result–eventually, astoundingly, and all too briefly–in you.”
Embracing your improbability is where beauty, boldness, and creativity in music-making begin. Individuality precedes technical precision. Like learning choreography, we follow the steps, explore timing, and repeat until we’ve made the dance our own. And it feels like flight.
So let’s develop some wings!
Here are five ways to get to know your “choreography” of the horn. Try one, or cycle through all five over the week. Notice how your internal model of sound begins to take shape.
Imaginative, preference-based practice isn’t a distraction from the “real” work—it’s a legitimate, evidence-informed tool for technical growth. Each time you return to one of these prompts, you’re collecting data on what thoughts and images lead to the sound you want. That’s predictive reasoning in action.
We’ll dive deeper in Part II. Until then, may your practice be improbable, beautiful, and fearless.
by Vidhurinda Samaraweera
The first time Priya truly understood the magic of music was in a small room, her fingers tracing the curves of a horn. No conservatories lined her streets. No professional musicians walked her neighborhood. Just silence, just the promise of sound. Her world was different from the orchestral landscapes of Europe and America—a place where musical dreams required more than talent. They demanded an almost impossible combination of passion, resourcefulness, and blind faith.
The horn her father had saved months to purchase online from Taiwan was more than an instrument. It was a lifeline, a thin brass thread connecting her to something larger than her immediate circumstances. To Priya, access to quality instruments, specialized mouthpieces, and critical accessories are luxuries. A decent instrument could transform Priya’s talent and trajectory, turning potential into professional capability. Each practice session was a negotiation between the music in her heart and the limitations surrounding her. Priya dreams of lessons with a seasoned horn professor from a world-class school that could unlock techniques which could otherwise take years to discover alone. The risk of learning bad technique could rob years of progress and require precious time to unlearn. Given the slow learning process, Priya would take ages before she is fit to take part in competitions. She sees her Facebook friends perform and dreams of her first solo recital in Delhi…but who would support her? They keep asking, “What horn?” That is where the International Horn Society comes in. The IHS has valuable content on digital platforms, and they organize international competitions and symposia which create opportunities for musicians from all around the world to learn and to showcase their talents. These initiatives do not just support individuals—they expand global perception. The IHS has an extensive library and offers reading materials to its members, providing continuous learning opportunities. For musicians like Priya, these resources represent educational pathways previously unimaginable.
Members of the IHS get the opportunity to connect with other musicians across the globe. But what if Priya has no means to become a member of the IHS? What if she cannot afford lessons with top-notch teachers despite being able to communicate with them? Priya might not be able to afford to travel to a single symposium, regardless of how much she deserves to attend.
Funds and scholarships for promising musicians from underdeveloped regions of the world could fast-track her learning and exposure to systematic training. The IHS provides valuable scholarships like the Barry Tuckwell Award and the Paul Mansur Award. While acknowledging the value such awards bring to students, we should also assess the applicability of the same to students and aspirants from developing nations. Rigid criteria requiring institutional affiliations, age limits, and contingencies could impede students like Priya from receiving any benefits. This by no means is a complaint or accusation. This is purely an attempt to breathe life into regions, including the Indian Subcontinent and Africa, by raising awareness. This might be the perfect time to garner support, from within and beyond the IHS, for deserving aspirants from developing nations. The potential impact extends beyond individual musicians. Each supported aspirant becomes a potential mentor, educator, and inspiration for future generations. Priya could become the first professional native horn player in her region, creating possibilities for others where none existed before.
Note: Priya is a fictional character, a figment of my thoughts. Her likeness is AI-generated, much as I imagine her. VS
by Fernando Ruiz
Welcome to Part 2 of my article on wooden mouthpieces. To read Part 1, please click here.
The most common types of wood effective for making wooden mouthpieces for horn include:
Ebony
Ebony is one of the densest and hardest woods used in musical instrument construction. It is characterized by its deep black color and a fine yet almost porous texture. In terms of sound, ebony offers a slightly darker, rounder sound with excellent dynamic control. Furthermore, its density gives it impressive wear resistance, making it a durable choice, even for those who practice long hours.
Blackwood
Blackwood, also known as "African blackwood," is a wood widely used in wind instruments such as clarinets and oboes, and is now also found in mouthpieces. Its sound quality is clear and bright due to its hardness, but without losing warmth, making it a versatile choice. Its natural resistance to humidity and sudden temperature changes makes it a viable choice.
Madagascar
This wood is very distinctive, combining elegance and functionality. Its color varies from light to dark browns with distinctive grain, giving it a unique aesthetic. Acoustically, Madagascar provides a balanced sound with a tonal richness that many musicians describe as "warm yet resonant."
Redgum
Redgum wood, native to Australia, is known for its reddish hue and smooth texture. Aurally, it is one of the warmest woods, darker than ebony, which can complement softer styles or blend well with woodwind instruments.
Beech
Beech is a less dense wood than some of the previously mentioned woods, making it lighter. In terms of sound, it provides a darker sound than redgum due to its porousness, ideal for those seeking a more natural tone.
Olive
Olive is a wood of extraordinary beauty, with grain patterns ranging from clear lines to intricate shapes in golden and brown tones. In sonic terms, olive produces a neutral, vibrant sound, with warmth and a resonance that feels "alive." This is because the olive tree never dries out and constantly secretes its resin. (This can be bothersome while playing because it leaves a bitter taste, so it must be treated and varnished before use).
Rosewood
Known for its reddish color and dark grain, rosewood is a wood traditionally associated with high-end instrument making. It offers a full-bodied sound with balanced projection that can adapt to multiple contexts, even solo and orchestral playing.
Pau Ferro
Pau ferro, also known as "ironwood," is an option that combines strength and beauty. Its color varies from dark brown to reddish tones, with very defined grain. In terms of sound, it produces a more direct and robust tone, ideal for musicians seeking a sound with character.
These are just a few of the many woods I've tried with different rim, cup, grain, and other measurements/characteristics that influence mouthpieces. Today, we continue to search for woods that are compatible with varied musical environments, that are non-toxic, and which produce a unique sound and a comfortable playing feel. Some of the woods with which we are experimenting include bubinga, zebrawood, samanguila, exotic ebony, and snakewood, among others. Many of these woods come from sustainably managed sources. It's also worth noting that combinations of wood and metal can be made, bringing together the best of both materials, achieving impressive results. From dense, dark ebony to the warmth of olive or the depth of pau ferro, each wood has its own personality that is reflected in our music and in the exploration of new sounds. Although wooden mouthpieces offer numerous advantages, they also require additional care. For example, it is important to keep them away from sudden changes in temperature or humidity to prevent cracks. It is also advisable to clean them regularly and oil them with wood-specific oil to ensure longevity and optimum performance. Furthermore, not all woods are suitable for all musicians, so trying several options prior to choosing is essential. We invite all readers of this article to learn more about wooden mouthpieces by following us on social media or at our website.
por Fernando Ruiz
El ébano es una de las maderas más densas y duras utilizadas en la construcción de instrumentos musicales. Se caracteriza por su color negro intenso y una textura fina que casi no presenta porosidad. En términos de sonoridad, el ébano ofrece un sonido un poco más oscuro, redondo y con un excelente control dinámico. Además, su densidad le otorga una resistencia impresionante al desgaste, lo que la convierte en una opción duradera, incluso para quienes practican largas horas.
El granadillo, conocido también como “blackwood africano”, es una madera ampliamente utilizada en instrumentos de viento como clarinetes y oboes, y ahora también se encuentra en boquillas. Su calidad sonora es clara y brillante debido a su dureza, pero sin perder calidez, lo que la hace una opción versátil. Por su naturaleza resistente a la humedad y cambios bruscos de temperatura.
Esta madera s muy particular, combina elegancia y funcionalidad. Su color varía de marrones claros a oscuros con vetas distintivas, lo que le da una estética única. En términos acústicos, Madagascar aporta un sonido equilibrado y con una riqueza tonal que muchos músicos describen como "cálida pero resonante".
Redgum (Madera de Goma Roja)La madera de goma roja, originaria de Australia, es conocida por su tonalidad rojiza y su textura suave. Auditivamente, es una de las maderas más cálidas, más oscuro que el ébano que puede complementar estilos más suaves o mezclarse muy bien con instrumentos de viento madera.
La haya es una madera menos densa que algunas de las mencionadas anteriormente, lo que la hace más liviana. En cuanto a sonido, otorga un sonido más oscuro que el Redgum debido a su porosidad, ideal para quienes buscan un tono más natural.
El olivo es una madera de extraordinaria belleza, con patrones de vetas que van desde líneas claras hasta formas intrincadas en tonos dorados y marrones. En términos sonoros, el olivo genera un sonido muy neutro y de mucha vibración, con calidez y una resonancia que se siente “viva”. Esto se debe a que el olivo nunca se seca y se mantiene siempre segregando su resina (cosa que nos viene mal al momento de tocar ya que deja un sabor amargo, hay q tratarla y barnizar la antes de probarla).
Conocido por su coloración rojiza y sus vetas oscuras, el palo de rosa es una madera tradicionalmente asociada con la fabricación de instrumentos de alta gama. Ofrece un sonido lleno de cuerpo, con una proyección equilibrada que puede adaptarse a múltiples contextos, hasta solos orquestas.
El pau ferro, también conocido como “madera de hierro”, es una opción que combina dureza y belleza. Su coloración varía entre tonos marrones oscuros y rojizos, con vetas muy definidas. En términos sonoros, produce un timbre más directo y robusto, ideal para músicos que buscan un sonido con carácter.
Estas son algunas, por no decir una minúscula parte de la cantidad de maderas que he probado con diferentes medidas de aro, copa, granillo y demás medidas que influyen en las boquillas y hoy en día seguimos buscando más maderas compatibles con nuestro ámbito musical, que no sean toxicas y produzcan un sonido único y una sensación confortable para tocar, algunas de estas maderas con las que estamos experimentando son Bubinga, Zebrano, Samanguila, Ébano exótico, Palo de serpiente, entre otras. Muchas de estas maderas provienen de fuentes gestionadas de manera sostenible, tambien vale destacar que se pueden hacer combinaciones entre madera y metal brindando la mejor parte de ambos materiales consiguiendo un resultado impresionante.
Desde el ébano denso y oscuro hasta la calidez del olivo o la profundidad del pau ferro, cada madera tiene su propia personalidad que se refleja en la música que producimos, explorando nuevas sonoridades. Aunque las boquillas de madera ofrecen numerosas ventajas, también requieren ciertos cuidados adicionales. Por ejemplo, es importante mantenerlas lejos de cambios bruscos de temperatura o humedad para evitar grietas. También es recomendable limpiarlas con regularidad y engrasarlas con aceite específico para madera, asegurando así su longevidad y rendimiento. Además, no todas las maderas se adaptan a todos los músicos, por lo que probar varias opciones antes de tomar una decisión es fundamental.
Asi mismo, invitamos a todos los lectores de este articulo a probar o conocer este trabajo con las boquillas en madera siguiéndonos en nuestras redes sociales o web.
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:
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.
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.
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.
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