Jay Kosta, Endwell NY USA
It is my intent for this page to contain a
list of brief suggestions and ideas that help horn players with technical and
musical problems, and give us and our listeners more pleasure.
Perhaps at some future time one of the
well-known Horn web sites will become the home of this information, until then
I will do the work to maintain and update this page.
I am seeking more items to add to this page,
and I will use the "Horn
Discussion Group" email list as a way to choose the items.
Personal email can be sent to me at:
...
Submitted by - your-name,
mm/dd/yyyy
Good basic information about
the history of the horn, horn types, buying versus renting considerations, etc.
How to
Buy a French Horn, By Deborah Schmidt, SBO Magazine
For a text version of this
article click here
Submitted by - Debbie
Schmidt, 03/11/2001
Submitted by - Jay Kosta, 3/11/2001
When counting rests, count
discreetly on your fingers and you'll have less of a chance of getting lost.
Check the count with your colleagues by raising a few fingers at the main
rehearsal numbers/letters.
Submitted by - Julia Pernic, 1/9/2001
- note from J.Kosta, I count using one hand, with each finger
representing a measure. For example thumb for 1st measure, through
little-finger for 5th measure, and then back to thumb for 6th, etc.
The 'counting' in 4/4 being: (1)-2-3-4 / (2)-2-3-4 / (3)-2-3-4 / (4)-2-3-4 ,
etc. where each (n) is another finger being held against my thigh.
Always have a pencil, and
use it often but write lightly. Write in the measures where other instruments
enter, etc., during your rests. This will prevent counting mistakes and you
won't have to count as much. Also, warn yourself of rapid page turns by writing
"VS" (volta subita) in the lower right hand corner of the music.
Submitted by - Julia Pernic, 1/9/2001
If you have to ask the
conductor a question that pertains to all the brasses, woodwinds, or orchestra,
feel free to ask it during rehearsal. If it only pertains to you, wait until
break or after rehearsal to ask the conductor and you'll save valuable
rehearsal time.
Submitted by - Julia Pernic, 1/9/2001
If you have an 8pm rehearsal
and you show up at 8pm, you are late! Show up 15 minutes early and you'll have
time to look at your part beforehand.
Submitted by - Julia Pernic, 1/9/2001
When fixing tears in sheet
music use 'invisible cellophane tape' on the plain BACK SIDE of the paper, not
on the side with the printing. Also, be sure to fix the small tears on the
edges (with tape on the back) before they become big tears.
The repair is done on the
back because the tape will eventually turn yellow and stain the paper. Also,
even the best tape can cause glare in some light, and be difficult to see
through.
Submitted by - Jay Kosta, 1/8/2001
Be sure to play your
entrances at exactly the right time. Count the time carefully and watch the
conductor - when it is your turn, just DO IT!
It sounds really great when
a whole section plays their entrances correctly - all the notes reinforce each
other, and the sound is strong and clear. Some players wait a moment to hear a
'cue' that it is time for them to play - this delay makes the entrance weak and
disorganized.
Submitted by - Jay Kosta, 1/6/2001
When you have several
measures of rests, be sure to count them correctly but also use that time to
look ahead in the music for 'surprises' that are coming - for example, special
entrances, repeated sections, DSs or DCs, cuts and jumps, changes of key or
rhythm or tempo, etc.
Also, when you are placing a
new piece of music on your stand, take a few moments to find the repeated
sections, DSs and DCs, Coda, etc. This is sometimes called the 'roadmap', and
it is a big help to know where the music is going!
Submitted by - Jay Kosta, 1/6/2001
Direct Link to Hans Pizka's page of good basic information:
"Rules for younger players"
Submitted by - Jay Kosta, 01/03/2001
Unless your part is supposed
to be a distinct solo, you should blend with the other players - even when you
disagree with their phrasing, volume, tempo, etc. The piece will sound better
when everyone plays together with the same style.
The conductor will tell you
when your part should be heard in a different way.
Submitted by - Jay Kosta, 12/31/2000
Updated - 1/6/2001
Slow, sluggish, or stiff
valve action is usually due to grease or some type of small dirt having worked
its way inside the valve body and preventing the rotor from turning easily.
To clean and lubricate the
valve rotor and the inside of the valve body, I suggest using either special
light weight 'rotor oil' or regular 'piston valve oil' - the Al Cass brand
works well for me.
You should not disassemble
the valves because they are easily damaged and are not easy to re-install; also
disassembly is not needed for cleaning and oiling.
I suggest you start by
removing the main tuning slide - that is the first slide after the mouthpiece.
Hold the slide and put about 8-12 drops of valve oil into one of the 'male'
legs of the slide (that way the oil stays away from the grease on the outside
of the leg). Then rotate the body of the horn and fully insert the slide
without spilling the oil. Now, rotate the horn so the oil flows from the slide
into the valves, and operate the valves and continue rotating the horn so all
the valves are reached by the oil - try to not let the oil flow into the tuning
slides of the individual valves. You will probably notice an immediate
improvement in the valve action as the oil disolves
the grease and flushes away the dirt.
Finally, turn the horn so
the valve oil is drained the same as when you empty the water - be sure to have
a cloth or paper towel to catch the oil because it will be dirty.
You may need to repeat this
procedure if one cleaning is not enough.
Usually, the body of the
rotors do not need any additional lubrication because they do not (should not)
rub on the wall of the valve casing - the water from playing is enough to
prevent air leakage.
Slow valves can also be due
to drinking sugared beverages before or while you play - the sugar is carried
into the valves by the water. It is a good idea to always brush your teeth and
rinse your mouth with clear water before playing.
Clicking or rattling is
usually due to not having enough oil on the small bearings that support the
ends of the valve. You can easily see the end of one of the bearings when you
remove the valve cover, the other bearing is located on the opposite side
beneath the 'swing arm' that moves the valve. Put a drop or two of valve oil on
the end of the exposed bearing and gently replace the valve cover so it is just
snug. For the bearing on the other side, put a drop of oil on the gap between
the bottom of the swing arm and the bearing plate - press the valve lever and
the oil will work its way into the bearing.
In hot weather you may need
to lubricate the bearings more frequently, or use an oil
that is a little thicker - for example sewing machine oil. In cold weather
(especially outdoors) you may find that regular piston oil works best.
These web pages have good
information about valve maintenance -
Kendall Brass Instrument
Repair - Educational Information
Osmun Music - Library section - Rotary Valve Maintenance
Paxman
- CARE & MAINTENANCE
Submitted by - Jay Kosta, 12/31/2000
Updated 4/22/2001 (Paxman link)
Always be ready to play the
next note correctly, in-tempo, pitch, and volume. This will help keep the music
moving forward and prevent it from 'dragging'.
It is very common for some
players to hold a note too long, especially when it sounds really good! This
can be a problem if other players have an entrance right at the time you are
supposed to stop, or if you have a new phrase that starts immediately after a
long note. Be sure that you don't play when you have a rest or cut, and always
have enough 'air' to play your next notes - even if you have to make an earlier
note a little short so you can get a breath.
Also see – Next_Note.htm
Submitted by - Jay Kosta, 12/31/2000
Updated – 12/18/2019
Especially in the high
range, the air-flow must not be stopped. A player might have great air-support,
and be able to inhale huge quantities of air, but the sound stops unless the
air flows through the lips and into the mouthpiece.
For many players, notes
higher than G above the staff seem to be troublesome - and I think a common
problem is that the air stops flowing. The air 'can' (and must) flow at a
suitable speed and quantity in the high range.
If the air seems to be
cut-off in the high range, then practice lower notes and concentrate on keeping
the air-flow - don't worry about air-support yet, the support will come on its
own as longer phrases are practiced.
Submitted by - Jay Kosta, 11/10/2006