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The article focuses on Steve Turré, a U.S. trombonist and conch horn player, who was awarded the German Jazz Trophy 2023 for his life's work in Stuttgart. Topics include Turré is an innovator of international stature who has worked with notable jazz musicians such as Dizzy Gillespie, McCoy Tyner, and Herbie Hancock; and Turré's early musical influences and his extensive career in jazz music on snail horns with his latest album "Generations".

The article reports that the works as a freelance chamber musician and guest with leading early music ensembles such as the Freiburg Baroque Orchestra, les Amis de Philippe, l'Orchestre des Champs-Elysées and capriccio basel. Topics include considered that for many years he was solo horn player of the basel sinfonietta and in addition to this, he carries out a comprehensive pedagogical activity.

The article presents the ways to select musicians to play the French horn in middle school band and foster their success. Topics including the recruitment of horn players with purpose, holding the horn, and choosing equipment and care, are discussed. Maintaining and tuning, holding the horn, and practising are also discussed.

An interview with Dale Clevenger, principal horn of Chicago Symphony Orchestra (CSO) is presented. He states that music is education and culture. When asked about his goals as a music educator, he notes that his goals are to teach young horn players. He mentions that young people function with immediate gratification and can listen to different kinds of music.

The article discusses an interview with Dale Clevenger, principal hornist of the Chicago Symphony Orchestra. When asked about his favorite music he refers to the music composed by performers Brahms, Tchaikovsky and Bruckner. He also spoke about his decision to retire from the Chicago Symphony Orchestra. He also shares his joy in working as a hornist in the Chicago Symphony Orchestra and memories of the musical tour and performances which he shares with his band members.

The article focuses on the formation of a jazz ensemble or program which can be a full jazz band or a jazz combo. It suggests to form a jazz ensemble with drummer, bassist, pianist, guitarist, and horn player. The ensemble's minimum instrumentation includes an alto saxophone, a trombone, a trumpet, and a tenor saxophone. It notes that organizing an ensemble for each class produces good instrumentation and steady stream of students.

The article provides information on the right hand position in the horn bell. It states that in producing a tightly stopped brassy sound or an echo horn effect, modern professional horn players use the same hand movement. It says that the ideal position of the hand should be in a place to hold the horn off the leg or to stand. Meanwhile, it is important to start the beginning horn players with the correct right-hand position since most of them are too small in size for the instrument.

The article presents a technique on how to perform stopped horn. It mentions that stopped horn happened when the hand completely covers the bell. Although passages for stopped horn occur in nearly every genre of music from solos to large concert band work, the author declares that sometimes it is a misunderstood technique. He declares that proper open horn hand position is essential. After enumerating the characteristics of good right hand position, he states that a proper stopped horn sound is compressed, brassy and a bit nasal.

The article discusses the fundamental aspects of horn as a music instrument. The discussion includes the equipment to be used for a certain player, the problems usually encountered in positioning, proper right-hand position, three common embouchure problems in young horn players, approaches to accuracy and tone, stopped horn technique and lipped trilling. It is indicated that the difficulty in hitting the correct pitch consistently on horn often leads to quitting the instrument. It offers suggestions on how to play horn in an effective way.

The article discusses the basic information of horn playing. The basic position of right hand when playing the horn should be in a comfortable position in the bell, with fingers straight and together. In adjusting the tone or pitch of the sounds, only the palm must be bend. The author also recommend that students will play the horn on the leg through high school for a consistent stance. In addition, the author recommends that listening to great horn players will enhance and guide the player about hot to produce tone, form the lips, and breathe.

This article talks about the switches of music students from another instrument players to horn players in several colleges and universities. The height and strength of students is an early consideration in switching because a full-size horn is unwieldy and heavy for many small students. Music students are encouraged to be in good posture and proper position when playing horn instruments. Students will never play in tune without a good right-hand position. Music teachers and directors have found that students who switch from another instrument often can play more advanced music.

The article presents information about the tradition of rehearsing and performing horn ensembles. In the late 1950s German hornists Max Pottag and Wendell Hoss brought the rich traditions of horn ensembles to the U.S. In 1956 Lowell Shaw became second hornist of the Buffalo Symphony and began teaching at the University of Buffalo a year later. Shaw had studied with Pottag and shared his idea about the horn choir as a training group. Shaw organized groups of college students, area professionals, and high school students, that soon grew into the Buffalo Horn Club. The club was primarily a recreational organization that shared information about horn ensembles, read ensemble literature and gave occasional performances. In 1951, 36 of the finest performers in Los Angeles organized a horn choir concert inspired by those given by Pottag in Chicago. During the 1950s the first solo recordings of horn music became available in the market. The marketing success of these recordings led Capitol Records producer Robert Meyers to contact the Los Angeles group about an album of horn ensemble music.

The Sacramento Kings were the fourth of Dick Motta's six NBA coaching stops, and when he arrived, he immediately traded Danny Ainge, the team's best player. Icon status notwithstanding, Kane and Toews belong on a team with Stanley Cup aspirations... if Toews is ever fit enough to play again. Moreso than Ainge, Kane has easily been his team's best player, but his artistry has often been lost on the pond-hockey kids and beer-leaguers with whom he has been skating, particularly since fellow stalwart Jonathan Toews acknowledged the debilitating effects of long-haul COVID and stepped aside. [Extracted from the article]

The article offers the author's insight regarding music lesson for young hornists. It notes that raising the horn to the lips without bending to reach the mouthpiece is important for beginners. It says that it is ideal to bend slightly the right hand at the knuckles and sit straight with the foot flat on the ground. Moreover, he mentions that corresct embouchure produce a decent free buzz while excessive mouthpiece pressure should be avoided to produce higher pitches.

A personal narrative is presented which explores the author's experience of Big Happy Birthday to Vince DeRosa.

The article reports on horn player Steeven Behnk who is making music for U.S. veterans. Topics discussed include how Steeven got the idea to form a musical group that would play exclusively for veterans' events; the formation of Patriot Brass Ensemble in 2010; and the expansion of the brass band which is now in 50 cities in the country.

The article focuses on the career of the french horn player Julius Watkins who worked with jazz trumpeter Miles Davis, New York Municipal Orchestra and John Coltrane's Africa Brass.

The article presents a profile of horn player Nicolas Ramez.

The article offers suggestions on assessing horn section of horn players along with diagnosing and correcting playing issues. Suggestions discussed include consideration of hand and finger placements while carrying and supporting equipment, pulling valve slides of the instrument and pot-checking slide lengths along to get consistent pitch, checking the valves to prevent bacteria accumulation, and understanding manipulation of air in the instrument for successful execution of the music.

The article profiles Randy Jones, a French Horn player and owner of saxophone dealer and service provider Tenor Madness. Topics discussed about Jones and his company include his family background, his reason for being successful, the high point of his career, his biggest mistake, and an overview about his business.

The article announces the retirement of horn player Dale Clevenger as principal horn with Chicago Symphony Orchestra to start as full-time Professor of Practice in the brass department at Indiana University.

Several letters to the editor are presented in response to articles in previous issues including "Picking Timpanists" in the September 2011 issue, "02 Delta" and repair of music instrument.

The article presents the author's insights regarding the steps for searching students who can switch to horn instruments. The author says that it is easy to select candidates by the way they produce sound on a horn mouthpiece. She states that the embouchure as well as position of handling the instrument is also a factor. She mentions the difficulty in hitting notes on horn due to the narrow gap between notes. She also discusses the proper placement of right hand in the bell.

The article presents a one-way interview with French horn player Bruno Schneider in which he reveals his connection with his musical instrument and the natural associations of animal horns with nature and making sounds. The virtuoso compositions for horns created by composers such as Ludwig van Beethoven and Wolfgang Amadeus Mozart are cited.

The author suggests a list of movie titles and stories about bands and instrumentalists, which were based from real Hollywood movies and books. Movies include "Harry Potter and the Trumpet of Fire," "Remember the Dynamics," "Star Wars: Attack of the Bones," "Men in Back," "Left Behind: The Band Trip," and "How To Lose a Band in Ten Days." They are followed by "Lord of the Strings," "The Horn Supremacy," "The Six Cents," "Dumb Line," "Lemony Snicket's A Series of Unfortunate Contests," "The Five People You Meet at Midwest," and "March the Line."

The article presents information on fingering choices for horn players with a double horn. A professional hornist is expected to have control of a four-octave range, an increase from just 45 years ago, when it was believed that the range of the horn extended from the fundamental of the B horn to the 16th harmonic of the F instrument, or three octaves and a perfect fifth. Even back in 1960 the double horn was quite common, and today many beginners start on a double instrument because it has the warm sound of an F horn and the safety of playing high notes in lower partials on the B horn. The key of F became the standard for horns because it has the best combination of sound quality and clear articulations. Before valves were invented, tubes of various lengths, called crooks, were inserted to change the pitch of an instrument. The short crooks raised the pitch and brightened the sound, while long crooks produced a desirable sound but made the horn more difficult to play cleanly. A double horn improves the sound of bands if the players follow simple guidelines as to when to use each side.

The article discusses the importance of the tuba sound in a concert band as well as techniques in playing it properly. The engine of the tuba sound is the low register and tuba is considered as the engine of a concert band. The tuba can be heard even if the entire band is playing with the pitches down to E1 when played by a good junior high school student and a more advanced player can descend to A0 or E0 pitches. Imagining the syllable "toh" can help the player produce a rich and resonant sound in the low register.

The article reviews the music release "Chrisamba," by Thomas A. Brown.

The article offers information on the tour in Africa by the Richmond Symphony Woodwind Quintet. It notes that the African Project tour was made possible through an accord between the U.S. Southern Governors Association and the African heads of state. Members of the quintet include flute player Christine Ertell, clarinetist Marta Schworm Weldon and horn player Adam Lesnick. The quintet performs university concerts, formal concerts in the U.S. ambassador's homes and an outdoor pops concert.

An interview is presented with British flugelhorn player Kenny Wheeler. When asked about his musical activities at the age of 83, Wheeler says he is less mobile, but cannot imagine to stop playing and composing. Other topics discussed include his music release "Six For Six," his work with musician John Taylor and the influence of the British music scene on his composition style.

The article presents obituaries for several musicians including horn player James Decker, pianist Leonard "Len" Ferris, and guitarist Oscar Castro Neves.

An obituary for French horn player and band director Claude Eugene "Gene" Sherry is presented.

The article discusses the history and use of horn instruments with special attention to the 18th century music centers Saxony, Bohemia, and Vienna, Austria. Other topics mentioned in this article include horn music, the construction of the horn instrument, and horn player Bruno Schneider as well as his concert recording.