TUNING
THE HORN TO ITSELF
Dr.
Brian Casey[1]
Concept
One Ignore
the main tuning slide (the first slide the leadpipe leads to) and the main
tuning slides for the F and Bb sides of the horn, focusing attention first on
the valve slides. Before tuning to the ensemble’s standard pitch, the objective is to
tune the horn to itself.
STEP ONE: First, compare the F horn valve slides with
open tones on the F horn[2]
If in doubt as to which valve slides pertain to which
side of the horn, remove the top slide of a pair (which usually belongs to the
F horn). Play a note on the F horn with
that valve key engaged. If a buzz
occurs, that slide belongs to the F horn; if a normal tone occurs, the slide
belongs to the Bb horn.
As you compare each pair of fingerings, alternate several times
between the two,
and avoid any embouchure adjustments.
STEP TWO: Next, compare the Bb horn valve slides with
open tones on the Bb horn, 2 using the method described above.
Concept
Two Continue
to ignore the main tuning slide—in order to determine whether the other
non-valve slides tune the F horn or the Bb horn. Now that the F and Bb sides of the horn are
in tune with themselves, the next objective
is to match the two sides.
If in doubt as to which main tuning slide pertains to
which side of the horn, remove one of them and play a tone without the trigger
engaged. If a buzz occurs, that slide
belongs to the F horn.
STEP THREE: Align the F and Bb sides of the horn
by comparing the third-space C on both sides of the horn. If you will be playing mostly in the low
range, you may want to make your primary adjustments with the F-horn slide; if
you will be playing mostly in the mid and upper ranges and using the Bb horn,
consider making your primary adjustments on the Bb side.
Caveat Lector: No horn is “perfectly in tune.”
No matter how well you tune the horn to itself and then to A440, you
will always need to use your ears as you play!