Teaching Younger Horn Players 2011 Southeast Horn Workshop Appalachian State University Presenter: James Boldin, Assistant Professor, The University of Louisiana at Monroe Challenge Key Concepts Options References Playing position and posture. 1) Bring the horn to the body, not vice versa. 1)Three-quarter size horns: various Farkas, Philip. The Art of manufacturers including Holton French Horn Playing. 2) Sit at least a few inches away from the back of and Ricco Kuehn Evanston, IL: Summy- the chair. Birchard, 1956. 2) Horn support to allow off the leg 3) Keep feet flat on the ground. playing. Hill, Douglas. Collected Thoughts on Teaching and 4) Let the angle of the lead pipe match as closely as Learning, Creativity and possible the structure of the jaw and teeth. Since Horn Performance. Miami: many horn players have at least a slight overbite, a Warner Bros. 2001. proper playing position often results in a descending lead pipe angle. (Three-Quarter Size Horns) http://www.gleblanc.com/ 5) Make sure the bell of the instrument is not facing directly into the body, as this will result in an http://www.ricco-kuehn.de/ overly muffled sound. (Horn Support Stick) 6) If the playing position looks or feels http://www.paxman.co.uk/ 1 uncomfortable and awkward, then chances are it is not the most efficient one for that student. http://www.ergobone.com/ 3) Horn holding strap or left hand 7) Feel the “sits" bones to find a balanced and (Holding Strap/Left Hand support. relaxed sitting position. Support) http://store.osmun.com 4) Adjust valve levers to fit size of hand. 5) Use finger cups, dimes, etc. to extend valve levers. 1 Photographs by Kristen Boldin.
2 Challenge Key Concepts Options References Breathing 1) At the beginner and intermediate level, focus There are numerous types of The following contain on a sensation and a few useful images rather breathing exercises, including those excellent information on than detailed physiological explanations. developed by Arnold Jacobs, breathing as well as detailed Douglas Hill, Verne Reynolds, and breathing exercises. 2) Balloon imagery: As a balloon fills with air, Sam Pilafian. it naturally expands without needing to be Farkas, Philip. The Art of forced out, and as it expels air it naturally If practiced regularly, breathing Brass Playing. Rochester, contracts. Another helpful image is a bellows. exercises can help increase efficiency NY: Wind Music, Inc. 1962. in playing and help develop tone, 3) Feel the sensation of air rushing across the range, and endurance. Hill, Douglas. Warm-ups bottom of the mouth. and Maintenance Sessions Breathing exercises ought to be for the Horn Player. Eau 4) Thinking round syllables on the inhale such practiced as a precursor to warming Claire, WI: Really Good as "how," "hoh," or "hah" help to keep the up on the instrument, or as a Music, 2004. throat and oral cavity open. (As opposed to relaxation exercise. syllables such as "hee" ) Pilafian, Sam and Patrick Numerous possibilities exist for Sheridan. The Breathing 5) The sensation of a relaxed breath is similar to incorporating breathing exercises into Gym. Fort Wayne, IN: Focus an open-mouthed yawn. an ensemble format, both as a warm- on Excellence, 2002. up routine and as a relaxation (Includes DVD and 32 page 6) Remember that playing with good air support technique prior to performances. guide) does not necessaril y require a tight or tensed stomach and abdomen. Feel free to create your own Reynolds, Verne. The Horn variations on well known breathing Handbook. Portland, OR: regimens, as well as to create wholly Amadeus Press, 1997. original exercises. Vining, David. The Breathing Blog. http://mountainpeakmusic.w ordpress.com/
3 Challenge Key Concepts Options References Embouchure 1) One of the main purposes of the 1) Saying the words “emm” while Clevenger, Dale. “Basics embouchure is to allow for the formation of pointing the chin towards the for Beginning Horn an aperture. The function of the aperture is to ground can be effective in forming Students.” The vibrate in response to air. a working embouchure. Instrumentalist 51, no. 8 (March 1997): 34, 36, 38, 2) Philip Farkas describes a properly formed 2) Feel the lower teeth firmly 40, 42. horn embouchure as a “puckered” smile— behind the lower lip—avoid letting with neither too much lip in the mouthpiece the flesh just below the lower lip Ericson, John. Introducing (pucker) nor too little (smile). bunch up. the Horn: Essentials for New Hornists and Their 3) Both firm corners and a flat chin are 3) Practice free buzzing as an aid to Teachers. Tempe, AZ: usually key physical features of a well-formed embouchure formation—if you can Horn Notes Edition, 2010. embouchure. produce a decent free buzz, then you are forming a basically correct Farkas, Philip. The Art of 4) Especially at the beginner level, work to embouchure. Brass Playing. Rochester, identify and eliminate any air pockets that NY: Wind Music, Inc. may form behind the upper or lower lip or in 4) A common problem that 1962. the cheek area. The flesh of both the upper becomes apparent when young and lower lip should rest against the teeth, students attempt to free buzz is a Farkas, Philip. The Art of with no air behind. lack of chin control—the chin and French Horn Playing. lower lip have a tendency to bunch Evanston, IL: Summy- and creep up. One way to assist in Birchard, 1956. producing a free buzz is to place the index finger directly on the lower Hill, Douglas. Collected lip and chin, holding it in position. Thoughts on Teaching and Muscular development and control Learning, Creativity and will gradually replace the need for Horn Performance. Miami: the index finger. Warner Bros. 2001. 5) To initiate a free buzz, imagine Robinson, William C. “The spitting a hair off the end of the Beginning Horn tongue, or spitting out a seed. Embouchure-Pitfalls, Problems, and Progress.” The Instrumentalist 22, no. 4 (Nov. 1967): 68.
4 Challenge Key Concepts Options References Mouthpiece Placement 1) The age old prescription of two-thirds 1) To find the proper proportion of Ericson, John. “Embouchure upper lip and one-third lower lip generally upper to lower lip, first lightly 101” and “Embouchure 201,” works, although there are exceptions. Jaw and moisten the lips and form the Horn Articles Online. <http://www.public.asu.edu/~jqerics/ lip structure also play a very significant role embouchure described in the previous Kopprasch_zone.htm>. in the specific placement for a player. discussion. Allow the mound of flesh on the upper lip to rest just inside the Farkas, Philip. The Art of Brass 2) For players with thin to medium lips, lining mouthpiece rim. Playing. Rochester, NY: Wind up the bottom of the mouthpiece with the Music, Inc. 1962. lower outside edge of the bottom lip can help 2) Think of the lower lip as an anchor in finding a correct embouchure placement. point for the mouthpiece, while the Farkas, Philip. The Art of French upper lip acts as a hook for the upper Horn Playing. Evanston, IL: 3) For players with thick or full lips, the two-thirds or so of the mouthpiece. Summy-Birchard, 1956. bottom of the mouthpiece may not need to rest on the outside edge of the lower lip, but 3) Consistent practice with a mirror Hill, Douglas. Collected Thoughts somewhere above it. on the stand is very important for on Teaching and Learning, beginners, until the embouchure Creativity and Horn 4) It is important that the angle of the muscles become accustomed to a Performance. Miami: Warner mouthpiece follow the natural contour of the regular mouthpiece position. Bros. 2001. player’s face. Since many people have at least a slight overbite, this results in a 4) A good test of mouthpiece Matlick, Eldon. “Solving Horn descending angle. Players with even bites or placement is being able to produce a Mysteries.” The Instrumentalist under bites will tend to have straight to fairly loud, “buzzy” buzz. A buzzy 48, no. 9 (April 1994): 34-49. slightly ascending mouthpiece angles. buzz on the mouthpiece is one produced by lots of air, and one in Perrini, Nicholas. “Basics for 5) Moist lips are important in finding a which the buzz sounds free and open, Beginning French Horn comfortable and workable mouthpiece rather than tight and constricted. Students.” The Instrumentalist 24, position. Moistening the lips allows the no. 7 (Feb. 1970): 64. mouthpiece to settle into a comfortable place and can help keep the embouchure from sticking during wide slurs. 6) Many young players end up with too little top lip in the mouthpiece, often making it difficult to produce higher pitches or a characteristic tone on the instrument.
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