Hornmasters: Farkas on Horns

For the next topic in the Hornmasters series we turn to horns and begin again with Philip Farkas. For the average reader today, this section of The Art of French Horn Playing must seem especially dated, but is still worth a closer look.

In the context of his era there were three possible models of horn that could be used, the single F, the single Bb, and the double horn. Farkas came out strongly against the use of the single Bb for beginners, saying “elementary organizations should use F horns exclusively. Beginners should always start with F horns if they intend to have a firm foundation for their advancement.” However, earlier on the very same page Farkas wrote that by use of the B-flat horn players “will miss fewer notes, have a fuller tone in the high register, and gain in endurance and confidence.” In his era and continuing to this day there is a divide between players who advocate for starting horn players on the Bb horn as they will advance more rapidly and those players who advocate for the F horn out of a sense of tradition. To again quote Farkas,

The F horn, having an inherently “correct” horn tone plus requiring the student to develop a really good embouchure in order to negotiate the many lip changes which produce the notes unaided by valves, invariably gives a more solid foundation to the student who intends to continue into professional playing. Because of this ability of the F horn to instill the proper tone and general approach to horn playing, I prefer to see all beginners use the F horn.

While the single Bb was the horn of choice by many professional players of his time, including the great British horn soloist Dennis Brain, the double horn is certainly seen by Farkas as the solution to the question of F or Bb horn.

Perhaps ninety percent of our professional players use the double horn, which combines the best features of both the F and B flat horns. It makes use of the velvety F horn tone in the middle and low register, just where the B flat horn tone can sometimes become uncharacteristic. Then, by means of a thumb valve, the horn can quickly be switched to its B flat side, perhaps for the upper register, where the notes are much easier than on the F horn and even the tone is to be preferred.

Farkas presented one important caution about trying new equipment.

There is one necessary warning, I believe, about this experimenting. It is best to do little or no experimenting during the playing season, as it is quite detrimental to precision, tone, and finesse. Wait until the off-season.

Farkas offered a final observation on good horns compared to bad horns.

Fine artists demand the best instruments obtainable, yet will amaze us with the quality of music they can, if necessary, draw from a piece of musical junk. On the other hand, poor or indifferent performers cannot make even the finest instruments sound good. Therefore, make no excuse for the instrument. Practice and sheer hard work will make your present instrument sound always more beautiful. Should it be an inferior instrument, the conquering of its defects will develop your artistry all the more, and the eventual, inevitable change to a better instrument will only serve to further increase that artistry and the pleasure of playing.