The horn is renowned for its contributions to traditional orchestral repertoire and concert hall performances. Since its induction into the symphony, its uses outside the concert hall have been diverse albeit comparatively sparse. However rare, its implementation still spans from the high arts, to world of pop, and to the avant-garde. In 1976, the haunting, sonorous timbre of Peter Gordon's legendary solo horn would inspire Jaco Pastorius to feature it on his titular album. This paper will analyze and define key nontraditional uses of the horn, discuss the effects of non-notated performance practice on the hornist, provide method studies for improving non-notated performance, and demonstrate how the horn's employment as a compositional, improvisational, and accompanimental instrument, independent of strictly notated music, will help hornists to best perform Jaco Pastorius's Okonkole y Trompa.