Alphorn
The alphorn or alpenhorn or alpine horn is a labrophone, consisting of a straight several-meter-long wooden natural horn of conical bore, with a wooden cup-shaped mouthpiece. Traditionally the Alphorn was made of one single piece, or two parts at most, and made from the wood of a red pine tree. Sometimes the trees would bend from the weight of snow during the wintertime, and this caused them to have the larger and bent mouthpiece at their ends. Modern Alphorns are sometimes made from three distinct parts that can be stuck together, this is to make them  easier to transport via automobile, or even carried by hand, and today are more frequently made from the wood of a spruce tree or fir tree. It is used by mountain dwellers in the Swiss Alps. Similar wooden horns were used for communication in most mountainous regions of Europe, from the Alps to the Carpathians. Alphorns are today used as musical instruments. History. For a long time, scholars believed that the alphorn had been derived from the Roman-Etruscan lituus, because of their resemblance in shape, and because of the word "liti", meaning Alphorn in the dialect of Obwalden. There  is no documented evidence for this theory however, and also the word "liti" was probably borrowed from 16th–18th century writings in Latin, where the word "lituus" could describe various wind instruments, such as the horn, the crumhorn, or the cornett. Swiss naturalist Conrad Gesner used the words "lituum alpinum" for the first known detailed description of the alphorn in his "De raris et admirandis herbis" in 1555. The oldest known document using the German word "Alphorn" is a page from a 1527 account book from the former Cistercian abbey St. Urban near Pfaffnau mentioning the payment of two Batzen for  an itinerant alphorn player from the Valais. 17th–19th century collections of alpine myths and legends suggest that alphorn-like instruments had frequently been used as signal instruments in village communities since old times or earlier, sometimes substituting for the lack of church bells. Surviving artifacts, dating back to as far as ca. AD 1400, include wooden labrophones in their stretched form, like the alphorn, or coiled versions, such as the "Büchel" and the "Allgäuisches Waldhorn" or "Ackerhorn". The alphorn's exact origins remain indeterminate, and the ubiquity of horn-like signal instruments in valleys throughout Europe may indicate a long  history of cross influences regarding their construction and usage. Construction and qualities. The alphorn is carved from solid softwood, generally spruce but sometimes pine. In former times, the alphorn maker would find a tree bent at the base in the shape of an alphorn, but modern makers piece the wood together at the base. A cup-shaped mouthpiece carved out of a block of hard wood is added and the instrument is complete. An alphorn made at Rigi-Kulm, Schwyz, and now in the Victoria and Albert Museum, measures in length and has a straight tube. The Swiss alphorn varies  in shape according to the locality, being curved near the bell in the Bernese Oberland. Michael Praetorius mentions an alphorn-like instrument under the name of Hölzern Trummet (wooden trumpet) in "Syntagma Musicum" (Wittenberg, 1615–1619; Pl. VIII). The alphorn has no lateral openings and therefore gives the pure natural harmonic series of the open pipe. The notes of the natural harmonic series overlap, but do not exactly correspond, to notes found in the familiar chromatic scale in standard Western equal temperament. Most prominently within the alphorn's range, the 7th and 11th harmonics are particularly noticeable, because they fall between  adjacent notes in the chromatic scale. Accomplished alphornists often command a range of nearly three octaves, consisting of the 2nd through the 16th notes of the harmonic series. The availability of the higher tones is due in part to the relatively small diameter of the bore of the mouthpiece and tubing in relation to the overall length of the horn. The well-known "Ranz des Vaches" (score; audio) is a traditional Swiss melody often heard on the alphorn. The song describes the time of bringing the cows to the high country at milk making time. Rossini introduced the "Ranz des  Vaches" into his masterpiece "William Tell," along with many other delightful melodies scattered throughout the opera in vocal and instrumental parts that are well-suited to the alphorn. Brahms wrote to Clara Schumann that the inspiration for the dramatic entry of the horn in the introduction to the last movement of his First Symphony was an alphorn melody he heard while vacationing in the Rigi area of Switzerland. For Clara's birthday in 1868 Brahms sent her a greeting that was to be sung with the melody. Music for alphorn. Among music composed for the alphorn: