Here are several effects explained and demonstrated. As well as examples of their use and when best to implement them within a compositions and performance.
A slide in pitch between notes. The beginning and end note of the glissando are written and connected by either a straight or a wavy line. Usually the word gliss or glissando will be written above. Valve/lip glissando involves hitting as many harmonics as possible between two pitches. This is the standard glissando, but it is also possible to use the hand to slide a semitone.
A rapid alternation between two pitches - either a tone or a semitone apart. The example shows a minor trill (semitone) followed by a major trill (whole tone), indicated by accidentals over the note. If these are not given, players will choose a trill type based on musical context. Wavy lines to indicate the duration of a trill are optional. Semitone trills work anywhere on the instrument. Whole tone trills can be more difficult, especially in the low to middle register. Lip trills between two harmonics work well in the upper and middle registers.
A trill or rapid alternation between two notes more than a tone apart. Thick slanting lines between two notes. The tremolo shown on the left lasts for one beat. Tremolos are not really feasible on the horn.
Correctly known as cuivré, this means a 'brassy' sound. Cuivré or 'brassy' written above note. Use for limited periods only.