by Ralph Lockwood

Ralph Lockwood and two of his favorite McCracken custom piston horns.

As a hopelessly right-brained, intuitive musician, I found in George McCracken (1931-2024) the perfectly balanced creator who could bring into reality his ideas, his curiosity set in tangibility—a transmuter of “lead into gold” through the alchemy of his (master) mind. I remember vividly having a horn quartet session in his basement in East Cleveland in the 1960s when George brought the prototype of his newly designed Eroica horn. We all played it, and we all despised it. It was like blowing across a coke bottle; there was no resistance (impedance) at all…nothing for the lips' vibrations to “grab hold of” or on which to gain a footing. George was as pleased about this as we were appalled. He averred that he would now take the horn and build in impedance, resolute that it would improve the design. And this he did, and the rest is history. For many years, he was chief designer/engineer at the King Instrument Company (now United Band Instruments) in Eastlake, Ohio, a place which became almost a second home to me. George turned his hands and brain and heart to the designs of trombones, tubas, and, certainly, horns, and he was also able to finesse some notoriously squirrely Wagner tubas with his acoustic tinkering. The Strobo-Conn and the (dreaded) anechoic room were invaluable tools; innumerable discussions ensued through the years. Dr. Arthur Benade entered the picture, and we became friends as a result, and more elucidating conversations with this immeasurably wise factotum transpired. But that is another story, and this is about George.

There are all sorts of "intelligences" in the universe. George's merger of the practical with the artistic was a true marriage of right- and left-brained brilliance. One time, he sold me a King horn hand-picked off the line, and I played on it for weeks, then returned it to him, saying, “This horn drains me; something is wrong. I think the bell is too thin!” “Impossible!” exclaimed George. Well, to make a long story short, after much hemming and hawing, I asked, “Please just get out your micrometer and measure the thickness of the bell throat.” He did, and, sure enough, it was several thousandths too thin. The intuitive part of me “felt” something was awry. George, always the true investigator, keyed into the mysteries of metals and the vagaries of instrument design, and his insatiable intellectual curiosity was part-and-parcel of his consummate skills. It was so valuable to be able to play for him, and for Dr. Benade, at their respective laboratories, to get expert advice and feedback. I tried so many mouthpipes and bell flares through the years in countless permutations; it’s enough to make the brain (and chops) swim.

My favorite horn for many years was a single F Conn piston horn, built in 1918, with extenders to pitch the horn in E, E-flat, and D. (It is now in the Selch collection at the Oberlin Conservatory of Music.) The efficacy of the piston valve seems a no-brainer to me, and so George designed and built first a wonderful B-flat/f alto descant horn with pistons, and then a full double piston-valved horn. The aforementioned Conn single was the cognate for these. Exceptional designs and horns, these were a joy to play.

Genius is a not a term to be lightly bandied about, but it may be applied to George without reservation. Veni Creator Spiritus shouts the chorus in the opening of Mahler's 8th Symphony, and that creative spirit is an indelible part of George's indomitable persona.

by Hannah Culbreth

If you have ever been paid to play the horn, you are the beneficiary of someone’s philanthropy and generosity. There is an entire world behind your paycheck! If you’d like to know what it’s like to be a part of that world, keep reading.

I spent the two years right after graduating from the Curtis Institute of Music playing full-time in orchestras. My first season (22-23), I played 3rd horn in the Atlanta Symphony. The following season (23-24), I played 2nd horn in the Phoenix Symphony. Both of these experiences taught me so much, and I met many incredible and warm people along the way. Throughout my life and career, I have always had the inner longing to be more involved with my communities. I enjoyed putting together my own projects, teaching, and volunteering both while in school and in professional orchestras, but I still felt like I needed to contribute to the longevity of orchestras in a closer way. I believe that I’ve found the perfect fit for me in the development field.

The biggest piece of work in development is relationship-building. We put incredible importance on fostering relationships with our donors and community members in order to ensure long-term financial stability for our organization. Through developing these relationships, we can understand both why the symphony has a positive impact in our community and how to make sure it grows and thrives. The technical side of the job includes grant writing, soliciting sponsors, advertisers, and donors, fostering partnerships, running campaigns, and managing finances. The aforementioned skills are all influenced by the relationships we build.

Horn playing and development are much more parallel than one might think. As horn players, we are constantly tuning in to the intricacies and worlds of the people next to us in order to internalize and react to the many moving parts around us in order to make refined art together. Similarly, in this field, you must truly understand motivations and personalities. Development is a great career path for those who love the communal aspect of playing in ensembles, have a deep relationship with music, and have the listening and communication skills to express the need for music in our communities.

As a full-time development professional, I spend the average Monday-Friday each week out at my donor solicitation meetings and in the office or working at home. Some weeks, I am able to drive about 50 minutes south to sub with the Baltimore Symphony Orchestra. Occasionally, I am able to work fully remote and travel a bit farther to play with different orchestras. One of my administrative colleagues, an incredible cellist, also travels across the US to sub in major orchestras and as a cover conductor. The best part of the stability that comes from having a full-time administrative job is that you only need to take gigs that provide some sort of joy or fulfillment. This balance ended up being perfect for me and my personal needs. Hearing about why all sorts of folks enjoy going to the symphony is both healing and motivating.

The beautiful thing about consistently sharing with patrons why music is impactful is that it reminds me every single day why I play the horn. I find myself seeing each practice session as a gift. The limited time and bandwidth also requires each session to be efficient, and I’ve found that my playing has only improved. There is a misconception that transitioning into administrative work will take away from your musical skills and love for your instrument. I’d like to argue that it can really consistently remind you why it is important to do what we do, directing even more meaning to our horn playing. Only we can define what success looks like in our lives. Success, to me, looks like making sure musicians and concertgoers get to always experience what I’ve been so lucky to experience in my life as an artist.

Performing is the cherry on top.

I truly believe that horn players have the malleable and intuitive personalities to be wonderful development professionals.

English version

by Fernando Ruiz

Boquillas de madera. ¿Como surge una idea tan descabellada de hacer una boquilla en madera?

Es algo tan simple como mirar al pasado de cada instrumento, más atrás de la edad de bronce y el uso de los metales.

El uso de madera era lo más común, en todos sus ámbitos y secciones, desde construir una casa hasta llegar al arte. Cuando hablamos de instrumentos de viento como la trompa o corno francés, uno de los aspectos menos obvios, pero profundamente influyentes es la boquilla. La mayoría de los músicos (por no decir todos) suelen utilizar boquillas de metal, las boquillas de madera son poco frecuentes, pero si utilizadas, no solo por su atractivo visual, sino también por las cualidades únicas que ofrecen en términos de sonido.

Se usaban boquillas de madera talladas a mano, se seleccionaba una madera de buena calidad para comenzar a darle forma. Las maderas mas comunes que se usaban son el Nogal y Arce dado que ofrecían una dureza y durabilidad perfecta y uno de los instrumentos que no mejor nos expone este caso es La trompa alpina, la cual en pleno siglo XXI se sigue construyendo en madera y tocando con una boquilla especial y especifica en madera. También es verdad que hoy en día existen más materiales para hacer ambas piezas (instrumento y boquilla) como la fibra de carbono y el plástico, pero estas no ofrecen esa calidad sonora y única que puede ofrecer la madera.

Con el paso del tiempo la humanidad logró herramientas más efectivas para moldear el metal, dejando atrás el uso de la madera y dando una evolución gigante a los instrumentos y a la música. Pero nuevamente surge la duda y las ganas innovar preguntándonos ¿Por qué no usar la madera con la tecnología actual?

La elección de la boquilla tiene una gran importancia en la forma en que el sonido del instrumento viaja y se proyecta. Durante un largo tiempo de estudio de las boquillas he descubierto que la madera presenta ventajas importantes para aquellos que buscan un timbre más cálido y suave, todo dependerá de la madera que seleccionemos. Estas boquillas nos dan una sensación particular y diferente a otros materiales. Lo principal es su punto de apoyo y comodidad, por ejemplo, el no sentir el frio metal para comenzar a tocar o después de una pausa larga no tiene comparación.

El tipo de madera influye directamente en la calidad del sonido y la comodidad. Estas son algunas de las maderas más comunes utilizadas en la fabricación de boquillas para trompa, aunque en el transcurso del tiempo, he descubierto ciertas maderas (como lo es el Palo de serpiente o la Zebrano) que destacan por sus características sonoras que poco a poco y cuando estén los resultados definitivos les daré a conocer.

by Katy Carnaggio

Great horn playing isn’t just about executing; it’s about predicting. Our brains continuously anticipate what comes next. This predictive ability, known as internal modeling, allows musicians to pre-hear, pre-feel, and pre-shape sound before it leaves the instrument, shaping accuracy and expressiveness.

Imagine you’re given a pencil and a blank sheet of paper and asked to draw a white chair. You wouldn’t draw the chair itself. Instead, you sketch the edges, the shadows, and the negative space, trusting that the chair will emerge. Music works the same way. A note isn’t something you directly produce; it’s the result of everything around it—breath, embouchure, posture, and thoughts. How you are around the note is the note.

Musicians who actively predict the next note play with greater fluidity and precision. But predictive reasoning—trusting a white chair will emerge from graphite lines—isn’t about control. It’s about surrender.

We trust this process in other areas. A pencil isn’t designed to draw something white, yet we never doubt that we can. But when handed an instrument built to vibrate with sound, we hesitate. We doubt ourselves. We’re unsure of what picture we want to create. We second-guess the breath, tense before the note speaks, and adjust mid-phrase as if sound is something to chase rather than create. But just as the chair appears through drawing, sound emerges naturally from the conditions that create it.

Refining predictive reasoning in the practice room builds a rich, flexible internal model of sound. It’s an ongoing logic puzzle: if A, then B. Separating thought from the play-outcome loop helps you learn faster, explore more deeply, and lose yourself in moments of flow.

But in performance, especially in collaboration, music isn’t something you execute. It’s something you step into. It unfolds in real time, shaped by the moment, the space, and the musicians around you.

When you’ve internalized the thoughts and sensations needed to create your intended sound, surrender is not passive. It’s the strongest form of presence, a balance of determination and responsiveness. You are not playing the music; you are the music—moving with it, shaping and being shaped by it. And in those rare, extraordinary moments, ego disappears. There is no you playing, no them playing around you. Only sound, alive in the moment.

True connection. 

(Check out part 2 next month: How to Develop Predictive Reasoning in the Practice Room.)

by Inman Hebert

Do you have difficulty negotiating fast passages or rapid valve changes? Sluggish valves harm precision and can negatively affect pitch and tone. By not fully or quickly engaging, sluggish valves create improper airflow, leading to inconsistencies in playing. Whether or not our horn-playing has come to the point of showing these symptoms, we all need to incorporate regular maintenance for rotary valves into our routine. Understanding that the accumulation of dirt and debris, along with insufficient oiling, causes this sluggishness helps us identify some simple solutions.

For the buildup of dirt and debris, consider whether your horn has had a professional cleaning in the last year and whether you periodically have your own gentle cleaning routine scheduled. We must also not forget that a critical part of our maintenance routine includes oral hygiene. As students, we often eat on the way to class or rehearsal. Dirty buildup comes from our own mouths! Brushing our teeth or, at a minimum, thoroughly rinsing our mouths before playing will cause fewer problems with our horns.

Even though we may be busy, we should maintain a regular and sufficient oiling routine. Typical rotary valves need to be oiled first at the top (under the valve caps), as this location best allows the valves to rotate freely. Recommendations on the frequency of this range from daily to at least once a week, depending on a variety of factors, such as (primarily) the age of your horn. Remove the valve cap and place a drop onto the raised center of the bearing. A slightly heavier oil helps reduce noise and creates a tighter seal between the valve and the cylinder, but the viscosity needed varies by horn. Before replacing valve caps, check the notches on the center of each bearing for correct alignment of the rotors in their canisters; improper alignment adversely impacts airflow. Finally, gently tighten the valve caps or rotor movement may be restricted. 

Then, turn the horn over and oil the other end of each rotor, the bottom of the rotary valves, at least 3-4 times each week. Whatever oil you choose, use a needle-tip bottle to ensure the precision placement of one oil drop in the small gap between each valve post and the turning rotor spindle (to which the lever is connected). Upon completion, pull out the tuning slides a little without pressing the levers to create some suction that will pull oil onto the bearing surfaces. Finally, wipe stray oil off the outside of the horn as it can damage lacquer. Oiling the tops and bottoms of rotors on the recommended frequent schedule means that a thinner oil may be used.

Methods vary on the choice of using the valve slides or the slide tubes to oil rotors, but in either case, removing slides while pressing the corresponding rotor starts the process. If dropping oil into the inner slide tubes, keep the levers upright and then insert the slides all the way into the horn. Rotate the horn so that the oil runs from the slide tubes into the rotors. Rock the horn back and forth and press down on all the levers repeatedly to ensure that the oil is distributed to all the rotors. Drain any excess oil. If oiling via the outer slide tubes, remove the valve slides, hold the horn so that the levers point to the floor, and use an eyedropper to squeeze oil as far down the slide tubes as possible onto the rotors, then return the slides. Again, rock the horn to disperse the oil, and don’t forget to return slides to in-tune positions. 

As students, we understand that only through consistent practice can we improve and maintain our playing ability. Similarly, rotary valves need regular cleaning and lubrication to prevent sluggishness so that our playing is optimized. As lubricant maintenance protects your horn against internal sludge and oxidation, its playing life is prolonged. By adopting these maintenance practices, we can ensure a responsive horn that allows for consistent and precise control.

Editor’s Note: Related issues include misshapen, worn, or poorly-sized bumpers and old or worn lever springs. Have your teacher or a repairman help check for these issues at least annually. Also, snake out the leadpipe and clean your mouthpiece frequently; dirty buildup starts in these places.

by Vidhurinda Samaraweera

In February 2025, Sri Lanka's horn playing community experienced an unprecedented event as Professor Peter Arnold, a distinguished German hornist, conducted a series of masterclasses and culminating recital in Colombo. Historically, opportunities for specialized horn training and ensemble performance in the region have been scarce, primarily due to a lack of formally trained educators. This initiative, organized by the Gustav Mahler Society of Colombo (GMSC) in collaboration with Musicmatters Sri Lanka, marked a significant milestone in the region’s horn playing journey.

On February 13th and 14th at Musicmatters Sri Lanka, Professor Arnold led intensive masterclasses attended by local horn players and enthusiasts. Demonstrating his commitment to nurturing talent, he generously provided each participant with a Markus Arnold 'BuzzR', a specialized tool designed to practice buzzing without the instrument.

The sessions explored several critical aspects of horn performance. Professor Arnold emphasized the importance of correct breathing techniques and posture, introducing exercises to rectify common breathing habits and promote diaphragm engagement.

Participants engaged in buzzing exercises aimed at strengthening embouchure and improving tonal quality. Revisiting the instrument's roots, the masterclasses incorporated fundamental natural horn exercises, offering players both historical context and technical proficiency. Although natural horns were not available, participants used their instruments like natural horns by playing in only a single harmonic series at a time. A significant focus was placed on solo horn repertoire with Professor Arnold sharing insightful interpretations and practical approaches to mastering the works. Additionally, a five-member horn ensemble received training while exploring diverse genres and ensemble dynamics under his guidance.

The culmination of this endeavour was a recital on the morning of February 15th. Professor Arnold began the event with two solo pieces, captivating the audience with his artistry and technical prowess. Following his performance, students showcased the results of their intensive training.

The recital also featured ensemble works arranged by Professor Arnold, including Glottertäler Hornruf, an evocative piece highlighting the ensemble's cohesive sound. (This is often played at the well-known Hornissimo Festival hosted by Prof. Arnold in Germany.) Ave Maria and Blues for Horns (a spirited piece which concluded the recital on a high note) were highlights which the audience seemed to enjoy.

Professor Arnold's visit left an indelible mark on the Sri Lankan horn community. Participants not only enhanced their technical skills but also gained a renewed appreciation for the instrument's rich heritage. As Country Representative of India and Sri Lanka for the International Horn Society, I am happy to share with our global horn community the report of this momentous occasion. It stands as a testament to the unifying power of music and the continuous pursuit of artistic growth.

• IHS Premier Soloist Competition (March 18)—prizes of up to $1000 and additional prizes provided by Jeffrey Agrell, Medlin Horns, College Prep for Musicians, and Dylan Skye Hart.
• The Jon Hawkins Memorial Award (March 20)—up to $1500 to be spent on the costs of attending IHS 57, as well as a solo performance opportunity at the symposium, instruction from a symposium artist, a copy of Werner Pelinka’s Concerto for Jon, and a one-year IHS membership.
• Newly revamped for 2025: The Paul Mansur Award (March 20)
  This award, named for the longtime Editor of The Horn Call, Emeritus Dean, and IHS Honorary Member, Paul Mansur, will provide opportunities for full-time music education students to receive five mentorship calls from a mutually agreed-upon mentor.
• New for 2025: Michael Hatfield Service Award (March 20)
  This award was created in 2024 in memoriam of Honorary Member Michael Hatfield, who was recognized as a dedicated teacher and distinguished performer. The Michael Hatfield Service Award will be awarded to a high school or university undergraduate student who has contributed in service to the horn community or to their community-at-large.

Full details of all IHS Competitions and Awards are available at Awards & Competitions - IHS Online.

by Layne Anspach

This month, CMC will focus on Jean Papineau-Couture’s Suite for flute, clarinet, bassoon, horn, and piano (1947). Papineau-Couture (1916-2000) was a Canadian composer and administrator. He studied composition with Quincy Porter at the New England Conservatory and later with Nadia Boulanger. Papineau-Couture taught at the Quebec Province Conservatory (Montreal) and then at the University of Montreal where he eventually became dean. Serving as president of numerous organizations, including the Canadian League of Composers, the Canadian Music Council, and the Canadian Music Centre, he proved to be an effective administrator. His compositions range from solo pieces to large orchestral works.

The Suite for flute, clarinet, bassoon, horn, and piano was composed shortly after his appointment to the faculty of the Quebec Province Conservatory. The work is considered part of his early neoclassical period. The reference recording can be found through the Canadian Music Centre Library here. The Suite is in four movements. Prélude begins with a flowing melody, theme A, presented by the flute then passing to the piano. The volley is repeated with varying accompaniment, and all with meter changes which keep listeners guessing. Theme B is led by the horn with countermelodic material in the flute and clarinet. Theme B is passed from member to member, and finally the piano retransitions to A. Both A and B themes come back in turn with a short coda on the A material which builds to an emphatic ending.

Starting at 3:17 in the recording, the second movement, Sérénade, is essentially a horn solo with piano accompaniment. The initial 5|8 meter adds an off-kilter lilt to the movement. The B section shifts to 5|4 with entrances in the lower register of the horn. The A section returns with elongated low horn notes and an unchanging piano accompaniment to finish the movement.

The third movement, Canon, at 6:37, is a duo between flute and clarinet. True to its name, the movement is a slow methodical canon between the two instruments. An ABA form unfolds with the middle B section encompassing quicker rhythmic motives to contrast with A.

Scherzo, at 9:51, reestablishes the use of the entire ensemble in a 7-part rondo form. The opening refrain is a display of continuous frantic sixteenth notes in the piano, set against a flowing line in the winds. The B section is a dialogue between winds and piano, but eventually the piano completely takes over. The refrain returns in a new voicing. The C section omits the piano, and changes tempo and character. ABA returns with re-orchestration of parts. The final A section starts strong, but slowly diminishes to set up a startling final chord.

Ein Waldhorn Lustig

by Zora Slokar, IHS 57 Featured Artist

A musician's success depends not only on talent but, crucially, on the ability to maintain consistent daily routines. Years of conscious practice are essential. Discipline is the foundation that enables us horn players to perform at a high level over many years. Working on technique, musicality, and mental strength requires relentless practice and the willingness to push through difficult phases.

A crucial part of our daily practice is the care and strengthening of our lip and facial muscles. Our body is a part of our music instrument, making its care and maintenance an essential part of our daily practice. Developing this discipline during our studies is vital. Unlike string players, who can replace their strings, or a timpanist who can adjust the drumhead, we horn players cannot simply exchange our embouchure.

I always emphasize in my teaching that being a horn player must become a lifestyle. This means starting the day early—ideally with physical exercise and a cold shower followed by a first practice session. This structure allows enough time for relaxation and muscle recovery between further practice sessions. It is essential to regularly push our limits while also incorporating conscious recovery phases.

As Thomas Edison famously said, "Genius is 1% inspiration and 99% perspiration." While this is a figure of speech, it underscores the idea that diligence, persistence, and continuous effort matter far more than talent. I often think of the iceberg metaphor: what people see—beautiful performances—is just the tip, while beneath the surface lie perseverance, discipline, hard work, sacrifice, courage, tears, and disappointment.

Yet, beyond the relentless effort, we must also nurture the joy of playing. I believe that anyone who chooses to become a horn player already has a deep passion for music and the instrument. This passion and musical sensitivity grow even stronger the more expressive and technically proficient we become through dedicated practice. A solid technical foundation allows us to focus more on musical phrasing rather than struggling with technical difficulties.

Finally, a few words on mental strength. The words of the Roman poet Juvenal, "Mens sana in corpore sano" (A healthy mind in a healthy body), are of central importance to me. A well-rested and properly nourished body is the foundation of a functioning mind. Therefore, we must establish routines that support both physical and mental health. Each horn player must find what works best for them, whether it is yoga, autogenic training, the Feldenkrais Method, the Alexander Technique, or simply a walk in nature.