Doppelhorn
Various Composers Lyrics

We have lyrics for 'Doppelhorn' by these artists:

Lorenz Büffel Döp, dö-döp, dö-döp, dö-dö-dö-dö-dö Döp, dö-döp, dö-döp, dö-…

We have lyrics for these tracks by Various Composers:

411 Tell me your fable A fable Tell me your fable Tell me your…

The lyrics are frequently found in the comments by searching or by filtering for lyric videos

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Comments from YouTube:

J B Rupam

3y↑1

This is an extremely superb tutorial to make things understandable to people like me.
I very much liked the superior degree of illustrations & examples - and what a beautiful sample library was displayed. I have a natural weakness to this instrument and tend to write more horns in my scores. Your tutorial will show me the way to write idiomatically for the instrument. Thanks a lot - Alex Ji

Alex Heppelmann

3y↑1

I'm glad you found the video so helpful!

Michel Lamontagne

Very complete and clear in a short time. Thanks Alex!

10 210

C’est magnifique 🤩

Rob Park Mitchell, jr Music

Hey- great video! I thought this would be just basic info and I might skip over it but even though much of it WAS basic, somehow the way you compiled and ordered the information made me watch the whole thing! One thing I wish someone would touch on more thoroughly though, is something the "Orchestration Online" channel (Thomas Goss) and his blog touch on, but I still find very confusing.
That is how and why the horns are paired 1/2 3/4 vs. 1/3 2/4. I would love to see a workshop where a section of horns sits down and explains how they pair notes and why they might like to sit next to their "partner," and play through some real examples and explain why different combinations work and others don't.
It is very confusing and every time I think I get it, I find a month or 2 or 3 later I need to go back and read it all over again b/c I've forgotten, and/or I have a new passage I'm trying to score where I'm really not sure the best way to voice the chords to help them make it sound as bast as it can.
But again- great video- thanks!

Rob Park Mitchell, jr Music

@Alex Heppelmann Yes, thank you for your reply. Below is a great article on horn relationships and this is literally the only time I comprehend the reasoning for their partnerships. I found it enormously helpful, and my orchestration teacher at conservatory was probably the weakest course I had, unfortunately.
I was always told about the 1/3 2/4 voicing when I was in school but the project I'm working on right now has me writing more extensively and consistently for horn than I ever have before, plus I've given myself a tad of a handicap by not having a bass trombone and only 2 trumpets instead of standard 3, so I keep finding one scenario after another where I'm not sure I'm voicing the horns in the most optimal way to flesh out the brass. Therefore I keep coming back to the internet to see if I can find the answer. I know I will write something playable, but I don't want to waste potential rehearsal time with them scratching their heads and asking for rewrites, or worse, just complaining behind my back about how badly I voiced them and letting it stay awkward for the next poor saps who might come along and play it.
Anyway, here is the article I found so useful, and thank you again for your reply and your video! I look forward to more!
https://orchestrationonline.com/horn-wars-scoring-12-34-vs-13-24/

Alex Heppelmann

Thanks Rob! I'm not a horn player but based on what my horn friends have told me, this is purely a logistical issue, not a musical or performance issue. Orchestral scores usually have the four horns condensed to two staves to save space on the page. Historically, a four-note chord would be voiced with the top horn on the highest note, then Horn 3 on the next highest note, then Horn 2 below them, and finally Horn 4 on the lowest note. They did it this way so that on the top horn staff in the score (Horn 1 + Horn 2), there was enough of an interval gap between Horns 1 and 2 that it was easy to read, and so the two horn parts sharing a staff didn't run into each other on the page. This was the traditional method for writing orchestral horns -- however, nowadays a lot of composers will just voice a chord from high to low, Horn 1, 2, 3, 4. And for the same reason as before, so the score looks clean, they group Horns 1 & 3 together and 2 & 4 together. Most professional horn players are capable of playing the complete range of notes, so the tradition of high v. low horn players isn't as big a deal anymore. I should mention, I can only speak for orchestras in the United States... There could be differences in Europe or other parts of the world.
Sorry for the long-winded answer... hope that was helpful!