The Horns as an Independent Section

Although scoring for one horn is not unprecedented, horns in pairs are preferable for orchestras, even with a minimum instrumentation.

The practice of using horns in pairs, dating back to the earliest Classical scores, led to a practical, unique expedient not common with the other wind instruments. This developed the need for specialization of playing in either high or low registers. Accordingly, horn players have justifiably concentrated on developing an embouchure adaptable to either mediumto-high or medium-to-low range spreads. This operating practice has resulted in horns being interlocked and written as follows: high, I— III; low, II-IV. The voice parts for four horns are therefore not written in the numerical order as they appear on the score page. These changes in voice allocations are shown in Fig. B-6.

Four horns in their normal playing range have the same tonal spread as a male chorus plus an extra higher fourth for the first horn. Four-part harmonizations for the male chorus frequently require a shifting of the melodic line to inside parts because of range limitations. A similar situation exists in many settings of four-part chorals for the horn quartet. In scoring America in its usual key (G) for these instruments, it will be observed that although the melody of the first six measures fits the range of the first horn, the high tessitura of the last eight measures makes literal transcription impossible. Compensating adjustments are: (1) inverting the melody an octave lower which places the alto part above the melody, (2) lowering the melody an octave but keeping the harmony parts below it. A reduction in the number of voice parts is frequently desirable when arranging the melody as the highest part. These alternative arrangements are shown in the following settings.

Melodies written as inside parts will be more audible if the harmony parts have a minimum of movement (Example B-llb). These settings emphasize the relative importance of complete melody tessituras in all scoring plans. They further demonstrate the position of key tonalities in respect to the total tonal spread of the parts. America, transposed either to the key of D or Eb, would permit the original four-part arrangement to be set quite literally.

A pair of horns in small-orchestra combinations is the greatest single source of brilliance and tonal strength. When combined with a bassoon, it constitutes a reasonably even timbred sonority for three-voice chord progressions. Complete dynamic flexibility in the middle register makes the horns invaluable, either alone or in combination. Full-chord writing is, however, less frequent for the smaller ensembles than for full-orchestra instrumentation. Scoring four horns for a large orchestra is an extension of the idiomatic uses carried out for the smaller groups. The differences that will occur are those dealing chiefly with larger tonal extensions, expanded chordal spacings, and greater breadth in the statement of melodic and rhythmic ideas.

Chord writing for a horn quartet is generally clearer if confined to three-voice progressions. In this voice pattern, the highest or lowest notes are sometimes doubled in unison, depending upon the desired point of extra strength. In the softer dynamics this unison doubling is unnecessary. Chord progressions sound smoothest when there is a minimum of movement of the parts.

The student orchestrator is advised to study horn parts in their full context in the scores listed below. Since voice textures vary in accordance with the structural dimensions and musical scope of each work, idiomatic values can be better appraised by examining these parts for both small and large instrumentations.