French Horns
The horn (also known as the French horn) is a brass instrument descended from the natural horn that consists of about 12 feet of tubing (for a single horn in the key of F), wrapped into a compact, coiled form with a flared bell. The most common type of horn is the double horn, which has two sets of tubes for the four finger-operated valves, which correspond to the key of F and B-flat. One valve , typically for the left-hand thumb, routes the air flow to the set of B-flat tubes. A musician who plays the horn is called a horn player or hornist (less frequently used term).
The horn is pitched in the key of F. Compared to the other brass instruments in the orchestra, it has the smallest mouthpiece, but has the widest range-- approximately four octaves (depending on the ability of the player). To produce different notes on the horn, one must do many things--the three most important are the pressing valves, producing the appropriate amount of lip tension, and blowing air into the instrument. More lip tension and faster air produces higher notes. Less lip tension and slower air produces lower notes. The notes of the horn's overtone series are closer together than on other brass instruments. Even professional hornists are known for playing more wrong notes than any other instrument.
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Comprehending sheet music requires a special form of literacy: the ability to read musical notation. Nevertheless, an ability to read or write music is not a requirement to compose music. Many composers have been capable of producing music in printed form without the capacity themselves to read or write in musical notation -- as long as an amanuensis of some sort is available. Examples include the blind 18th-century composer John Stanley and the 20th-century composer/lyricist Lionel Bart.
The skill of sight reading is the ability of a musician to perform an unfamiliar work of music upon viewing the sheet music for the first time. Sight reading ability is expected of professional musicians and serious amateurs who play classical music and related forms. An even more refined skill is the ability to look at a new piece of music and hear most or all of the sounds (melodies, harmonies, timbres, etc.) in one's head without having to play the piece.
With the exception of solo performances, where memorization is expected, classical musicians ordinarily have the sheet music at hand when performing. Even in jazz music, which is mostly improvised, sheet music is used to give basic indications of melodies, chord changes, and arrangements.
Handwritten or printed music is less important in other traditions of musical practice, however. Although much popular music is published in notation of some sort, it is quite common for people to learn a piece by ear. This is also the case in most forms of western folk music, where songs and dances are passed down by oral -- and aural -- tradition. Music of other cultures, both folk and classical, is often transmitted orally, though some non-western cultures developed their own forms of musical notation and sheet music as well.
Although sheet music is often thought of as being a platform for new music and an aid to composition (i.e., the composer writes the music down), it can also serve as a visual record of music that already exists. Scholars and others have made transcriptions of western and non-western musics so as to render them in readable form for study, analysis, and re-creative performance. This has been done not only with folk or traditional music (e.g., Bartók's volumes of Magyar and Romanian folk music), but also with sound recordings of improvisations by musicians (e.g., jazz piano) and performances that may only partially be based on notation. An exhaustive example of the latter in recent times is the collection The Beatles: Complete Scores (London: Wise Publications, c1993), which seeks to transcribe into staves and tablature all the songs as recorded by the Beatles in instrumental and vocal detail.
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