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Section Playing

Section Playing
Each member of the horn section plays a different role. From the perspective of a work that is written for four different horn parts, composers tend to follow a standard model to get the sound that they want. It is important to know where you fall within this model and how to be your best self in the role you have been given.
The first horn: also known as the principal horn, this position is the leader of the pack. This part is normally written the highest and sometimes requires the use of an assistant. This is your go to reference point for articulations, dynamics, and overall musicality. They usually have the most featured parts and should also help lead the section with breathing and entrances. If you have questions about your music, this is your first point of contact. If the principal does not know the answer, they will usually ask the conductor or have you speak to him after rehearsal or during a break. This person will hopefully lead by example and set the overall mood for the section
Second horn: this part is typically a low horn part. They can be written to play in harmony with the principal and can also be written to play parts that require the most agility. The role of the second horn is typically in support of the first horn. Remember that with a lower part, you usually need to play a little louder than you would expect. The lower range does not project well and you never want to leave your principal horn playing softer than they would like to make up for the difference.
Third horn: the third horn parts are usually in line with the principal horn. They sometimes play in unison or in harmony, but the range is typically kept similar. Matching with the principal horn is crucial in this role and can sometimes be the hardest aspect about playing in this position. Adjusting quickly to your principal as they fit in with the rest of the ensemble is tricky, but you typically have fewer solo/leading lines in this chair.
Fourth horn: this part is usually the lowest of the four. If you are sitting here, you are the ultimate support system. Having a strong low range that the rest of the horn section and comfortably sit on top of is key. As with the second horn, remember that your range does not easily project so you will at times have to make up that difference by playing a little louder, but also making sure that your sound does not stick out from the rest of the section.
Composers tend to write this way for the horn section where they are basically two pairs of high/low horns. Sometimes they put first and second high and third and fourth low. This comes from our tradition of hand horn playing which will be discussed in the transposition post. There are also plenty of examples where four horns are not the norm, but this is just a general introduction of how a section works.
Remember that your most important job is your own part. Show up to the first rehearsal with your music prepared. Rehearsals are not for learning your part, but rather for learning how your part fits into everyone else’s part. Listen to recordings and be ready do adjust what you have learned to what the people around you are doing. Being flexible is key. Also, be on your best behavior. Do not be a distraction to anyone around you and do not say anything during rehearsal unless you are spoken to or if necessary. Be positive no matter what is happening and remember how special making music is so that you can leave with a smile on your face.

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