french horn essay

History of the French Horn

A Musical Invention Based on Early Hunting Horns

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Throughout the last six centuries, the evolution of horns has gone from the most basic of instruments used for hunting and announcements to more sophisticated musical versions designed to elicit the most melodious sounds.

The First Horns

The history of horns starts with the use of actual animal horns, hollowed out of the marrow, and blown into to create loud sounds announcing celebrations and the start of feasts, as well as for sharing warnings, such as the approach of enemies and threats. The Hebrew shofar is a classic example of an animal horn that was, and still is, widely used in celebrations. These culturally significant rams' horns are used to announce major holidays and celebrations, such as Rosh Hashanah and Yom Kippur. However, the basic animal horn does not allow for much manipulation of sound other than what the user can do with his mouth.

Transitioning From Communication Tool to Musical Instrument

Making the transition from a method of communication to a way to create music, horns were first formally seen being used as musical instruments during 16th-century operas. They were made from brass and mimicked the structure of the animal horn. Unfortunately, they provided a challenge for adjusting notes and tones. As such, horns of different lengths were introduced, and players had to switch between them throughout a performance. While this did provide some added flexibility, it wasn't an ideal solution, and horns weren't widely used.

During the 17th century, additional modifications to the horn were seen, including the enhancement of the bell end (larger and flared bells) of the horn. After this alteration was made, the cor de chasse ( "hunting horn," or "French horn" as the English called it, was born.

The first horns were monotone instruments. But in 1753, a German musician called Hampel invented the means of applying movable slides (crooks) of various length that changed the key of the horn.

Lowering and Raising the French Horn Tones

In 1760, it was discovered (rather than invented) that placing a hand over the bell of the French horn lowered the tone, called stopping. Devices for stopping were later invented, which further enhanced the sound that performers could create.

In the early 19th century, crooks were replaced by pistons and valves, giving birth to the modern French horn and eventually the double French horn. This new design allowed for an easier transition from note to note, without having to switch instruments, which meant performers could keep a smooth and uninterrupted sound. It also allowed for players to have a wider range of tones, which created more complex and harmonic sound.

Despite the fact that the term "French horn" has been widely accepted as the proper name of this instrument, its modern design was actually developed by German builders and is most frequently manufactured in Germany. As such, many experts assert that the proper name for this instrument should simply be a horn.

Who Invented the French Horn?

Tracing the invention of the French horn to one person is tricky. However, two inventors are named as the first to invent a valve for the horn. According to the Brass Society , "Heinrich Stoelzel (1777–1844), a member of the band of the Prince of Pless, invented a valve that he applied to the horn by July 1814 (considered the first French horn)" and "Friedrich Blühmel (fl. 1808–before 1845), a miner who played trumpet and horn in a band in Waldenburg, is also associated with the invention of the valve."

Edmund Gumpert and Fritz Kruspe are both credited with inventing double French horns in the late 1800s. German Fritz Kruspe, who has been noted most often as the inventor of the modern double French horn, combined the pitches of the horn in F with the horn in B-flat in 1900.

Sources and Further Information

Baines, Anthony. "Brass Instruments: Their History and Development." Mineola NY: Dover, 1993.
Morley-Pegge, Reginald. "The French Horn." Instruments of the Orchestra. New York NY: W W Norton & Co., 1973.
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Home — Essay Samples — Entertainment — Song Analysis — Flugelhorn And French Horn Differences

Flugelhorn and French Horn Differences

Categories: Song Analysis

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Published: Mar 13, 2024

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Physical characteristics and tonal qualities, tonal qualities, playing techniques and musical capabilities, impacts on the musical landscape, physical differences, mouthpieces.

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5 Minutes That Will Make You Love the Horn

Listen to music that shows off the golden, mellow sunshine of “the cello of the brass section.”

In the past we’ve chosen the five minutes or so we would play to make our friends fall in love with classical music , piano , opera , cello , Mozart , 21st-century composers , violin , Baroque music , sopranos , Beethoven , flute , string quartets , tenors , Brahms , choral music , percussion , symphonies , Stravinsky , trumpet , Maria Callas , Bach , the organ , mezzo-sopranos , music for dance , Wagner and Renaissance music .

Now we want to convince those curious friends to love the golden, mellow sunshine of the horn. We hope you find lots here to discover and enjoy; leave your favorites in the comments.

Sarah Willis, Berlin Philharmonic hornist

The French horn is so versatile. Heroic, romantic, scary, mysterious — you name it, the horn can play that part. And it’s a sociable instrument: We love to play together. In the third movement of Richard Strauss’s Horn Concerto No. 2, the horn is a virtuosic and passionate hero, which the horns in the orchestra join at the end of the movement for a final fanfare. These last moments always lift my heart and make me proud to be a horn player.

Strauss’s Horn Concerto No. 2

Akshaya avril tucker, composer.

Give me a long, quiet note on the horn and I feel like I’ve entered a place of timelessness. It’s an incredibly soothing, supportive sound — the best sonic cuddle buddy. In orchestration classes, I’ve heard the horn referred to as “glue”; it cushions and supports its neighbors in the orchestra like no other instrument. Jonathan Dove’s “Susanna in the Rain,” from his “Figures in the Garden,” is utter comfort. A small ensemble of woodwinds provides a gentle pitter-patter of rain, while the horn — first one, then two — soars above. When I listen on the drought-stricken West Coast to these yearning melodies, they sound like a nourishing downpour.

Dove’s “Susanna in the Rain”

Paquito d’rivera, saxophonist and composer.

The French horn — a rather exotic instrument in the history of jazz — has among its most creative practitioners Willie Ruff, John Graas, David Amram, Gunther Schuller, John Clark and Chris Komer; I just composed a piece for Komer and the New Jersey Symphony Orchestra. But we always have to mention Julius Watkins, considered by many the father of the modern jazz French horn, and a good example of his masterful work — transcribed by the Brazilian hornist-composer Victor Prado — is this interesting improvised solo on “Phantom’s Blues,” recorded with the Quincy Jones Orchestra in 1960.

“Phantom’s Blues”

Franz welser-möst, cleveland orchestra conductor.

The horn has this beautiful, warm, singing sound, which resembles the middle register of the human voice; that is why it is so easy to connect to. The horn is sort of the cello of the brass section. The violins, trumpet and flute are in a high register, and not many people can sing that high, while the register in which the horn plays is accessible to anybody.

I chose the opening of the third movement of Mahler’s Fifth Symphony, simply because people usually think of the horn as a hunting instrument. The horn here represents the crying out of the human soul, sort of lost in the ocean of an overwhelming world. In this section, the horn is an individual human voice surrounded by a crazy, dancing universe of other instruments. Mahler was a contemporary of Sigmund Freud, so his music is always about the psyche — of an individual and of humanity.

Mahler’s Fifth Symphony

Zachary woolfe, times classical music critic.

Brahms’s mother died early in 1865; later that year, he wrote a trio for violin, piano and horn, an instrument he had learned as a child. The result — for which he specified the affably rustic, if difficult to control, valveless horn, rather than the newer valved variety — is by turns serene, agitated, mournful and joyful, with the horn throughout evoking walks in nature and an ineffable nostalgia.

Brahms’s Horn Trio

Seth colter walls, times writer.

The horn, with its mellow colors, doesn’t always conjure pure relaxation; it can be regal even in passages of tranquillity. The composer William Bolcom uses this simultaneously lyrical and potent quality during stretches of his Trio for Horn, Violin and Piano, created in response to Brahms’s famous trio. But in the final movement — which he has described as a “resolute march of resistance,” written in the wake of the 2016 election — Bolcom lets the instrument strut, with some raucous pressurized notes, drawing it closer to its more jazz-associated cousins in the brass section.

Bolcom’s Horn Trio

Kevin newton, imani winds hornist.

“Ecos oníricos de la Basílica de San Marcos” was written for me by the Argentine composer José Manuel Serrano. The piece, for a soloist and prerecorded horns, transforms the sound of the horn into ghostly echoes in a cathedral, requiring the player to access a wide range of textures and microtones.

For me, the horn has always been an extension of the voice. My childhood was filled with many a long car ride in which my mother would teach me to sing harmony, as well as choir rehearsals and weekend mornings at the piano working out hymns or whatever else of her songbooks I could get my hands on. When I first heard the horn, I wished that my voice could produce those sounds, and a love for the instrument was born. Its flexibility has freed me from the limitations of my own voice, and this piece is a wonderful space to explore that freedom.

Serrano’s “Ecos oníricos de la Basílica de San Marcos”

Mei-ann chen, chicago sinfonietta conductor.

I knew Erich Wolfgang Korngold’s granddaughter, Katy Korngold Hubbard, before I knew his music. Once, driving in the rain, I had to pull over to the side of the road because I was so incredibly moved by the sublime music on the radio. I didn’t know the composer. The last movement of the mystery work — it turned out to be Korngold’s “Much Ado About Nothing” Suite — was so joyful and witty, featuring the horns prominently, that I was transported to a different world. I became a huge Korngold fan. This rarely performed work should be better known.

Korngold’s “Much Ado About Nothing” Suite

Bernard labadie, orchestra of st. luke’s conductor.

Deep in the German psyche, the horn is closely associated with the forest — not only in relation to hunting but also to the romantic idea of night, moonlight and starry skies. No piece of music epitomizes this connection like Schubert’s “Nachtgesang im Walde” (“Nighttime Song in the Forest”), written for a four-part men’s choir and four horns. This highly unusual formation explains why this little masterpiece is a rare guest on concert stages. And yet what fabulous music this is, with Schubert’s unmistakable mixture of harmonic magic and deep connection with text. Never has the sound of the horn felt so simultaneously grounded and ethereal.

Schubert’s “Nachtgesang im Walde”

Mark almond, san francisco symphony hornist.

Conductors and fellow musicians never seem to mind how loudly you can blow the horn, but they really, really care about how softly you can play; in fact, your career depends on it. As the natural harmonics of the instrument are very close together in the high register, playing pianissimo in that range requires laser focus and surgical precision. Next time you’re at the symphony, imagine the hornists as darts players, having to throw bull’s-eyes every 20 seconds for 45 minutes. Then imagine the conductor standing next to the dart board, silently urging the player to throw each dart as gently as possible, but still demanding that the bull’s-eye be hit every time.

The flip side: It’s incredibly liberating to play pieces in which you can just let it rip and go for it, as loudly as (tastefully) possible, like in this exciting recording of Haydn’s “Hornsignal” Symphony, performed by the natural horn players — no valves! — of the Concentus Musicus Wien.

Haydn’s “Hornsignal” Symphony

David allen, times writer.

Deep into Strauss’s last opera, “Capriccio,” comes one of the most magical moments that ever flowed from his pen. A countess has to choose between the love of a poet and a composer — between the primacy of words and music. She never quite makes a selection, but before the final scene, in which she wrestles with her fate, Strauss makes his own feelings clear. As evening falls and the moon lights the scene, a horn glows in the dusk.

It’s a profoundly moving interlude, and this is a profoundly moving account, a tribute from one horn player of distinction, Alan Civil, to a colleague who was arguably the greatest of them all: Dennis Brain, the principal horn of the Philharmonia Orchestra, who was killed in a car crash in 1957, two days before the sessions for this first recording of the work.

Strauss’s “Capriccio”

An earlier version of this article misspelled the names of two jazz hornists. One is Willie, not Willy, Ruff; the other is John Graas, not John Grass.

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Let Us Help You Love Classical Music Even More

Spend 5 minutes digging a little deeper into the best parts of music..

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French Horn Bachelor of Music Application & Audition Requirements

About this program.

The 4-year undergraduate Bachelor of Music (BM) degree provides extensive applied training, along with comprehensive instruction in music theory and history, and an introduction to the liberal arts disciplines.

The Music Division accepts a total of approximately 150 classical instrumentalists and vocalists, and approximately 7 to 9 jazz instrumentalists, into the BM program every year.

For more detailed information about the program, please visit the Music Division webpage and navigate to your area of study.

Jennifer Montone Erik Ralske Eric Reed

* Please also see the Your Teacher Preferences section

Eligibility

In order to be admitted as a Bachelor of Music student, you must have:

A high school diploma or its equivalent by the time you enroll
Prior artistic training
English language fluency

If you apply to this degree program and are denied admission, you can apply again. After two unsuccessful attempts, you are no longer eligible to apply.

Academic Requirements

In most cases, the Juilliard School requires no specific courses, GPAs, standardized test scores, or class rankings for entry to this program.

However, we will carefully evaluate your academic record and required essay to make sure you have the scholastic competence necessary to succeed in college-level coursework.

There are specific requirements for:

Homeschooled applicants
Applicants for whom English is not their native language

Criteria for Acceptance

Exceptional talent as a performer, and the potential to meet Juilliard's technical standards
A high level and quality of training and musicianship
A capacity for sustained, disciplined practice
The personal maturity and generosity of spirit essential for ensemble work
Broad and thoughtful interest in the world of music, including its historical traditions and contemporary trends
A clear dedication to artistic excellence and a desire to exercise artistic leadership

Double Majors

A double major allows qualified applicants to study more than one major within the Bachelor of Music degree program. Most double majors require a fifth year of study to complete all requirements, and there is an additional cost above tuition that is applicable each year.

Due to the rigorous program for this major, it is not possible to double with Piano or Voice.

If you are considering a double major, you must apply, audition, and be admitted to each major before formally requesting approval to study both majors. The Registrar's Office will review the request to determine the feasibility of combining the two chosen majors.

BCJ Program

Juilliard has programs with Barnard College and Columbia University that allow for cross-registration for approved students.

Learn more about the program

Application Timeline

Applications to the College Division open on September 1 each year for enrollment the following fall. Please note the various deadlines for individual materials below.

* Official Transcripts and Scholarship / Financial Aid Application required only if an invitation to an in-person audition is received.

Application Results

You will receive notification of your admission status (admit, wait list, or deny) through your application status page no later than April 1, if all required application materials have been received.

Application Fee & Waivers

Application fee.

The $110 application fee is nonrefundable and must be paid through your application status page upon submission of your application. Your application is not considered complete until the fee has been received.

Fee Waivers

The inability to pay a college application fee should not be a barrier to applying to The Juilliard School. We offer need-based fee waivers through the process described here, and in the application.

First-time College Students

Fee waiver requests are available for first-time college students who demonstrate significant financial need by uploading one of the following to the application:

An official SAT or ACT fee waiver form signed by a high school counselor OR
An official NACAC fee waiver form signed by a high school counselor OR
You are enrolled in or eligible to participate in the Federal Free or Reduced Price Lunch program (FRPL).
Your annual family income falls within the income eligibility guidelines set by the USDA Food and Nutrition Service.
You are enrolled in a federal, state, or local program that aids students from low-income families (e.g., TRIO programs such as Upward Bound).
Your family receives public assistance.
You live in federally subsidized public housing, a foster home, or are homeless.
You are a ward of the state or an orphan.

If you are unable to provide one of the above documents, you may provide the following:

A letter from someone other than you (the applicant) that addresses your financial situation

All documentation must be in English. Original documents with translation are acceptable.

Transfer Students

Fee waiver requests are available for undergraduate transfer students who demonstrate significant financial need by uploading of one of the following to the application:

If you are independent, a copy of your most recent tax form filed OR
A letter on school stationery from your current college's Financial Aid Office stating that you have financial need of a fee waiver
A personal letter describing your financial situation

Fee waiver requests will be evaluated after you have submitted a complete application. If you are requesting a fee waiver, please submit your application (including fee waiver documentation) but do not pay the application fee.

How to Upload

Fee waiver documentation (translated into English if not originally in that language) must be uploaded directly within the online application and submitted by the appropriate deadline . Documents must be in either .doc or .pdf format. (Convert your file to another format if you have scanned your document as a jpg.)

Fee waiver requests are processed on an ongoing basis. You will receive an email with the results of your request as soon as it is processed. Note that we have a heavy volume of requests to process at the deadline, so you may not receive your results until after the deadline has passed. This does not disqualify your application. Do not pay the application fee if your waiver request is still pending.

Your application status page will show an application fee payment due until your request is approved. If you are notified that your request for an application fee waiver is denied, you will be required to pay the application fee. Your application is not considered complete until the fee has been received. If your fee waiver request is processed after the deadline, and is denied, you will still have a grace period in which to pay the fee.

Your Application Materials

Your online application.

Your application must be submitted online by the appropriate deadline. To begin, create your Juilliard Admissions Account, gather all of the required application materials, and follow the instructions to complete your application.

Start your online application

Your Resume

An artistic resume must be uploaded as part of the online application. The purpose of submitting a résumé is to provide the Admissions Committee with a document that quickly sums up your background and accomplishments. The résumé should contain lists, not full prose paragraphs such as in a program bio. The elements to include in your résumé are as follows:

Your name and major (violin, jazz trumpet, soprano, etc.)
Your contact information (including address, phone, and email)
Education: Where you studied, degree or diploma earned (or to be earned)
Teachers: Particularly for classical instrumentalists and vocalists, listing your most recent teachers and the dates when you studied with them is important information for the Committee
Master classes where you performed: List teacher and date (for example, June 2020)
Ensemble experience: Youth orchestras, choirs, jazz bands, etc.
Competitions and awards: Include dates
Performances: If including orchestral performances, only include those if you were the soloist; otherwise list recitals and chamber music performances
Other experience: If you have done volunteer work, held a job, etc., those can be listed here

You do not have to use these exact categories in this exact order. Use what is logical for your background, but make sure to put your name at the top of the document, and include your education and your teachers. DO NOT SUBMIT A PROGRAM BIO. It is not useful for purposes of applying to Juilliard.

Your Essay(s)

A written essay is one of Juilliard’s application requirements. Our Admissions Committee uses your essay(s) to learn more about you as an individual, and to gain a sense of who you are beyond your application, transcript, and audition. Your essay helps the Admissions Committee understand how your past experiences have informed your life as a musician, and how Juilliard fits into your pursuit of a career in music.

Essays are evaluated on the way you express your ideas, the written flow of your thoughts, and your use of language (including grammar and mechanics). Using outside help to write your essay—whether generative AI, including tools such as Google Bard and ChatGPT, or help from another person—undermines the ability of the Admissions Committee to evaluate your potential for success at Juilliard. Submission of your essay confirms that the writing was produced by you, with no assistance from another person or electronic resource.

Essay Requirements

1–2 pages, double-spaced, 12-point font
written in English (not translated from another language)
must be your own original work
submitted within the online application

Tips for Writing Your Essay

Take time to think about what you would say to the Admissions Committee about your experiences and goals as a musician.
Get the ideas down in a rough draft, and then speak them out loud.
Edit your rough draft so that it is clear, and expresses your thoughts. Avoid bland, general statements about being a musician.
Have a friend read the essay to give you feedback on whether it genuinely sounds like you.
Review the final draft for grammatical and spelling errors. (Remember that “Juilliard” is spelled with two “I”s: JUI-LLI-ARD.)
Attach your essay to your application.
Remember that AI may be a shortcut, but in the end, it does not represent your own thoughts. If you are seeking an education at The Juilliard School, self-examination and honesty are qualities that will serve your growth.

Essay Topic

Please write about why you have chosen to become a musician and what motivates you to continue to pursue music at the collegiate/professional level. Please also elaborate specifically on why you are applying to Juilliard, and how conservatory training will support your future goals.

Additional Essay Requirements

Additional essays are required in each of the following circumstances:

Formerly enrolled Juilliard students
Currently enrolled Juilliard students

Optional Essay

Should you have a personal or academic circumstance to share that you feel can provide context for a particular point on your resume - for example, a gap year, unusually low grades in a semester or year, etc. - you have the option to submit an additional short essay.

Your Introduction Video

A one-minute video uploaded to the application in which you record yourself giving the following information:

Your major (i.e. flute, composition, organ). Voice applicants: please include your voice type
Your current music teacher
Your current school and grade level
One fact that you want the Admissions Committee to know about you that they cannot learn from your application materials AND
Tell us about one piece of music that excites you and why.

To record your video, navigate to the "Music Introduction Video" tab in your application. There you will find instructions for starting the recording. Because the video will be recorded directly from the application, not uploaded as a video file, we recommend allowing yourself ample time to prepare and test your recording in the application module. You can record and save your video at any time before submitting your application, and can delete and re-record your video as needed prior to submission. You will need to use a computer (any type) or cell phone (Android only) with a webcam and a browser that supports media recording (Chrome and Firefox). At this time, video recording is not supported on iPhones or iPads. If you have any trouble with the video recording module, please call or email the Office of Admissions.

Your Transcripts

Transcripts are an important component of the decision process. They help us determine if you have sufficient scholastic competence to succeed in coursework at the level for which you are applying. The transcript requirement will be placed on your checklist with a clear deadline at an appropriate point in the application process. DO NOT SEND YOUR TRANSCRIPT UNTIL YOU ARE REQUIRED TO SUBMIT IT.

Official versus Unofficial Transcripts

To avoid the possibility of fraudulent transcripts, we DO NOT accept transcripts sent via email.
An official transcript must show courses taken and grades earned.
Because the transcript did not come from your school, it is insufficient for admission and does not fulfill the checklist requirement.

How Do I Send Juilliard My Official Transcript?

If you are submitting a high school transcript, ask your school guidance counselor to send it to us.
In the U.S., many high schools use secure electronic sending services such as Naviance, Parchment, eSCRIP-SAFE, or other system.
Schools outside the U.S. typically send a hard copy of the official transcript to Juilliard via regular or express mail.
If you are a homeschooled student in any country, ask your homeschool administrator (usually your parent) to send a transcript to us. See the Additional Requirements- Homeschool Applicants section for more information on what a homeschool transcript should contain.
If you are a college student, follow the process outlined by your registrar to request that a transcript be sent to Juilliard.
Electronic sending services must use this email address: [email protected] .
A paper record of your academic progress, including grades earned, is an acceptable alternative to an electronic transcript if it is sent in a sealed envelope directly from the issuing institution(s) to the Juilliard Office of Admissions (mailing address below).

Transcript Requirements for Students Studying in the US

Official transcripts must be sent by the stated deadline once the requirement is added to your checklist.
Your official transcript(s) must show all prior and current high school coursework.
Report cards, grade reports, and other student records are not considered official transcripts.
We understand that the current academic year has not ended, and that, if you are currently enrolled, you have not yet completed your program. Please submit your transcript as is by the deadline; a final transcript will be required later, if you are admitted and choose to enroll.

Transcript Requirements for Students Studying Outside the US

Official transcripts must be sent by the stated deadline once the requirement is added to your checklist.
If your transcript is not in English, we require the transcript in its original language as well as a certified translation.
Your official transcript(s) must show all prior and current coursework, which must be equivalent or similar to a US high school curriculum.
You will be notified if an official evaluation of your transcript is required in order to verify your academic level. Companies such as SpanTran (use this link for a discounted evaluation: SpanTran Pathway - The Juilliard School ), WES , or ECE can provide this service for a fee.
We understand that the current academic year has not ended, and that, if you are currently enrolled, you have not yet completed your program. Please submit your transcript as is by the deadline; a final transcript will be required later, if you are admitted and choose to enroll.
You may view the status of transcripts at any time by logging into your application account .
Hard copies of transcripts may be mailed to:

Office of Admissions The Juilliard School 60 Lincoln Center Plaza New York, NY 10023

Additional Requirements

Homeschooled Applicants
Students with High School Equivalency

Your Recommendations

In your application you will be required to identify two individuals who will provide your recommendations:

Academic Recommendation

A recommendation from a high school academic teacher, preferably in English, history, or other language arts coursework (transfer applicants may provide a recommendation from a college professor)
The recommendation should help us to gain insight into your abilities in English and acknowledge your speaking, reading, writing, and comprehension abilities
The Admissions Committee considers this a critical component of your application

Home-schooled applicants should submit a recommendation from someone other than a parent who can address the issues listed above. In addition, this recommendation should address social maturity and ability to integrate well with other students and colleagues.

Artistic Recommendation

A recommendation from a teacher, conductor, coach, or artistic mentor
In addition to addressing your talent and accomplishment, the recommendation should also discuss the following individual characteristics that indicate potential for success in the field: perseverance, dedication, collegiality, and leadership

These recommendations themselves are not due until later in the application timeline . Recommenders will receive an email with a link to securely upload their letters to our application system. We will only accept recommendations received through our application system.

You may view the status of recommendations at any time by logging into your application account .

Your Teacher Preferences

A key element of your study at Juilliard is your major teacher assignment. Music students receive 15 one-hour lessons per semester with a Juilliard studio faculty member.

How to Indicate Your Preferences

You are required to submit your teacher preferences through the online application
If your preferences change, you can update your selections through your application status page

How Your Preferences are Used

Your teacher preferences are confidential and do not affect admissions decisions. Studio faculty are not advised of teacher preference selections until after admission decisions are finalized by the committee
We aim to confirm studio assignments with notification of admission
If admitted, your teacher assignment will be based on your preferences to the greatest extent possible. No teacher assignment can be made without a documented request for a specific teacher

Researching Teachers

If you are not familiar with our faculty, we strongly recommend researching the teachers in your major prior to the application deadline , as follows:

Review the teachers’ online bios in our directory and listen to recordings of each artist
Ask your current teacher(s) for recommendations
Consult with friends who may have studied with them
Optional: Set up a meeting or lesson with the teacher(s). Although not all faculty are available to meet with applicants due to their teaching and performing commitments, you may use this form to request contact information for up to four teachers. Scheduling the meeting and payment of any lesson or meeting fee is your responsibility.

Scholarship & Financial Aid Forms

To be considered for financial aid and scholarship, you are required to submit the following items by the appropriate deadline :

More information about our awarding policies can be found on the Financial Aid section of the website .

For information about tuition, fees and expenses, please visit Student Accounts .

Prescreening

Prescreening type.

You are required to upload your files in a Video format. Acceptable file types include:

.3g2, .3gp, .avi, .m2v, .m4v, .mkv, .mov, .mpeg, .mpg, .mp4, .mxf, .webm, .wmv

PLEASE NOTE: Some .mov files use a codec which is not supported by the application. We recommend that .mov files be converted to another accepted format to avoid uploading difficulties.

We support media files as large as 5GB, but please be advised that larger files will take longer to upload from your Internet connection and may stall if you are on a wireless connection or one that cannot sustain a connection for the necessary period of time.

Prescreening Requirements

Your major is required to submit prescreening recordings within the online application by the appropriate deadline .

Upload and arrange your recordings so that the file that represents your best work is first.
Individual movements or excerpts should be uploaded as separate digital files.
Clearly label each of the uploaded files with the name of the composer and work/movement.
Complete your uploads well in advance of the appropriate deadline, as upload times vary depending on file size and internet signal strength.
Insufficient or incomplete audition repertoire may affect consideration for admission.
Where specific works are required, substitutions are not allowed.
Please note that audition requirements which state a complete piece or work are indicating all movements must be prepared.
Unless otherwise specified in the prescreening requirements listed below, all works written with accompaniment must be accompanied for your recording.
Please note that submitted prescreening recordings do not need to be filmed in a particular setting. Videos filmed in a practice room, a living room, a concert hall, a recording studio, or any other setting may be submitted.
Recordings must be genuinely performed by you. Composition applicants: live recordings of your works may include others.
Recordings must not be edited, nor should any effects such as “reverb” be added.
Play back and check your entire recording for any distortion or excessive “buzz”.
If accompaniment is required, ensure that it does not drown out your playing.
Review your recordings before uploading to ensure that they are of good quality and represent your best work to date.

You will be notified as to whether or not you have passed the prescreening round by the date on the application timeline . Please note that prescreening materials become the property of The Juilliard School and will not be returned. We encourage you to keep copies for your records.

Additional Instructions

Currently Enrolled Juilliard Students

Currently Enrolled Juilliard Pre-College Students

Prescreening Repertoire

Please choose one from each group to be played without repeats (for a total of two selections):

Kopprasch Book 1, No. 3
Kopprasch Book 1, No. 17
Kopprasch Book 1, No. 29
Kopprasch Book 1, No. 15
Kopprasch Book 1, No. 22

English Language Proficiency

Requirement

The ability to speak, read, and understand English fluently is an important factor in admissions decisions. You are required to show proof of English language proficiency by the application deadline if your native language is not English, regardless of citizenship. The Juilliard School defines native language as the language first spoken as a child and the primary language spoken at home.

Exemption You may be exempt from the requirement to provide proof of English language proficiency if you meet certain criteria. Exemptions are determined by your answers to questions on the application form. To qualify for an exemption, you must:

Have attended school(s) on a full-time basis where instruction was entirely in English for a TOTAL of SEVEN of the past TEN years. Qualifying schools include primary, secondary, and undergraduate institutions.

An exemption to provide a test score as proof of English language proficiency is granted automatically if you meet the aforementioned criteria. Applicants who are exempt from providing a test score also are exempt from the ELP interview requirement.

Helpful Tool

To see if you may qualify for an exemption of the requirement to submit a test score as proof of English language proficiency, our online form can help you. Although this form does not grant exemptions or waivers, it can help you plan ahead should the result indicate that you need to schedule an ELP test.

English Language Proficiency Assessment Criteria

We assess your English language abilities using the following criteria:

The results of a standardized English language proficiency test
An online interview with staff from our English language office
Your previous academic record

Note that your test score alone is not sufficient for admission; you must still meet our artistic and academic standards .

Test Scores

You must submit one of the following test types to document your current level of English language proficiency. If your score falls below the minimum scores listed here, you should carefully consider whether to continue the application and audition process. We reserve the right to deny an audition based on scores that fall considerably below our minimum.

Juilliard's CEEB code: 002340 Juilliard's ACT code: 2778

The official test results must be sent directly from the testing company and received by the Office of Admissions by the appropriate deadline . Official test results must be on file before a decision of admit or waitlist can be released.

Interview Requirement

Any applicant with a test score of 94 TOEFL and below (or the equivalent score for other accepted tests) is required to interview with Juilliard’s Director of ESL in order to demonstrate fluency in the English language .
Applicants who are exempt from the test score requirement also are exempt from the interview requirement.
The Office of Admissions will contact applicants to schedule required interviews.

Transfer Applicants

Definition You are considered a transfer applicant if both of the following are true:

You have earned a high school diploma or its equivalent AND
You have attended at least one semester of full-time college study

Transcript Requirement

You are required to submit your high school transcript if you have completed fewer than two full-time semesters of postsecondary study
You are required to submit a transcript showing prior and current coursework from all postsecondary institutions study

Essay Requirement

You must submit an essay explaining your decision to transfer from your current institution, in addition to the other required essay(s ).

Program Length and Transfer Credits

You are required to study at Juilliard for a minimum of two years
Total program length is determined after enrollment by evaluation of your transcript(s) and the results of placement exams
You are required to take a minimum of 12 liberal arts credits at Juilliard
Additional credits from liberal arts courses taken at other accredited postsecondary institutions may be transferred at the discretion of the Registrar; courses with a grade lower than C or its equivalent are not eligible for transfer
AP credits are not accepted

Homeschool Applicants

Questions within the Online Application As a homeschooled student, you will have to respond to the following questions within the online application :

What factors led to your decision to home school?
What relationship (formal or informal) exists between your home school and your state (or provincial) department of education?
Will the state recognize you as a high school graduate?

Transcript Requirements

Regardless of format, your homeschool documentation must be received by the stated deadline once the requirement is added to your checklist, and must include:

All courses taken, including those in progress, and the academic year and semester in which each was taken
Assessment of performance (letter grades, percentages, portfolio commentary, etc.) and an explanation of any applicable grading scales
Evidence of official recognition by the school district and/or state department of education
If you attended a high school for any period of time, you must submit official high school transcripts of any/all high school work
If you enrolled in any college courses, you must submit official college transcripts
Optional: a full outline of curriculum by subject
Optional: reading lists

Standardized Tests You are required to submit official SAT or ACT scores by the appropriate deadline . These scores must be sent directly from the testing agency. If you are unable to provide an official SAT or ACT score due to pandemic circumstances, please contact [email protected] .

Juilliard's CEEB code: 002340

Juilliard's ACT code: 2778

Applicants with High School Equivalency

Acceptable Equivalencies In lieu of a high school diploma, you have the option to submit the following high school equivalencies:

GED (General Educational Development)
TASC (Test Assessing Secondary Completion)
CHSPE (California High School Proficiency Examination)
International High School Equivalencies (contact Juilliard Admissions )

If you do not have proof of high school equivalency by the stated deadline , you must submit one or more of the documents listed below to demonstrate your academic preparedness.

Demonstration of Academic Preparedness While submission of high school equivalency documentation satisfies Juilliard's minimum entry requirement, the following documents can be helpful in proving your ability to undertake coursework at the postsecondary level:

Standardized test scores
Advanced Placement (AP) exams
High school transcripts
College transcripts
Homeschooling documentation

Formerly Enrolled Juilliard Students

Definition You are considered a former Juilliard college student if you have not been in attendance during the previous academic year. You must submit all required application materials, in addition to the requirements below.

Essay As a formerly enrolled Juilliard student, you are required to submit an additional essay explaining your motivation for resuming your studies or applying to another major at Juilliard. You may choose to address academic, artistic, or professional goals that you believe could be accomplished by returning.

You are required to provide official transcripts from all institutions attended after Juilliard
Transcripts are already on file from your time at Juilliard and do not need to be submitted

Proof of English Language Proficiency As a formerly enrolled Juilliard student, you do not need to submit proof of English proficiency (TOEFL, IELTS, PTE, ITP Plus).

Decisions We reserve the right to review your Juilliard enrollment record to assist with admissions decisions.

Online Application You must apply if you meet one of the following criteria:

You are seeking to change majors
You are applying to a new program of study (changing your degree level)

Application Fee As a currently enrolled student in the College Division, you are not required to submit an application fee as long as you submit your application by the appropriate deadline .

Essay You are required to submit an additional essay explaining your motivation for continuing your studies at Juilliard. You may choose to address academic, artistic, or professional goals that you believe could be accomplished by remaining at Juilliard.

Recommendation(s) Currently enrolled Juilliard students are also required to have recommendation(s) in support of their application. This can come from an internal faculty member or someone not affiliated with The Juilliard School.

Transcripts As a current student, you do not need to provide your official transcripts, as they are already on file.

Prescreening Requirement Prescreening is required only if both of the following are true:

You are applying to a new major AND
The major to which you are applying is prescreened

Proof of English Language Proficiency You do not need to submit proof of English proficiency (TOEFL, IELTS, PTE, ITP Plus).

Decisions We reserve the right to review your Juilliard enrollment record to assist with admissions decisions.

Currently Enrolled Pre-College Students

Prescreening Prescreening is required only if BOTH of the following are true:

You are applying to a major that is different than your Preparatory division major AND

Recommendation Currently enrolled Juilliard Preparatory students are also required to have an artistic recommendation and an academic recommendation in support of their application. Artistic recommendations can come from an internal faculty member or someone not affiliated with The Juilliard School.

Decisions We reserve the right to review your Juilliard Preparatory enrollment record to assist with admissions decisions.

Applicants with Disabilities

The Juilliard School seeks to facilitate the full participation of applicants with disabilities in the audition process. The school makes reasonable accommodations or adjustments for qualified individuals with known disabilities in compliance with the Americans With Disabilities Act of 1990 (ADA).

Juilliard will not make pre-admissions inquiries as to whether or not a student has a disability; however, applicants with documented disabilities who require reasonable accommodations in order to participate in the audition process must notify the Office of Academic Support and Disability Services (OASDS) in writing by the appropriate deadline .

You will be required to submit documentation of your disability to OASDS; this information will be kept strictly confidential. You must complete the following forms in order for the school to accommodate your specific needs:

Applicant Release of Disability Related Information Form
Audition Accommodation Request Form

For more information and to access the forms please visit the Office of Academic Support and Disability Services page.

Auditioning for Juilliard

Audition repertoire guidelines and resources.

A dedicated group of studio faculty chairs and other leaders in The Music Division joined together to create Music by Black Composers: An Introductory Resource , a document that seeks to expand knowledge and build a more inclusive approach to repertoire. Repertoire and pedagogical choices can often grow out of habit and a narrowness of knowledge, shaped by a history of exclusion and diminished voices. In the Music Division, we are taking important steps to broaden our knowledge by creating a faculty-researched list of works by Black composers to embrace and work toward a more representative world of classical music. When you have an elective choice, we encourage you to include a work in your audition repertoire by a composer from historically underrepresented gender, racial, ethnic, and cultural heritages.

Music by Black Composers: An Introductory Resource

We are also happy to recommend the following as additional resources that expand our knowledge of a wider breadth of repertoire:

Institute for Composer Diversity Database
Music by Black Composers Database

As part of the online application, you are required to submit your proposed audition repertoire for review and approval. Should you need to update your repertoire after you submit your online application, you can do so by submitting a form on your application status page .

Insufficient or incomplete audition repertoire may affect consideration for admission
Where specific works are required, substitutions are not allowed
Audition requirements which state a complete piece or work are indicating all movements must be prepared

You should first consult with your private teacher to determine the suitability of your proposed repertoire. If there is any concern regarding the appropriateness of a particular piece, submit your questions through this form .

Audition Scheduling

After successfully passing the prescreening portion of the audition process, you will receive an invitation to attend an in-person audition.

Auditions are scheduled based on a combination of the following:

Your ordered teacher preferences (if applicable)
Your audition day request (in cases of multiple audition days)

Important things to know about your audition:

You will receive an email confirming your audition date and time at least one month before your audition
Auditions take place only at The Juilliard School in New York City. Audition day details, including practice room availability, will be sent prior to your audition
Video auditions are not accepted

Audition Repertoire

Fall 2024 Auditions

Music auditions at The Juilliard School are held in person on our New York City campus; limited funds are available for need-based travel grants. All applicants invited to audition are expected to attend on their scheduled date and time, and are expected to have the entire audition repertoire prepared. While faculty may not hear entire works, they may ask you to perform any part of a required work.

Two etudes, of the applicant's choice, showing the applicant’s level of technical and musical advancement. (It is not necessary that the repertoire prepared for the live audition be identical to the pre-screening materials.)
At least one major solo of the applicant’s choice
Three to six standard orchestral excerpt
Additional evaluation such as sight-reading, ear-training, range/register exploration, and scales might be required during the audition

Accompanist Information

Works with piano accompaniment must be accompanied for the in-person audition
We encourage you to use a Juilliard accompanist for your audition
Accompanists will be provided free of charge for the audition; please note that accompanists charge fees for rehearsals
A list of accompanists will be provided approximately two weeks before auditions. You must contact an accompanist from the list two weeks prior to your audition and provide them with a piano score of the repertoire for the audition
If you wish to bring your own accompanist, you may do so. However, Juilliard will not pay them, nor can your Juilliard audition be rescheduled around your accompanist's availability
If you plan to play with a Juilliard-provided accompanist, please carefully consider general familiarity of your repertoire. Juilliard cannot guarantee accompanists will know unusual or non-standard repertoire. Please be particularly mindful to select contemporary works that have become standard repertoire or have piano parts which are easily sight read. If the Juilliard accompanists hired for your audition day are unable to learn or sight read a non-standard work, you may need to play that work unaccompanied

Decisions & Enrolling

There are three possible outcomes to the audition process:

The faculty recommends you to the Admissions Committee based on your potential and artistry as demonstrated in the audition.
The Admissions Committee evaluates your academic record and supplemental materials in order to determine your capacity to succeed at Juilliard.
The Admissions Committee makes the final determination of whom to admit based on their own evaluation, faculty recommendations, and the number of available openings in your major.
The Office of Admissions releases your decision letter.
The faculty recommends you to the Admissions Committee based on your potential and artistry as demonstrated in the audition.
You are placed on the waitlist because, although you are found admissible to the school, we have a limited number of openings.
Should a place become available, the Admissions Committee evaluates the waitlist, making offers of admission as necessary.

Deny During the application process, there are three points at which you can be denied admission:

As a result of prescreening
At various points in the application and audition process
Following review by the Admissions Committee

A denial at any of these stages results in notification that you are no longer under consideration for admission.

These decisions will be posted to your application status page as noted on the timeline.

Scholarship & Financial Aid

Juilliard admits without considering your ability to pay. All monies awarded require completion of the scholarship and financial aid forms. To learn more about the awarding process, visit our Office of Financial Aid .

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I’ve spent hundreds of hours working with my peers, building friendships while working toilsomely to perfect one show each year. When we weren’t on the field practicing, we were performing at football games or at community events, bringing the community together with a sense of pride. Being a part of the marching band has taught me to put the betterment of my peers over myself and I have made it my goal to make the people around me the best that they

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Flugelhorn And French Horn Differences

Show More The French horn has a brassier sound than a flugelhorn. The main visual difference between a flugelhorn and a French horn is the rounder shape of the latter instrument. A flugelhorn looks like a large trumpet; the french horn does not. Sound wise, however, the two instruments do share some similarities. It takes some extra study to figure out the differences. Range The flugelhorn has the range of a typical trumpet, sounding from G# below middle C to three octaves above middle C. While the range seems impressive, only the most talented and skilled performers have the ability to play higher than two octaves above middle C. In contrast, the French horn can play the low B sounding pitch below the bass clef to a concert A above the treble clef …show more content… The French horn has a brassier sound capable of penetrating an entire orchestra . The French horn may also increase the roughness of the sound by placing the hand further inside the bell. The flugelhorn in contrast emits a mellow sound that does not have the ability to penetrate an entire orchestra. When composers write solos for the flugelhorn, the rest of the ensemble must play at a lower dynamic level. Triggers The French horn can be played in the key of F or the key of Bb. The choice of which side of the horn to use lies in the hands of the performer and depends on the desired sound. The horn player may play in F for a softer sound, while the B-flat side of the horn will create a brassier sound. The transition between the two sides requires the performer to hold the trigger. The flugelhorn only plays in B-flat. Transposition A composer must write the horn part a perfect fifth higher than the pitch desired. This peculiarity applies to all transposing instruments. The flugelhorn also transposes but it doesn’t have as far to go. The flugelhorn parts only need to be written a major second higher than the sounding pitch as the instrument’s foundation is tuned to

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French Horn Evaluation

Late Bloomer A good word to describe the first sound that came out of my French horn could be called a screech. When I first looked at the instrument I originally thought the bell faced upward in the air. You would never believe that only two years later I was able to sight-read pieces of music and preform them in a matter of an hour during a workshop at Disney world. The quick improvement that I made in my music ability showed my natural tenacity and persistence. Growing up I was always around musicians, and music interested me, but I was always steered towards more academics. I finally got into music in High-School. It made me rather nervous because here I was sitting in a room with people who basically played instruments and sung within the womb, and I was unable to even read music. So at first I asked my friends who were all music aficionados. Every second thing that came out of my mouth was a question about music. What was tone? How do I play a scale? What is moderato? And how on earth was I going to catch up to these kids? So especially in band I took control and I took my French horn home every weekend and practiced for hours, determined to meet my high standards. …show more content…

I never sang too loud so if I messed up, no one would hear it .After every class I would go up to my Choir or band director with about five questions. But it simply was not enough. So my sophomore year I was given vocal lessons that taught me that I can match pitch consistently , and that my range was bigger than I ever thought it could be. I discovered a talent that I loved and I intended to perfect it .I performed in multiple cabarets and had the opportunity to sing with my choir at the Carnegie music hall. I was finally getting the swing of music; but that was not enough due to my obstinacy. I wanted to learn

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Liberia Personal Statement

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Discourse Community Examples

Learning music was not a challenge for me, especially since I grew up in musically gifted families. Honestly math came easy for me, mostly because I was taught to keep up with the tempo of the music. Thankfully playing in the band came naturally for me and I liked the challenge in trying to learn an instrument. My school performed at a couple of competitions and a few concerts as well. I continued playing until my sophomore year in high school, I lost interest in high school; it seemed like it was more of a chore rather something to enjoy and the students made it difficult for me to perform so, I forced myself to leave. Before I quit the band in my sophomore year I joined the culinary arts club and the art society. I always loved making food, I started cooking around 6 to 7 years old under supervision of course. Slowly my parents had me help-out in the kitchen, then they let me practice making baked goods and later, they started to let cook by myself. I watched cooking shows too, and I would just read the cooking books for hours just to know if we had the ingredients

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COMC-501 Lessons

Headmistress oshiro, professor aspen, announcements, welcome to care of magical creatures.

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The Blue French Horn (Essay)

L4 Assignments
Pick Your Poison Essay
The Blue French Horn Essay
Crimes Against Nature Assignment
Poppin' 49ers Assignment
Why So Glum, Fifth Years? Lesson 1
By Proclamation of The Ministry Lesson 2
The Deadly Sea Cucumber Lesson 3
Bows of Gold Lesson 4
Do The Hippogriff Lesson 5
Under the Sea Lesson 6
The Invisible Tamatoa Lesson 7
The Horned Beauty Lesson 8
Release the Owls! Lesson 9

IMAGES

French Horn Fingering Chart and How the French Horn Works
Transposition for French Horn: A Music Theory Guide
Learn to play the French Horn
A Guide To The French Horn Mute
The Different Types Of French Horn: A Complete Guide (2022)
French horn

VIDEO

French Horn vs. Trombone: high note contest
what French horn does in orchestra
French Horn Buzzing on the mouthpiece exercise 📯🎉
French Horn WARM UP 5 PLAY ALONG
French Horn First two notes for C.W.!
French Horn Technique 1. ARPEGIOS 1

COMMENTS

A History of the Horn, Better Known as the French Horn
However, two inventors are named as the first to invent a valve for the horn. According to the Brass Society, "Heinrich Stoelzel (1777-1844), a member of the band of the Prince of Pless, invented a valve that he applied to the horn by July 1814 (considered the first French horn)" and "Friedrich Blühmel (fl. 1808-before 1845), a miner who ...
A Brief History Of The French Horn
The French Horn, often called the Horn, is a standard instrument used in a symphony orchestra. Usually made up of four to five players, the Horn section sits in the orchestra's back row and adds color to the ensemble, and is associated with heroic themes to the music. This instrument's history and evolution is a long and interesting one ...
The Evolution of the Modern French Horn from 1750 To the Present Day
3 Heinrich Domnich—variously spelt Dominique and Dominick by French and English writers—b. Wurtemburg 1760. Son of a horn player, he studied first with his father, and later under Punto in Paris. Second horn at the Paris Opera in 1790 and at the Théâtre Feydean in 1799, he was appointed one of the Professors of the horn at the Paris Conservatoire on its foundation in 1795, a post he ...
The French Horn, That Wild Card of the Orchestra
Orchestral instruments don't come more treacherous than the French horn, either for the musicians who play it, or, when the going gets rough, for the listeners who find themselves within earshot.
Flugelhorn and French Horn Differences
Physical Differences. The most noticeable physical difference between the flugelhorn and the French horn is their shape. The flugelhorn features a conical bore and a wide, flaring bell, which gives it a darker and more mellow tone compared to the trumpet. In contrast, the French horn has a coiled and tapered tubing that results in a more ...
34 Evolution of the French Horn
Fig. 4. Hand and valve horn by E.-J.-M. Dujariez (Paris), c. 1845. Built essentially for use as a hand horn, it is provided with a supplementary two-valve mechanism, known as a sauterelle, for use when necessary. Instruments of this kind (with a more modern type of piston) were commonly used in French orchestras (and in the horn class at the Paris
The French Horn; Some Notes on the Evolution of the Instru- The Horn; A
the hounded horn has the look of an animal contemplating surrender to the measurements of the laboratory and the methodology of the scholar. The book by Mr. Morley-Pegge is the product of a gentleman of the old school, for whom the problem of the horn's origin (is it French or not?) is important (he decides that the horn is French but
French horn
The French horn (since the 1930s known simply as the horn in professional music circles) is a brass instrument made of tubing wrapped into a coil with a flared bell. The double horn in F/B ♭ (technically a variety of German horn) is the horn most often used by players in professional orchestras and bands, although the descant and triple horn have become increasingly popular.
French Horn History & Facts
The horn as an instrument has its origins in 1500-500 BCE with the shofar and other valveless signal horns. These evolved into French hunting horns, which further evolved into the "natural horn ...
The History of the French Horn
History of the French Horn The modern French Horn underwent many developments since it's original form as a hunting horn. Perhaps one of the most prominent original horns was the Shofar, a smaller version made from a Ram's horn that was used for Jewish religious purposes, most importantly i...
5 Minutes That Will Make You Love the Horn
Heroic, romantic, scary, mysterious — you name it, the horn can play that part. And it's a sociable instrument: We love to play together. In the third movement of Richard Strauss's Horn ...
French Horn History
The modern French horn was an invention based on early hunting horns, which hunters used to signal companions across great distances. In 1753, the unique structure was first accomplished by a German Musician, Hampel, who applied moveable slides of different lengths that changed the volume of the horn. ... ABSTRACT This is an essay portraying ...
History of the french horn
History of the french horn. The modern orchestral brass French horn was an invention based on early hunting horns. Horns were first used as musical instruments during 16th century operas. During the 17th century, modifications to the bell end (larger and flared bells) of the horn were made and the cor de chasse, or French horn as the English ...
French Horn Evolution
The origins of the French horn can also be traced to the "shofar" horns of the Middle East. Hunting horns mainly used as signaling devices during hunting. Horn makers wanted to increase the number of pitches that the hunting horns could produce. These horn makers began to experiment with the dimensions and build of the Lur, leading to the ...
French Horn Research Paper
Decent Essays. 684 Words; 3 Pages; Open Document. The French horn made its first appearance in the seventeenth century in France. Originally, people used the horns of animals before they started using metal. The French horn started out as a hunting horn. ... French horn took a long time to be adopted into mainstream orchestral music.
history of the french horn
History of the French Horn. The modern orchestral brass French horn was an invention based on early hunting horns. Horns were first used as musical instruments during 16th century operas. During the 17th century, modifications to the bell end (larger and flared bells) of the horn were made and the cor de chasse, or French horn as the English ...
French Horn Research Paper
During the 17th century, the bell was expanded and flared, thus creating the French Horn. As hunting grew more popular among the wealthy, the French Horn was experimented on with shape and size to try to accomplish a larger range of notes. In 1636, Marin Mersenne wrote of four different types of French Horns.
College
Essay As a formerly enrolled Juilliard student, you are required to submit an additional essay explaining your motivation for resuming your studies or applying to another major at Juilliard. You may choose to address academic, artistic, or professional goals that you believe could be accomplished by returning. ... French Horn - Bachelor of ...
French Horn Reflection Essay
French Horn Reflection Essay. 221 Words1 Page. One single activity that I am most proud of is my ability to contribute to the orchestra with my French Horn. As a vital part to the orchestra's overall tone quality and melody, I play my French Horn proudly and powerfully. In marching band, I play powerful low notes to keep the band in rhythmic ...
The French Horn Section
The French Horn Section. Decent Essays. 1318 Words. 6 Pages. Open Document. During Senior year's marching season, I was given two leadership positions. Section leader of the french horn section as well as Hornline Captain for the whole entire wind ensemble.
Flugelhorn And French Horn Differences
The French horn has a brassier sound than a flugelhorn. The main visual difference between a flugelhorn and a French horn is the rounder shape of the latter instrument. A flugelhorn looks like a large trumpet; the french horn does not. Sound wise, however, the two instruments do share some similarities. It takes some extra study to figure out ...
French Horn Evaluation
A good word to describe the first sound that came out of my French horn could be called a screech. When I first looked at the instrument I originally thought the bell faced upward in the air. You would never believe that only two years later I was able to sight-read pieces of music and preform them in a matter of an hour during a workshop at ...
The Blue French Horn (Essay)
The Blue French Horn Essay Crimes Against Nature Assignment Poppin' 49ers Assignment Why So Glum, Fifth Years? Lesson 1 By Proclamation of The Ministry Lesson 2 The Deadly Sea Cucumber Lesson 3 Bows of Gold Lesson 4 Do The Hippogriff Lesson 5 Under the Sea Lesson 6 ...