Tenor horn
The tenor range of the flugelhorn family, in B♭.
What it means
The tenor horn is a brass instrument of the flugelhorn family in B♭ with conical bore and valves. It stands in the same range as the tenor trombone but sounds rounder and softer, because the tube widens continuously and the mouthpiece is more deeply cupped. Various body shapes are in use; in German-speaking wind-band music, the oval-built instrument is widespread. It is mostly notated transposing in the treble clef, with a written c' sounding as B♭; alongside this, sounding notation in the bass clef also occurs. Closely related are the baritone horn and euphonium, which have a wider bore.
Musical use
In the wind band, the tenor horn takes over the middle voices and the singing lines of the tenor range; it connects the bright horns and trumpets with the low brass and provides a unified, warm overall sound. In folk and light music it is firmly established, often as a counter-voice to the melody. In the symphony orchestra it is largely absent; the corresponding tasks are there taken over by horn and trombone. Whoever moves between the traditions therefore encounters different notation conventions and should read the part designation carefully.
Performance practice
Use a suitable, deeply cupped mouthpiece; a trombone mouthpiece changes the sound considerably. Work with a broad, calm airstream and soft articulation, because the instrument is built for singing lines. Check the intonation of the valve combinations, especially in the low register, and use available slide corrections or a fourth valve. When changing register, watch for a consistent colour, so that lines do not break. Keep the valves free-running and empty the condensation from all the tubing regularly.
Bear in mind that in wind-band music several like instruments often play the same part: then the agreement of vibrato and articulation decides the sound of the group. Clarify both explicitly. Take care not to play too heavily in the middle register, since otherwise the counter-voices cover the melody. When reading unfamiliar parts, check the notation type first, to avoid transposition errors. Keep the slides well maintained, so that intonation corrections remain possible during playing.