Research to Resonance—The Anatomy of Great Feedback
by Katy Carnaggio
Socrates once said, "The greatest way to live with honor in this world is to be what we pretend to be." This quote captures the essence of integrity—aligning your actions with your intentions. In music, as in life, this alignment is achieved through honesty, particularly in the way we assess and refine our skills. Honest feedback [as self-assessment] is the bridge between who we are now and who we aspire to be. It’s the tool that allows us to transform our intentions into real-world actions, living up to the ideal we set for ourselves as musicians.
While “giving feedback” doesn’t typically fit into the flashy category of mental training like meditation, emotional intelligence, or discipline, its results are certainly worth the effort. Quality self-assessment is the difference between, “I’m rushing,” and, “I’m rushing because I’m compressing each second set of sixteenths. I need to play them evenly, about five clicks slower to match the tempo.” This level of detail allows you to know what happened, why it happened, and what you need to do next.
Great Feedback = Great Data + Great Deduction + Great Delivery
Data
Accurate self-assessment is like having a precise map to your goals. To navigate effectively, you need two types of data:
- Knowledge of Performance: Your internal sense of the movement, like the feel of playing the horn.
- Knowledge of Results: External data on how well your actions matched your intentions, such as, “That note was 20 cents flat.”
We’ve all experienced how our feelings can cloud our judgment. So, how can you ensure your observations are reliable while playing? Adams’s Closed-Loop Theory suggests that you perform by comparing ongoing movements to an internal “perceptual trace” developed through practice. This perceptual trace serves as a reference of correctness. By minimizing the difference between current sensations and your internal reference of correctness, you can execute skills accurately without external feedback.
However, your reference is only as accurate as your practice. If you’ve learned a technique differently from how you now wish to perform, your body might signal that a movement is correct simply because it aligns with your perceptual trace, even if external feedback suggests otherwise. To minimize uncertainty, establish accurate references early and often—away from the horn—through physical stretches, breathing exercises, mental rehearsal, or singing along with a reliable recording.
To further ensure that you’re working with great data, augment your internal feedback with external tools. Regularly using a recording device, a metronome, a tuner, or even a decibel meter provides reliable, objective information, helping you avoid the common pitfalls like bias or inconsistent practice environments that might otherwise influence your senses.
Deduction
Improving the content of your self-assessments requires ongoing task deduction—breaking down the complexity of performance into easily comprehensible and precise movements—and working through them in a systematic, logical progression. For instance, Frank Lloyd’s video on multiple tonguing offers a detailed task deduction breakdown that can make even challenging techniques more approachable.
Work on refining your ability to give only the most pertinent info, distilled into succinct and detailed form. Consider your in-the-moment execution, mood, and motivation. Encourage change and reinforce accurate learning with informational feedback focused on descriptions or prescriptions. Encourage energy, direction, and resilience with motivational feedback focused on acknowledging improvements or progress towards your intention. Balancing these two types of feedback creates a holistic approach that supports both technical growth and emotional resilience.
Delivery
The way you deliver feedback is as important as the feedback itself. Sometimes, how you say something can be just as impactful as what you say. Before giving feedback, shift your mindset from an internal focus on execution to external self-coaching. Approach feedback with grace, humor, self-trust, calm, and confidence. This positive approach not only makes feedback more effective but also more enjoyable, fostering self-trust and competence through consistent action.
Feedback is the tool that bridges the gap between who you are and who you aspire to be. It’s the gift that turns good into great and great into exceptional. Ultimately, feedback is the quiet, powerful force that shapes mastery, guiding you forward, one insight at a time.
South Asia—Brahms’ Horn Trio in Colombo
by Vidhurinda Samaraweera
Brahms’ Horn trio is very special to me. I have wanted to perform it since I was 14 years old, but I patiently waited for my teacher’s approval to start learning the work. It took a while since it requires a great deal of emotional maturity, understanding, and experience as a performer. The only performance in Sri Lanka prior to mine was allegedly done by the legendary player and pedagogue Alan Civil in the 1950’s or 60’s. I have no evidence in writing to substantiate this claim, and the hearsay evidence of a veteran musician in Sri Lanka remains the only proof. While it was certainly a challenge to follow Mr. Civil, the only consolation for me was that there are not many still living to make comparisons of the latter with the former.
The concert was held at the Goethe-Institut Hall in Colombo on the 23rd of August 2024. I was joined by veteran Sri Lankan violinist, Ananda Dabare, and an accomplished Lithuanian pianist now living in Sri Lanka, Aleksandra Kolpakovaite. The concert was attended by an audience of just over 100, and the venue was fully booked. Considering that it was a chamber setup, and the fact that it is a serious program, the outcome, in my estimation, was very good.
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L to R: Ananda Dabare (Violin), Aleksandra Kolpakovaite (Piano) and Vidhurinda Samaraweera (Horn)
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I did not have the luxury of studying the natural horn (Waldhorn) nor do I own one. As a valve horn player, one of the hardest challenges was emulating the timbre of a Waldhorn when playing the valve horn. Therefore, to achieve a softer tone at a relatively low dynamic, I opted for a more closed hand position in the bell. It was an excellent way to change the color (to what Brahms likely preferred). As we prepared, we worked hard to achieve a good balance.
Key Takeaways
At a time and in a region where classical music concerts often go unnoticed, the program received much praise from those attending. I had the privilege of giving a brief introduction of the piece before the performance which seems to have been appreciated by the audience, although such a thing is generally perceived here as being unconventional.
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Vidhurinda Samaraweera giving the audience a brief introduction about the Trio at the performance
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Some were even brought to tears at the performance. One of the most memorable comments I received from an audience member was that during the intimately written lullaby-like passage in the Scherzo, she locked eyes with her baby and instantly felt loved. She went on to say it was the first time she ever saw or heard a horn being played live. It is my view that we, as a nation, are making slow but steady progress in horn playing, and I am confident that the small steps we are taking will carry us far.
I wish to conclude by quoting an old Sinhalese song (translated) that encapsulates the importance of investing in the future:
Our ancestors planted seeds in the past;
We are enjoying their fruits now.
It is our responsibility to do the same
For the generations yet to come!
Hornscapes CD (Part 1)
by Ricardo Matosinhos
Hello to all horn players and horn enthusiasts who receive the Horn and More newsletter from the International Horn Society each month. I’m very happy to announce the release of my CD this month. Releasing a recording is always a special moment, but in this case, it becomes even more special because of the stories behind it. To celebrate the release of this CD, I will be offering 2 CDs to the first people who respond correctly to the questions posted in the September, October, and November editions. This is going to be fun!
The pieces featured on this recording were all born out of my DMA research titled Definition and Analysis of Idiomatic Elements in Works Composed by Horn Players. In a nutshell, this research aimed to identify the specific elements that make a piece idiomatically suited for the horn, focusing on works composed by horn players themselves, those who are native speakers of the hornistic idiom. This compilation offers a selection of such pieces, creating unique soundscapes—or more appropriately, Hornscapes. The horn is a remarkable instrument, capable of producing a rich and brassy sound while also blending with the delicate tonal colors of woodwinds. Additionally, this CD includes two pieces I composed, showcasing the Wagner Tuba in contrasting musical scenarios. In these recordings, you will encounter various genres and a multitude of extended techniques. However, it is important to note that these techniques are not merely a display of the performer’s technical prowess but, rather, demonstrate the diverse possibilities and expressions of the horn.
I am also organizing a crowdfunding campaign to help cover the costs of the CD release. If you would like to contribute, you can receive a CD or even a piece composed by me and dedicated to you. Check out the info here.
Now it’s time for the first question of this game. Are you ready?
IHS 56 Photo Report
by Myrddin Rees Davies
Hello everybody,
Those of you who follow the IHS on social media may have seen that our story was rather busy during IHS 56! For those who couldn’t make it, here’s a collection of photo highlights showing what an IHS Symposium looks like.
It goes without saying that, with so many wonderful events over the course of the five days, there is not nearly enough space to squeeze photos of everything into one report, and I hope nobody feels left out. I have tried to present symposium highlights rather than a documentation of everything that happened.
We would, of course, like to reiterate a huge thank you to the literal hundreds of wonderful guest artists, lecturers, competitors, exhibitors, organisers, and participants who made this such a success.
Day 1
Day 1 of an IHS Symposium is always special, whether you’re an established veteran meeting up with old friends or a “newbie” attending for the first time, it’s a unique feeling to arrive on campus and discover all that’s in store for you over the coming days.
This year, in addition to the usual opening concert, exhibit halls, lectures, and recitals, participants were in for a special treat: the first ever collaboration between the IHS and the International Horn Competition of America saw the finals of the IHCA’s University and Professional divisions.
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Exhibits, panel talks, lectures, performances, competitions…IHS 56 had it all!
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Day 2
Day 1 had set the bar high, but day 2 showed no signs of slowing! The day started with warmups and the Octet Horn Ensemble Competition, and among its many highlights were a performance by the US Airforce Academy Band, the University Horn Quartet and Jazz Competitions, and lectures on everything from the natural horn in fin-de-la siècle Paris to how to best select a mouthpiece.
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The featured artist concert with the US Air Force Academy Band on Day Two
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A panel from the Chromatic Brass Collective discussed their experiences and wonderful work that they do with their group
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Participants immersed in another wonderful lecture
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Day 3
Day 3 started with an important fixture of the annual calendar: the General Meeting. (IHS members, by now, you will have received a link to a video recording of this meeting, report documents, and details of how to get in touch with suggestions and other comments you may have).
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Outgoing President Radegundis Feitosa hosts the general meeting
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Embracing social media is more and more important fopr horn players of today - as Scott Leger explained in his lecture
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Featured artist Radovan Vlatković in recital
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Day 4
Massed horn choirs, the Premier Soloist competition, masterclasses from featured artists, and, of course, several lectures were all features of day 4. Part of the evening was dedicated to recently-departed horn legend Hermann Baumann, with a lecture on his relationship with the natural horn by Anneke Scott before featured artists took to the stage for the Hermann Baumann memorial concert.
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The NUCORNO ensemble performed an arrangement of Holst's The Planets
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IHS Symposiums can be a space for unusual collaborations!
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Participants making the most of the Fort Collins sunshine
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Featured artists in the Hermann Baumann memorial concert
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Day 5
All good things must come to an end, and IHS Symposiums are no exception…but at least they come around once a year. It's a pleasure to share this year’s wonderful group photo, with a very full stage of happy horn players from all over the world.
If you couldn’t make it and looking at these photos is making you feel left out, don’t worry—check out details of IHS 57 below!
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Our wonderful IHS Community!
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Chamber Music Corner—Adolphe Blanc, Quintet for Piano and Winds, Op. 37
by Layne Anspach
Hello musicians!
For the next few months, Chamber Music Corner will focus on repertoire of the same instrumentation—quintet for piano and winds. Unlike the Classical quintets of Mozart and Beethoven, these quintets exchange oboe for flute. The first such work discussed in CMC was Louis Spohr’s Quintet, Op. 52, in August 2023. This month, we will focus on Adolphe Blanc’s Quintet, Op. 37.
Adolphe Blanc (1828-1885) was a French composer, conductor, and violinist. Starting at age 13, he attended the Paris Conservatory. From 1855-1860, he was employed as conductor for the Theatre-Lyrique. In 1862, Blanc was awarded the Prix Chartier in chamber music. His successful chamber music oeuvre is unique in a time when the French public’s interest was in opera. Blanc’s work helped pave the way for future French chamber music composers.
Blanc wrote his Quintet, Op. 37 in 1859 while he was conductor at the Theatre-Lyrique. Although lost, there is record that he wrote an arrangement of Op. 37 for piano and strings. The first movement, Allegro, in sonata form, starts with the full ensemble together. The first theme is carried either by the tutti ensemble or passing between winds and piano. The second theme shifts instrumentation entirely with clarinet and piano only, only later adding other winds. Following a build-up near the end of the exposition, a dotted eighth-sixteenth rhythm from the first theme returns as transitional material. The development is driven motivically with this rhythm as piano and winds pass fragments of the theme back and forth. The recap begins as expected, but the return of the second theme uses horn (rather than clarinet) as the leading voice. The movement ends with a coda as the piano plays constant sixteenth notes and the winds recall the first theme. The first movement accounts for half of the entire work.
The second movement, Scherzo, is in the typical large da capo form. The first section follows a light downward-leading motif in minor. The Trio moves to the parallel major and features a quaint waltz. Then, without fanfare, the movement returns to the scherzo to conclude. The final movement starts with a slow introduction, Andante maestoso. The subsequent Allegro is a pleasant and entertaining conclusion to the work in which a few sections feature winds without piano. The piano writing is never heavy, providing, overall, a very enjoyable listening experience.
The reference recording is from Les Vents de Montreal’s album Adolphe Blanc: Chamber Music for Clarinet (ATMA Classique). The hornist on the album is Denys Derome.
Horn on Record—Wiener Waldhornverein Jahre 100
by Ian Zook
Volume 17 celebrates a recording made for the 100th year of the Wiener Waldhornverein. The “WWV” is the oldest continually operating horn club dedicated to preserving the sound and style of the Vienna Horn. The “Jahre 100” album was recorded in 1983 to commemorate their centennial anniversary, and it includes twenty-seven players performing music spanning the history of their ensemble.
The history of the Wiener Waldhornverein begins in 1879 with Josef Schantl, solo horn of the Imperial and Royal Court Opera in Vienna, who organized a quartet of horns to perform for the parade commemorating the 25th wedding anniversary of Emperor Franz Joseph I and his wife Elisabeth. Schantl, inspired by the success of the quartets he had composed for the occasion, founded the “First Viennese Horn Club” in 1883. Very notably among the founding members was Johannes Brahms—a great advocate for the Austrian hunting music promoted by the ensemble.
Throughout the history of the WWV, members of all the professional orchestras in Vienna as well as amateurs joined together to preserve the sound and style of the Vienna horn. They were featured at the 1st International Brass Congress, held in Montreux, Switzerland, in 1976, and have also established a publishing company to promote their vast collection of horn ensemble music.
The Vienna horn, or Wiener Pumpenhorn, has been in constant use by the Vienna Philharmonic Orchestra since 1870. These horns are three valve single-F horns designed essentially as a 19th Century Inventionshorns with double-piston valves, a design that uses a clock-spring casing that was patented by Leopold Uhlmann in 1830. The Vienna horn uses a terminal crook, and while mostly played in F, they can also be crooked in E, E♭, G, A, and B♭ alto. The distinct sound of these instruments is found in elegant legato and portamento, golden-hued tone, deeper resonance in articulation, and the captivating energy produced in the upper extremes of dynamics and range.
This Wiener Waldhornverein “Jahre 100” recording was produced in 1983 during a horn symposium in the Vienna Konzerthaus under the direction of Siegfried Schwarzl of the Vienna State Opera. The varied selections showcase many of the composers and iconic pieces that define and preserve the Vienna horn traditions.
The Hungarian Fanfare was among the pieces composed and performed by Josef Schantl for the 1883 parade. In this recording, the WWV uses E♭ parforce horns to reflect on the hunting associations of this music:
Karl Stiegler, solo horn of the Vienna Philharmonic from 1906-1932, contributed a large amount of horn ensemble music to the WWV. His piece, O Dirndl tief drunt im Tal, is a wonderfully expressive setting of this traditional Austrian folksong:
A brief Study in Jazz after Irving Berlin, by Dieter Angerer, features Margo Totzauer in a short solo as the WWV interprets this tune from the Great American Songbook:
Helmuth Foschauer’s Mauerbacher Festmusik was written for the 650th anniversary of the Maeurbach Charterhouse, a Baroque monastic complex 20 km outside of Vienna. This grand fanfare resonates with the rich sound and searing high range of the Wiener Waldhornverein:
I hope you have enjoyed learning more about the unique and lasting tradition of the Wiener Waldhornverein. Thank you for reading Horn on Record!
Hornscapes CD (1ª Parte)
por Ricardo Matosinhos
Olá a todos os trompistas e entusiastas da trompa que recebem mensalmente a newsletter Horn and More da International Horn Society. Este mês, estou muito feliz por anunciar o lançamento do meu CD. Lançar uma gravação é sempre um momento especial, mas neste caso, torna-se ainda mais especial devido às histórias que estão por trás dela. Para celebrar o lançamento deste CD, vou oferecer 2 CDs às primeiras pessoas que responderem às perguntas publicadas nas edições de setembro, outubro e novembro. Acredito que isto vai ser divertido!
https://www.youtube.com/watch?v=FhI67mbya-I
As peças incluídas nesta gravação nasceram todas da minha investigação de Doutoramento intitulada “Definição e Análise dos Elementos Idiomáticos em Obras Compostas por Trompistas.” Resumidamente, esta investigação teve como objetivo identificar os elementos específicos que tornam uma peça idiomaticamente adequada para a trompa, com foco em obras compostas por trompistas, nativos do idioma trompístico. Esta compilação oferece uma seleção dessas peças, criando paisagens sonoras únicas—ou mais apropriadamente, Hornscapes. A trompa é um instrumento notável, capaz de produzir um som rico e brilhante, ao mesmo tempo que se funde com as cores tonais delicadas dos sopros de madeira. Além disso, este CD inclui duas peças compostas por mim, que apresentam a Tuba Wagneriana em cenários musicais contrastantes. Ao longo destas gravações, encontrará vários géneros e uma multiplicidade de técnicas avançadas. No entanto, é importante notar que estas técnicas não são meramente uma demonstração da destreza técnica do intérprete, mas sim uma demonstração das diversas possibilidades e expressões da trompa.
Estou também a organizar uma campanha de crowdfunding para ajudar a cobrir os custos do lançamento do CD. Se quiser contribuir, pode receber um CD ou até mesmo uma peça composta por mim e dedicada a si. Veja estas informações aqui: https://ppl.pt/pt/horn
Agora é a altura para a primeira pergunta deste jogo. Está pronto?
The Ambitious Amateur—About Jay Kosta
by Marty Schlenker
Dear Fellow Amateurs,
This month, amateur Jay Kosta is featured. Jay contributed to this column two months ago with a helpful embouchure treatise. Now, more about Jay.
Jay grew up in Cleveland and began his musical life playing the trumpet. His first lessons were at the music shop where his trumpet was purchased. These were followed by lessons from a faculty member of the Cleveland Institute.
After college, Jay relocated to Binghamton NY, which was a hub of employment for IBM. He sought to join the IBM Band there, which had been active since 1915. The trumpet section was full, but the band needed horn players, and they loaned him a single F horn.
The appeal of the horn grew, and Jay purchased a King double horn and later a Yamaha 668. While Jay doesn’t try to emulate the sound and style of any specific professional, his Cleveland roots influence him to go for a big, rich sound, which the 668 enables. Jay has been through a few mouthpieces before settling on a Conn 7. Jay found that its narrow throat improves upper register intonation.
The IBM Band reflected the company’s penchant for organization. Jay recounts that the band put on 20 performances annually, with music chosen specifically for each week, on a three-year programming cycle. The sixty programs were filed with folders for each chair. Concerts would be preceded by a single rehearsal—a whirlwind for new members, but “all in a week’s work” for band veterans.
In 2001, economic conditions led IBM to eliminate the Band. The grand finale of the IBM Band was Jay’s most memorable performance. Their weekly outdoor concerts had been drawing 30-40, but news that the band was shutting down spread far and wide, and a standing-room crowd of 500+ bid them farewell. The program included the IBM march, Ever Onward, and Billie Holiday’s I’ll be Seeing You.
A few years before, Jay had also joined the Maine Community Band, an even older institution, operating continuously since 1861. In addition to concerts, the Maine Band participates in parades on a band wagon pulled by a pickup.
Jay observed this about his role in his section: “I play second these days. My job is to make the first horn sound great.” And about his section’s role within the community band: “The role of trombone and horn is to reinforce the trumpet section…provide them a foundation to ride on.”
Jay credits The Trumpet Herald and its well-organized forums for horn-transferable insights. Jay sees many more similarities than differences in trumpet and horn pedagogy, noting that both teachers and students have to overcome the fact that fine movements are hidden and difficult to describe.
High register playing is a universal topic, in addition to balancing pressure between the upper and lower lips, and the role of the tongue. Jay once was stuck at G or A above the staff. “I was doing the ‘Armstrong Method,’ and it wasn’t going anywhere. But playing isn’t about pain tolerance. It’s finesse, a skill game with very fine movements. Now when I’m fresh, I can reach the upper C. When I’m in my basement, I can play Wagner’s horn call.”
Jay’s experience reminds us that the internet can be a great gift to those who strive for self-improvement. Jay read, listened, watched, experimented, trialed, and achieved.
How many of you out there have been led to playing opportunities at work? What forums have helped you improve your playing? Please let us know by contacting me at marty.schlenker@cavaliers.org.
Your servant and kindred spirit,
Marty Schlenker
Amateur hornist
