Chapter four of The Art of French Horn Playing is on the topic of fingerings and tuning as Farkas felt that “these two subjects necessarily belong together, as one cannot tune a brass instrument without first determining what fingering will be used for each note.” However, for this part of the Hornmasters series we will divide the topics for clarity and first focus in on the topic of fingerings.
Fingerings in general
In the USA it is very common today on double horns to to play the Bb horn above written G# on the second line and F horn below, except for the isolated group of low notes from low C# to F also on the Bb horn. However, for Farkas in the book at least, the range in the middle of the staff from G# to C is considered to be optional for F or Bb horn, and above third space C# he would suggest always playing on the Bb horn.
The “optional” part (G# to C in the staff) for F or Bb horn is old school; virtually all players use the Bb horn in this range. I think the idea was to minimize the use of the thumb valve. Back in the day many/most horn designs did not favor the quick action of the thumb.
On the topic of alternate fingerings
Gunther Schuller in Horn Technique is interested that students of the horn have a strong understanding of the basis of fingerings, and especially alternate fingerings.
Most elementary books of horn studies include fingering charts to help the beginning student. In many years of teaching, however, I have noticed that many students fail to understand the reasons for a given fingering and, therefore, the essential structure of the instrument. In order better to understand fingering problems on the horn, it is necessary to examine the relationship between the so-called ‘overtone series’ (or natural notes) and the construction of the modern double horn.
…the intervals of this ascending harmonic series decrease successively in size according to specific proportions determined by the vibrating wavelengths.
Schuller goes on in charts and text to show the relationship of the harmonic series and fingerings to the notes of the horn.
Alternate fingerings and intonation concerns
Next we turn to Barry Tuckwell, who presents an open and practical approach to fingerings in Playing the Horn. While noting that “the more traditional fingerings are excellent for general use, they have many defects due to faulty intonation or turbulence caused by changing the tubing length.” An abundance of alternate fingerings are available on the double horn. Tuckwell gives the example of written E on the bottom line of the staff, where “There are five, or possibly six, different fingerings for this note.” He gives them all: can you figure them out? Tuckwell summarizes that for alternate fingerings
In general it can be assumed that the shorter the length of tubing the more precise the attacks will be. On the other hand, the shorter tube can be more difficult to control tonally in the middle and lower registers. It is not possible to say definitely which notes are flat and which are sharp, as each instrument is different and has its own tuning idiosyncrasies. However, in general the 5th and 10th harmonics are on the flat side and the 9th is very slightly sharp.
The 7th harmonic is about a quarter-tone flatter than the Bb written, and the 11th about a quarter-tone sharper than the F written. The 13th harmonic is a flat A, and the 14th a less flat Bb, the 15th is usually in tune….
The 1st and 2nd valves used together are sharp and the third valve alone is usually flat. The 2nd and 3rd valves used together usually give notes in tune, but 1st and 3rd are always sharp and 1st, 2nd, and 3rd together are very sharp.
Bearing all this in mind, it can be of great advantage in some phrases to group the flat or sharp fingerings together rather than try to cope with a series of alternately flat and sharp notes, each requiring adjustment to differing degree.
Fingerings and legato passages
Finally, Tuckwell notes that alternate fingerings may also be of help in some legato passages. This will depend on your horn but it is a topic that we all could experiment with. Some horns, some pairs of pitches, when you move a valve there is a noticeable “click” in the sound that can often be improved by using different fingerings. This can be especially felt for example on a Geyer style horn, where the E-F interval at the bottom of the staff often feels much better on the Bb horn than on the F horn.
Continue in Hornmasters Series
The Altonium as a middle brass instrument had/has several advantages. I was recently able to borrow this example of one produced fairly late in the game, by Olds. Back in the day (roughly the 1940s to the 70s) most of these were made in E-flat and it was one of the more popular substitutes for the horn in marching band. This particular one being in F is a good thing; on it you can read F horn music with ease (I believe it was shipped out with an E-flat slide also). Another big plus is the ergonomics of this instrument. I can easily imagine holding this horn for hours and hours with no real problems at all, being built on the same pattern as an American, bell front baritone or euphonium. The weight is close to the body and the hand positions required are pretty comfortable.
