Europe Desk—Low Horn, Part 2

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!