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Brass Clinic

The Horn Ensemble Tradition


by Eldon Matlick
T
he Viennese tradition of rehears-
ing and performing horn ensem-
ble literature started in 1860, and
much of the literature as well as contem-
porary Austrian literature is available
today. In the late 1950s German homists
Max Pottag and Wendell Hoss brought
the rich traditions of horn ensembles to
the United States.
Pottag was the second hornist of the
Chicago Symphony and taught at
Northwestern University, where he
formed an ensemble of student and
community hornists. Pottag con-
ducted a horn choir of 90 members in
the late 1950s at The Midwest Band
and Orchestra Clinic, when the only
available literature consisted of arran-
gements of male quartets, Wagner
transcriptions, and orchestral pot-
pourris. The ensemble also performed
arrangements of symphonic and vocal
repertoire written by Pottag.
The performances at the Midwest
Clinic were a revelation of the expres-
sive qualities of the horn ensemble,
and horn clubs began to develop in
various regions of the country. Their
educational and musical value became
evident with the formation of groups
in Buffalo and Los Angeles in the
1960s.
In 1956 Lowell Shaw became second
hornist of the Buffalo Symphony and
began teaching at the University of
Buffalo a year later. Shaw had studied
with Pottag and shared his idea about
the horn choir as a training group. Shaw
Max Pottag conducted Midwest Clinic performances and arranged works for the horn ensemble.
organized groups of college students,
area professionals, and high school stu-
dents, that soon grew into the Buffalo
Horn Club. The club was primarily a
recreational organization that shared
information, read ensemble literature,
and gave occasional performances.
Shaw often arranged music for the
University of Buffalo Jazz Band, which
requested that he include horn parts.
To teach horn students the commer-
cial style, he wrote a body of works
known as Fripperies, which are light-
hearted introductions to the various
musical styles found in jazz and com-
mercial music. In the mid-1960s Shaw
started The Hornist's Nest to publish
his horn ensemble arrangements. To
date, over 5,000 copies of his first vol-
ume of Fripperies have been sold.
In 1951 36 of the finest performers in
Los Angeles organized a horn choir
concert similar to those given by
Pottag in Chicago. Led by James
Decker and Wendell Hoss, the group
performed for the Music Educators
National Conference at the Musician's
Union Concert Hall in Hollywood
with guest conductor Max Pottag. The
audience responded enthusiastically,
and executive officers Alfred Brain,
Wendell Hoss, Arthur Franz, and James
Decker organized regular meetings.
At this time, studio and free-lance
hornists under contract to various
motion picture, radio, and recording
studios could not perform in other stu-
dios. The Los Angeles Horn Club gave
these performers an opportunity to
play with other hornists and give regu-
lar concerts. The organization was a
boon to film composers as well. Many
times a film composer experimented
with different sounds and textures on
original music for the ensemble. The
Horn Club agreed to copy the'music
and guaranteed at least one perfor-
mance of each work.
During the 1950s the first solo
recordings of horn music became
available. The marketing success of
these novel recordings led Capitol
Records producer Robert Meyers to
contact the Los Angeles group about
an album of horn ensemble music.
Through the efforts of Wendell Hoss,
several leading studio and film com-
posers wrote original music arrange-
ments. The project was completed in
1960, and another recording followed
in 1970. Both recordings have since
been re-released on compact disc
under the EMI label.
In the mid-1950s Leigh Martinet
organized a horn club in Baltimore
and since the 1970s has written many
transcriptions for multiple horns. The
group consisted of musicians from the
Baltimore Symphony Orchestra and
free-lance players. Martinet studied
with Charles Lenuty, hornist with the
Philadelphia Orchestra, and Jerry
Knop of the Baltimore Symphony
Orchestra. He enlisted in the Air
Force and was a member of the Air
Force Band along with Arthur Berv,
John Barrows, and Harry Shapiro.
At the time that the Baltimore Horn
Club was formed, publications for horn
choirs were scarce, and available works
included the quartets of Grumpert,
Tcherepnine, and arrangements by
Pottag. Martinet began producing new
material for the group, and the club
met every other Friday for recreational
playing and socializing. Martinet had
some of his arrangements published by
Lowell Shaw, and eventually started his
own publishing house called The
Baltimore Horn Club.
A solid horn section within a musical
ensemble has a cohesive blend of tone,
intonation, and style. The horn's nat-
ural sound is warm and expressive, simi-
lar to that of a vocalist. Horn ensemble
music will help players develop a unified
tone with good intonation, articulation,
balance, and blend. As students work on
ensemble blend, the intonation will also
improve. Groups should warm-up on
octave scales, lip slurs, and interval
practice. Verne Reynold's Intonation
Exercises far Two Horns is a good choice
for intervallic work on ensemble intona-
tion. The following examples are based
on Reynolds studies.
Intervallic Tuning
unison, 4th
tS -e-
=#=
3 --
,5th.
&
Ktave
"** **
- -!>
^
Melodic tuning - add an octave + 6th
Hornist James Decker organized and performed many concerts with the Los Angeles Horn Club.
Melodic tuning Tllis unison melody develops a
homogenous sound; whenever one
player cannot hear anyone else, his
volume is too loud. A simple unison
exercise is to start on C or G and
descend by half-steps, returning to the
initial note before the next descent.
(C-B, C-At, C-A, C-Gt, etc.) The
low'er note should predominate when
playing octaves, as if the upper note
were an overtone. Intonation and bal-
ance will improve if players listen to
the entire ensemble. Another exercise
is to play scalar passages in octaves.
Chord exercises will develop good
intonation, especially the common prob-
lems of slightly flat fifths, sharp major
thirds, and flat minor thirds. Persistent
work will accustom players to hearing
these intervals in tune. Two-part exer-
cises can be used for tuning perfect
fourths, fifths, thirds, and sixths. Another
exercise uses three or more voices .
Finally, short chorales can be used as
a warm-up or for intonation practice.
Have students sustain a chord until its
intonation and balance are correct,
and then identify the chord root.
When unisons and octaves of the root
IT^
;
__- -
J
dfcjWT'rlJiarT-
\rf^- W-
etc.
po chromatically
upwards to F and
downwards to G
Tuning chord members against hass (do also in minor)
m
3 "
-6 1
\-(m \j =E
^4f=3=
etc.
:r-4fil
match, add the fifth and third. Players
should always be able to hear the root
of the chord.
Harmonic Chord Tuning (do also in minor)
-
33E5J
t)
- i
^ -
1. Go slowly
2. Hear interval before
playing
3. Use pitch memory to
keep root constant
4. Up &. down in half-
step increments
The phantom interval is a matter of
acoustics and consists of summation
and difference tones. Summation
tones occur when the frequency levels
of both resonant tones combine to
produce a soft phantom note. For
example, if one pitch has a frequency
of 220 cycles per second (cps) and
another has 330 cps, a summation tone
of 550 cps may result. Likewise, if a
perfect fifth (or twelfth) is played, a
phantom major third will sound; if a
major sixth is in tune, a phantom root
will sound.
Phantom Intervals:
0 550 cps
J 330 cps
2 20 cps
4*-)
Suimmation tone Difference tone
Here the ghost note represents a differ-
ence tone because the difference
between the lower (330cps) and the
upper notes (550cps) is a lower note of
220 cps. These additional sympathetic
overtones add resonance and volume
to smaller ensembles. The Treasury of
Scales published by Belwin in four
parts is an excellent source for working
on intonation and ensemble blend.
Used together, all four horn books
make up complete four-part chorales
in all major and minor tonalities.
Consistent articulation only devel-
ops with practice. To develop a clear
and cutting articulation, a horn player
should slow the release of the tongue
slightly to get a better sound at the
beginning of a note. Special articula-
tion techniques such as backend
tonguing in fast staccato passages help
in regard to clarity and projection. The
first book of Kopprasch's 60 etudes is
good for practicing articulations.
Advanced players can perform the
studies down an octave to work on the
48 THE INSTRUMENTALIST/NOVEMBER 1999
lower range. When playing in octaves,
the lower octave notes will have to be
more punctuated and detached to
match the higher pitches. Recom-
mended articulation studies include
numbers 2, 3, and 4, which can be
played with optional slurs. Other rec-
ommended exercises include 6, 8, 9,
and 10.
Fast, crisp staccatos are properly
articulated by using backend tonguing.
Have students slur the passage to work
on air flow and finger rhythms. Once
the flow has been established, the
backend tongue can be used. The
release of the tongue is deliberate and
makes the note pop out of the instru-
ment as the air is momentarily blocked
by the repositioning of the tongue. For
a more legato sound, the release of the
tongue should be quicker.
The difficulty with backend tongu-
ing is that the tongue should stay down
until the last second when it is reposi-
tioned for the next release. The result
is a full sound.
Fat Chunks of Tone
TO/TO TO TO TO
Air tube
sound (toil) will result, or there will be
more silence rather than tone on the
pitch.
Prep study for backend tongue
J.
1. Steady, wide air
2. With metronome, time the
reposition of the tongue to the click
3. Air must remain constant - one note
ends as another begins
Slurring exercises will improve fast,
technical passages because fast fingers
will help the tonguing technique.
The following exercises can be used
as a prelude to scale work. The first
scale sequence should be legato with a
large, sonorous tone. After a quick
breath and a normal articulation, the
soft passage is played with backend
tonguing, creating a clean articulation.
This study can be done in ascending or
descending half-step increments to
facilitate key development.
Articulation exercise
legato
Quick reposition and delib-
erate tongue release
For this technique to work, the tip of
the tongue should barely feel the bot-
tom edge of the top of the teeth. If the
tongue rises too soon either a scooping
Because balance problems may occur
from poor ensemble seating, set a small
group in a straight line or a slight arc
and avoid set-ups with bells facing
both to and away from the audience.
WendeR Hoss helped found a Los Angeles horn ensemble that recorded original works in the 1950s-60s.
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In a block seating, arrange the ensem-
ble to face the audience with the first
chair in a position to lead and hear the
other horns clearly.
If working with eight or more horns,
a dual line format is best for uniform
timbre and bell projection. In an
antiphonal format, have the choirs sep-
arated and seated in a mirror image
such that the high horns face the center
and the low horns play on the outside.
Possible seating arrangements and
antiphonal seating for horn octets
8765
4321
8743
6521
43
21 57
Horn ensemble music, though edu-
cational and fun, expands the range
demands of players to demonstrate the
powerfully expressive and heroic qual-
ity of the instrument's sound.
Horn Quartets
Grade 2
Quarto for Horns by Acton Ostling is
in ABA form and uses the medium
range of the horn (horn 1 up to Fl,
horn 4 down to C). The first horn has
the lead, but all parts have important
moments. The A section includes
short passages of sixteenth notes for
the upper three horns, and the B sec-
tion is a march featuring an accompa-
niment of staccato quarters. This is a
suitable first piece for any ensemble.
(Belwin-Mills)
Pottag Quartet Album by Max Pottag
consists of 24 short arrangements of
classical transcriptions, German folk
songs, and American patriotic tunes.
All parts are written in score format,
and the selections are well within the
capabilities of second- and third-year
students. Block rhythmic movement is
featured in most of the pieces. (Range
demands: horn 1 up to Fl, horn 4
down to C; Belwin-Mills)
Three Short Pieces by A.O. Lively
These arrangements use the familiar
tunes "Aura Lee," "Greensleeves," and
"America, the Beautiful." The pieces
are in a homophonic texture with the
melody in the first horn. Written in tre-
ble clef the fourth horn part is surpris-
ingly low, and the ledger lines may con-
fuse a young hornist. Also, the part may
call for practice with good control and
tone to support the rest of the ensem-
ble. "Greensleeves" is arranged as a duet
with two-part accompaniment, and
"America, the Beautiful" features two
verses with differing accompaniment
styles. (Range demands: horn 1 up to
G1, horn 4 down to F; Southern Music)
50 THE INSTRUMENTALIST / NOVEMBER 1999
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Grade 3
Canzona by Fiorenzo Maschera,
transcribed by Ronald Dishinger. The
16th-century work is written in treble
clef with a modest range for all parts.
The parts are equal in difficulty, but
their independence may pose a prob-
lem for insecure players. This selection
would work well with doubled parts.
(Range demands: horn 1 up to G2,
horn 4 down to E; Medici Music)
Cornocopia by Earl Hoffman is a
three-movement work in a moderate
tempo and distinctly different styles.
The first movement features eighth
notes passed from one horn to another
and short solo passages for every part.
The second movement, in triple
meter, uses a homophonic texture and
changes to a trio in the middle. The
last movement is a syncopated chasse
with accents and rests. The piece has
variety and interest, and all parts are
written in treble clef. (Range
demands: horn 1, Gl; horn 4 down to
Bh Southern)
Folk Song Suite arranged by Louis
Stout, edited by Christopher Leuba,
consists of four short movements of
moderate technical difficulty. The sec-
ond and fourth horn parts use both tre-
ble and bass clefs and alternate parts
are written entirely in treble clef.
Suitable for contest, the movements
are "The Cuckoo," "Oh! Pretty Maid,"
"Rule Britannia," and "Gum Tree
Canoe." The rhythmic interest will
satisfy both audiences and performers.
(Range demands: horn 1 up to A2,
horn 4 down to Bl>; Southern)
Four Little Pieces by Rudolph Mayer
is a delightful quartet in four con-
trasting, short movements. All parts
are written in treble clef with mini-
mal range and scoring that includes
dialogues for contrasting groups of
horns. Although written for a grade 3
level, the solid work is suitable for
hornists of all ages and is highly rec-
ommended. (Range demands: horn 1
up to Gl, horn 4 down to F;
Southern)
Quartet for Horns by Max Pottag is
based on opera leitmotifs by Richard
Wagner. As one of the earliest quartet
transcriptions available in the., U.S.,
its difficulty lies in the sudden
changes of mood and tempo. A con-
ductor is useful for rehearsing, and the
work is suitable for an octet. All parts
are written in treble clef and familiar-
ity with music from Der Ring Des
Niebelungen is helpful. (Range
demands: horn 1 up to Gl, horn 4
down to C; Belwin-Mills)
5 2 THE INSTRUMENTALIST / NOVEMBER 1999
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Lamoiit School of Music
U N I V E R S I T Y o f D E N V E R
Where One Can Aspire To Be.
Quartet Repertoire by various com-
posers. This collection features a vari-
ety of original quartet literature and
transcriptions of vocal works by well-
known composers. The pieces vary in
difficulty, and are suitable for both the
middle school and high school levels.
The first horn leads each quartet, but
all parts show imagination in texture
and counterpoint. (Range demands:
horn 1 up to Gl, horn 4 down to D;
Rubank)
Hunter's Delight by Reid Poole is in |
ABA form and features the first horn.
There is some independence in the
treble clef fourth horn part. (Range
demands: horn 1 up to Fl, horn 4
down to F; Belwin Mills)
Suite for Four Horns by Frances H.
McKay has five movements and will
challenge younger players with part
independence. The scoring stays full
throughout each movement. All parts
are written in treble clef, and the
tempo changes may call for coaching.
The first horn dominates the texture
in each movement. (Range demands:
horn 1 up to Gl, horn 4 down to D\>;
Barnhouse)
Eldon Matlick is professor of horn at the
University of Oklahoma and principal
hornist with the Oklahoma City Phil-
harmonic Orchestra. He holds a doctorate
in brass pedagogy and a master's degree
from Indiana University where he studied
with Philip Parkas. He received a bache-
lor's degree in music education from
Eastern Kentucky University. Matlick is
a former finalist at the Heldenleben Inter-
national Solo Horn Competition. Active
as a redtalist and clinician, he appeared in
a solo capacity at five international horn
symposia, performed with the Nashville
Symphony, Louisville, and Tulsa
Philharmonic Orchestras, and has held
associate or principal horn positions in the
Owensboro S^mphon^, Evansville
Philharmonic, Lexington Philharmonic,
and Paducah Symphony Orchestras. In
addition he has been the principal hornist
with the Classical Music Festival in
Eisenstaadt, Austria. Prior to his tenure
at the University of Oklahoma, Matlick
taught at Murray State University and
developed a successful band program in
the Crittenden Community School
System in Marion, Kentucky.
The majority of material for the body of
this article came from conversations with
Lowell Shaw, Leigh Martinet, and James
Decker. Other material came from the
Los Angeles Horn Club website and the
Vienna Waldhom Verein Newsletter.

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