The discovery of crooks is usually a great and unexpected pleasure to performers who have previously used only modern double horns, for they differ greatly in timbre and response.
#SHROOK MUSIC MANUAL#
Characteristics of manual crooks Īccording to John Humphries' The Early Horn, A Practical Guide:
The large cases required for carrying them were often works of art themselves. The main disadvantage of this system was that so many crooks needed to be transported. Horns constructed with the large number of crooks needed for playing in an orchestra are sometimes referred to as orchestral horns ("Orchesterhorn" in German). Although crooks for low B and B ♭ were also occasionally made, these keys were usually reached by adding couplers to the C crook.
After about 1828, an additional crook in A ♭-alto was also included. Horn players typically needed at least eight crooks, for B ♭-alto, A, G, F, E, E ♭, D, and C. These instruments used a separate crook for each key, and the crooks maintained a fairly uniform distance between the mouthpiece and the body of the instrument. Terminal crooks Īround 1800 in France terminal crooks were invented, which proved to be extremely popular. Some examples are a pair of invention trumpets by Michael Saurle (1805) at the National Music Museum. The Inventionshorn design was also applied to other brass instruments. (Orchestra players needed more crooks since they needed to play in more keys). About 4 years later the Parisian instrument makers Joseph and Lucien-Joseph Raoux, in collaboration with Carl Türrschmidt, came out with the cor solo, a refined version for soloists with crooks in G, F, E, E ♭, and D. Haltenhof replaced the tenon and socket fittings with slides in 1776. Fine-tuning of the Inventionshorn remained a problem until J.
#SHROOK MUSIC FULL#
The new horn was capable of the full range of transpositions and quickly became a regular member of the developing symphony orchestra. Working with the Dresden instrument maker Johann Werner, Hampel perfected the Inventionshorn sometime between 17. This presented the new problem of fitting the longest and shortest crooks into the same small space. To get around these problems Hampel devised a new instrument, the inventionshorn, in which detachable crooks (or inventions) were inserted not in the mouth pipe, but in the middle of the horn. This important innovation had been introduced around 1720, and codified by Anton Hampel of Dresden in about 1750, so that the horn could be played chromatically. Moreover, the instrument became so long that it was sometimes difficult to reach the bell for hand-stopping, a technique for lowering the pitch of individual notes a semitone or more. In high keys, the instrument was uncomfortably close to the face, while in low keys, so many pieces needed to be added that the instrument could become unstable, adversely affecting the accuracy of the playing. The master crook and coupler system presented some problems. Charles Tully's Tutor for the French Horn, published in London, recommended this system for beginners as late as 1840.
This simple and relatively inexpensive solution remained in use even into the 19th century. Fine-tuning was done with even shorter segments called tuning bits. Additional pieces, couplers, of different lengths were inserted between the master crook and the body of the horn to change the horn's length, and thus the pitch. Around 1700 the Leichnamschneider brothers in Vienna developed a horn with a removable mouthpiece that could be connected to a short piece of tubing, called a master crook. A different horn was required for different keys, and the instrument could not be tuned. This presented problems in concert situations. Early horns had unalterable lengths and permanently attached mouthpieces.
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