Hello Scott, your answer is most convincing as it reflects the truth in orchestra life.
May I add just one sentence to this thread: the ideal second horn is the "king maker" in the horn section, as the second horn supports the first, prepares the entrances of the first etc. (it should be so, but is not always), creates the sound mix together with the first (but often against the first because knowing all better !). The best second horns are other first horns ( able to do the first´s job also, as they know the difficulties & dangers of the first too well), as they really support the acting first. Such remains utopia often. ########################################################################## Am 28.02.2011 um 21:42 schrieb [email protected]: > > I have read the preceding arguments with some interest. I have played > principal, second, and fourth horn professionally (occasionally subbing on > third, plus an extra like 5th, 7th or even Wagner tuba) in orchestras and > played horn 1-4 in professional bands. If this were a band, I would probably > recommend third, but for orchestra, things are more complicated. One thing, > however, that should not sway your decision is the prevalence of solos. In > an orchestra, all of the horn parts are solo parts and require solo capable > players (in other words, in a modern orchestra everyone must be able to play > everything in the entire range of the instrument). As I have written before, > the literature has many solos for all horn parts. Using second horn as an > example, look through the Beethoven symphonies, remember that the Rite of > Spring starts with solo bassoon and second horn, Ein Heldenleben's opening > horn solo is restated by the second hornist 16 measures later, down a minor > third! > Here is the way that most of the hornists in orchestras that I have played in > view the standard horn section: > > Principal (also sometimes called Solo horn): Provides style, intonation and > section leadership. > Second horn: Shares brain stem with Principal. If the principal provides > the style, the second horn either makes or breaks it (another way of saying > this is: The principal provides the style; the second horn sets the style). > Playing second is a lot like playing catch* with the principal horn. > Third horn: Either is a second principal horn (if the music is paired with > horns 1&2 in one key and 3&4 in another), assistant to the principal (many > times the principal will lay out if the third doubles first), or provides the > loudness in loud high playing. Of course, sometimes the third player is just > the third player (Richard Deane wrote a great article for The Horn Call about > this). > Fourth horn: Either shares brain stem with the 3rd horn or provides the > foundation of the quartet sound. > > I am aware that some people may find this controversial. This is, however, > what works in the region that I live and play in. As an additional > disclaimer, I won the fourth horn in the orchestra I play in. When the second > horn position opened up, I auditioned and won the second position (which I > currently hold). When the third horn position opened up, I did not audition, > even though it may have increased my chance to sub as principal for one > simple reason: We play more stuff for only two horns then there are > opportunities to sub as principal. In other words, the pay (and play!) is > better. > > Respectfully Submitted, > Scott Young > > * "Catch" is an American game of tossing a (base)ball back and forth. > > _______________________________________________ > post: [email protected] > unsubscribe or set options at > https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/hpizka%40me.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
