FOXES FOXHOUNDS & FOX-HUNTING 



days, and so when the huntsman viewed his stag 

 he blew a Mote followed by a recheat after which 

 he sounded two Motes to call the hounds. It was 

 something like the present day " gone away," 

 tarara, tarara, tarararararara. 



The Parfet was blown when hounds were on the 

 right line, and was a somewhat complicated call. 



The Forlonge was a signal that the quarry was 

 far in front of hounds or that a few couple had 

 got away alone with their stag. 



The Prise consisting of four Motes was blown 

 when a hunted stag had been killed. Four 

 Motes were first sounded, then a second four a 

 little longer drawn out. 



The Menee was blown at the hall-door on the 

 return of the huntsmen. The Master first blew 

 four Motes, after which the field joined in with 

 their horns, keeping time together. Horn music 

 in these modern days has been very much cut 

 down. Sometimes you hear nothing but a single 

 monotonous note blown all day, or a few calls 

 seldom repeated. Hunting in the open there is 

 of course but little real need for a variety of horn 

 music, such as our French friends use in their 

 woodland hunting. In the big French forests 

 it is impossible to ride right up to hounds, but by 

 means of the horn information is conveyed to the 

 followers who are familiar with the various calls. 

 In extensive English woodlands it is quite easy 

 to get left when hounds break covert, and a few 

 simple and easily understood calls would obviate 

 all this, and perhaps revive to some extent an 

 interest in horn music. 



Of modern calls we have a single note when 

 hounds are off to draw, and the " gone away " 

 when a fox breaks covert. Then on a scent the 

 huntsman may perhaps " double the horn," 



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