The different types of horns
- double horn
- cor double
- Doppelhorn
- corno doppio
- trompa doble
Alexander 103
Paxman 20M
Holton H378
Conn 8D
The double horn in F/B♭ is the main instrument of most horn players, and the instrument used for the redaction of this internet site. It has the advantage to combine on one unique instrument a simple F horn and a simple high B♭ horn (that is why it is called “double”). The B♭ horn allows a bright tone on a large part of the tessitura, a more precise upper register (because the natural harmonics are further appart in this register) and pedal notes that are missing on the F horn. It remains still possible to find warmer and darker colors, as welle as the notes filling the tessitura gap on the B♭ horn with the F horn (see Sound color in F or in B♭).
Tessitura gap on the F horn (in C then in F) :
Tessitura gap on the B♭ horn (in C then in F) :
The instrument is equipped with the three main valves, as well as a thumb-operated valve allowing for quick switching between the F and B♭ horns. In addition to a main tuning slide for the whole instrument, there are also an individual tuning slides for the F horn and one for the B♭ horn — although the B♭ tuning slide may be omitted on certain models (see B♭ slide). The tuning slides for the three main valves of the B♭ horn are positioned underneath those of the F horn. For ease of transport, the bell can either be fixed or detachable (screw-on-bell). A detachable bell can also serve as an interesting source of specific sound effects (see Without the Bell).
Front and rear view horn nomenclature
picture of the instrument : thomann.de
The slides corresponding to each valve add an extra length of tubing, thereby lowering the pitch of the main F or B♭ horn’s harmonic series.
- The first valve lowers the harmonic series by a whole tone (resulting in an E♭ horn on the F side or an A♭ horn on the B♭ side).
- The second valve lowers it by a semitone (resulting in an E♮/A♮ horn).
- The third valve lowers it by one and a half tones (resulting in a D/G horn).
Pressing multiple valves at once combines the added tubing lengths of the corresponding slides.
- The 1st and 2nd valves together also produce a D/G horn (like the 3rd valve alone).
- The 2nd and 3rd valves produce a D♭/G♭ horn.
- The 1st and 3rd valves produce a C/F horn.
- Pressing all three valves simultaneously lowers the harmonic series by a tritone, resulting in a B♮/E♮ horn.
Thus, it can be observed that:
- The 3rd valve alone produces the same harmonic series as the combined 1st and 2nd valves.
- The combination of the 1st and 3rd valves on the B♭ horn corresponds to the base harmonic series of the F horn.
- The combination of the 1st, 2nd, and 3rd valves on the B♭ horn corresponds to the harmonic series of the 2nd valve on the F horn.
Tuning slide of an Alexander 103 horn. Main tuning slide in black, F horn tuning slide in red, B♭ horn tuning slide in yellow, valves tuning slides in green.
Diagram showing the airflow path and the different components in the order they are passed through in the instrument.
Note, this diagram represents the airflow path in an Alexander horn model 103, and this path may differ depending on the horn model.
Most horn players are used to playing only on the double horn. However, there have been and still are several instruments that they must master (or at least some horn players master). Some are so different that they require very in-depth work, even specialization (generally for historical instruments).
- triple horn
- cor triple
- Tripelhorn
- corno triplo
- trompa triple
Notation : “triple horn [optionally specify the desired tonalities, for example: in F/B♭/E♭]”
It is a double horn in F/B♭ with an added third horn in high F (or in high E♭). This type of horn is used by an increasing number of horn players, particularly to facilitate playing in the (super-)high register. Indeed, the addition of the high F horn, compared to the usual double horn, shifts all the harmonics of the standard F horn up by an octave, making the harmonics much more spaced out in this register, thereby making it easier to hit the notes.
Schmid triple horn
The high F horn is accessible via another thumb valve. The instrument thus has two thumb valves: the first to switch between the low F horn and the B♭ horn, and the second to switch to the high F horn. Unlike the double horn, there rarely is a third slide row for the three main valves (which would make the horn very heavy). The system used is more often a compensating system: the airflow typically passes through an additional slide that is blocked from the airflow when the high F thumb valve is pressed.
- Wagner tuba
- Tuba wagnérien
- Wagnertube, Tube
- tuba wagneriana
- tuba wagneriana
Notation : “tenor Wagner tuba in B♭”, “bass Wagner tuba in F”, “double Wagner tuba in F/B♭”
This instrument was commissioned by Wagner during the creation of Der Ring des Nibelungen. He needed a hybrid instrument with a timbre that would fall between the horn and the saxhorn, capable of “personifying the divine majesty of Walhalla, but also the sinister underground world of Nibelheim” (Melton, “The Wagner Tuba: A History”). Wagner referred to this instrument as “Tuba” in his manuscripts and often had it played alongside the newly introduced bass tuba. He may have wanted to complete the tuba family within the orchestra. Known for his desire to constantly expand the orchestra’s sound palette, the creation of this new instrument was certainly an opportunity for him to fill the “timbre gap” between the round, warm sound of the horns and the clear, brilliant sound of the trombones. The Wagner tuba is more elongated than a horn to resemble a tuba, its tubing conicity is between that of the horn and the euphonium, and the bell is smaller and much less flared than that of the horn. All of this allows for very round strong dynamics without the sound becoming too brassy. This instrument is played by horn players, so it has the bell facing to the right, the valves to the left, and the mouthpipe bore is adapted to a horn mouthpiece.
Wagner tuba in F/B♭ Alexander 110
One should not confuse this instrument with the baryton, a military instrument of the same shape as the Wagner tuba, but with the bell on the left, the valves on the right, and an euphonium mouthpiece. Wagner even mentions that he initially wanted to use barytons, but it was very difficult to find musicians from military bands who could play this instrument at a high enough level to perform in a symphony orchestra.
Wagner tuba F/B♭ Alexander 110
Tenor tuba (or Baryton) Alexander 150
There are two sizes of Wagner tubas: the tenor Wagner tuba in B♭ and the bass Wagner tuba in F, both of which use the same tubing length as the double horn in F/B♭. However, there are a few changes to note: each has the same three main valves as the horn, plus a fourth pinky valve equivalent to the combination of valves 1 and 3, allowing the pitch of the instrument to be lowered by a fourth and filling in the tessitura gaps in the lower register. The B♭ Wagner tuba can actually be considered similar to a double horn in B♭/F, and the F Wagner tuba like a double horn in F/low C. Both Wagner tubas have the same range as the usual double horn, but the tenor tuba is intended to play mostly in the higher part of the range, while the bass tuba covers the lower part of the range. The Wagner tubas also have the characteristic of being written in their respective keys (B♭ for the tenor and F for the bass), unlike the horn, which is always written in F.
B♭ tenor Wagner tuba Alexander 108
picture of the instrument : gebr-alexander.de
F bass Wagner tuba Alexander 111
picture of the instrument : gebr-alexander.de
Wagner tubas are traditionally used in quartet: two tenors and two basses, played by the second pair of horn players (horn players 5, 6, 7, and 8). However, attention must be paid to the seating arrangement: since horns 5 and 7 are high horns and 6 and 8 are low horns, horn players 6 and 7 are often required to swap positions (with 6 becoming high and 7 becoming low) so that the parts for the tuben are in the correct order (tenor 1, tenor 2, bass 1, bass 2).
The placement of the Wagner tubas in the conductor’s score can vary quite a bit between Wagner’s works, and sometimes even within the same work: between the trombones and the bass tuba, or between the horns and the trumpets, etc. Therefore, their placement can be chosen based on the group of instruments with which they are to be integrated. However, since they are played by horn players, it would be more logical to place them in the positions of horns 5, 6, 7, and 8. One must not forget that the conductor has a visual habit for the placement of an instrument in the orchestra based on its position in the score. Ideally, these two should align: if the Wagner tubas are written between the trombones and the tubas in the score, they should be placed on the right side of the orchestra and thus separated from the other horns (this information should be specified in the notice in this case).
Wagner – Das Rheingold – Act 1 Scene 2 (Walhalla Leitmotiv)
For more information, you can consult the following website summarizing William Melton’s book The Wagner Tuba: A History: https://www.wagner-tuba.com/wagner-tuba/
- Vienna horn
- Cor viennois
- Wiener Horn
- corno viennese
- trompa vienesa
Notation : “Vienna horn”
It is a type of horn used only in Vienna, but easily found in other countries as it is increasingly used by historically informed orchestras. It consists of a body with three valves, as well as a separate F crook, similar to a natural horn (however, unlike the latter, the Vienna horn only has the F crook, and no other crooks). It is a simple horn in F, which gives it its particularly round and warm sound. This is due to several factors: a smaller bore diameter, a more conical bell at the beginning, a different alloy and material thickness, a specific mouthpiece, and a completely different design of the instrument…
Hans Smit vienna horn
The Vienna horn also owes its distinctive sound to its unique double-piston system. Indeed, instead of rotating a rotor or pressing a piston, each valve is connected to two pistons that are activated together and redirect the airflow into the corresponding slide. This gives the instrument the ability to transition from one note to another much more smoothly and less abruptly than on a double horn.
Vienna horn piston model made at the Deutsches Museum in Munich
This instrument has historically and traditionally been played only in Viennese orchestras. However, an increasing number of orchestras are requesting it as part of a historically informed approach, aiming to play on the instruments for which the repertoire was composed.
- Alphorn
- cor des Alpes
- Alphorn
- corno alpino, corno svizzero
- trompa de los Alpes, alforn
Notation: “Alphorn in [specify the desired tonality]”
It is a natural instrument (without valves, so only the notes of the instrument’s harmonic series can be played), completely made of fir wood (including the mouthpiece) and fully uncoiled (it can measure from 3.50m to 18m depending on the model). It was traditionally used by Swiss herdsmen and cowherds to communicate information from one mountain to another. Originally in F#, it now comes in various extensions or sizes and in many different keys (the most commonly used today being the Alphorn in F). Since wood is a particularly sensitive and heavy material, there are telescopic models (which are easier to transport) made from carbon fiber or fiberglass, although this affects the sound quality produced by the wood. It is only played standing up due to the instrument’s handling requirements.
Due to the material, the sound is much softer and more velvety than a regular brass horn; it is also much broader and fills more sonic space. The playing sensation is also very different because the harmonics occupy a different placement in the instrument.
Around the 19th century, the Büchel appeared, a very short Alphorn whose range is closer to that of the trumpet. It is also made of wood, but coiled on itself, and had only a communicative function. While the Alphorn is a very common instrument, the Büchel is extremely rare.
Büchel in C and Alphorns in B♭, F and low C