Originally, calls on the hunting horn were used to identify animals and the stages in their pursuit. Reproduce the natural notes of the horn - the “harmonic series” determined by the universal laws of acoustics - by playing these notes on instruments: C C (an octave higher) G C (another octave higher), E G B-flat C (an octave higher again). Children can invent combinations to produce fanfare-like calls to associate with a variety of animals and messages.
Children can invent two different short motifs to represent the hunter and the hunted: humandeer; catmouse; lion zebra. These can be played and repeated at varying speeds and with sudden pauses to imitate the movements of stalking and the chase. If final phrases coincides on the same note, the prey has been caught, but if they diverge the hunter has lost and must try again.
Listen to two uses of hunting horn calls - the finale of Mozart’s “Third Horn Concerto in E-flat” (K447) and the allegro finale of Brahms’s “Horn Trio in E-flat” (Op 40). How do the composers develop the jaunty 68 rhythm? Is there a contrast between a “classical” and a “romantic” treatment?
