TOOLS NECESSARY TO TEACH THE HORN WELL

Julie Landsman Tom Bacon Jr. High to High School Julliard School Arizona State

PART TWO

For educators who want

to know more about Jennifer Montone Jeff Nelsen Curtis Institute Indiana University The History Background, Equipment, and Teaching Aids for Horn

Jason Johnston 04/22/15 Historical Background Overview

THE NATURAL HORN

FRENCH?

WRAP: GEYER, KNOPF, AND KRUSPE

VALVE AND SLIDE CONFIGURATION

THE HARMONIC SERIES

RANGE

Historical Background The ? Origins in France… Migration to Bohemia The French Hunting Horn The trompes de chasse (pictured) was an instrument that was used to signal huntsmen for various events. Keep in mind that France was not the only place to develop a horn such as this. England also had their own version and eventually added their own imprint on the horn of today. The instrument that began the development of the horn we now see today was first noticed in the city of Versailles, France by a gentleman named Count Anton von Sprock in 1681. Sprock was a young, rich aristocrat from the region of Bohemia which sat were Southern Germany, Austria, Poland and the Czech Republic now reside. Sprock was impressed with the new sound with which he was introduced so much that he instructed two members of his party – Wenzel Sweda and Peter Rollig – to learn how to play the instruments the French horn players happened to be playing and bring that sound back to Bohemia. Soon after, Prague became the center of horn playing in Europe. Historical Background The French Horn? Vienna’s Influence

1690 – Viennese Horn makers, the Leichnambschneider family, helped make the horn more versatile in the orchestra by adding coiled tubing called crooks to the horn in order to facilitate key changes. 1750 – The crooks were eventually moved to the middle of the horn and tuning slides were added to facilitate ease of tuning and better posture. The original crooks were added to the lead pipe causing major posture problems. 1750 – was also the time when the concept of hand stopping became popular making the horn fully chromatic without the use of valves. This concept is thought to be pioneered by Anton Hampel but some can argue that Jean-Joseph Rodolphe did the same in France. 1815 – The Viennese horn makers added valves to the horn making is far simpler to change crooks. Music was becoming much more chromatic and writing for the horn became increasingly popular. It must be understood that hand stopping was still used on the early valved horns. It was not until the early 20th century where hand-stopping chromaticism began to fall by the wayside. Historical Background The French Horn? Germany’s Influence The Double Horn Wrap

Designed by Evald Kruspe in 1897 the double horn was thrust into the orchestral spotlight.

The double horn is a combination of two differently keyed horns. A horn in Bb and a horn in F. Kruspe

A second wrap was designed in 1929 by Heinrich August Knopf

The Knopf wrap was modified and made popular by Chicago horn Geyer/Knopf maker Carl Geyer in the 1930’s Historical Background Valve Configuration Most Popular

Manufactured with Yellow Brass Manufactured with Nickel-Silver

Geyer/Knopf Kruspe

The arrows point to the change valve (a.k.a “trigger”) Historical Background The Harmonic Series

It is often asked, “Why on earth do we have to transpose?” The reason is due to physical properties of the harmonic series. Each note of the harmonic series has its own pitch tendencies and it is important for a hornist to know what the pitch tendencies are for any specific key. For example, what are the pitch tendencies for Horn in D? Horn in Eb? It takes an incredible amount of work and practice in order to remember how a specific pitch acts in a specific transposition or key while functioning as a chord member. Memorize this phrase (Horn in F): ***Written up, sounds down a perfect fifth*** Historical Background Common Range

Young Student Advanced Pre-College

The measure on the LEFT represents the most common range achievable by young horn students by their freshman year in high school.

The measure on the RIGHT represents the most common range achievable by advanced pre-college horn players. This range is generally required by those who wish to compete well within All-State, District, and Honor Band festivities.

EQUIPMENT AND TEACHING AIDS Overview

MUTES AND MOUTHPIECES

SPECIFIC HORNS

TEACHING AIDS

COMMON EDUCATION AND ETUDE BOOKS

EXERCISES

EQUIPMENT Mutes STOP MUTES: STRAIGHT MUTES: Because hand sizes vary from student to Mutes are often difficult to keep in good student you will find it in your best interest to condition, therefore, I think it best for you and purchase at least four “STOP Mutes” for your your program to get the best bang for your high school music program. Literature does buck. Stone Lined mutes are very popular and not (and should not) require students do an adequate job for costing only $28. younger than high school age to employ any They can take a lot of punishment stopping technique. and can put out a quality muted This is a picture of a Tom Crown sound. Tunable SL mutes are a stop mute. It is not the cheapest better option at ~$55. mute (~$65) but they are well There are mutes out there made, hearty, and will not fall that produce a much better tone apart as easily as others. and are easier to play but they Transposition down ½ step is still can get very expensive and required but there is a MUCH brittle. Here are some brand better chance the student will hit name examples you can the note and it will be relatively research: Ion Balu Mutes in tune. Ø Ø Trumcor Ø Dennis Wick Ø Marcus Bonna Ø Tom Crown Ø Wallace EQUIPMENT Mouthpieces After the ear, mouthpieces play the most important part in producing a quality sound throughout the range of the instrument. Below are three basic mouthpieces that are extremely affordable for your band program and can be easily found. The fourth is expensive but helpful for orthopedic-enhanced kids. Laskey 75G

n Great all around MP Holton MC

n Best Value Stork CMA10

n Best for Kruspe Horns Wedge 75M

n Great for braces!! EQUIPMENT For Advanced Students

Further information regarding equipment required from advanced pre-college students to the professional level can be found on my website:

www.johnstonhorn.com

Click on the ‘Gig Bag’ menu option at the top of the page Price Comparison The chart below compares the price differences between the top four LINE horn manufacturers and one Chinese manufacturer* All common Kruspe horns, they can take a beating and are easier to fix. Woodwind & Maker Model # MSRP Brasswind Dealer Price

Hoyer 6801 $7,853 $4,956

Conn 8D $6,684 $4,469

Yamaha YHR-668N $6,865 $4,425

Holton H179 $6,326 $4,259

Mack Brass* FH-601S $915

Prices as of 04/20/15 Teaching Aids BOOKS GUIDES: For you and your students to walk through Home Helper Horn in F – James O. Froseth n A fantastic method book with CD accompaniment and exercises to do at home and at school Foundations for Superior Performance – Richard Williams & Jeff King n This is a technique book for an entire band, I highly recommend use of this book with your ensemble

ETUDE BOOKS: For your serious students Pottag-Hovey Method Books One and Two – Max Pottag and Nilo Hovey Sixty Selected Studies, Book One – Georg Kopprasch n The one standard etude book taught and played by all horn students and professionals Preparatory Melodies to Solo Work – Max Pottag Legato Etudes for French Horn – John Shoemaker Melodious Etudes for Book One – Joannes Rochut n This book is generally used as a bass clef study for high brass players 40 Characteristic Etudes for French Horn – Henri Kling 30 Studies for French Horn – J. F. Gallay

Teaching Aids (cont’d) BOOKS

LITERATURE TO HELP YOU TEACH THE HORN: The Art of French Horn Playing – Philip Farkas Real World Horn Playing – Wendell Rider Collected Thoughts – Douglas Hill

HISTORY OF THE HORN: Horn – Barry Tuckwell The Horn – Robin Gregory The French Horn – R. Morley Pegge The Horn – Kurt Janetsky

FOR YOUR ADVANCED STUDENTS: The Horn Handbook – Verne Reynolds The Inner Game of Music – Barry Green Mastering the Horn’s Low Register – Randy Gardner

***There are many, MANY more books available!! Teaching Aids (cont’d) PERFORMERS AND WEBSITES PERFORMANCE: WEB SITES: Search for these fantastic performers RETAIL and ensembles!! n www.houghtonhorns.com (Dallas) PERFORMERS: Greg Hustis Barry Tuckwell William VerMeulen n www.poperepair.com (Boston) Dennis Brain James Thatcher n www.hornguys.com (L.A.) Gail Williams Rick Todd David Pyatt Vince deRosa HORN BUILDERS Ifor James James Decker n www.hornworks.com (New Mexico) Marie Louise Neunecker Denise Tryon n www.atkinsonhorns.com (L.A.) Hermann Baumann Douglas Hill Dale Clevenger Jeff Nelsen n www.corno.de/schmid (Germany) Phil Meyers Dave Krehbil n www.paxman.co.uk (England) Sarah Willis Peter Damm Julie Landsman HORN RESOURCES n www.hornsociety.org ENSEMBLES: Boulder Brass w www.hornsociety.org/hornexcerpts-org American Horn Quartet Philip Jones Brass Ensemble w www.hornsociety.org/free-classifieds Genghis Barbie National Brass Ensemble n www.hornplanet.com London Horn Sound American Vienna Horns Stockholm Brass Quintet n www.hornquartet.com Horns of the Berlin Meridian Arts Ensemble n www.sarah-willis.com Philharmonic Center City Brass n www.hornmatters.com The Texas Horns Burning River Brass n www.denisetryon.com Denver Brass n www.jeffnelsen.com

Julie Landsman Long Tone Warmup arr. J. Johnston FOUR RULES by Carmine Caruso: (1) Tap your foot - This is to establish timing to which the muscles must move, so they respone to the specific rhythm you make. (2) Keep the mouthpiece in contact with the lips throughout the study - Everytime you move the mouthpiece away, you have to reset the whole embouchure. The "whole" embouchure consists of five definite movements: (a) Putting the mouthpiece in contact with the lips (b) Putting tension on the lips for the note to be played (c) Positioning the jaw properly (d) Aligining the instrument properly (e) The blow (3) Keep the blow steady - You are blowing air through the lips and the steadier the blow, the more compact the motion of the air. (4) Breathe only through the nose. - Done for the same reason as Rule No.2: To reduce the amount of muscular activity it takes to produce a note.

OTHER THOUGHTS: (1) The first pitch is decided by the Key of the Day. If A-flat is your key then start on the A-flat below the staff. (2) Do not play above the staff. Adjust accordingly. (3) No need for a drone. (4) Sound beautiful. (4) Just play.

q»§º & c ! ! 7 ˙ ˙ w #˙ ˙ #w

& ! ! 13 ˙ ˙ w #˙ ˙ #w ! ! & ˙ ˙ w ˙ ˙ w 19

& #˙ ˙ #w ! ˙ ˙ w ! 25

& #˙ ˙ #w ! ˙ ˙ w ! 31

& #˙ ˙ #w ! ˙ ˙ w ! 37

& ˙ ˙ w !

©johnstonhorn 2004 Extended Low Flow Warmup J. Johnston A warmup allows the player the opportunity to properly fix their minds on the tasks at hand - ear training and blood flow to the embouchure. The exercise below is loosly based on a popular routine envisioned by the true "Father of Brass and Wind," Arnold Jacobs. Start slow and surround yourself with your sound. Play big but NOT loud. Slur everything. Once you have the exercise under your fingers the next challenge is to play each key in one breath, comfortably. Don't rush through it for the sake of speed. Be sure to keep the balance of tone, speed, and air in mind. œ œ œ œ œ œ œ œ œ œ ? 42 œ ˙ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ ? œ œ œ œ œ ˙ & œ œ œ œ œ œ ˙ œ œ œ Slur All œ œ œ ? # # œ œ œ œ œ œ œ # ## œ ˙ œ œ œ œ œ œ ? # ## œ œ œ œ œ œ # # œ œ œ œ œ & œ œ œ œ œ # ## ? œ œ œ œ œ ˙ & # # œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ ? bb œ œ œ œ ˙ œ œ œ œ ? b œ œ œ œ œ œ œ œ b œ œ œ œ œ & œ œ œ œ œ b ? œ œ œ œ œ ˙ & b œ œ œ œ œ œ ˙ œ œ œ

©johnstonhorn 2014

Fred Fox Fox Tones arr. J. Johnston Developed by Fred Fox, this exercise is designed to improve the players single tonguing speed. Set the metronome to the point where the 16th note portion of the exercise is challenging but achievable. When tonguing be sure to tongue with a light "theh" or thuh" articulation marking in order to keep the tongue behind the front teeth (do NOT use a "dah" or "tah" articulation, it keeps the tongue up too high). Fast tonguing requires efficiency. The more tongue muscle used the slower the articulation produced, use the tip of the tongue.

Sequence #1 q»¡ºº 3 3 3 3 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& ! œ œ Sequenceœ œ œ #2:œ Continueœ œ œ exerciseœ œ diatonicallyœ œ œ œ œ throughw sequence 8 (below) 3 3 3 3

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& ! œ œ Sequenceœ œ œ #8œ œ œ œ œ œ œ œ œ œ œ w œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 3 3 3 3

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w ! Apply the pattern above to an entire diatonic scale. During this exercise, titled Top Tones, you will continually "return" to the upper note rather than occasionally "reaching" for it. It is in your best interest to play this exercise in 3 separate octaves in whatever "Key of the Day" you happen to be playing. Push your single tongue tempo!! œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ œ 3 3 3 3 3 3 3 3 3 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ 3 œ œ œ œ 3 œ œ œ œ œ 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ©johnstonhornœ œ 2012œ œ œ œ œ