2021 has already been a long year, but I hope shapes up in the end as a good year for horn. It has been a year starting with adversity for sure, but that can be something that leaves you stronger.
Part of keeping your mind in a good place is having your chops in a good place. Toward that end, I’ve posted a few videos on Instagram in the Horn Matters feed, and I’m finding that to generally be a positive space.
This semester, being on sabbatical, has been an interesting one for me, no ensemble playing of course and very little teaching, but I’m happy to report that my chops are holding up. I’ve been enjoying working on horn building projects and that has driven my practice along, I always have things I’m trying.
I was very pleasantly surprised by one tweak I did on the horn that I recorded my Rescued CD on. It was built for me by Richard Seraphinoff in the late 1990s, and a slide had come off.
To fix it properly, I needed to dissemble and clean the area but also it was weak by design, as there were no braces in the valve section. I found two braces that would work, seen installed in the second photo. I’ve played this horn a lot with valves (the section is detachable, it is also a natural horn), but the surprise was the high range is noticeably more stable. The high F and Bb, which you use a lot (!), are quite improved. And then I learned from Rick that he now puts those same braces on his more recently made valve horns, it was a great tweak. Finally, to hear what that valve section sounds like on the horn it is used on, this is one of my favorite tracks on my Rescued CD, one I have been coming back to often these months, the first movement of the Sonate, Op. 347 by Fritz Spindler. Enjoy!
This was a horn I had put together under the guidance of historical horn maker Rick Seraphinoff, the last real work being done in Potsdam where I cut the bell. The body was a King/Cleveland single F, to which I added E and F crooks built with his tapers, and an additional section of tapered tubing from the crook socket to the main slide (a portion of a tube that Rick would have used as a first branch on a natural horn), among other tweaks then. Ultimately, I was not completely happy, as the valve set was not great and there were some odd intonation issues.
For the sabbatical I purchased a King single Bb and used that valve set to upgrade the instrument and, with completely disassembling the instrument, I worked over all the joints, rebuilt all the slides, etc. If you look closely at the back of the horn you can see where I had to add a 1” straight section of tubing. This was because the geometry of the horn changed as I was fixing the joints and creating the best build I could.
Ultimately the body of the horn is about 80% King parts (from two different horns), with a flare from an older Holton descant and one Mirafone part thrown in for looks. With the crooks being made on Seraphinoff tapers the end result is the horn plays quite well! I think the basic Gumpert design is quite good. Extra care in assembly helped improve many things, as did finding and removing a costume jewelry ring (!) from the area of the joint between the bell tail and first branch (more here). Looking at photos of period horns and modifying the bracing pattern was also more helpful that you might guess.
One thing to mention is my craftsmanship I believe has improved, although, and this is important to note, virtually every step took at least twice as long to do as I thought it would. Maybe I’ll get faster, but the more important thing was that I took the time to be sure things were done right. This was a great project to start with for the sabbatical horn building, as it really refreshed my memory and set me up well for what is to come.
The build is documented in a series of posts on Instagram (@ericsonhorn), and at the end of this article several more photos of the horn in progress are to be found.
The Gumpert horn is not quite done, as I will also be making a new Bb crook for it. A very innovative thing about the Gumpert design was that it could be set up to play in F or in Bb (or any other key, really), and I now have matching slide sets for F and Bb. Using a crook from my natural horn to test it, the horn plays quite well in Bb — building the new crook of the same type (but slightly longer) is a project for future weeks.
I was able to borrow a couple of similar horns from a local collection. One is a Pizka Vienna horn. There is a very interesting comparison to be made between the two, and to be honest, in terms of actual playability, the Gumpert horn compares very favorably to the Pizka. The other borrowed horn is not playable, an unmarked crooked rotary valve horn from the 19th century, but taking the time to examine it closely has been of benefit to me at this point in the project.
As I plan to spend more time building than writing, a quick description of future projects is in order. I have two other main projects lined up. One is to rebuild a Mirafone single F with what looks to be a wonderful bell (but trashed valves) to sit in F with what was the Eb main slide, patterned after a 19th century Schmidt design, replacing the valves with Yamaha valves (I’ll also be able to put it in G with the original F main slide). The final project is a “conversion horn” idea using a Yamaha single F to make a crooked single F. I have the parts to do both. Will require bending tubing, etc., won’t be easy projects, but I have the time. Oh, and at the very end, if I have time and motivation, I’ll work the remaining modern parts into a natural horn, hopefully something a level above the typical conversion.
But today was my day to force myself not to work on horns, I have too much stuff to catch up on. Maybe it is the pandemic, but this has been such a great change, it just feels great to do physical work in the shop. On to the next projects soon.
In recent years I have seen repeated references to an “exposition” of the first Strauss horn concerto. What makes it very puzzling to me is the people I see making the assertion that Straus 1 has an exposition are people with college music degrees. Thus, a Public Service Announcement.
Introducing sonata form
Classical era concertos and sonatas almost always have a first movement in sonata form. Sonata form movements in brief have three sections:
Exposition
Development
Recapitulation
This is something that would certainly be covered in college in a music history or music theory class, and probably in both. If you have not had these courses and are just now learning of this form, the Wikipedia has a handy article on the topic well worth skimming over, as understanding sonata form is a must!
The first movements of the Mozart concertos, for example, are all in sonata form with a double exposition. It is pretty obvious how the exposition relates to the recapitulation and the overall form presented in the horn part.
Is Strauss 1:1 sonata form?
Then we turn back to Strauss 1. The first movement does not have an exposition because it is not in sonata form.
At this point some of you are thinking wait, then what is the form of Strauss 1:1? There is a longer answer to this, but in the big picture, thinking simply, the movement is through-composed in terms of the horn part. Nothing comes back, it is just one musical idea after another. The orchestral materials that bookend the first movement are related, but that does not make the movement sonata form.
It’s not sonata form
The reason for this PSA is that I have seen audition requirements that ask for the exposition of Strauss 1. As near as I can tell those people are thinking of the opening call and the following lyric section with the high Bb’s as being the “exposition.” The first 1/3 of the piece roughly.
PLEASE, if you are creating an audition list spell out what you want clearly. And don’t ask for the exposition, because Strauss 1:1 is not in sonata form and does not have an exposition. Thank you.
UPDATE 2025:
Strauss 2:1 is also not sonata form
I’ve now also seen references to the “exposition” of Strauss 2 on an audition list. Yikes!! It’s not Sonata form either. I’m guessing they mean the first page only?
Another type of hidden problem to fix is tubing ends under the ferrules that join the various pieces of tubing. The tubing ends on a better horn are cut off square and fit together perfectly under the ferrules, so that there is minimal acoustic disturbance.
In the case of revising my first project horn (last worked on in the 1990s, more here), the fine folks at King/Cleveland were not quite so careful. The part on the left was cut off at an angle, so under that joint there was an area where the acoustics of the horn were negatively impacted. This is the same piece that I discovered also had the ring stuck in it (see the UPDATE to the previous post).
The good thing is that by disassembling this horn and working it over with a new valve section, and correcting issues like these, it has got to play better! With luck by the end of next week it will be back together, but I am taking this slow to be sure everything lines up as well as possible.
A major concern of mine for horn (and brass) players going forward into 2021 is chops. It has been a strange 9 months of practice for all of us. Already several of my Horn Matters posts for 2020 have related to chops.
With 2021 starting soon, something I plan to do is early in the year feature on the Horn Matters Instagram page a series of videos toward getting and keeping your chops healthy. The videos will be relatively short, not full warmups, but will focus on use of exercises from two publications:
I will try to make the videos so you can pick up the gist of the exercises by ear, but to get the most out of the videos, you may wish to purchase the books. And be sure to follow us on Instagram @hornmattersofficial
There is a tip I want to share as well, one that I heard from an amateur hornist, and one that has really helped my most recent practice. I had noticed in my teaching, dynamics are a challenge for many players right now, due to no big rehearsals and bad practice spaces. I know in my case, in the fall I started playing VERY loud at my office for a little while every day (I was teaching from my ASU office), and it helped my chops – but not everyone has that luxury. At home, my son hates it when I play loud and will make me stop. But I do need that bit of loud playing to keep my chops feeling right.
To the tip finally, a solution to this issue, is to play very loud on a practice mute at least every day. It does not need to be long, just a few loud exercises, a few loud etudes or excerpts will help you greatly. You need the loud playing as part of your playing diet, you can’t practice all the time at MP/MF and have healthy chops. I’ve also lately been playing brass quintet horn parts for variety, not that I have any gigs coming, but they remind me of how to play and hit the needed dynamics and articulations.
A year ago, I can’t imagine I would have written those words. At my university I have to complete an annual report every year covering the previous three years of activity, and in their wisdom they changed the system. As a result, I have spent many hours working through the past 3 years. The exercise has left me very reminded of how dramatic the shift of everything was after spring break 2020.
Which brings me to a final topic, change in the horn world and Instagram specifically, where a lot of great content is being produced right now. My theory is that Facebook and Twitter got so toxic with the election that Instagram became the safe space. What is great about the platform is that you can focus tightly on specific interests with low drama. If you are not on Instagram, you really should try it. There are a surprising number of hornists on Instagram with well over 1,000 followers, putting out interesting content every day. And during my sabbatical from ASU I will be among them, both with our Horn Matters healthy chops initiative and on my personal Instagram, which will focus on my sabbatical projects. Follow me there @ericsonhorn
One thing I wanted to obtain for this project overall was one of those flexible cameras. I bought one inexpensively on Amazon (Nidage brand) that works off an app on a phone, and it works really pretty well. It can be used for two main things, one to just inspect inside a horn generally, and also more specifically to check valve alignment (those marks are not always 100% accurate).
In part 2 I mentioned the prior project where I constructed a Gumpert model valved horn that takes crooks, and that I was not entirely happy with it and would be working it over during the sabbatical.
One specific thing I wondered was how the horn looked at the area of the joint between the bell tail and the first branch. I had it apart 20 years ago to cut the bell, and I was not sure the parts ever fit together really well. From the outside it looked a bit suspect.
This photo reveals an unexpected problem! This is right at the joint, inside the horn. You can see a bit of silver which is the solder, and then there is all that “stuff.” Water has not flushed out the debris. I suspect the root of is it, the ”glue,” is paste flux remnants related to when I cut the bell. [See UPDATE] Fortunately I found it now, and I was planning to take that area apart again anyway, as I will most likely replace the first branch when I replace the valve section. It should make more than a little difference! And I need to get back in the swing of using acid flux again, which was what I used when I was working with Rick – I got out of the habit, as paste flux I found easier to work with.
For comparison, this second photo is of how the joint should look, a smooth inside view with a strip of silver visible from the solder. This is my Patterson Geyer, but several other horns I examined looked the same as this — really, all should look like this. No blobs of solder or flux, no gunk, no rough edges.
I’m looking forward to using this device more to check for debris and valve alignment. Little things matter a lot on your horn. But the first real project now that grades are in will be getting the workbench area reorganized.
UPDATE. When I got to taking that horn apart, I had quite a surprise. What we were seeing the edge of in the photo was a costume jewelry ring! The three photos below tell the story. Follow me on Instagram @ericsonhorn for more as the builds continue, I will be sharing more there than will be posted on Horn Matters.
By the way, I have no idea the source of that ring. I am now not certain I had that joint apart when I cut the bell, it might date from the original beginner that used the horn at some point in the past.
The horn actually played OK with that ring inside, so I’m really curious to see what it will feel like without it! I’ll be putting it back together soon.
When I was a Doctoral student, I was able to create a special minor for my degree at IU, the minor being in brass instrument design and construction. For that project, I wrote a lengthy paper and built a natural horn working with Rick Seraphinoff. As I have said before, effectively I was his first apprentice, although we did not think of it in those terms at the time.
While readers might not guess this, and I don’t mention this to students that often either, my original college major was music business with a strong interest in going into instrument repair. While my direction obviously changed toward performance and teaching, I had developed some basic repair skills before I got to IU from taking art and shop metals classes and an instrument repair seminar. At IU, our idea was to start first with some repair on an inexpensive compensating double, then take on the bigger project that built the horn you see below.
What I did was take a Cousenon concert mellophone from the early 20th century and use the bell and first branch to make a natural horn patterned on an English instrument from the late 18th century. It can be crooked with the system of crooks and couplers into every key from C alto to Bb basso, and has a main slide for low pitch as well.
The second photo shows the horn build in progress in 1989, on a bench at the shop at IU. I bent all the tubing, and made all the tapered parts using mandrels Rick had developed. The horn turned out very well, too well almost, as to this day it is the natural horn I am the most likely to play among the several I have access to. It is a very comfortable and responsive horn.
After graduation, I had an idea to build an early valved horn that took crooks. For this I followed the pattern of a Gumpert model Kruspe from around 1880. The design allows the horn to be crooked as high as Bb alto. Again under the guidance of Rick Seraphinoff I made F and E crooks for it, and I could borrow crooks from the other horn and put it in any key (using the valve slides from yet another horn for Bb alto). This first photo is fairly early in the build, and the second is a bit further on.
The body of the horn was a Cleveland (a King subsidiary brand) single F, a cheap student horn with frankly a quirky valve section. Over the years, I have tweaked this horn a few times, most notably cutting the bell when I was in Potsdam. It plays very responsively, I think the basic Gumpert design is a very good one and I do play this horn often, especially warming up on it a home, but the horn itself still has issues to address. That will be part of my sabbatical project, as I want to put a different valve section on the horn and I hate the tinted lacquer, it has to go if I can get it off! It will be a major rebuild.
I would also like to work out another single F based on the Schmidt design seen in part 1 of this series. I have several project horns on hand to use for parts, including especially one with a wonderful hand hammered bell but an incomplete valve section. After that, if I have enough time, I have even more projects in mind, gradually refreshing and growing skills in horn repair and construction.
If you are curious to see these projects unfold in real time, I will be posting to my personal Instagram regularly as to how the project is going, and periodically here as well. If you are an Instagram user, look for me at ericsonhorn, where I recently also posted a number of performance videos.
With the end of this fall semester of classes, I am going on sabbatical from Arizona State for the spring of 2021. Which leads to two basic questions readers might have, what is a sabbatical, and what am I going to be doing for the sabbatical?
As to the first question, I found this relevant definition. A sabbatical
… is “a break from work” during which employees can pursue their interests, like traveling, writing, research, volunteering or other activities (or even rest). During that time, the employee is still employed at their organization, but they don’t need to perform their normal job duties or report to work.
Policies vary (widely!) from school to school, but at some point in their career, many full time college professors take a sabbatical leave for either a semester or a full year. I was, after an application process, awarded a sabbatical leave for the spring of 2021. As in the quote above, I am still employed by ASU, but Gabriel Kovach of the Phoenix Symphony will largely cover my spring semester teaching, with the assistance of the two horn TAs. (Although I’ll still be managing horn recruitment, etc.).
Sabbaticals in academia are awarded to faculty to allow them to work on a special project, and I have a very specific project area in mind.
When I was thinking about options, one was the giant book, but I rejected that idea. I really wanted to do something hands on, and my mind went back to an area where I have some skills (and tools!), but have not done much with in the last ten plus years. The project involves among other things rebuilding single F horns into vintage designs such as the 1920s era Schmidt single seen here from their catalog photo — part of an overall project to build my skills and explore horn design. More on that when the series returns.
A Kruspe Kruspe? Any serious student of the horn today has heard of Kruspe style (or Kruspe wrap) horns, but many do not realize that Kruspe refers to an actual maker of horns (in Germany), and that the famous model (their Horner model), although popular in the USA and copied by Conn and others, was just one model out of a full line of horns. In addition, it must be noted clearly that Kruspe is still in business!
That general topic was covered in this prior article, but our specific subject today is this horn, a postwar Kruspe Horner model. Beautifully constructed, I was very fortunate to be able to purchase this instrument, one that I knew about, when it recently became available.
Prior to teaching at Arizona State University I taught at SUNY Potsdam, where I was the only the third person to hold the horn faculty position. The original horn teacher at SUNY Potsdam (then known as the Potsdam State Teachers College) was Perry Yaw. Yaw was a 1940 graduate of Mansfield University who subsequently served during WWII as a bombardier on a B-17. Following his service, he received his Master’s degree from the University of Michigan, joining the faculty in Potsdam in 1947 (as their only brass teacher at the time), where he taught for the next 33 years. Dr. Yaw (he received his Doctorate from Columbia in 1955) retired in 1980 (the same year I graduate from high school!), and remained in Potsdam the rest of his life.
Where this is significant to the story of this particular Kruspe horn is it was purchased by the school for Yaw to use as horn faculty. I do not know what kind of horn he had used previously, but this was his horn for nearly his entire professional life. He was the sole user of this horn prior to today, with it seeing little use after 1980. The horn was at his house as emeritus faculty when I was in Potsdam, where it remained until his passing in 2015. At that point, the longtime repair tech for SUNY Potsdam purchased the horn, planning to do some work on it, but eventually I purchased it from him in early 2020.
The majority of Kruspe horns you will run into were made between the world wars. Several things confirm this a being a post-war product, one prime thing being that the engraving lacks a DRGM number. The use of these numbers (they are the German patent numbers of their horn designs) ended with the fall of the Reich in 1945.
Based on when Yaw was hired, and the details of this horn, I would date it to ca. 1948. It is nearly all original with very little evidence of any repair.
The bell is made in the old fashioned way, what we today would refer to as “hand hammered” as the bell is first roughly formed from a sheet of brass with a seam to the edge of the bell, after which it is spun to a final shape on a large mandrel on a large lathe. Over years, this Kruspe horn developed a crack at the rim where the seam ends, which had to be patched. This was one of a number of fixes and upgrades done by James Patterson of Patterson Hornworks, the biggest update being a valve job and the next biggest stripping the old/heavy lacquer off the horn.
While at first glance it looks like a brass Conn 8D, there are some very easily recognizable differences when you know what to look for. They include:
Rounded 1st valve Bb slide
Main and F horn slides more angular in shape
F slide on back put on differently
Braces different
More angular tubes in the F horn branches
This instrument is almost all brass. Whoever made the valve section (I’m guessing made by a different maker) used some nickel silver (including four nickel silver ferrules), but other than there and the soldered slide tube ends (they are not turned from the tube end itself as we expect to see today) there are only four other pieces of nickel silver on the entire horn. Postwar shortages of materials no doubt, but it makes for an interesting, and classic look.
In addition, clearly this was handmade. The build quality is excellent, the person or persons who put this together were high-level artisans.
The one odd thing is the thumb trigger. It is not at all uncommon to see these rebuilt in various ways on Kruspe horns, the ergonomics were not great on these as built. In this case, it looks like it might have been rebuilt twice, as you can see two levers on the thumb valve! The upper one is the one that is more comfortable for me, but for a player with small hands the lower one would be better. I think what happened is that originally Yaw had it reworked with the lower paddle and then added the upper paddle when that was deemed too low. Ideally, I wish there was one lever between the two, but until the current levers fall apart I will leave them be. It is a conversation piece for sure.
For comparison, the 1936 Kruspe horn used by Mason Jones throughout his career may be seen here in the Dick Martz horn website. The overall details are the same, but there are a lot of small differences. Some are due to being built differently, and others relate to repairs/modifications. The most notable thing that catches my eye is the main slide is clearly longer. My guess is Jones had it lengthened, and I wish this horn had a longer main slide. I am not going to modify the original slide, but if I can locate a tube of the correct size, I will likely make a longer slide as seen on the Jones horn.
One other small detail is that while the Mason Jones horn has a serial number, this one does not. Fortunately, the fine folks at Potsdam State Teachers College did engrave a number on the bell brace for their inventory purposes.
So how does it play? Sound? This horn does play nicely, the sound has a lot of depth and character, and seems like it would carry well in a hall. Student reactions in my office have been very positive. It is dark at low dynamics and brightens up at high dynamics in a nice way. I’ll need to live with it longer to know if it becomes my main horn, but it has a very comfortable feel, something very appreciated as we end this strangest of years.
It would be an interesting project to see how far toward the feel and sound of this Kruspe one could get by modifying a less expensive modern Kruspe style horn to match in terms of bracing, etc. This is a project I might take on — time will tell. Kruspe style horns could make a comeback, if they regularly hit the right tonal and playing zone such as this horn has.
To close, the short interview below is a wonderful memory of Perry Yaw. Besides looking very fit for his age (I was told that he was an avid outdoorsman), he was always a supporter of horn. I enjoyed seeing his friendly face at concerts when I was in Potsdam, and I enjoy the connection to him through his classic Kruspe horn.
COVID has changed the performing landscape of fall 2020 drastically.
But before looking at that, there is good news out there, the proverbial “light at the end of the tunnel,” I hope readers are taking in some of the recent good news, the end of the pandemic really is in sight. I predict by summer 2021 things in general will be looking a lot more normal, and fall 2021 should usher in a much more normal situation for collegiate horn study. It will still take the music industry a year or more to gear back up, arts organizations have been badly hit financially, but things will sort out, and the music will return.
But back to the present era of COVID and music, speaking generally, colleges and universities have been leading the way. Protocols vary widely by location. Some schools have highly restrictive protocols that don’t allow any live horn teaching or group performances, but others have more options.
In my own case at Arizona State, while recitals are occurring with limited audiences, and lessons have been a mixture of live and Zoom lessons, all of our studio classes were virtual, as were most ensemble experiences. To balance that, I wanted to have a horn choir event with the entire studio, performing together in a non-virtual venue.
Looking at my options, the most workable one was a popup concert at our studio class time. It had to be formally scheduled due to campus location restrictions but, at the same time, we could not publicize it (!), as fewer than 50 people had to be there, even with it being outdoors in a large plaza.
I was able to come up with a varied but simple program, the performance of which reflected well on the individual effort of horn studio members. Especially as none of us had ever performed in the plaza we used, the performance area (under the “noodles”) was newly completed – the photo shows it shortly before being finished.
The program notes are below. The only footnote I would add, in the category “Believe it or Not,” is that this was the very first horn ensemble concert after years of teaching that I have included a Frippery! They are not written for a larger ensemble, but I felt these two would work, and they did. Next time we play, I look forward to some live rehearsals before performing! And I understand that there will be live rehearsals allowed in the spring at ASU, another element pointing to there is a light at the end of the tunnel, don’t lose hope.
Program and notes…
This program is a first of the fall semester for us in the ASU Horn Studio, in a brand new performing space. With COVID protocols, we rehearsed using a parallel practice tactic in Zoom. The performance you are about to hear reflects on the individual practice done by ASU horn students, with a varied program designed to work in this format.
(Works to be performed today are highlighted in the text that follows, in program order)
To open the concert we have a Madrigal by Orlando di Lasso. Huntington Burdick arranged this somber work for the Los Angeles Horn Club.
The next group of works were arranged by Max Pottag. Pottag, who spent many years in the Chicago Symphony, has been credited as being the father of the collegiate horn ensemble, making it part of his teaching curriculum at Northwestern University. The arrangements we are performing today were all published in 1941:
Prayer and Hunting Chorus from Der Freischutz by C. M. Von Weber
Adagio Religioso by C. D. Lorenz
Soldiers Farewell by Johanna Kinkel
Forsaken (Tyrolian Song) by T. Koschat
Of these Pottag arrangements, perhaps the most notable is the Kinkel. She lived a very interesting life, and the work, written for men’s chorus, is well voiced for horn performance.
Next on the program are Three (of six) Folk Songs by Brahms, arranged by Marvin McCoy. In order we have The Fiddler, How Sad flows the Stream, and At Night
In the brass area this semester we had a special focus on the works of BIPOC composers, and one seminal work that was highlighted in a presentation to brass students was the African-American spiritual, Deep River, heard here today in a traditional choral arrangement.
While written for horn quartet, we also wanted to highlight with the full studio two works in a jazz style,
Frippery No. 16 “Something Blue” by Lowell Shaw
Frippery No. 25 “Takin’ it Easy” by Lowell Shaw
Finally, to close the program we have another of the Pottag arrangements, Lutzow’s Wild Chase by Weber. Thank you for joining us today in this new concert space.
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Finally, to hear what that valve section sounds like on the horn it is used on, this is one of my favorite tracks on my Rescued CD, one I have been coming back to often these months, the first movement of the Sonate, Op. 347 by Fritz Spindler. Enjoy!
