From longing, to sinister, to epic, the sounds of the horn are incredibly diverse. There are so many different colors that the horn is capable of, but not many people understand the physics of the instrument and what the player does to make all those cool sounds. The texts have not done a great job of explaining it. There are links to my chat with Jim Thatcher throughout, however the whole video is posted at the bottom of the page.
There are two common bore sizes (diameter of the tubing).
In the LA studios the players usually use a
as opposed to the smaller bore ones often used in the concert hall, or London Studios. It should be noted that the difference in size is quite small and not noticeable unless you really know what you are looking for. The large bore instrument has a larger bell that works well in the studio where a big, wide sound must be evident at a close distance, where the microphones are. The smaller bore and bell project better in the concert hall where the listening point is further away. Sonically, the smaller the bore is, the more zing you get at lower dynamics. I prefer the large bore as these instruments can play a solid forte with a nice round sound, and the zing enters the sound later as you get to fortissimo. Normal horns can start to get zinging at mezzo forte. People often wonder why they cannot get the ‘Hollywood’ sound with orchestras in other parts of the world, and this is one of the reasons. To me, the smaller bores can also sound ‘pinched’ when played loud and high.
The other reason why the cinematic sound can be elusive is that we use players who are all capable of playing well in the high range. A normal horn section has two high-range and two low-range specialists. Film and game music often has high horn parts for everyone, and when you have a traditional section play it, you are asking at least two of them to come out of their comfort zone. This can mean a weaker, pinched sound up high and a greater risk of missed notes. In scoring we often use six or eight horns and hearing them all up above the staff is quite a moving sound.
Make it a double
Regardless of the bore and bell, the standard horn in use today is the Double Horn.
It is virtually two horns in one; a thumb key lets the player switch between two complete valve sections. The player decides what notes work and tune best on which side; this is not something that an orchestrator needs to think about.
Some horns have the B-flat as the low side and an F side above, sounding an octave above the F on the standard double horn. This makes playing higher notes easier and is often used for classical repertoire where the horn being written for had no valves and was in a high key (a natural horn). Unless there is some specific sonic requirement, these are not used in the studio. The sound we are after in the studio is the larger horn playing high, at the top of its range. It is a similar situation to the trumpet and the piccolo trumpet. It is harder to play high on the normal trumpet but it has a ‘brilliant’ quality that the piccolo does not have. I always think of James Bond vs Penny Lane. The color change in the horn is not quite as drastic as in the trumpet, but it is there.
There is a third variety that has all three keys (F, B-flat, high F). These are heavy and not as common as the double horn.
(Note: all references are to written pitch)
The horn has a huge range due to its very long length. The sound also changes dramatically over the space of the horn’s range. Deep in the bass clef the horn can have an unfocused, weak sound. If you compare the bore size and length of a trombone to that of the horn you can see why the trombone has a full and powerful sound in the lower range and why the horn does not. Modern sample libraries are very misleading when it comes to the sound of low horns. They have played the notes many times, out of context (one at a time) and cherry picked the best ones to put in the library. That is just not the sound that comes out in the real world. I often take parts that were programed by a composer for low horns and add the trombones for support or completely reassign them.
Low note example
I am not saying to avoid this range, as it has its uses (it is dark and can be quite sinister), but it lacks power and focus. So think about the result and do not trust the sound of the samples! If we move up to the middle/upper part of the bass clef, the notes can still sound flabby at loud dynamics but are much more useful at softer ones. The horn still lacks power in this range and will not cut through very well. From here up to the middle of the treble clef the horn works really well in soft to medium volume pads. They blend in with the orchestra.
The range centered around the treble clef is the sweet spot; this is where melodies sound rich and lyrical at soft and medium dynamic (think end of the Firebird), and epic and powerful at louder ones. As you get above the staff the sound gets a little thinner, however a professional high player can still make it sound pretty big.
Division of Labor
One could write a whole book on the hows and whys of this, but I will keep it short. In a traditional orchestra the horns are thought of in two high-low pairs: 1st and 2nd, plus 3rd and 4th. This goes back to when natural horns were used and in order to play in other keys, you needed other horns in that key. In a traditional orchestra these pairings are still in place. 1st and 3rd are high specialists, 2nd and 4th are low specialists. In the score, two staves are used and the horns are ‘interlocked,’ so the pitch order goes 1,3,2,4 while the score order is 1,2,3,4. Some people change the staff order to 1,3,2,4 so they can see the chord in pitch order. I have heard many arguments against doing this, and they are valid if you are working with a traditional orchestra and conductor. They are expecting the classical arrangement. While the traditional pairings may not apply in the studio, the players may still be chosen for specific roles on a session.
Also note, the high/low specialty is for the extreme ranges and most horn players in professional orchestras can cover the whole range, they are just more comfortable and produce better sounds in their specialized range. However, the sound of a low specialist struggling to play high can be quite awful, and risky as they may miss. I have learned this lesson the hard way when scoring in eastern Europe. It is important to consider your section before you orchestrate. I will avoid writing all up high when orchestrating for those ensembles.
You will often see five horns in the symphony. The extra player, called a bumper or assistant, sits next to the principal and is there to give them breaks so they can save themselves for solos and important parts. The principal may decide to add the bumper to unison phrases as well. This only happens in the concert hall, not in the scoring stage.
In the Studio
In the studio, six horns is standard in a large orchestra (around 85 people). This gives us a big sound for unison passages and allows us to have two players per note on a chord. On action scores we often use eight.
The horn is very versatile and can be used for melody or padding; however, its primary use in modern scoring is as a melodic instrument, and therefore it gets a lot of unison writing. The section can blend a unison unlike any other woodwind or brass section can. One would never have eight trumpets or eight oboes on a lush melodic line, but it is magic with eight horns.
Horns can also play rhythmic figures, but you need a really good section to carry it off and make it in time with the rest of the orchestra. The horn projects backwards, and while this is not an issue on long notes, on short rhythmic figures the sound can often be late. Also, it does not matter how good the section is, if you want a tight sound, avoid low rhythmic phrases all together.
When writing for LA or London, I do not worry about high or low players as all of the studio horn players can do everything. I often use one staff for all of them (even 8!). If there is one note, it is unison. If there are two notes the copyist will split the section in half (1/2/3, 4/5/6 etc), three notes and the section splits in pairs. If there is anything that does not work out obviously, I label what they are to do, either once at the beginning if it is a common split, or as it happens. For example, if I have four horns and a three note chord, I would have 1st and 2nd play the top note and 3rd and 4th take the other ones. This system saves me a lot of time. I have hidden text in my scores that explains this to the copyists. They see it on their screens but it will not print out. Here are the horn staves from a recent score.
What is with the hand?
The hand sits in the bell and serves two main functions. Some players use the hand to hold the instrument up off the leg, but primarily it is used to help with tuning.
By moving the hand in and out the player can adjust the pitch. This can be as drastic as cupping the hand and lowering the sound a half step, or as subtle as moving a single finger to adjust a couple of cents.
The most common of all horn effects, the stopped horn makes a thin, buzzy metallic sound when blown hard and a thin muffled one when at low dynamics. To make this sound, the player blocks the bell with the hand.
A side effect of this is that the pitch goes UP a half step. To compensate for this, the player fingers the note a half step DOWN from the sounding one. This is second nature to them and not something the orchestrator needs to worry about at all.
The notation for this is a + above the notes you want stopped. You can also use the word ‘stopped’ (or foreign equivalent), but why use that much ink when a simple + gets the job done? Most people then cancel the stop with a º or the word ‘open.’ I do not bother with this. If there is no + on the note, it is not stopped! I have never had anyone ask if I wanted the next note stopped. The only time I have ever canceled it was when I had a figure that happened several times stopped, and then I did want one of them open. That could have been confusing, so I did mark it open. Another common thing everyone else does but I do not, is to repeat the + on tied notes. I have never done it, and no one has ever opened up in the next measure on the tied note. You would have to go out of your way to ask for that effect!
Players also often use a stopping mute. This simulates the sound of the stop with a mute, instead of the hand. The sound is a little brighter and more focused than with the hand and can be louder. The hand stop starts to become harder and less focused as you get below the treble clef, whereas the mute is good down through the bass clef. It also has a better sound when played softly. The disadvantage though is that the player cannot tune the note as they usually do with the hand. Also, the player needs time to put in the mute. Getting the mute out can be very quick though, as they have a strap that goes around the player’s wrist and they just pull it out and let it hang off the wrist while they continue to play in normal position.
Generally the choice of hand or mute is left to the players.
Jim Thatcher discusses and demonstrates some of the differences between stopping with the hand and the stopping mute in this.
- Common notation, but no need to say it twice. The + can only mean stop to a horn player.
- How I do it. I do not repeat the + on the tied note. Nor do I put the ∞. They will not stop the D as it has no + on it. Seems pretty obvious to me and all the horn players that have never questioned me about whether it is open or stopped!
There is not really such a thing. There is a stopping mute, as above, that is usually made of metal, so sometimes colloquially it is referred to as a metal mute. You can get a metal straight mute, but they are not often used. If that is what you want, you would specify it as such. So be clear or you may get something other than you expected.
Here’s Jim Thatcher talking about how the horn’s straight mute is used.
The Hand Bend
This is a common effect, often abused due to certain sample libraries containing it! By cupping the hand and using it to extend the bell, the pitch can be lowered a half step.
There is also a color change associated with this, as the hand gets to its final point, it is also starting to block the bell, thus the sound gets muffled and at louder dynamics sounds a bit like a stop (but muffled). It is important to note that this is NOT a stop. It is just a side effect of having the hand in that position. As explained above, a true stop, where the hand completely blocks the bell causes the pitch to go the other way, up a half step from the open position. If you do bend down into a true stop, the pitch now actually jumps up a whole step. Just to confuse things a little bit, due to the nature of the horn and the fact that several notes can be played with the same fingerings in the upper range, there are a few freaky notes where you can bend into a true stop and you do not notice the change. Best not to think of this. I should not have even mentioned it as it does your head in trying to work it all out. I am just saying it now, as otherwise some smarty will point it out to me later.
This effect is commonly written o-+, open to stop. It was not until a player pulled me aside one day and told me what really happens that I learned that, while he can fake it, it is not really a stop at the end. You can also write the portamento to a note a half-step below and they will do this with the hand. If you do not mind when they actually land or want it to be a little dissonant, I just say ‘bend down’. There is no need to get carried away with other descriptions; they know what you mean. It is their job. You are the confused one if you have to explain it!
have them start with the hand cupped and open up, thus raising the pitch. I usually just say something like ‘start bent down and bend up with cresc’. This sounds great on end-of-phrase cluster pushes that are common in scores these days.
Cuivre, or brassy, as it translates, seems to be as poorly explained in the texts as stopping and bending. There are really two parts to it. In the real world, when the horn plays loud, it gets brassy, they can’t help it. That is the zing. They can push it a little harder, loosen the embouchure and make a nastier noise if you wish. Good players will decide how they need to play to be heard in any particular situation, and therefore may play cuivre, or appear to, without being asked. But be warned if you ask for it on the smaller horns and don’t have a tasteful section, you are in for a treat, and not a tasty one. I marked it once for a session in Prague and since then, have never marked it again.
Swell to cuivre
Check out my chat with Jim Thatcher where we discuss it.
Due to the nature of the horn and the fact that in the mid-to-high register the notes in the harmonic series are close together, when a horn plays a slur (blows through a leap), you get a lovely portamento effect. When you write for horns you must keep this in mind as a slur pattern for a clarinet, trumpet or string part will get you a very different result with the horn. While it is an awesome sound, you do not want to overdo it. If you do not put a slur, the horns will play legato up through mezzo forte. From forte up, they will articulate the notes a little more as they must push them out. So it is not necessary to put large phrase marks to make a legato sound, save the slurs for when you want the portamento effect.
- Will sound like a slimy mess if they take it seriously.
- How I would do it. You get the expressive portamento effect on the upward 5th, and lyrical fall on the next note. The other notes will be played legato. No need to specify it at this dynamic.
If it is connecting two notes it is a gliss, if there is not a note before it, it is a rip. You can specify a start note (but then it is a gliss…), or just write the rip articulation. It will be a little rougher sounding as the section will all start at slightly different times, from different notes.
Horns are great at glissing between notes. Keep in mind, it does not matter how long the note is, they will wait until the last minute to do the gliss.
Please do not add any text to your glissandi and rips. Players are not idiots; they understand what the lines all mean and there is nothing else that they could confuse them for.
Balls Up, I mean Bells Up.
This is when the players take their hand out of the bell and lift it. This does four things. Firstly, without the hand in the bell they are unable to tune like they usually do, so the sound of the section gets a little wider and wilder. Secondly, the hand does muffle the horn a little, and with it out of the way the sound is a little brighter. Thirdly, the bell is now facing upward, throwing the sound in a different direction. Lastly, there is now a theatrical element to it, the audience sees the bells up and the horn players rise to the occasion and milk the extra attention.
However if you want a loud, open sound that spreads around the room, I would suggest the Wagner Tuba (and the players will love you for getting them a double on the session!). I will have a post on it very soon.
Thank you to Jim Thatcher for explaining a lot of this to me and playing the examples.
Here are the complete videos of Jim explaining the french horn.
Part 1 – Career
Part 2 – The sounds and techniques
Part 3 – Stopping and Mutes
Part 4 – Horn Construction
In this example I have six horns. Three start on the C chord, while three finger the C# chord but start bent down, so it sounds as C, then they raise the pitch and you morph into a cluster.