Catherine Likhuta Video
Cristoph Ess Video
Pedagogy - Play and the Play Room
by Mike Harcrow
PLAY
Most people enjoy watching children play. Children live in the moment, unconcerned about anything except what they are doing. Somewhere in the musical development of aspiring young performers, many students are trained away from the simple concept of play by what teachers call practice—the tedious routine revisited at “that” time of day and monitored by a clock that seems not to move—when we pull out the Kopprasch and reinitiate the chore of repetition, hoping we can pick up where we left off yesterday but disappointed when we find that there is ground to regain. There is little joy in this and little progress much of the time (and often little encouragement from parents who audibly bemoan the “wasted investments” made into little Johnny or Sally’s “artistic development”), so there is little motivation for the student to continue. Is it any wonder that retention rates are so low in school music programs and even in lesson studios?
Rote practice has its place—that is another discussion—yet we are, fortunately, living in a time of wonderful and inspiring transition. Everyone seems to be looking for ways to keep themselves motivated in addition to keeping students not only involved, not merely just interested, but actually eager to come to rehearsals and, better yet, to practice their assigned materials at home or in the practice room. The trend I have seen—in offerings like Karen Houghton and Janet Boyce Nye’s Recipe for Success, the books and Horn Call columns on creative playing by Jeffrey Agrell, the “excerpt etudes” by Brett Miller and others, and more writings, presentations, and performances by Pip Eastop, John Ericson and Bruce Hembd, Arkady Shilkloper, and numerous others…not to mention the wonderful jazz improvisations, pop-song covers, and multi-track arrangements of all sorts of music by players from around the world which have flooded covid-era YouTube and social media—is wonderfully encouraging. I applaud all of this, and I see it as a big, joyful leap in the right direction for both players and players-in-training. What we must do now is shift such concepts from the advanced player who has rediscovered his/her creative freedom to the developing player, perhaps in time to stave off the Way of Drudgery before it ever starts.
I am not really writing to present anything newer than what our excellent colleagues are doing currently or even what Herr Kopprasch offered in the incipits we see over many of his etudes suggesting transpositions or changes of rhythm and/or articulation for additional productivity. I simply want to offer this one suggestion: let us minimize or even eliminate the use of the word practice and replace it with the word play. After all, we do play our instruments. (We have, in many American schools, been able to eliminate the old aggressive word attack [used for initiating a note] by substituting the more-accurate term release.) Take this suggestion and be creative with it, for yourselves and for your colleagues and for your students. You will do far more and much better for your own time and space than specific things I can offer from my time and space (but I will present some ideas here shortly anyway, just as a starting point), and we will all learn and grow, and the exchange-of-ideas we seek and enjoy will happen.
In the wonderful new facility where I teach, we have two levels of state-of-the-art practice rooms in addition to continuing access to practice rooms in the old music building; but my students no longer hear me call them practice rooms. I have, over the past few years, taken to calling them playrooms. While the shift in terminology has generated a dramatically more positive approach to time spent in these rooms, it has not eliminated the need to teach even university students how to practice, i.e., play. It is easier now, though, to point them to those theme-and-variation options in Kopprasch as well as to endless internet links to great lessons and performances available for nothing more than the cost of the time required to watch and learn. When I suggest that my students take apart the musical toaster with which they are struggling, it leads to a truly wonderful and ongoing conversation on what play can really be.
THE PLAYROOM
A playroom requires toys, most or all of which are now on our phones: high-quality audio-video both for listening and recording, your camera as a mirror, tuner and drone, metronome, and, of course, access to the internet for recordings and play-along sites and other helpful apps. (The old clunky versions of these will work fine, too! But alas, even cellphones do not grease our slides for us.) These toys will help us as we play games with the gameboard (the music) in front of us; and as we play, we will become much more engaged in our re-energized learning process…and it could be so much fun that we even lose track of time!
What is challenging? A scale run or awkward technical passage? Take it apart: play smaller, sensible note groupings; play these blocks with different rhythms and articulations; play them slower and faster; move the starting point over by a note, then by two, and so on; transpose the blocks; invert them; retrograde them (i.e., play them backwards); play them in retrograde-inversion with snappy rhythms and crisp tonguing and with extreme dynamic contrasts a tritone away from the original key. Take the game as far as you are able (or want) to go, then begin putting the blocks back together.
Is it range that is challenging? Play smaller bits with some rest in between them. Transpose the passage down to C then work your way up to horn in F, then G or even A—keys beyond what is written—even if this process takes a few weeks to complete!
Is it finger-tongue coordination that is challenging? Eliminate one aspect of the passage—perhaps, in this case, the tonguing—and slowly add it back in with all the coolest articulation patterns you can imagine. Swing it! Add a rhythm generator to your play—be Cuban Pete with a rumba beat! Sing your music. Dance your music.
Find patterns (in the rhythms, the fingerings, the harmonic series, etc.). Connect the puzzle pieces of form (the repetition and contrast in the piece); learning the form can condense the learning time, and it helps immensely with memorization. Write lyrics to the music, or write down the story you imagine as you play the concerto or sonata movement.
Sit to play. Stand to play. Stand on one leg to play. Play in new locations. (I have found my students in our various “locked” performance venues, outdoors, in stairwells, in the freight elevator, even in the men’s room…“for the great acoustics,” I was assured!) Turn the music upside-down to play—that will make you focus! Take a lap around the building and come back to play. Listen for dead spots in the regular or temporary playroom, and find those spots with the best resonance, enjoying each for what you learn about your sound and yourself.
This is a good place to stop. You’ve got the idea, and you are creative. Try the unexpected. Engage your curiosity. What will you do when you close this column and go to your playroom?
…and, as an incentive, send us your creative playroom experiences—high-resolution photos and YouTube links are great! Include your name and a line or two about the thought behind your play. The most creative and highly-publishable submissions will be posted in upcoming editions of the e-Newsletter. Send your best play to hornandmore@hornsociety.org, and please put “BEST PLAY” in the subject line. Have fun!
#tootsweet
INTEMPORAL QUARTET
About the quartet: This quartet was created in the year 2020 with the aim of taking music to all parts of our country. We play concerts in historic and ancient areas of Portugal. It also upholds the ideal that music is not only located in some historical periods, but also has a great interest in taking lesser-known music to its audience, thus enriching their knowledge and giving voice to these great but less famous composers. This quartet aims to make educational concerts for its listeners by talking a little about the area where the concert takes place and commenting on all the works that will be interpreted, thus spotlighting the places themselves and also motivating the public's interest in culture. This type of training is very versatile and can be used in numerous types of events and projects. All elements are endowed with excellent technical and musical conditions, having all the studies and skills for the execution of your instrument, as can be seen from their curricula. Currently, the group has already performed some concerts, where it received positive feedback regarding its work. In the future, the group intends to play for events such as weddings, baptisms, inaugurations, music for children, and music in historical places, as well as to participate in various cultural events.. One of the projects conceived by the quartet will be to cover all the historical and cultural parts of Portugal, thus helping its dynamism and its visibility in the public eye.
Trivia Contest
It’s time once again to test your knowledge of all things horn! This month’s movie-soundtrack-themed questions come to us courtesy of Andrew Bain, no stranger to the art form himself. We will award three prizes from our fantastic IHS53 shop, randomly selected, to the winners. Please send your answers to hornandmore@hornsociety.org by June 15. We will publish the names of the winners and the correct answers on our IHS social media outlets. Good luck!
- Where did John Williams record the scores to the final 3 Star Wars Movies?
- Studio One, Abbey Road Studios, London
- The Barbara Streisand Scoring Stage, Sony Pictures Studios, Los Angeles
- Smecky Music Studios, Prague
- The Newman Scoring Stage, Fox Studios, Los Angeles
- Walt Disney Concert Hall, Los Angeles
- What is the most prominent model of Horn used in the Hollywood Studios
- Geyer
- Conn 8D
- Alexander 103
- C.F. Schmidt
- Knopf
- Which 2 was the score of the new West Side Story movie recorded?
- London/Paris
- Nashville/Seattle
- Berlin/Prague
- New York/ Los Angeles
- San Juan/ New York
A Chat with the members of IHS Student Advisory Council
Serina Turrieta:
- I would be interested to know how you have been pursuing your studies throughout the pandemic. How have you been keeping music in your life?
- What are your personal goals and aspirations for the future?
- Clearly, you love horn but what in particular drew you to becoming part of IHS and the Student Advisory Council?
Kiersten Gustafson:
I've been keeping music in my life during the pandemic by signing up for as many online events (masterclasses, talks, concerts) as possible. For me, having these external obligations helps me stay motivated and inspired. My goal is simply to continue playing horn throughout my life - and to see a lot of places and meet a lot of people while doing so. This fall, I am starting my master's in the UK, and I am excited to see what is different (and the same!) about musical life and horn playing there.
The IHS was introduced to me when my former teacher Dr. Scharnberg asked students to help stuff Horn Calls into shipping envelopes. I thought it was so cool that the IHS connected horn players around the world - not just professionals, but all lovers of the instrument - and I was eager to become more involved when the Student Advisory Council was created.
Yui Ginther:
Throughout the pandemic, I've been studying remotely, getting lessons from Prof. Williams and Prof. Boen. I've also occasionally played for my high school private teacher as we felt comfortable seeing each other. I've been doing more recording than I have done in the past, making recordings for horn studio class. This has really benefited my playing and built my experience using technology. For our freshman recital, I was planning to record Bozza’s “En Forêt” with a pianist who lives near me, but then the crazy snowstorm hit Texas and everything kind of shut down. Instead, I was able to get a recording of the piano part and edit it together with my horn playing. That kind of audio editing was new for me, but I did several other projects like that to show at our weekly studio classes.
Currently I am pursuing a dual-degree in Journalism and Horn Performance and a certificate in Integrated Marketing Communications, so I am excited to see where all those interests take me and how I can serve the arts in the future. I wanted to be part of IHS and the SAC because I really enjoyed the communal aspect of the IHS as well the inspiring videos and articles it featured on its platforms. With the SAC, I hope to see those amazing resources and shared community become more readily available to a wider audience of horn players!
Lauren Antoniolli:
Last summer, at the start of the pandemic, I participated in a variety of virtual learning opportunities including Horns United Cor Camp, Seraph Brass Summer Seminar, and the DePaul University Horn Intensive. These opportunities helped me to connect with other music students from across the country while I continued my individual practice regularly. When school started back up, I was able to return to a more normal ensemble setting with in-person band and orchestra at Western Illinois University. We utilized PPE and spacing modifications for safety while playing music together. This spring, I had the opportunity to play in the Quincy Symphony Orchestra and complete my junior recital, and I was fortunate to be able to have an audience for these performances.
The pandemic has really opened my eyes to the opportunities we have virtually to connect with other musicians from around the world. Joining the International Horn Society Student Advisory Council has allowed me to volunteer my time in areas I am passionate about to help the horn society grow, all while connecting with students from many other universities that share a passion for horn.
Emma Brown:
The pandemic drastically changed what I thought the timeline for my career would look like. That being said, it has been an interesting opportunity to focus on my playing in a way that I might not be able to do again. I have very mixed feelings about how that may have affected my career. For one, I know that my ensemble playing has suffered greatly, as has my ear. On the other hand, I have improved drastically in terms of technicality, tone, and clarity. My horn professor, Corbin Wagner, played a big part in this. He made a point to make things as normal and productive as possible. My goals for the future are to be in a professional orchestra and pursue a graduate degree, while also being as involved as possible in educating other horn players. This is a large part of the reason I applied to participate in the IHS SAC. I think that it is vital to have a lifeline of information that horn players can go to, and I want to help make sure that the IHS continues to be that lifeline in the best way that it can. While the pandemic has been a frightening and dark time, the slow return to normal that we have been experiencing lately has made me excited and hopeful about my own future and that of horn as a whole.
John Degnan:
I am a rising senior at Vanderbilt University studying with Leslie Norton. I am very excited to join the Student Advisory Council and look forward to representing student interests within the society! During the pandemic, I made the best of the situation by taking advantage of the virtual opportunities and connecting with other musicians around the world. This past summer, I participated in Invested Musician’s Summer MasterCourse where I studied with Andrew and Rupal Bain. This was a great time to focus on honing my personal technique and career strategies going forward. I spent the fall semester studying remotely and put together a multi-media virtual recital for unaccompanied horn. This was a challenging but exciting venture, and I hope to continue to incorporate visuals into performance. I returned to in-person study in the spring semester where I was able to perform in smaller ensembles. In addition, I was a finalist in the Vanderbilt concerto competition and was able to perform a live-streamed recital. My future career goal is to have a stable and sustainable career performing in various ensemble settings. In addition, I hope to develop a teaching studio and break into the Los Angeles studio scene. I cannot wait to continue working with the IHS and increase student involvement within the society!
Inman Hebert:
While the pandemic has been a monumental challenge to musicians, the horn community has reached out in innovative ways to provide opportunities. Insights gained through virtual workshops, master classes, competitions, and ensembles have allowed me to focus on my improvement. With the IHS Student Advisory Council, I hoped to provide a perspective of making horn resources accessible for the newest among our community, just as the IHS has helped me feel connected to the horn world. My goals are to study music performance and perform in an orchestra or teach at a university. As a high school student, I know I am at the beginning of that journey and am thankful for the guidance and resources the organization provides along the way.
QUARTETO INTEMPORAL
by Flávio Rafael Sousa Oliveira
English version
Sobre o quarteto: Este quarteto foi criado no ano de 2020 com o objetivo de levar a música a toda a parte do nosso país. Fazendo concertos em zonas históricas e antigas de Portugal. Também defende um ideal de que a música não se situa apenas em algumas épocas históricas daí, também ter um grande interesse em levar a música pouco conhecida até aos seus espetadores, enriquecendo assim o conhecimento dos mesmos e dando voz a grandes compositores que ainda são pouco conhecidos. Este quarteto tem como objetivo fazer concertos pedagógicos para os seus ouvintes falando um pouco da zona onde acontece o concerto e comentando todas as obras que serão interpretadas, valorizando assim as zonas em que participam e também motivando o interesse do público pela cultura. Este tipo de formação é muito versátil e pode ser usado em inúmeros tipos de eventos e projetos. Todos os elementos são dotados de excelentes condições técnicas e musicais, tendo todos os estudos e competências para a execução do seu instrumento, como se pode verificar pelos seus currículos. Atualmente, o grupo já realizou alguns concertos, onde obteve comentários muitos positivos em relação ao seu trabalho. Futuramente o grupo pretende fazer certos eventos, tais como, casamentos, batizados, inaugurações, música para crianças, música em locais históricos e participar em vários eventos culturais. Um dos projetos idealizados pelo quarteto será percorrer todas as partes histórica e culturais de Portugal, ajudando assim a sua dinamização e a sua visibilidade perante a população.
