TUNING A STANDARD DOUBLE F/Bb HORN
This tuning procedure is suggested by Dr. Eldon Matlick from the University of Oklahoma; he presents it as a modified version of Walter Lawson's recommended suggestions. It is only one of many such guides, but it covers all the basics. Of course, developing your aural skills as well is of paramount importance. I have re-written some of the content to make the process easier to understand!
To give an accurate reading, I recommend initially the two like pitches be blown on the same air stream, without interruption. For instance on the first pitch, C, Play on the Bb side and continue the air as the thumb lever is released, taking care you do not flex the aperture. Then, to double-check, I would play each pitch with separate attacks.
Play C (concert F) on the Bb side of the instrument. Adjust the main tuning slide to get the open Bb horn in tune. Next, play this same note and release the thumb valve. One must take care to notice if the second note is sharp or flat. Remember to play the ‘in-tune’ note first, that way it is the second pitch that will always need to be adjusted to match the first pitch. It is of utmost importance to keep the air stream (‘blow’) steady and not flex the embouchure when navigating from one side of the instrument to the other. Adjust the Auxiliary F Tuning Slide to where the match of pitch between the two open horns is satisfactory. As a safety check, play these notes once again, but with articulations. Take care to notice if the pitch differential has changed. If so, adjust accordingly. Do this double-check on each valve tuning.
Once the open horn is in tune, it is now possible to start tuning the valve loops. A common note on the open F horn and the 1st valve on the F horn is third space C. Begin by playing the open C. After the air has been established, engage the first valve. The note may feel insecure because of the added resistance. Continue to do this exercise until the switch can be made without an interruption of pitch. Adjust the first valve loop to match the intonation of the open F horn. Again, double-check by playing each note with a good attack.
A common pitch for the first valve loops is Bb. Once again, start on the note that is in tune, that being the first valve F horn. As in the other instances settle on the first pitch then engage the valve, again taking care not to flex the lip to give a false placement to the pitch. Adjust the Bb horn first valve loop as needed.
For the novice, reliance on a chromatic tuner for pitch comparison is beneficial. This means, look to see if the pitches are matching in ‘general tendency.’ However it is important that one does not tune the valve loops to the equal temperament of the chromatic tuner. While this may seem like a logical short cut, THIS WILL MAKE THE INSTRUMENT SEVERELY OUT-OF-TUNE! It is important that the hornist develop the ear to listen to pitch matching and intonation. Use the chromatic tuner as a tool to help train the ear, and not as a crutch.
Next move to tuning the second valve loops. Play a 4th line open D on the F horn. This is a ninth harmonic and has reliable intonation; it is only slightly sharp. As the air is sustained, play this same note on the Bb horn (1&2). Undoubtedly this note will register quite high. Bring this note down to pitch by pulling the second valve loop. This tuning method will also help remedy the normally sharp A and D in the staff.
After this, play a B on the Bb horn and adjust the F side second valve loop accordingly. Always notice that we are continuing to play the in-tune note first.
Now that the open, first valve, and second valve loops have been tuned, it is time to check what we have done. Though individual valves may have perfect intonation, there becomes a problem when valves are combined. Without being too technical it suffices to say that, the longer the valve combination used, the sharper the instrument becomes. Thus the 1&2 valve combination will be a little high. The 2&3 valve combination will be noticeably sharp. However the 1&3 and 123 valve combinations are respectively very sharp and excruciatingly sharp. So much, in fact, that on the F horn, low C and C# it is recommended to use the corresponding notes on the Bb horn instead.
To illustrate where we are, play the second line A on the F horn. As this note is being sustained, depress the Bb thumb valve. There should be only a slight discrepancy of pitch. If these notes are noticeably far apart, stop and redo the entire tuning procedure from the beginning. If there is only a slight discrepancy, adjust the Auxiliary Bb Tuning Slide to match that of the F side pitch.
The third valve loop is equal in length to the first and second valve loops combined. Conventional wisdom would be to match these loops to the respective combinations and be done with it. However, there is a better solution that will give us better options for good intonation on long valve combinations.
On the F Horn, play the second line A. Keeping the thumb depressed switch from the 1&2 fingering to that of just the 3rd valve. Tune this third valve loop slightly low to that of the 1&2 combination. This is a stop-gap measure that will allow the performer the opportunity to only lip down slightly the 2&3 combination while only having to slightly raise the alternate 3rd finger A/E. Once you are satisfied with the pitch of the F Horn 3rd finger loop, adjust the Bb 3rd finger loop to this pitch. Best of Luck!! For a comparable but slightly different method have a look at www.osmun.com/reference/tuninghorn.htm
