A couple of weeks ago I had the pleasure of taking part in Brent Symphony Orchestra's centenary concert. I'm not a regular member of the orchestra but I have a family connection with it which goes back to before I was born!
The concert was a pleasure on a whole number of different levels. The orchestra is to some extent responsible for my existence, my parents first met as a result of both playing in the orchestra over 50 years ago. (My dad played clarinet and my mum played viola, and were both members for about 18 years, until we moved to Norfolk in 1975.) It was really nice to be able to make a contribution to their centenary.
I was also a regular member of the orchestra myself in my student days about 30 years ago. Harry Legge was the conductor both when my parents were members and when I was. He had been a member of the Royal Philharmonic Orchestra (also playing viola) under Sir Thomas Beecham and Rudolf Kempe, and had learned a lot from both of them as to how to run an effective rehearsal. There are still a few members of the orchestra who have been members continuously since I was there in my student days, so it was a pleasure to meet up again with some old friends. Among those present was the complete horn quartet of the orchestra from my student days.
I well remember a particular occasion from those days. I was at university at the time, and Harry Legge phoned me towards the end of the Easter term. He said "How would you like to get the horns together to do the Konzertstuck next term?"
I gulped, and said "You're joking!". He assured me that he wasn't, and told me to phone round the other horns and see if they were interested in having a go, and get back to him once I'd spoken to them all.
So I phoned each of the others, and in each case got precisely the same reaction from them: "You're joking!" Once I got past that, we decided to have a go together, just the four of us, and see if we could get anywhere near it.
The piece is of course almost impossible to play. But we decided that this was quite likely to be the only opportunity in our whole lives to have a go at it. So we decided to have a bash. I suspect our performance contained more enthusiasm than accuracy!
The centenary concert was also a pleasure in terms of the music we were playing. The mainstay of the concert was Mahler's 1st Symphony. I was playing "bumper", or assistant 1st horn. David Perchard, the first horn of the orchestra then and now, said that I shouldn't regard it as bumping, but more of a jobshare, since there is so much to play. Mahler 1 requires 7 horns, so with the bumper we were 8 in all. We were organised in two rows, and I was in the front row. Usually the horns are at the very back of the hall, over to the left as the audience sees them, and from that position almost all of the orchestra's sound is coming from one direction. But with a second row of horns behind, I really felt surrounded with sound. It's wonderful!
Lev Parikian took over the orchestra whan Harry Legge died, and remains the conductor to this day. He conducted the centenary concert and did a very fine job of it. In the rehearsals, he made a very important point about the Mahler symphony. It is scored for a huge orchestra (4 flutes, 4 oboes, 4 clarinets, 3 bassoons, 7 horns, 4 trumpets, 4 trombones, tuba, 4 percussion players across a variety of instruments, a harp, and as many strings as can be mustered. All those players can make a very big sound. But there are occasions when Mahler writes ppp dynamic markings, and he expects it all to be extremely quiet. It is the contrast beween these extremes which adds to the excitement of the piece.
It's hard work getting an amateur orchestra to play quietly. The players all want to be heard so that they can assure themselves that they are playing the right notes! But there are moments in this piece where if you can hear yourself, you are playing too loud. I don't know if Lev felt that he completely succeeded in getting us all to play as quiet as he wanted, but his exhortations in that direction certainly made a difference.
I think my parents would both have approved.
Thursday, 31 March 2011
Wednesday, 19 January 2011
Learning how to play transposed parts
If you play professionally, or even if you play in an amateur way in a community orchestra,you are going to come across horn parts in keys other than F. When you do so, you have essentially two choices. Either you write every such part out for horn in F, or you learn to transpose at sight.
But it might be that sight reading even in F is a bit forbidding - it is for quite a lot of people. So to be able to read parts in other keys may require that you improve and combine two separate skills - transposition and sight reading.
Sight reading frightens a lot of people - many think that it is a black art only mastered by professionals and not to be vouchsafed to mere mortals in the amateur world. Certainly professionals have to have a high degree of mastery of it, but decent sightreading skills are not beyond amateur players. I have described before how to go about learning sightreading.
Now, for transposition. Writing out transposed parts in F is a good idea in terms of understanding how transposition works. Different people have different ways of thinking about it, but I favour the simple interval method.
Consider for example horn in D. D is down a minor third from F. Most transposing parts are written without key signature, effectively in C major. So down a minor third from C is A. You're now in A major instead of C major. In the part written out in F, write in the A major key signature (three sharps), and then write out all the notes a third down. All the sharps and flats will organise themselves automatically as a result of the new key signature, except for where there are accidentals in the original part, which you have to deal with by hand.
For accidentals you look at the newly-written transposed note before the accidental is applied. If it is a natural, all is simple, just write in the same accidental as in the original. If it is a sharp or flat as a result of the key signature, then what you need to do is change the note by a semitone in the same direction as in the original part. So for instance, if you have an Ab in the original part, moving down a third changes it to F-something. Because of the key signature, A natural goes to F#. Ab is a semitone lower than A natural, so the transposed note must also be lowered a semitone, from F# to F natural. So you write a natural in front of the F.
If you do all that right, you now have a part correctly written out in F. The same principle applies to all the other different keys. The only thing different is the interval and therefore the key signature. These are the most common transpositions.
A - up a third, add 4 sharps to the key signature (to E major)
G - up a second, add 2 sharps to the key signature (to D major)
Eb - down a second, add 2 flats to the key signature (to Bb major)
D - down a third, add three sharps (to A major)
C - down a fourth, add one sharp (to G major)
Bb basso - down a fifth, add one flat (to F major)
Bb alto - up a fourth, add one flat (to F major)
I've left out of that list transposition from horn in E. There are two possible ways of thinking about E transposition. One is to just flatten every written note, the other is to go down a second and add five sharps to the key signature. Both methods work perfectly well, and have the effect of lowering pitch by a semitone.
Of course, notation software such as Sibelius or Finale can do all this automatically, with you typing in the part as written, and then having the software perform the transposition for you. But if you are ever going to transpose at sight, you need to work out how to do it for yourself by hand with pencil and paper.
Now, if you're going to progress from transposing on paper to transposing at sight, three things are necessary. One is that you have got your sight-reading good enough that you don't panic about it. Second, you have to be familiar with your scales and arpeggios and key signatures, and third, you need to have understood thoroughly how to do the transposition on paper.
Then what you do is practice slowly sightreading orchestral parts that have been written for horn pitched in various keys. You'll notice that, particularly for 2nd & 4th horn parts, often almost all the notes are in the C major arpeggio. So if you know your A major arpeggio, transposition at sight from D becomes much easier - you just play the equivalent notes of the A major arpeggio. Give or take an octave, that is only 3 notes that you need to learn!
As the parts go higher, you get more notes of the harmonic series, but again you will relatively rarely see written notes that aren't part of the C major scale. So if you know your A major scale, you're still in good shape. Again, the same principle applies to the other keys. So, transposing at sight is much easier if you know the relevant scales and arpeggios.
As for where to go to get horn parts to practice transposition, I can recommend the IMSLP website. Perhaps start with some of the Mozart symphonies. IMSLP has horn parts available online for some of them, I'd recommend you start with the most famous ones, symphonies 38-41. Then try the Beethoven symphonies.
But it might be that sight reading even in F is a bit forbidding - it is for quite a lot of people. So to be able to read parts in other keys may require that you improve and combine two separate skills - transposition and sight reading.
Sight reading frightens a lot of people - many think that it is a black art only mastered by professionals and not to be vouchsafed to mere mortals in the amateur world. Certainly professionals have to have a high degree of mastery of it, but decent sightreading skills are not beyond amateur players. I have described before how to go about learning sightreading.
Now, for transposition. Writing out transposed parts in F is a good idea in terms of understanding how transposition works. Different people have different ways of thinking about it, but I favour the simple interval method.
Consider for example horn in D. D is down a minor third from F. Most transposing parts are written without key signature, effectively in C major. So down a minor third from C is A. You're now in A major instead of C major. In the part written out in F, write in the A major key signature (three sharps), and then write out all the notes a third down. All the sharps and flats will organise themselves automatically as a result of the new key signature, except for where there are accidentals in the original part, which you have to deal with by hand.
For accidentals you look at the newly-written transposed note before the accidental is applied. If it is a natural, all is simple, just write in the same accidental as in the original. If it is a sharp or flat as a result of the key signature, then what you need to do is change the note by a semitone in the same direction as in the original part. So for instance, if you have an Ab in the original part, moving down a third changes it to F-something. Because of the key signature, A natural goes to F#. Ab is a semitone lower than A natural, so the transposed note must also be lowered a semitone, from F# to F natural. So you write a natural in front of the F.
If you do all that right, you now have a part correctly written out in F. The same principle applies to all the other different keys. The only thing different is the interval and therefore the key signature. These are the most common transpositions.
A - up a third, add 4 sharps to the key signature (to E major)
G - up a second, add 2 sharps to the key signature (to D major)
Eb - down a second, add 2 flats to the key signature (to Bb major)
D - down a third, add three sharps (to A major)
C - down a fourth, add one sharp (to G major)
Bb basso - down a fifth, add one flat (to F major)
Bb alto - up a fourth, add one flat (to F major)
I've left out of that list transposition from horn in E. There are two possible ways of thinking about E transposition. One is to just flatten every written note, the other is to go down a second and add five sharps to the key signature. Both methods work perfectly well, and have the effect of lowering pitch by a semitone.
Of course, notation software such as Sibelius or Finale can do all this automatically, with you typing in the part as written, and then having the software perform the transposition for you. But if you are ever going to transpose at sight, you need to work out how to do it for yourself by hand with pencil and paper.
Now, if you're going to progress from transposing on paper to transposing at sight, three things are necessary. One is that you have got your sight-reading good enough that you don't panic about it. Second, you have to be familiar with your scales and arpeggios and key signatures, and third, you need to have understood thoroughly how to do the transposition on paper.
Then what you do is practice slowly sightreading orchestral parts that have been written for horn pitched in various keys. You'll notice that, particularly for 2nd & 4th horn parts, often almost all the notes are in the C major arpeggio. So if you know your A major arpeggio, transposition at sight from D becomes much easier - you just play the equivalent notes of the A major arpeggio. Give or take an octave, that is only 3 notes that you need to learn!
As the parts go higher, you get more notes of the harmonic series, but again you will relatively rarely see written notes that aren't part of the C major scale. So if you know your A major scale, you're still in good shape. Again, the same principle applies to the other keys. So, transposing at sight is much easier if you know the relevant scales and arpeggios.
As for where to go to get horn parts to practice transposition, I can recommend the IMSLP website. Perhaps start with some of the Mozart symphonies. IMSLP has horn parts available online for some of them, I'd recommend you start with the most famous ones, symphonies 38-41. Then try the Beethoven symphonies.
Friday, 14 January 2011
The value of music education
There's an article on the Guardian website today What's happening to the future of music education? about the future of music provision in the education system in the UK, amid concerns as to whether the government will cut provision in order to save money. Dr Peter Thompson of Sheffield University has commented with an example of the value of music provision, even for those who do not take up music as a profession. His comment is worth reproducing here in full (edited only to remove typing errors).
Even if you describe this in purely economic terms, this is a staggeringly good investment. Thomson has been saved from a probable life of crime and hopelessness which would in all likelihood have been a substantial drain on the public purse, and instead is a respected academic who has made his own substantial contribution to society, in the taxes he has paid and in the contribution he has made to educating subsequent generations.
This is what music is about, this is what it can do for people.
Back in the bad old days of the 1970s I was a pupil at Whitehawk County Secondary School in Brighton which was rated as one of the worst schools in Britain on one of the worst council estates. I got into serious trouble more or less constantly and did things which, if I were to have been caught would almost certainly have led to custodial sentences. Then I joined the school brass band which had free instruments, free tuition and provided an alternative outlet for me. I ended up joining the army as a junior bandsman and that trajectory was what got me an education and a purpose in life so that I am now a senior academic at a Russell Group university. I owe it all to the music opportunities I had at that school back when I was 11 when there was bugger all else on offer. Cutting music provision is not only a culturally philistine move but will also keep many children in the outer darkness of hopelessness.
Even if you describe this in purely economic terms, this is a staggeringly good investment. Thomson has been saved from a probable life of crime and hopelessness which would in all likelihood have been a substantial drain on the public purse, and instead is a respected academic who has made his own substantial contribution to society, in the taxes he has paid and in the contribution he has made to educating subsequent generations.
This is what music is about, this is what it can do for people.
Tuesday, 11 January 2011
My father, Roger West
Over on my other blog, I have published the tribute I gave to my father, Roger West, at his funeral yesterday, 10th January 2011.
Friday, 7 January 2011
The emotion of music making
Last month there was an article in the Guardian titled 'The pull of love' – or why music can be a quasi-spiritual practice. In it, there got to be a bit of a discussion of various aspects of performance, and I'm going to pull out some of the comments I made there, clean them up and put them here.
The commenter jeremyjames made this comment
I've played both, and if it is to be done well, the solo at the opening of Bruckner 4 is one of the most dangerous moments for a horn player in all classical music. The entry is fairly high, so it is very easy to "crack" the opening note. You can reduce the danger by playing the opening note louder, but that destroys the ethereal effect of the opening. If you do that, you are merely playing the notes and have abandoned the music. The note almost mustn't actually start, instead the audience should realise that it is there when previously it wasn't, but not notice the transition from nonexistence to existence.
The horn player will always be sweating a bit at the start and his concentration will be needle-sharp at the instant of playing that first note. After the first note, you can relax a bit. You know you can do it and the rest of the solo will go OK.
Then savvymum, with whom I've had many enjoyable and stimulating conversations on the Guardian website, made this comment:
I could hardly turn down such an invitation!
Great musical performance (or even just pretty good musical performance) requires that you get into the emotion of the work. There is an interesting thing about emotional thinking.
One can simply experience the emotion itself. Almost everybody can do that, and this is all that audiences really need to be able to do to enjoy a good performance.
Then you can also be aware of the emotion in a detached part of your mind, and have some idea as to whether the emotion is appropriate. A surprisingly large number of people haven't really twigged how to do this.
And then you can also direct your emotions, turn them on and off to a degree under conscious control in order to communicate. Very few people are adept at this, but some degree of this skill is essential for musicians.
But it isn't much talked about. Partly this is because it is so hard to put into words. Talking about instruments and techniques is so much easier. Partly it is that few people would understand what you are saying.
Some people, when I talk in this way of awareness and control over emotions, comment that if I'm forever analysing things this way, I can't possibly feel the emotion fully itself. The reverse is true. The additional awareness allows you to have a much richer experience on more levels. You don't feel the emotion any less fully, but the other aspects of the experience are available to you as well.
And when that is wrapped up in a musical performance you are participating in, so you are engaging your motor control skills to produce the music, and your empathy and awareness so you keep up with everybody else, you can get into a state described by the psychologists as flow, which in its more intense manifestations can give you such a sense of euphoria that you can be walking on air for days after. And that gets communicated to the audience, who (hopefully) experience it as a great performance.
If there is no emotional engagement by the musicians, they are concentrating solely on the notes, even the most untrained listener will recognise that there is "something missing" from the performance, even if they can't articulate why.
But the emotion isn't all you have to do.The thing about playing music is that you have to think emotionally and technically at the same time, at very high speed and with great precision. You have to know what emotions you want to convey, but you also have to be concerned at some level with the technicalities of extracting the sound for the instrument, and you have to be highly aware of everything that the other players are doing, so you can be sensitive to what their emotions are and fit in with it all. So collaborative music making requires great skills in empathy as well.
While there's a lot of grinding practice needed to acquire the skills necessary to do all this, the performance itself is a spur of the moment, no going back, flying-by-the-seat-of-your-pants experience. You launch yourself into the piece as if you are a canoeist in rapids, and there's no way out except to navigate the obstacles and reach the calm water at the end. And the water won't stop for you while you work out how to get round some particularly forbidding rock that is right in the middle of the stream!
Occasionally you will founder on that rock, and a performance will go horribly wrong. That is part of the fear and excitement - you never quite know what is going to happen. And for an audience, this is the key difference between listening to live music and listening to a recording. Live performance is exciting, not only because you can see what is happening as well as hear it, but because it is happening now and you don't know what is coming next.
The commenter jeremyjames made this comment
Incidentally, I asked a horn player chum which frightened him more - the beginning of Bruckner 4 or Mahler 5. He said whichever one he happened to be playing!
I've played both, and if it is to be done well, the solo at the opening of Bruckner 4 is one of the most dangerous moments for a horn player in all classical music. The entry is fairly high, so it is very easy to "crack" the opening note. You can reduce the danger by playing the opening note louder, but that destroys the ethereal effect of the opening. If you do that, you are merely playing the notes and have abandoned the music. The note almost mustn't actually start, instead the audience should realise that it is there when previously it wasn't, but not notice the transition from nonexistence to existence.
The horn player will always be sweating a bit at the start and his concentration will be needle-sharp at the instant of playing that first note. After the first note, you can relax a bit. You know you can do it and the rest of the solo will go OK.
Then savvymum, with whom I've had many enjoyable and stimulating conversations on the Guardian website, made this comment:
I hope he's going to help me explain the difference between listening to music and playing it. There is also the world of difference between playing the piano and playing orchestrally. Not only are different skills needed to sit and rattle off your Rach' and Chopin, but the subjective feelings and critical skills are different., when you are a solitary player. Joining in with a good symphony orchestra is a different ball game, which requires a further set of skills, and a different mindset when you play.
Anyway Jonathan might be able to put the meat onto the bare bones I've laid out here.
I don't think playing is a semi-spiritual practise, and I bet Jonathan and I have done enough of it over the years, so I reckon we know what we're talking about. Sure, I get a feeling that I can't get elsewhere, and it fulfills me in a way that nothing else quite does. In fact I admit to being so bad, I can't live without it, as it actually is my life being a musician.
I could hardly turn down such an invitation!
Great musical performance (or even just pretty good musical performance) requires that you get into the emotion of the work. There is an interesting thing about emotional thinking.
One can simply experience the emotion itself. Almost everybody can do that, and this is all that audiences really need to be able to do to enjoy a good performance.
Then you can also be aware of the emotion in a detached part of your mind, and have some idea as to whether the emotion is appropriate. A surprisingly large number of people haven't really twigged how to do this.
And then you can also direct your emotions, turn them on and off to a degree under conscious control in order to communicate. Very few people are adept at this, but some degree of this skill is essential for musicians.
But it isn't much talked about. Partly this is because it is so hard to put into words. Talking about instruments and techniques is so much easier. Partly it is that few people would understand what you are saying.
Some people, when I talk in this way of awareness and control over emotions, comment that if I'm forever analysing things this way, I can't possibly feel the emotion fully itself. The reverse is true. The additional awareness allows you to have a much richer experience on more levels. You don't feel the emotion any less fully, but the other aspects of the experience are available to you as well.
And when that is wrapped up in a musical performance you are participating in, so you are engaging your motor control skills to produce the music, and your empathy and awareness so you keep up with everybody else, you can get into a state described by the psychologists as flow, which in its more intense manifestations can give you such a sense of euphoria that you can be walking on air for days after. And that gets communicated to the audience, who (hopefully) experience it as a great performance.
If there is no emotional engagement by the musicians, they are concentrating solely on the notes, even the most untrained listener will recognise that there is "something missing" from the performance, even if they can't articulate why.
But the emotion isn't all you have to do.The thing about playing music is that you have to think emotionally and technically at the same time, at very high speed and with great precision. You have to know what emotions you want to convey, but you also have to be concerned at some level with the technicalities of extracting the sound for the instrument, and you have to be highly aware of everything that the other players are doing, so you can be sensitive to what their emotions are and fit in with it all. So collaborative music making requires great skills in empathy as well.
While there's a lot of grinding practice needed to acquire the skills necessary to do all this, the performance itself is a spur of the moment, no going back, flying-by-the-seat-of-your-pants experience. You launch yourself into the piece as if you are a canoeist in rapids, and there's no way out except to navigate the obstacles and reach the calm water at the end. And the water won't stop for you while you work out how to get round some particularly forbidding rock that is right in the middle of the stream!
Occasionally you will founder on that rock, and a performance will go horribly wrong. That is part of the fear and excitement - you never quite know what is going to happen. And for an audience, this is the key difference between listening to live music and listening to a recording. Live performance is exciting, not only because you can see what is happening as well as hear it, but because it is happening now and you don't know what is coming next.
Monday, 13 December 2010
Different kinds of tone
One aspect of horn playing which I feel is inadequately stressed is control over tone colour and how this can contribute to the effect of the music you are playing.
Generally, as you play louder, your tone will get more of a buzz, more "brassiness". Sometimes this is desirable, but sometimes not. If you are playing a solo in a Brahms or Bruckner symphony, what you want is a projected sound, one which will carry over the orchestra but not be brassy.
So the fundamental of tone control is to be able to vary the volume and vary the amount of brassiness independently of each other.
Once you have acquired that kind of control, then you have to make a decision as to how much brassiness and volume to use in any particular context. Choosing the context involves considering the ensemble you are playing in, the period of the music and the composer, and the intent of the composer at any specific moment in the piece.
Let's consider the effect of ensemble on tone first.
Wind quintet and other small wind or wind/string chamber groups
This is the grouping where you need to go easy. A light airy tone is required here. Very rarely will you need to produce a volume higher than a solid orchestral mf, even where the part is marked ff. You are working with only a small number of other instruments, and the horn tone is already distinctive. Your basic tone/volume combination for a wind quintet should have a minimum of brassiness and be several notches quieter than you would use in orchestral playing.
From that foundation, you can project (more volume but no more brassiness) when you have a solo line, or occasionally punch out with more brassiness for special effects. But this should all be relative to the basic tone for the group.
Brass quintet or other brass ensemble
A brighter brassier tone is required here. The problem for the horn in a brass quintet is to match the clarity and brightness of the forward-facing bells of the trumpets and trombone. So you need a bigger tone with more buzz to it, and the notes need to be tongued more sharply to match up to the other instruments. But don't overdo it - you still want to sound characteristically like a horn and not an inferior sort of muffled trombone.
Orchestra - classical composers
I'm thinking Mozart and Haydn here, maybe earlier Beethoven as well, where you have a classical-sized orchestra of strings, double woodwind, 2 horns, 2 trumpets and timpani. No heavy brass. Generally, you need your wind quintet tone here, but with a bit more volume and oomph behind it to match up to the larger number of players involved. But remember that in these sorts of pieces, the horns are usually providing inner harmonies and only occasionally solo lines. So you are blending in and need to keep the volume down accordingly. Only occasionally for fanfare-style interjections to you add in a bit of brassiness for a special effect.
Orchestra - Romantic composers
Brahms, Bruckner and the rest. There is now a full section of heavy brass in the orchestra - trumpets, trombones, and sometimes a tuba as well. They will usually provide the fanfare stuff when needed - so you match up to them brass quintet style when required. But when playing solo or blending with the wind and strings, you go for the smoother tone of the non-brassy sounds, but with the volume increased if appropriate to match up to the larger string section you may be with. So your basic sound is smooth but with more weight behind it.
A note about Bruckner - the correct tone for Bruckner a rich and round and mellow with no brassiness at all - even in loud passages with the rest of the brass. Bruckner's loud bits should generally be thought of in terms of a chorale. Think of the sumptuous sound that a really good massed choir can produce. That's what you should aim for in Bruckner. The number of cases where you should allow more brassiness in his symphonies are vanishingly rare.
Orchestra - Modern composers
20th century music tends to have more astringent harmonies to it, and the tone colours required change correspondingly. You have to judge this according to the nature of the piece and the composer. For Elgar you would would have a tone not much different from Brahms. For Shostakovich you will spend a lot of time playing with a deliberately brassy tone as far removed from Bruckner as it is possible to get.
Wind Band/Military Band
Generally more volume. Massed ranks of clarinets will generally produce more sound than massed ranks of strings. Hopefully the conductor will have enough about him to be able to demand a proper piano from the band where necessary. Without strings, a wind band's range of tone colours is more limited, and so dynamic contrasts become more important. Don't worry of you feel that you can't be heard most of the time. You probably can't, and this is intentional. But you are still contributing to the overall effect. Remember that the horns are still mostly doing their usual thing of blending into the middle of the harmonies. It is just that horns inside a predominantly wind sound will be less obvious than horns with strings. Don't succumb to the temptation to blow louder so your unique contribution can be heard (even though it is only afterbeats).
Experience will gradually tell you what sort of tone is required in any individual situation. And if you aren't sure, then you work on the basis that you do what the principal horn is doing and blend with him/her. If you are the principal, then you ought to be able to think about this and make a decision. The decision you make will probably be different to some degree from what I would do in the same circumstance. That's fine, that is part of you finding your own voice and interpretation. But actually make a decision to vary your tone according to circumstances, in order to broaden your expressive range.
Generally, as you play louder, your tone will get more of a buzz, more "brassiness". Sometimes this is desirable, but sometimes not. If you are playing a solo in a Brahms or Bruckner symphony, what you want is a projected sound, one which will carry over the orchestra but not be brassy.
So the fundamental of tone control is to be able to vary the volume and vary the amount of brassiness independently of each other.
Once you have acquired that kind of control, then you have to make a decision as to how much brassiness and volume to use in any particular context. Choosing the context involves considering the ensemble you are playing in, the period of the music and the composer, and the intent of the composer at any specific moment in the piece.
Let's consider the effect of ensemble on tone first.
Wind quintet and other small wind or wind/string chamber groups
This is the grouping where you need to go easy. A light airy tone is required here. Very rarely will you need to produce a volume higher than a solid orchestral mf, even where the part is marked ff. You are working with only a small number of other instruments, and the horn tone is already distinctive. Your basic tone/volume combination for a wind quintet should have a minimum of brassiness and be several notches quieter than you would use in orchestral playing.
From that foundation, you can project (more volume but no more brassiness) when you have a solo line, or occasionally punch out with more brassiness for special effects. But this should all be relative to the basic tone for the group.
Brass quintet or other brass ensemble
A brighter brassier tone is required here. The problem for the horn in a brass quintet is to match the clarity and brightness of the forward-facing bells of the trumpets and trombone. So you need a bigger tone with more buzz to it, and the notes need to be tongued more sharply to match up to the other instruments. But don't overdo it - you still want to sound characteristically like a horn and not an inferior sort of muffled trombone.
Orchestra - classical composers
I'm thinking Mozart and Haydn here, maybe earlier Beethoven as well, where you have a classical-sized orchestra of strings, double woodwind, 2 horns, 2 trumpets and timpani. No heavy brass. Generally, you need your wind quintet tone here, but with a bit more volume and oomph behind it to match up to the larger number of players involved. But remember that in these sorts of pieces, the horns are usually providing inner harmonies and only occasionally solo lines. So you are blending in and need to keep the volume down accordingly. Only occasionally for fanfare-style interjections to you add in a bit of brassiness for a special effect.
Orchestra - Romantic composers
Brahms, Bruckner and the rest. There is now a full section of heavy brass in the orchestra - trumpets, trombones, and sometimes a tuba as well. They will usually provide the fanfare stuff when needed - so you match up to them brass quintet style when required. But when playing solo or blending with the wind and strings, you go for the smoother tone of the non-brassy sounds, but with the volume increased if appropriate to match up to the larger string section you may be with. So your basic sound is smooth but with more weight behind it.
A note about Bruckner - the correct tone for Bruckner a rich and round and mellow with no brassiness at all - even in loud passages with the rest of the brass. Bruckner's loud bits should generally be thought of in terms of a chorale. Think of the sumptuous sound that a really good massed choir can produce. That's what you should aim for in Bruckner. The number of cases where you should allow more brassiness in his symphonies are vanishingly rare.
Orchestra - Modern composers
20th century music tends to have more astringent harmonies to it, and the tone colours required change correspondingly. You have to judge this according to the nature of the piece and the composer. For Elgar you would would have a tone not much different from Brahms. For Shostakovich you will spend a lot of time playing with a deliberately brassy tone as far removed from Bruckner as it is possible to get.
Wind Band/Military Band
Generally more volume. Massed ranks of clarinets will generally produce more sound than massed ranks of strings. Hopefully the conductor will have enough about him to be able to demand a proper piano from the band where necessary. Without strings, a wind band's range of tone colours is more limited, and so dynamic contrasts become more important. Don't worry of you feel that you can't be heard most of the time. You probably can't, and this is intentional. But you are still contributing to the overall effect. Remember that the horns are still mostly doing their usual thing of blending into the middle of the harmonies. It is just that horns inside a predominantly wind sound will be less obvious than horns with strings. Don't succumb to the temptation to blow louder so your unique contribution can be heard (even though it is only afterbeats).
Experience will gradually tell you what sort of tone is required in any individual situation. And if you aren't sure, then you work on the basis that you do what the principal horn is doing and blend with him/her. If you are the principal, then you ought to be able to think about this and make a decision. The decision you make will probably be different to some degree from what I would do in the same circumstance. That's fine, that is part of you finding your own voice and interpretation. But actually make a decision to vary your tone according to circumstances, in order to broaden your expressive range.
Sunday, 7 November 2010
About "bumping"
In the UK, the assistant 1st horn is colloquially called the "bumper". The origin of this usage is a mystery to me, but that is what we call it.
I was asked to bump for Brent Symphony Orchestra's concert last night: Dvorak's "The Noon Witch", Elgar's Enigma Variations, and Brahms 1st Symphony. I was returning a favour to the first horn there, who had come along to play at the Hillingdon Philharmonic's Russian concert last month. It gives me an occasion to talk about bumping and using a bumper.
First about bumping itself. You are there to make life easy for the first horn. That is your sole purpose. So you play whatever is required of you. If you regularly bump for the same player, then you will gradually develop an understanding of each other, and as bumper you will learn almost without verbal communication to know when you need to play. If working with a player you don't know, it's a good idea for the principal to mark in the part when he or she wants you to play. It will take 10 minutes or so before the rehearsal. If you are being brought in for just the last rehearsal, arrive early so that there is time to do this.
If you have been called in to bump, it is probably because it is a heavy programme for the principal. Therefore he may need to pace himself duriuing the rehearsal. That means you might be asked to play more in the rehearsal than in the concert itself. I understand this isn't unusual in a professional situation, but it's a bit hard on the bumper in an amateur setting. It's not unheard of but it is less common.
As bumper, you will find yourself playing tutti accompanying blending passages, so the principal saves his lip for the solos and more prominent parts. So you will find yourself mostly playing when some or all the other horns in the section are also playing. So for that time, you are leading the section. You are setting the tone and the style, and they should be matching you as they would if the principal were playing. That's what good ensemble playing is about.
But you have to remember also that the passages you have been given as bumper are almost all going to be where the horns aren't prominent, where they are accompanying and blending in. So you must do that as well.
And also, you have to adjust your playing to the style of the principal. listen out for his tone, for his style of doing dynamics and articulation, and you match that as far as possible. The idea is that unless he is actually looking in your direction, the conductor shouldn't be able to tell whether it is you or the principal playing.
I've both bumped and played principal when I'm making use of a bumper, and making use of a bumper has given me an insight into what I ought to do when bumping for somebody else.
When you are principal and have the luxury of a bumper, make effective use of him. In an amateur setting, you want the bumper to be willing to come and play for you again, so it is wise to be fairly generous with the number of notes you assign to the bumper. And that helps you save your lip for the solos, which is what your own performance will be judged on. You may have to adjust things a bit according to how experienced your bumper is and how much endurance he has. But as a general rule the idea is to err on the side of giving the bumper more ratther than less to do.
Broadly there are three main ways in which you can use a bumper.
First is for him to play less exposed passages so you can relax and prepare for later solos. A classic example of this is in the first movement of Shostakovich 5th Symphony. There's a major horn and flute duet about halfway through the first movement, where the horn part goes quite high, up to a high B, played piano. Not long before, there is a very loud tutti unison passage for just about the whole orchestra. The principal can easily drop out and leave that to the bumper.
The second way is for both the bumper and principal to play in a loud tutti passage, particularly if there is an accent at the start, or something else where the impact of an additional horn will heighten the effect.
The third way is where there is a long loud high tutti passage, and it's essentially impossible to get through without taking a break. Tchaikovsky and Siibelius symphonies are particularly notorious for this sort of thing. The approach here is to arrange to take alternate sections of 2 or 4 bars. Mark up the part accordingly. When you have a passage like this, it is good practice to play the two bars, plus just the first note of the other person's two bars. The aim here is to ensure that there is no gap between one person finishing and the other starting. A doubled note every 2 bars or so will not be noticed, whereas a gap will be noticed.
Bumping isn't so much fun as playing your own part, but if you are a young player starting out on your career, take every opportunity to bump that you are offered. It is great experience. You get to see (and play part of) principal horn parts. You get to see at close quarters how a more experienced player approaches the major solos in the repertoire. Watch and listen and learn from it, against the day when you will be required to play the same solos yourself.
I was asked to bump for Brent Symphony Orchestra's concert last night: Dvorak's "The Noon Witch", Elgar's Enigma Variations, and Brahms 1st Symphony. I was returning a favour to the first horn there, who had come along to play at the Hillingdon Philharmonic's Russian concert last month. It gives me an occasion to talk about bumping and using a bumper.
First about bumping itself. You are there to make life easy for the first horn. That is your sole purpose. So you play whatever is required of you. If you regularly bump for the same player, then you will gradually develop an understanding of each other, and as bumper you will learn almost without verbal communication to know when you need to play. If working with a player you don't know, it's a good idea for the principal to mark in the part when he or she wants you to play. It will take 10 minutes or so before the rehearsal. If you are being brought in for just the last rehearsal, arrive early so that there is time to do this.
If you have been called in to bump, it is probably because it is a heavy programme for the principal. Therefore he may need to pace himself duriuing the rehearsal. That means you might be asked to play more in the rehearsal than in the concert itself. I understand this isn't unusual in a professional situation, but it's a bit hard on the bumper in an amateur setting. It's not unheard of but it is less common.
As bumper, you will find yourself playing tutti accompanying blending passages, so the principal saves his lip for the solos and more prominent parts. So you will find yourself mostly playing when some or all the other horns in the section are also playing. So for that time, you are leading the section. You are setting the tone and the style, and they should be matching you as they would if the principal were playing. That's what good ensemble playing is about.
But you have to remember also that the passages you have been given as bumper are almost all going to be where the horns aren't prominent, where they are accompanying and blending in. So you must do that as well.
And also, you have to adjust your playing to the style of the principal. listen out for his tone, for his style of doing dynamics and articulation, and you match that as far as possible. The idea is that unless he is actually looking in your direction, the conductor shouldn't be able to tell whether it is you or the principal playing.
I've both bumped and played principal when I'm making use of a bumper, and making use of a bumper has given me an insight into what I ought to do when bumping for somebody else.
When you are principal and have the luxury of a bumper, make effective use of him. In an amateur setting, you want the bumper to be willing to come and play for you again, so it is wise to be fairly generous with the number of notes you assign to the bumper. And that helps you save your lip for the solos, which is what your own performance will be judged on. You may have to adjust things a bit according to how experienced your bumper is and how much endurance he has. But as a general rule the idea is to err on the side of giving the bumper more ratther than less to do.
Broadly there are three main ways in which you can use a bumper.
First is for him to play less exposed passages so you can relax and prepare for later solos. A classic example of this is in the first movement of Shostakovich 5th Symphony. There's a major horn and flute duet about halfway through the first movement, where the horn part goes quite high, up to a high B, played piano. Not long before, there is a very loud tutti unison passage for just about the whole orchestra. The principal can easily drop out and leave that to the bumper.
The second way is for both the bumper and principal to play in a loud tutti passage, particularly if there is an accent at the start, or something else where the impact of an additional horn will heighten the effect.
The third way is where there is a long loud high tutti passage, and it's essentially impossible to get through without taking a break. Tchaikovsky and Siibelius symphonies are particularly notorious for this sort of thing. The approach here is to arrange to take alternate sections of 2 or 4 bars. Mark up the part accordingly. When you have a passage like this, it is good practice to play the two bars, plus just the first note of the other person's two bars. The aim here is to ensure that there is no gap between one person finishing and the other starting. A doubled note every 2 bars or so will not be noticed, whereas a gap will be noticed.
Bumping isn't so much fun as playing your own part, but if you are a young player starting out on your career, take every opportunity to bump that you are offered. It is great experience. You get to see (and play part of) principal horn parts. You get to see at close quarters how a more experienced player approaches the major solos in the repertoire. Watch and listen and learn from it, against the day when you will be required to play the same solos yourself.
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