by Mike Harcrow

To articulate is to make distinct, more so or less so in music as the style and other aspects of a performing situation (acoustics, number of players, etc.) may require. A very basic articulation diagram for musical styles of the Classical and Romantic eras might look something like this:

How wind players accomplish these (and other) indicators is considered a function primarily of the tongue. If we think more thoroughly about what really happens as we articulate, however, we will discover at least five articulation activators: the tongue, the fingers, the rotors, the lips, and airflow.

THE TONGUE

A horn player’s tone is distinctive, in great part, because our bells face away from the audience and we have our hands placed in them for functional purposes (the subject of another discussion), including tone control and manipulation…not to mention playing nearly into our own concert attire and, possibly, into curtains! These factors contribute to some disadvantages in performance, most notably (in light of this discussion) to a loss in the clarity of tonguing.

Most horn players use a letter “T” as their articulation consonant—and occasionally a letter “D” if a more lyrical passage is made more beautiful by using the softer articulation. I was once, however, quite shocked and disappointed in listening back to a recording of myself in a performance of Tchaikovsky’s Symphony No. 5 in which all the repeated pitches in the famous solo were so unclear because of my choice to tongue softly that the measures [mm. 11, 15, 19, and 23] sounded like long tones rather than distinct rhythms!

Tonguing must not be mushy; neither ought it be harsh or explosive. The default concept for tonguing should be clarity.

THE FINGERS

Tonguing is quite often done while fingering different notes. If the tongue and fingers are not perfectly coordinated, the effect of articulating is that of popcorn popping. We must develop an ergonomically comfortable left-hand position that is relaxed—remembering that the hand is attached to the wrist and the wrist to the arm, in order to avoid any possibility of developing carpal tunnel syndrome or any other repeated stress injury—while maximizing our ability to move the fingers quickly in synchronization with the tongue. “Fly-away” fingers or fingers flattened onto the rotor levers are not efficient in their movement, so a grip which can hold an overripe tomato without rupturing it is most desirable. The fact that a majority of horn players have a dominant right hand, moreover, means that most of us have a bit more to overcome in developing the best facility in finger-tongue coordination. The easy solution is to practice single and multiple tonguing daily in conjunction with valve work (starting with scales).

THE ROTORS

Closely related to the fingers as articulators are the instrument’s rotors (or valves), since these are what the fingers operate. What really needs to be said here is that rotors must work well. Rotors must be well oiled so that they are quick (light oil) and quiet (more viscous oil). Linkages, mechanical or string, must be in excellent repair. Neoprene, rubber, or cork bumpers must be placed and trimmed so that the rotors open and close with the best possible internal alignment, and they should be neither too squishy nor too hard.

THE LIPS

Most of us will agree that every single pitch we play has a different and distinct “buzz.” The generation of sound by the aperture is how brass players create pitch; placement or positioning of the pitch in the buzzing aperture is how we accomplish note changes, with or without valves, and, to some extent, pitch control. I recall sitting in the front row in a small concert hall in Seoul, South Korea, to watch a very famous colleague conduct his own performance of a difficult modern horn concerto played from memory. In getting the chamber orchestra started, he completely mis-fingered much of the challenging opening passage yet still got every note right! That is the power of the buzz.

AIRFLOW

None of the first four articulators work their best without optimum airflow. Indeed, there is no buzz without it; but we must also use a copious amount of air for both power and nuance. Our entire torsos function as big air pumps. Additionally, as we read in chapter 2 of the well-known Yogi Science of Breath (made known to American brass players by Arnold Jacobs), “breath is life,” that is, oxygen makes every functioning part of our bodies work well. How much do we need the focus and concentration to multi-task as performers, the energy for the creation of sound and for stamina, and generosity of tone and beauty! We are generating little tornados in our horns every time we play well. Air is foundational to what we do; air gets us—as articulation masters—and the music going.

by Inman Hebert

So You Think You Want to be A Music Professor….

As students, many of us work with college professors who mentor us through our development as horn players. As we progress on our journeys, we look at potential careers to pursue after graduation. One excellent option is following in the footsteps of our mentors and becoming teachers ourselves. In this exploration, what should horn students consider before choosing to pursue the collegiate career path?

If interested in becoming a music professor, searching for and analyzing job announcements can help inform one’s decision process. The search will yield results from conservatories to private and public institutions, both liberal arts colleges and universities, that are not always close to a metropolis or existing family connections, and distance can be crucial in the decision-making process for some.

Often, the types of jobs available do not match our ideals. Non-tenure track lecturer and instructor positions with contracts that typically span one to three years far outnumber tenure-track positions with ascending ranks of Assistant Professor, Associate Professor, and Professor. While some positions may be less than full-time in conjunction with performing, adjunct instructors, by definition, are part-time positions hired to fulfill a particular and limited role. Though success in a performance career may supersede some requirements, most announcements list a minimum requirement of a master’s degree while many dictate a terminal degree such as a DMA.

If these initial job searches do not dampen one’s interest, then what must a horn student understand about becoming a professor? By reading biographies of music professors online and talking with those in the field, students will discover that the path to becoming a music professor is a unique journey filled with many twists and turns. The path is rarely a straight line but one that is often a pursuit of passion with dedication. In addition to being extremely competitive, it may involve multiple steps, often beyond our initial expectations, and will often take more time than we may currently imagine. While no single path exists, our adaptability and receptiveness to any and all opportunities start now while we are students.

A professorship encompasses a broad range of duties far beyond the requisite education and the proficiency to play the horn at a high level of accomplishment. Students must ask themselves if they desire to teach and mentor others. Those who respond in the affirmative must invest the time to develop their communication skills. Not all students learn in the same manner, and professors with empathy and understanding will meet students where they are in their role as mentors to communicate in a way that is helpful to the students in their development. The ability to communicate well manifests not only in lessons but also in lecturing, advising, recruiting prospective students, and interacting with colleagues. Early in their education, students should seek opportunities to observe and internalize what succeeds in master classes, private lessons, and studios, while more experienced students should be provided opportunities to start working with others.

For many musicians, writing is an undervalued form of communication that students can work to improve. Whether promoting yourself in a curriculum vitae and cover letter for a position, writing about your research, or advertising on your own or on a college website, writing can be an asset that provides a first impression as a candidate and shows that you are knowledgeable, credible, professional, and organized.

While college professors must maintain a commitment to teaching, skills needed may extend to finding and recruiting students, administrating a studio, teaching private lessons, conducting ensembles, developing music history or pedagogy or other courses, mentoring students beyond lessons, maintaining an active research profile, and performing. More and more, professors are also required to serve institutions in governance (like committee work, particularly at smaller liberal arts colleges), assessment, state and national accreditation processes, department-oriented administrative work (such as budgeting, planning and scheduling, etc.) and/or administrative roles (department chairs, deans, etc.), implementing DEI initiatives, creating new degrees or altering existing ones, and so on. Much of this comes as on-the-job training for which students pursuing a professorship must be aware but also agreeable to learn. These unexpected aspects of a teaching career are challenging but also educational and enriching.

Those seeking to become a music professor should excel on the horn and enjoy all aspects of music. The diversity of the students and the roles performed will be as varied as the mission of the position. Applicants can never know what will get a search committee’s attention, so they should take advantage of any opportunity which can broaden their skill sets. Search committees are looking for a peer who can perform service and contribute to the success of their music program. As students, we must decide if we have the interest, adaptability, and dedication to pursue this career path.

by John McGuire

Calling all horn players! Are you in the market for a new horn, mouthpiece, mute, accessories, or music to perform? Make IHS 56 in Fort Collins, Colorado, your summer destination to meet and network with exhibitors from all around the world. The exhibit hall will be open daily from 8:00 a.m. to 5:30 p.m. throughout the symposium (July 29-August 2), so you will have plenty of time to test out different horns and equipment, ask questions, talk with horn makers, and peruse solos and etude books. All exhibitors, performances, and lectures/presentations will be housed at Colorado State University’s beautiful University Center for the Arts facility, making it easy to visit the exhibits every day.

Also, a quick reminder: regular registration pricing for participants will expire on June 30. Make sure to head to our website, www.hornsonthehorizon.com, to register now and save some money that you can later put toward purchases from our amazing vendors. Start making those shopping lists!

If you have never had the opportunity to visit Fort Collins, Colorado, you are in for a treat. Between beautiful mountain views and easy access to hiking trails, being Colorado’s largest producer of craft beers, and strolling through the Old Town Historic District, there is something for everyone to enjoy. To learn more about Fort Collins you can visit visitftcollins.com. Don’t forget to add a visit to Andy Warhol’s signed Campbell’s Tomato Soup Can to your itinerary, conveniently on display right outside of the University Center for the Arts!

IHS 56 Exhibitors

IHS 56 would like to take a moment to acknowledge and thank this year’s symposium sponsors. Without your very generous support, events like this would not be possible.

If you are a vendor who would like to join our esteemed list of exhibitors and/or sponsors, it’s not too late. Email exhibits@hornsonthehorizon.com for more information.