The Arizona State University Horn Studio
Descant and Triple Horns
What is a descant horn?
I have performed professionally many times on descant horn in orchestral and solo situations. Drawing on this experience I wrote one of the only articles that has ever been published on the descant horn, which appeared in the May, 2001 issue of The Horn Call, "Playing the Descant Horn," and incorporated the text into my book on high horn playing. More on that in a moment.
Two instruments of mine that I used frequently at the time of writing
that book are illustrated at the top left of this page, both by Paxman. On the left is a older model descant in B-flat/high F and the other is a model 83 compensating triple in F/B-flat/high F.
Turning again to the photo above, although the horn at the above right looks a lot like a descant, it is in fact a compensating triple -- a horn not often seen in the USA. Most commonly triples are constructed as a "full" triple in F/B-flat/high F.
I prefer triple horns to "stand" in low F, as do most players using these instruments in the United States. This is because for us double horns normally stand in F; set up in this manner the triple will operate very much like a double horn with a descant "on top."
When should I start playing descant or triple horn?
Practically every full time high horn player owns either a descant or triple horn and many own both. These instruments are not a way to "cheat." They are tools that used wisely can only enhance your ability to play difficult horn parts with freedom and artistry.
In my own case, as a grad student at Eastman and then later Indiana University, I was working very hard and had made the finals for auditions but there were still certain high horn excerpts that were causing me trouble. One particular audition for principal horn in Columbus in the late 1980s was a key one for me in terms of equipment. It was a bit of an odd audition as they advanced only one player, me (!), to the semi-finals. In those semi-finals they asked me to play the excerpt from Haydn 31 that goes up to the high C-sharp. At the time I was playing a 500,000 series Conn 8D. It was really not the right horn for that excerpt, and I did not win the job.
The first instrument I owned with a high F side was the instrument above, purchased shortly after that audition, a Paxman full triple made in December of 1967. I did not know it at the time, but it was actually the first triple horn produced by Paxman! There were things about the horn I liked (that is a much younger me holding it in the photo above, taken by my dad), the high range was really quite nice, but it was also quite heavy and the low range was rather stuffy. I recall enjoying the horn a great deal playing first horn on Mahler 9, but eventually I became afraid of the low range after using it to perform second horn on a series concert on it in the Evansville Philharmonic. I could not use that particular horn for my general playing was a bottom line.
It was replaced with this Holton descant, which served me well in auditions and when I performed third horn in Nashville. In this period I used the descant only for certain works; I primarily performed on double horn, using the descant generally for higher, lighter works. Queen Mab is wonderful on a descant!
Jumping ahead to more recent years, I subsequently purchased a Paxman compensating triple that was ideal for big works when I was playing principal horn at Brevard, and upgraded to a vintage Paxman descant. As I rarely play principal on big works now the triple is no longer in my hands, but I really enjoy the descant for works where I want a lighter sound, such as Baroque concertos.
For me personally, in the end, for general playing and teaching horn a double horn is my main instrument. However, for sure there is a place for all three types of horns in the music performed by horn players today.
Descant and triple horns are topics that I always cover with advanced students in the ASU horn studio. It is also a topic that, along with high horn playing, about which very little has been published. This fact led me to write a book:
Playing High Horn: A Handbook for High Register Playing, Descant Horns, and Triple Horns
A great resource with an emphasis on the effective use of descant and triple horns. Includes complete parts for the Brandenburg Concerto No. 1 and B Minor Mass of Bach, Concertos by Telemann and Förster, the Symphony No. 31 and Divertimento a tre of Haydn, the Symphony No. 40 of Mozart, the Schumann Concertstück, excerpts from other works of Bach, Mozart, Beethoven, Berlioz, Dvorak, Ravel, and Shostakovich, exercises for range development, notes on equipment and fingerings, and much more. 116 pages.
Among my publications initially this was the bestseller. Playing High Horn was a book about all things high horn--high range development, use of descant and triple horns, high range solos and excerpts, tips of various types, etc. It was a little hard to categorize in a way as it was a combination method and excerpt book with solos and more, a fact that ultimately led me to withdraw it from publication. However, I later released a version of this publication slimmed down as an E-Book! Purchase this PDF version securely from Horn Notes Edition.
The Little Descants
Periodically I post items on descant and triple horns and high horn playing in Horn Matters, a great new resource on all things horn. Search in the category "Descant and triple horns."
There is a time coming soon when every serious, advanced horn student owns a descant or triple horn, much as every serious trumpet, trombone, or tuba student owns several instruments at different pitch lengths that they use in different works.
The days have passed when a professional horn player, especially a professional high horn player, can own just one horn. Don't be the last one to learn about these instruments and check out the new version of my high horn book at www.hornnotes.com
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|Contact Dr. Ericson at:
School of Music, Arizona State University
Tempe, AZ 85287-0405
Phone: (480) 965-4152
Dept. Fax: (480) 965-2659.