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Harvesting a Horn Section: Strategies for Moving Students to French Horn Michael Fleischmann [email protected] 2020 SCSBOA Confer

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Harvesting a Horn Section: Strategies for Moving Students to French Horn Michael Fleischmann Fleischm@Mac.Com 2020 SCSBOA Confer Harvesting a Horn Section: Strategies for Moving Students to French Horn Michael Fleischmann fl[email protected] 2020 SCSBOA Conference WHY DO WE NEED THE HORN? • The horn is a unique color bridge between the trumpets & low brass • Grade 3+ music tends to utilize the horn more independently and purposefully GET YOUR KIDS EXCITED! • John Williams, Vienna horns (youtube), live demonstrations in class (local college?) WHY IS HORN SO DIFFICULT? • The overtone series: most brass parts (trumpet, trombone, tuba, euphonium) are written between partials 1 - 5 • Horn music is written in partials 4 - 12 where the notes are much closer together WHAT TO LOOK FOR IN A HORN PLAYER: • Good attitude, willingness to fail, student leaders, previous experience with piano or strings • “downstream” players • easily over-blows the trumpet or trombone • clarinet and flute embouchure tends to translate • lips that are not too full or “fleshy” EMBOUCHURE: 2/3 top lip, 1/3 bottom lip 2/3 upper lip, 1/3 lower lip DOUBLE HORNS VS. SINGLE HORNS VS. MELLOPHONES • For high school music (grade 3+) double horns are going to be best • The B-Flat Side (trigger) is more in tune, and uses a wider harmonic series = better note accuracy! • The F-Side is more in tune below G4 (2nd line G), use the B-Flat (trigger) side ABOVE G#4 • Mellophones may be tempting to use - but they are the wrong color for horn music, and may just confuse players when it comes time to play a real instrument • Mellophones and single horns are a last resort for high school if double horns are available SETUP: SEATED POSITION & HAND POSITION • Legs at 90º, slightly off to the right • The left arm and tilt of horn should make a 90º angle • Bring the lead pipe TO the student • Right Hand position: • Blade w/ fingers, tuck thumb to make a flat “table top” • Fingers slightly curved to match contour of the bell 90º • The table top should make contact w/bell at 2:00 INCORRECT: arched thumb Contact @ 2:00 12:00 INCORRECT: palm on the contour of the inside of the bell Moving to Horn: Exercises Bottom Notes Are CONCERT pitch Mouthpiece matching: do-sol sirens, sol-do sirens, sequence chromatically up and down. 2/3 top lip, 1/3 bottom lip, "downstream" air œ & œ & œ ˙ œ œ œ ˙ œ #œ ˙ œ œ ˙ #œ œ #˙ œ ˙ œ ˙ etc. etc. Find the "home note" Play open 5+ times and see which note comes out the most frequently try to start subsequent matching on the home note, move back and forth between the four pitches. Model short sequences on piano and then have the student playback. All notes are playable "open" on the F-side (no trigger) bw w & w w b w w w w w Short Sequences - open (no fingers) on the F-Side (no trigger). Start with long tones, progress to half notes, quarter notes, etc. Don't worry about slurring/tonguing, just strive for ability to match pitch. Start slow! These are short sequences starting on a C home note & & w w w w w w w w w w- - w- w- - - - w- Short scale sequences, call & response. These exercises will take students through the common range of Grade 3+ music Use your best judgement - this will be easier for some, difficult for others. If they can hit everything, great! (slurring recommended, follow the fingerings below) Show students the fingerings as they play. U U U Uœ œ bœ œ œ œ œ œ œ œ & œ œ œ œ & œ œ œ b œ & œ œ œ œ & œ œ œ œ œbœ bœ 0 1 0 1 1 0 T12 T1 0 T12 T2 T0 T0 T12 T2 T0 (same fingerings for single) (same fingerings for single) single:0 1 0 1 œ bœ œ bœ œ bœ œ œ œ bw & œ œ œ œ & œ b œ œ œ w & œ œ b w œ bœ œ œ w œ bw 0 1 0 1 0 T0 T1 T12 0 1 T0 T1 T12 T0 T1 (same fingerings for single) single:1 2 1 0 1 .
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