Brass Clii tic

The Complexities of Tuning Both Sides of a Double Horn

by Gary L. Reeves

ull double horns are made with the F-to-B" rotor next to either the first or third valve. Models that have a rotor by the first valve are called Kruspe wrap tor the German horn maker. Those with this rotor next to the third valve are called Geyer wrap after Chicago horn artisan Carl Geyer. The term wrap refers to how the instrument is coiled. With a Geyer wrap horn the air moves progressively through the valves from third to first, while with a Kruspe wrap the air moves in the opposite sequence. All double horns have two tuning slides for each valve and may have from one to three additional slides besides these. All models have a main tuning slide located between the leadpipe and the valves that affects both sides, but some instruments have additional tuning slides tor both the F and B^ sides. The F slide is more common than the Bt> slide; the F side is longer and more likely to need extra adjustment because the main tuning slide has a greater effect on the Bt1 horn. The easiest way to determine if a main tuning slide controls the F or BI> side of the instrument is to remove the slide and try to play a note. If air exits the horn through the open tube, the slide controls the F side. If a note sounds, the slide is for the Bi> side. If the horn has not been played for some time, all the slides should be pushed in before tuning the instrument. The first note to tune is written C5 on the Bt> side of the horn. On a horn with a separate Bt> tuning slide, pull out the main and the B^ slide an equal distance to adjust pitch. If it is
Holton Farkas Model with auxiliary water slide

necessary to pull the main slide further than an inch to tune the instrument, then the embouchure may be too tight. If the C5 on the Br> side is in rune, the same written note on the F side of the horn should be slightly sharp. An easy fix, if available, is to pull out the F tuning slide to adjust this tone to match the Bt> side. An alternate solution is to pull the main tuning slide out and push the BP tuning slide in a similar amount. If the F side is flatter than the BI> side, the main slide should be pushed in while the Bt> tuning slide is pulled out. Students playing a double horn without a Bl> tuning slide will have to adjust the embouchure to fix the pitch discrepancy. After C5 is in tune on both sides of the horn, check open G4 on the F horn and F5 on the Bt> horn. After the open horn is in tune, the first and second valve slides should be adjusted on both the F and B^ sides by checking several notes for each valve. The third valve should not be tuned by itself unless a player uses it alone to play any tones. If the third valve is only used with other valves, then play notes fingered with second and third valves (after the second valve is tuned) Gar}1 L. Reeves received a doctor of musical arts degree m horn performance and pedagogy from the University of Iowa where his principal teacher was Paul G. Anderson. He is currently associate professor of music at the University of South Dakota in Vermillion. Reeves is also a member of the South Dakota Symphony Orchestra. Conn 10D/11D

and pull the third valve slide to correct the pitch. The first valve slides will be out approximately three eighths of an inch, the second valve slides a quarter of an inch, and the third valve slides almost half an inch. Pulling a slide out much further than these measurements increases the chance for air leaking from the slide; slides that arcextended extreme distances are often pushed in again to make the horn fit in the case, and students will then ha veto adjust the slides each time theinstrument is played. Philip Farkas recommended placing a light pencil mark next to the shank for the tuned first and second valve slides to show how far they should lxpulled, and then tuning notes that use first and second valves together. Tu adjust these notes the first slide should be pulled out two-thirds of the length needed for pitch correction and the second slide for one-third, and the new spots should also be marked with a pencil. Fatkas suggested that the slide be halfway between the two marks, and although each slide is set to an imperfect distance, all notes that use first, second, or first and second valves will be so close to correct that any necessary adjustment can be made with hand placement in the hell or with the embouchure. Although tuning the double horn seems to be an arduous task, once the slides are set, daily adjustments should be minor. Coupled with a relaxed embouchure, perfect intonation will be a reality, not an aim alone. l_J
King Eroica