This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1883 Excerpt: ...for by the greater perfection and evenness of its scale, and by doing away with the constant change of crooks, necessary on the natur al Horn, with every change ot key. Most Horn players use the F Horn, and transpose their parts when they are written for Horns in other keys. There is little use for composers to write for Horns in any other key than F, for players will not take the trouble to change the crooks if they can possibly avoid it. There i« no doubt much advantage to the performer in using the F Horn exclusively, for greater certainty in producing the tone, and more perfect intonation is insured by playing an instrument always in the same key; and this applies with great force to the Horn, the most treacherous of instruments. Many composers of the present day, especially of dance-music, write for F Horns only. Those who aspire to the classical style, still adhere to the "old way." The Horn with three valves or pistons, can produce the complete chromatic scale from, 4 are difficult to strike with certainty, or to hold steadily in tune. The three or four highest notes are also difficult unless properly led up to, as in the following from Beethoven's Eroica Symphony:--168. It is usual to write Horn parts in the Treble clef, but for certain low notes the Bass clef is used.' Sometimes the Treble and Bass clef will be found together on the same stave:--From which it will be seen that music in the Treble clef sounds lower than it is written, while in the Base clef it sounds higher. Horns in low C, B, Bb and A, are exceptions as to the Bass clef. The following (second Horn 6olo) from Beethoven's Fidelio Overture in E will illustrate the custom of writing thf Bass notes an octave lower than would seem to be proper. The table below will be foun...
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