Now that I have your attention, let’s talk a little bit about the advantages of practicing on the “F” horn!
Historically, our modern-day horn is a descendent of the hunting/natural horn. The sound uttered on these early instruments was likely raucous and rustic (I’m being generous here). But, like other early instruments, the technique and artistry evolved.
Mozart wrote some of our most beloved horn concertos for his friend Leutgeb and the Eb Natural Horn. Practicing these concertos on the F horn (1st valve) can help us get in touch with our horn-playing “roots”, giving us a deeper appreciation for the rich history of the horn.
Acoustically, the “F” horn is the longer horn on our double horn (F/Bb) offering more resistance and available partials. The tone is thick, complex, and multi-dimensional and closer to what many players believe is an ideal horn tone.
By playing on the F side of the horn, we are required to focus air and embouchure more keenly in order to navigate through the resistance and closer partials. This, when done successfully, will translate into a greater ease of playing when we return to the double horn fingerings.
Also, playing lip slurs on the F horn is extremely important. Gliding smoothly and evenly through the harmonic series will help lay the foundation for maximum tone and flexibility.
Have I convinced you of the value of practicing on the F side yet? Keep reading…
As a private horn teacher for over forty years, I have discovered many tips that have helped myself and my students improve on the horn. One of these is regarding accuracy, the never-ending quest of every horn player on the planet! When one of my young students is dealing with accuracy and consistency issues (don’t we all?) I have them prepare part of a Kopprasch etude (or similar) using only F horn fingerings. By training their ear and embouchure to center notes on the F horn, I have noticed tremendous improvement in this area.
In summary, practicing on the “F” side of the horn helps us:
Connect to the horn’s rich heritage
Cultivate a warm, ideal tone
Promote ease of playing
Develop smooth, even slurs and greater flexibility
For the budget-conscious musician, shopping pre-owned instruments can get you the same quality for a much lower price. But how do you know you’re choosing the right instrument? Here are some things to look for.
What condition is the instrument in?
Key points to examine on a brass instrument before purchase:
— Are there any dents or corrosion?
Not all spots are created equal. If the instrument is unlacquered brass, there will be brown fingerprints everywhere someone has touched it. This is a normal part of the oxidation process. Over the next couple of years, that horn will develop a dignified golden-brown patina.
If the instrument has red spots, that might be a sign of red rot, or it might simply be oxidation that managed to sneak under the lacquer. Consult a repair technician if you are concerned about the color of any spots on the instrument.
— Are the valves leaky?
Most reputable shops will be able to give you compression readings, which will tell you if there are any leaks too small for the human eye to see. Houghton Horns is happy to give you these readings on request, and we are in the process of posting them online for all of our instruments.
— Do the valves and slides move smoothly?
If an instrument has been sitting unplayed for months it might be a little sluggish until it’s oiled. But if lubricating the instrument doesn’t get things moving within a few minutes, there might be a problem.
— Has the instrument been regularly cleaned and taken care of?
If the horn has been sitting in the owner’s attic untouched for 20 years, even a thorough ultrasonic cleaning by your trusted repair shop might not be enough to return it to its original play condition. Ask how often the previous owner played it.
Authorized dealers and repair shops are a good place to look for refurbished instruments because they have a reputation for quality to uphold.
If you are buying from an individual, at the very least you should ask for receipts of any ultrasonic cleanings and repair work they have had done. Take it to your repair shop for a consultation during the trial period.
— Is there any sign of previous damage or repair work?
Once a brass instrument has been dented, even the world’s best repair technician can’t restore it to 100%. Smoothed-out dents and patches in the metal will change the resonance of the instrument.
— Is it free-blowing and easy to play?
There should be the proper amount of resistance. Ask yourself if you would be comfortable playing this instrument for hours at a time, or whether you’d be working yourself to death.
The upper register should be free and easy. The lower register should be rich and vibrant.
— Does it have unexpected intonation problems?
We’re not talking about the usual intonation trouble spots (such as low D, C#, and fourth space E for trumpet players). If you play a few scales and find some notes are weirdly out of tune, maybe pass on this instrument.
Houghton Horns can give you intonation readings on any instrument upon request, and we are working to post the readings for every one of our instruments on our website.
— Can you move flexibly between slurred notes?
Bring some sheet music you are very familiar with to try on the instrument. A new instrument should enhance your technique, not hamper it.
— Is it comfortable to play?
Can your hand reach all of the valves and pinky hook without strain? If they can’t, can anything on the instrument (pinky hook, flipper, etc.) be adjusted to fit your hand better? Can your teacher or a friend recommend a strap or grip that will make the instrument easier to hold?
If all else fails and you really love the instrument, your local repair shop may be able to move the pinky hook and other parts around to better fit your hand. If you want to go that route, be sure to factor that cost into the purchase price. But at any rate, don’t buy an instrument that will be painful to hold for hours on end.
Just because the instrument isn’t comfortable for you at first, that’s not necessarily a bad sign. A new instrument may take a few weeks to start feeling natural to you, especially if you are jumping up from a school horn to a more expensive one. Professional instruments require a higher volume of air and a higher degree of control than beginner instruments, and the step up can be difficult for less experienced players.
Bringing your teacher along to trial instruments with you, or FaceTiming them during the trial, may be helpful in deciding whether there is a genuine issue with the instrument, or whether it will grow more familiar to you with practice.
— Most importantly: Do you like the way it sounds?
Will you enjoy practicing with this instrument every day? Even if it may feel strange to your hands and lips until you get used to it, does it make you sound good?
There’s no rush
Spend plenty of time shopping around before you purchase. Try multiple instruments.
If a seller is too aggressive or too desperate to make the deal that same day, consider that a red flag. No seller who wanted a happy long-term relationship with their customers would rush them into making an unwise decision.
What happens if it’s not working out for you?
Read the terms and conditions before you buy. Legitimate sellers should offer:
— a trial period
— a return policy
— a warranty
If the seller insists that all sales are final, and you might not be able to contact them again if there is a problem with your instrument, don’t trust them with your money.
Is this instrument what you really need, or just cheap?
Five years from now, will you be happy you saved $500 buying from a stranger on Craigslist, if the slide sticks and the valves leak? A brass instrument is a considerable investment that should serve you well for years. As the old adage goes, if the price looks too good to be true, it probably is.
It’s better to buy the right instrument the first time than have to buy a second instrument soon after.
Don’t be afraid to walk away
Sometimes people get attached to an instrument before they find out it exceeds their budget, so they sign the contract anyway, to their later regret.Try saving up for a few months – if you still love that model three months later and can’t imagine playing anything else, that’s when you know you’ve made the perfect choice! Wherever possible, we recommend saving up and buying an instrument outright, because that will save you hundreds of dollars in interest.
If a loan will be necessary, you can check out our financing options here. After you’ve set a tentative budget, you might also want to ask your personal bank for financing options, because a bank that already has a relationship with you might be willing to give you better terms than a bank that does not know you. Have an idea of how financing will affect your budget before you get too far into the shopping process.
Sometimes customers feel too embarrassed to tell the sales staff that a purchase is beyond their budget at the moment, and this leads them into unwise financial decisions. Don’t stress about telling the salesperson that you will need to save up before purchasing. If the business is legitimate, they have seen this happen a thousand times before and will be happy to say goodbye for now and check in with you later. If they get angry or pushy, you probably don’t want to be doing business with them anyway.
Don’t forget to factor shipping and sales tax into your budget when shopping. If you are shipping the instrument internationally, tariffs and customs duties may apply.
Pre-owned instruments often come with cases, but they are generally in poor condition. Don’t expect a 15-year-old factory case to keep your instrument safe in a serious accident. You may need a new case for a used instrument.
For sanitation reasons, we recommend tossing out any mouthpieces that come with pre-owned instruments. Even if your new-to-you instrument doesn’t come with a mouthpiece, many musicians prefer to change mouthpieces at the same time to better fit the instrument. You might want to add a new mouthpiece to your budget as well.
Once you add in sales tax, shipping, customs, a case, and a mouthpiece, a $3,500 trumpet could easily become $4,000. We recommend keep a spreadsheet in Excel or Google Drive where you can compare all of the various ancillary costs associated with the instruments you are considering.
As a horn player, you’ve probably been asked this before! We know that the right hand must be inside the bell — but why does it really have to be there?
1. The instrument is built for it!
The modern horn is the product of hundreds of years of refinement, and is literally built around the expectation that the right hand will be in the bell. From a practical standpoint, it helps the player hold the instrument comfortably. In terms of sound, our characteristically dark and mellow timbre is as much a product of our hand as the direction our bell faces. Speaking of which…
2. The hand functions like a music stand or sound shield.
Looking at the other main brass instruments in the orchestra or band, we are not the only ones altering our sound with an object in front of the bell. Sure, horn players might use their hand, but trumpet players are rarely aiming their bells straight out at the audience, trombonists are usually aimed down at an angle, and the tuba and euphonium send their sound up into the air. So why is the bell facing backwards?
3. The horn’s roots are in the hunt.
Horns were originally used for the hunt and played looped around the player’s shoulder while riding a horse. Equestrian practice was to hold the reins with the left hand and horns and weaponry with the right hand. Some believe this is because the majority of people are right-handed. The rider with the horn looped around his right shoulder would be in the front of the hunting party so he could alert the group of game. During this time, there were multiple horn signals recognized. Each had a different meaning and would signal to the hunting party specific information about the game and which direction to go. The rider with the horn would point the bell to the right and away from the horse’s ear, sounding it to the hunting party behind him.
4. The hand helps us predict where our sound will go.
Other brass instruments have the advantage of aiming their sound more or less forward towards the audience. As long as they can see where their bells are pointing they generally know who can hear them. As horn players, we have to be careful not to sit too close to walls, corners, or especially percussion instruments like the timpani. All of these things can distort our sound and make it hard to predict how we actually sound to our audience. Playing into percussion instruments can even hurt our embouchure because the reflected sound is so strong!
5. It’s tradition!
As originally used for the hunt, horns had no valves and the instrument could only be used to play notes in the natural overtone series. Over time, hornists learned that by changing the shape of their hands in the bell they could produce other notes as well. This technique, called hand horn technique, helped the horn to become a valuable member of the orchestra and a viable solo instrument in the 18th century.
Even now that we have valves, there is a major remnant of the old hand horn technique — stopped horn! Think about how different the sound of the instrument is, and remember that we even need to transpose to account for how much we have adjusted the length of our instrument when we close off the bell with our hand.
Next time someone asks you why you have to put your hand in the bell to play the horn, you can be at the ready with an answer! For advice on right hand placement, check out this link at our Education Site. Karen Houghton and Janet B. Nye posted an excerpt from their book, Recipe for Success: A balanced curriculum for young horn players, in this article that explains proper right hand technique. Happy horn playing! 📯
— Dr. Sally Podrebarac
Dr. Mike Harcrow of Messiah College kindly shared this chart he uses in his lectures:
Not sure if you need to change mouthpieces? Read below for some indications that it’s time to change.
1. How long have I been playing on my current mouthpiece?
If it has been a long time, chances are you can benefit from testing what else is out there. Sometimes, we get stuck in a rut with our equipment. Changing mouthpieces can drastically improve your sound and technique. If you are a younger player and are still playing on the same mouthpiece you began on, you are likely ready for a different mouthpiece since you have made significant improvements in your playing over the past few years. On the other end of the spectrum, if you are a seasoned player, your needs in a mouthpiece have changed over the years as you have grown and settled into your playing habits.
2. Does my mouthpiece feel uncomfortable after a long practice session?
If the answer is yes, you might want to try a different material or a different inner diameter size. The Houghton Horns mouthpiece rims in H-kote help immensely with increasing endurance and can be found here. While it’s important to address endurance issues with a trusted teacher, your mouthpiece could be holding you back. Generally speaking, if you play on a mouthpiece with an inner diameter size that is too large for you, you may tire quickly. On the flip side, if you play with an inner diameter size that is too small for you, you may have flexibility issues and a less resonant sound. Striking the balance between too large and too small for the inner diameter is no easy feat! If you schedule a mouthpiece appointment we’ll be happy to assist you in finding the correct inner diameter size for your embouchure.
It’s also important to note that inner diameter sizing may differ between different manufacturers and brands. Just because you are a 17.5 mm in a Schilke doesn’t automatically mean you’re a 17.5 mm in other brands. Depending on where you measure the inner diameter, you can come up with slightly different measurements. Keep this in mind as you try different brands and be open to trying different sizes.
3. Does my mouthpiece feel like it fits my embouchure?
Your mouthpiece should not feel uncomfortable or cause any pain. As mentioned previously, there is no “one size fits all” mouthpiece — everyone has a different facial structure and embouchure. Just because you see your friend or a respected performer playing on a certain model and size does not mean it is the best match for you. Rim contour is an aspect of mouthpieces that impacts how the mouthpiece feels on your lips. With many mouthpieces to choose from, we can help guide you to a rim contour that better suits your needs and your embouchure.
4. Have I recently changed horns?
If you have recently changed horns, your current mouthpiece might not be the right fit with your new horn. Finding the right match between the player and horn is a tricky balance. Don’t just assume that because your mouthpiece worked great on your other horn that it’s the best mouthpiece for your new horn. We do recommend changing one variable at a time — if you have just purchased a horn, give yourself time to get used to it on your current mouthpiece before venturing out to different mouthpieces. Changing too many variables at once makes it difficult to interpret what is really happening with your equipment.
5. Am I looking for a different sound?
You may be at a point in your playing that you are looking for a different sound. Maybe you want a different timbre, more projection, more clarity of articulation. Trying a different mouthpiece can help you achieve your sound goals in addition to practice. Generally speaking, the Houghton Horns stainless steel underparts have a more direct, responsive quality while the brass underparts produce a warm and traditional sound. Stainless steel is corrosion-resistant, hypoallergenic, lightweight, scratch-resistant, and more durable than raw, silver-plated, or gold-plated brass. These underparts can be found here. The decision between stainless steel and raw brass is a personal choice for players and we would love to hear your feedback!
6. What kind of ensemble am I playing in?
We encourage players to create the sound they like best and enjoy. However, many of us are in situations where we need to blend with a certain group of players. You might be in a brass quintet, a woodwind quintet, or a symphony orchestra. Perhaps you are primarily focused on your solo playing and blending with piano. All of these ensembles will require you to blend with different instruments and people. The reality for many horn players is that we need to be versatile and able to blend with a variety of groups. Considering what type of group you are primarily playing with is important when choosing a mouthpiece. If you have been using the same mouthpiece for a long time, but now have a different group you play with regularly, it might be time to reevaluate your mouthpiece.
7. Where am I doing most of my playing?
The space in which we play will alter our sound. While you might do most of your playing and practicing in a small practice room, consider where you do most of your performing. Is it on a bigger stage that is lively and resonant, or does this stage have a dry sound? These are questions to ask yourself as you consider your sound in your performance space. Make sure your mouthpiece works for the venue in which you typically play. If you have recently changed performance locations, ask a trusted colleague for their take on the venue’s acoustics. If the acoustics are different than what you are accustomed to, consider changing mouthpieces.
8. How’s my mouthpiece shank fit?
Sometimes a poor shank fit can affect the performance (flexibility, pitch and/or center) of your equipment. Every receiver is usually slightly different, and your shank should fit securely and snugly in the receiver, without wobbling or rocking when engaged. Depth of fit is also important, so you should generally look for a medium fit (ie: not too far in or too far out). Shank fit issues can also be exacerbated by combining the American (‘Morse’) shank taper with European receivers, or vice versa. Be sure that your mouthpiece shank taper correctly matches your horn’s receiver. If you’re unsure about the fit, feel free to contact us or even send a picture or video of your current setup.
9. How’s the resistance on my current mouthpiece?
Experimenting with mouthpiece resistance can aid in helping to achieve higher levels of performance. Does your mouthpiece ‘back-up’ in loud sustained dynamics or registers, or does it lack security and feel vague in soft dynamics? The feel of resistance (whether more open or more focused) is influenced by different cup, bore and backbore characteristics. Generally speaking, the resistance of a mouthpiece should act to temper or complement the instrument’s attributes. For example: large, free-blowing horns might be better matched with a smaller bore mouthpiece, and vice versa. When experimenting with resistance, bore size is a good place to start, and with all of our mouthpiece offerings, there are a myriad of bore size options from which to choose.
10. Most importantly, check with a trusted teacher!
If your teacher has suggested a mouthpiece change, listen to his or her expertise. Your teacher has a wealth of knowledge and knows your playing, including your strengths and weaknesses. We are also here to help at Houghton Horns! You can schedule a mouthpiece appointment here. We are happy to listen and chat over webcam if you are unable to come in to the shop. Having a second set of ears is very important!
Have fun trying new mouthpieces and exploring! Every time you try a different mouthpiece, you will learn about your playing and your equipment. Enjoy the process and let us know if you have any questions!
Houghton Horns is offering free shipping and free returns on all of our mouthpieces. This is the perfect time to try out a different mouthpiece from the comfort of your home.
— Dr. Sally Podrebarac
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