by Inman Hebert

As we prepare to begin a new academic year, I surveyed five horn professors about what they wished their students would know coming into college and asked for some general suggestions as students prepare for a major in music.

Dr. Jennifer Ratchford Sholtis, Professor of Horn, Texas A&M University-Kingsville, described the expectations a “fresh-faced freshman” would ideally bring with them to “tackle both the horn and academic worlds.”

“On the horn front, they've got a clear tonal concept, can breeze through major scales, their range hits a solid F2 all the way up to a C6, and their natural horn lip slurs flow like a river.

But it's not just about the music. To succeed at college life, they manage their time well, sticking to set schedules. They are fueled by their own ambition, never backing down from a challenge, and they have high standards when it comes to schoolwork. Plus, they have an insatiable curiosity, always wanting to dive deeper into whatever crosses their paths.

That's the dream combo for a freshman ready to take on both the horn and the college world.”

Bernhard Scully concurs in the need for “time management skills, general musicianship skills—including improvisational and compositional skills, writing skills, and interdisciplinary skills.”

Other professors reflected on exposure to musical concepts. Johanna Lundy, observes that “many high school students don’t have experience reading in bass clef or working with transposition.” She recommends starting “on both early for an easier transition to college.”

Desiring students to be ready with a “good background of major scales beyond the standard patterns” and an understanding of “basic [music] theory knowledge and vocabulary” underpinned the comments from Lanette López Compton. She also believes that “knowledge of repertoire from orchestral to solo, because it’s so accessible, would show genuine curiosity in a student.”

Dr. Martin D. King emphasized the word musicianship. “Basic musicianship is more important to me than specific skills on the horn. Being able to sight-read, play scales and arpeggios, and ensemble skills set students up for success. The specific horn skills and techniques are so much easier to teach if students are strong musicians.”

When asked about their suggestions for students, many thoughts centered around managing time. Johanna Lundy emphasizes this skill:

“Time management is another challenge for students transitioning into college. You think that you will have lots of free time! But it’s really just more unstructured time—if you spend it doing your assignments, you’ll be fine! If not, things will pile up quickly as the semester goes on. Start by creating a regular practice schedule and enter the times into your calendar. It’s easier to get the work done when it is visible in your schedule.”

Bernhard Scully asserts, “Music is a practiced art, and it is important to establish a consistent routine for practice.”

“Students need to embrace [a] ‘pay now, play later’ mindset. That means hitting the books and the practice room before chillin' with your buddies, diving into your favorite video game, or burrowing into your bed for a nap!” Dr. Jennifer Ratchford Sholtis

Some comments centered on the demands of college. “I know a lot of students who were surprised by how challenging music theory and piano proficiency classes could be. Any time you can put into these subjects before college will make things easier for you! For those already in college, don’t be afraid to ask for help if you don’t understand a theory concept. Bonus: taking piano lessons will help you learn about and better understand music theory.” Johanna Lundy

Others articulated the need for students to press beyond the familiar. “Read something that is new every day. Sight-reading should just be every-day reading of music. Always play something you are good at and love to play…but most of each session should be working on something new and not exactly comfortable. Spend time working on parts of playing that need attention, especially if you have the tools to do it.” Lanette López Compton

“A little nugget of wisdom: if something scares you, that's probably the exact thing you need to tackle head-on. It's all about pushing past those comfort zones.” Dr. Jennifer Ratchford Sholtis

The responses also included a helpful reminder to stay focused on our goals. “Plaster your goals all over your room. Make them impossible to ignore when you roll out of bed in the morning. Then, break them into smaller mini-goals that'll keep you on track to achieving those big dreams.” Dr. Jennifer Ratchford Sholtis

While focusing on goals, others prompted students to remember the importance of the journey. “Listen to lots of music, play in every possible different type of ensemble. Also, be patient. Learning to play the horn will take a lot of time. Students should focus more on practicing the right things every day and trust that the results will come in time.” Dr. Martin D. King

“School is a place where one can gain a broad perspective on music and begin to explore in many areas. My suggestion is to practice your horn as much as you are reasonably able to…get your playing fundamentals under control and get as broad an understanding of music as possible, ideally combining with a double major or as much comprehensive schooling and cross-discipline as possible to prepare oneself for the rapidly evolving landscape of the 21st century.” Bernhard Scully

Acknowledgments

Dr. Martin D. King, Assistant Professor of Horn, Washington State University
Lanette López Compton, Professor of Horn, Oklahoma State University
Johanna Lundy, Associate Professor of Horn, The University of Arizona
Dr. Jennifer Ratchford Sholtis, Professor of Horn, Texas A&M University-Kingsville
Bernhard David Scully, Horn Soloist, Artistic Director of Cormont Music and the Kendall Betts Horn Camp, Associate Professor at University of Illinois at Urbana-Champaign, former horn of Canadian Brass

by Katy Carnaggio

Here’s Why Developing Expertise Is So Hard (and how to enjoy it more)

When we work to improve our skills, we’re trying to transform something that requires conscious effort into something we can do easily and automatically. Think about riding a bike: at first, you wobbled and focused on every little movement. Now, you just hop on and go!

But here’s the kicker: expertise isn’t about finding and sustaining ease. It requires continuous and systematic effort to stretch your comfort zone further and further. Expertise involves the aspiration to improve and is thus resistant to automaticity. If you settle in that place of hard-fought ease for too long, research indicates that your skills can start to slip.

The Common Sidequest: How to Stay Focused

Many people hit a satisfactory level of quality and automaticity and then get stuck. They find it hard to stay focused because the skill no longer requires much mental engagement. But zoning out leads to mistakes, skill deterioration, and even anxiety. So, what’s the middle ground?

Seek The Extra Mile

Expert performers develop increasingly complex mental representations to attain higher levels of control and awareness. It’s like increasing the power on a microscope because you're curious to see a more complete picture—finer details, nuance, and relationships.

When we are curious, focus comes naturally. It's not difficult to get lost in a good book or show—you’re eager to find out what happens next. That same curiosity can continually add clarity to your ideas, refine your skills, and help you avoid the traps of overthinking or mindlessness.

So if you’re struggling with focus or feel stuck on a plateau, try training your curiosity instead. There are, in skilled action, several levels of bodily consciousness that cannot all be reduced to deliberate thinking or reflection. Yet, curiosity evokes wonder, receptiveness, allowance, and awareness. It opens us up to the kinesthetic logic of our bodies, allowing more effective exploration than verbal direction.

How to Practice Total Absorption in Music

Try this the next time you listen to your favorite hornist perform:

First, take a moment to settle your thoughts. Then, as you listen to the music unfold, vividly imagine that you are creating the sounds you hear. Consider: “If I were to play like that, how would I? and how would it feel?” Notice how your body naturally adjusts in subtle ways from head to toe. You might notice differences compared to your habitual approach, as certain places become supple, responsive or open and others engage to stabilize and support. Consider the breath, sensing where it originates and how it energizes, fills, and rests.

Then, listen beyond kinesthetics to horn sounds. Turn that aural microscope up to a higher power and challenge yourself to find more details about which to be curious. What is happening during the fronts, middles, and ends of notes? What shapes, vowels, colors, contrasts, connections, emotions, and silences do you hear?

Listen beyond the horn to everything in and around the piece: texture, interaction, other voices, balance, twists, and synergy. Strive to hear the composer’s presence; ask, “Why did they choose that note over another?”

Your curiosity will naturally lead you to more questions that will expand your abilities and genuinely interest you. However, it may take a few tries to find it. Listening is a fantastic way to practice without the added complexity of the instrument.

Hone Your Edge Daily

Expert performance is more than just creating inspiring sounds with purpose and precision; it's about demanding more of yourself day in and day out. Expertise thrives on humility and a willingness to be amazed by something you've known for so long. Even on days when you're not feeling it, commit to searching for that spark of intrigue. Go deeper instead of mindlessly executing. Allow curiosity to lead you beyond "pretty good," beyond anxiety, beyond boredom, into skills that stretch and fascinate you!

by Vidhurinda Samaraweera

“Pa pa pa Paaa…. Pa pa pa Paaa” (pause).

I am certain that anyone reading this article will instantly recognize the motif illustrated. Yes, it is the opening of Beethoven’s well-known Fifth Symphony. This landmark work is likely being performed at multiple locations around the world as you are reading this or is, at least, programmed for an upcoming concert. Be that as it may, the last time Beethoven’s Fifth was performed in Sri Lanka was approximately 12 years ago by the Symphony Orchestra of Sri Lanka (SOSL) under the direction of German conductor, Dr. Hans Nagel. Unfortunately, the concert was not a success as had been hoped. Dry acoustics in the newly built concert hall and the technical inadequacies of some sections were likely contributing reasons. I was contracted to fill in as second horn for the performance as a young 14-year-old. Of course, I had an older player on first to guide me, someone who had played the symphony multiple times during his tenure.

Although Beethoven’s Fifth is considered a staple in an orchestral musician’s extensive repertoire, one would be surprised to learn that it is not frequently performed in Sri Lanka—or in this part of the world. Even though I have orchestral experience, having performed on the island for over 14 years, the 2024/25 Season opening concert of the Gustav Mahler Orchestra of Colombo, held on June 15, marked only my second time performing this masterpiece. (I personally do not know of other orchestral musicians around the world who would have experienced similar infrequent performances. This is one reason why I appreciate your feedback to my articles; they allow me to get a better reading of the global orchestral landscape.) The handful of orchestras currently operating in Sri Lanka having specific performance goals, and the irregularity of concerts is likely to have contributed to a lack of frequency. I must also note the tough economic circumstances with which most of our people are burdened, leading classical music aficionados to reconsider even the simple purchase of a concert ticket. 

Nevertheless, playing Beethoven’s Fifth on a modern instrument (for the lack of period instruments) was a pleasant experience. The 12-year hiatus caused us to savor the work that much more. As much as it is difficult to replicate the timbre of the natural horn—the alternating open and stopped or partially stopped notes on the modern instrument in the manner Beethoven would have imagined—treading the tutti parts while not upsetting the overall balance of a Beethovenian orchestra proved to be a delicate operation. The initial horn call which transitions to the second theme of the first movement was fun to play but, giving some “oomph” to the opening statement of the second half of the movement was even more satisfying. The second movement was particularly enjoyable, especially playing the heroic theme with the trumpets, all the while restraining ourselves so as not to overplay the orchestra.

(L-R) Jude Fernando and Vidhurinda Samaraweera, horns

My ever-loyal comrade on second horn did not let me down in the third movement where we led the orchestra to establish the faster tempo. I like to think that horns bring clarity during calamity in the third movement. The fourth movement is full of excitement, yet the pivotal role the horns play often goes unnoticed. The two fanfares which lead up to the presto, bolstering the piccolo, are both delicate and uplifting. To play alongside the fellow members of the brass section in the finale almost feels like the final fight scene in a Kung-Fu Panda movie!

The biggest challenge when performing Beethoven was the range Beethoven covered with the brass section. From the high-flying trumpets to the three-member trombone choir (featured in a symphony for the first time ever), covering the wide range was too much to ask since there was no alto trombone available on the island. Thus, the original alto trombone part was covered by a third horn player. Interestingly, there is a revised edition of the trombone parts to suit the modern orchestra where the alto trombone line is not notoriously high. The tenor and bass trombone parts were not different from the original and revised editions. The performance was, ultimately, a bringing together of new and old.

Why I focused on performing Beethoven’s Fifth is two-fold: first, to note some horn highlights in this under-appreciated work which are both glorious and subtly virtuosic; and second, to bring some perspective to readers of this Newsletter. I am aware that Horn and More is read by enthusiasts from different parts of the world. While we all accept that music is a universal language, we can also acknowledge that music-making is not the same for everyone. We live in different conditions depending on the part of the globe in which we live. Some of us have valuable resources—great teachers, vaster knowledge, cultural context, more orchestras, libraries, etc.—available, whereas in some communities, these can be hard-to-afford luxuries. In this beautiful month of July, I’d like to leave with you an important message: cherish your resources, regardless of how little you may think of them, and do not think twice to share with those in need.

(L-R): Dharmasri Jayantha, Nuwan Gunawardhana, Prasanna Kumara, trombones; Senira Prematillake, Jude Fernando, Vidhurinda Samaraweera, horns

by Katy Carnaggio

Why do negative experiences have such a strong hold on our progress with the horn? that one disastrous performance that clouds your practice with anxiety? the critical voice of a mentor you can’t get out of your head, inspiring defensive drills over artful exploration? or perhaps a serious issue that makes you want to avoid the instrument altogether?

You might think rumination is the problem, right? Well, not exactly. If overcoming a difficult experience with your horn was as simple as banishing negative thoughts, you would have moved past it months ago. The issue isn’t about needing more mental discipline. The issue is that it’s not all in your head!

Hear me out. 

Our minds aren’t disembodied computers that we can program to process, store, and retrieve information at will. Our minds are inextricably linked to our physical bodies, deeply influenced by our surroundings. Or, as a fascinating theory within embodied cognition suggests, person and environment are inseparable. People cannot exist without the environment surrounding them. Environment implies that there is a person (or sentient being) to be surrounded.

Embracing embodied cognition is the key to transforming a troublesome relationship with the horn because if you focus solely on changing your internal narrative, you'll find yourself in a constant tug-of-war with an external world that tells a different, more tangible story.

In other words: it doesn’t matter if you manage your self-talk, write off whoever made you feel “less than,” and do your best to focus in the practice room if you’re not also addressing your environment.

Our environment includes mediums, objects, surfaces, and people who perceive and behave within them.

Environments are subjective, meaning no two people can experience the same environment in precisely the same way. Two people in the same room can’t sit in the same chair, at the same height, with the same eyesight and sensory experiences. Instead, we sit in different chairs, with different lines of vision, in different bodies, experiencing differing sensations, with different sensitivities, points of attention, and memories.

Objects within our environment may seem like separate fixtures, but many of them can become integral and operative parts of our body's processes. More simply put: objects can transform from environmental features into tools.

For example, a dress flung on the floor of my bedroom is an obstacle to step over or a surface that hides my missing shoe. But when I wear that dress, it becomes a tool. It moderates heat loss, changes the texture, color, and expressive qualities of my body’s surface, and modulates my emotions. If it fits well and I enjoy its qualities, I feel confident. If it’s wrinkled or unflattering, I might feel insecure.

Objects around us can become deeply personal extensions of ourselves. They can be used to extend our reach, strengthen our efforts, amplify our voices, and store our thoughts. This capacity to attach something to the body that influences its processing suggests that the boundary between us and our environment isn’t fixed at the surface of our skin. There is no absolute distinction between the subjective and objective.

Even a dress, which might objectively be viewed as an article of clothing, has infinite possibilities for use. When tied to a stick, it can bestow respect and pride to the winning team in a game of capture the flag. It can be the roof to a corner room of a fort you’ve built with your little brother. Or it can be one link to freedom when tied to a bunch of other clothes and hung out your second-floor window to sneak out to a party. 

Theoretically, an object's action possibilities (affordances) are revealed through its characteristics, rather than stored in our minds. In other words, objects share with us how they might be used depending on our capabilities. We come to understand these possibilities through perspective, experience, and exposure. 

Take that dress on the floor, for example. Initially, it was just a pretty dress. But after wearing it on a rainy day, to your dismay, you see its white material becomes transparent when wet. Now, you recognize that this dress has additional affordances that can evoke embarrassment and stress.

Social and cultural norms we’ve absorbed since birth also shape our expectations and preferences for how something might be used, imposing limits on what is acceptable, valuable, and appreciable.

In embodied cognition, it becomes beautifully and maddeningly clear that we don’t process a similar world through a centralized computer brain, where the only difference between us might be the make and model of our processor.

Instead, we navigate the world through a continuous interaction with our physical surroundings. Our perception, action, and cognition are all interconnected with the environment, shaping how we move, behave, and learn. 

The world and the objects within it tell us unique stories.

Many of us fell in love with the horn because it is a tool that turns breath into sound. It amplifies our voice. It can communicate in ways more truly and completely than words can. It affords beauty, power, fun, transcendence, connection—and yes, the ability to gross people out with a simple twist of a tube (say it with me: it’s condensation).

But what do you do when your experiences with the horn become less like a capture-the-flag-victory dress and more like a rainy-day-shame-white dress? when the experiences you’ve had taught you that the horn is full of possibilities that are not only beautiful but painful, judgmental, or worse? 

Untangling painful affordances from our love for the horn can seem daunting, but the secret is to start with one small thread.

It looks like this:

• → Building your morning practice routine around safety and positivity by setting clear boundaries of who and what gets to be a part of your practice.
• → Using resources like The Kindness Method to cultivate a new practice or performance behavior in line with who you want to be and how you want to feel.
• → Incorporating your signature character strengths in your approach, so when you pick up the instrument, you are working from your favorite personal qualities.
• → Practicing along with guided motivation activations when negative narratives get too loud (try the Super Human App).
• → Seeking mentorship with discernment. While charisma and great horn playing are inspiring, seek mentors who listen, believe in you, and align with your goals, as they can help you see new possibilities and expand your perspective.

Our approach to the horn shares common features, much like our environments do, connecting us to people all around the world. Yet, it’s in our unique differences that our practice transforms into artistry. How do you want to feel and sound and be on horn? Who and what gets to be communicated in the sounds you create? What gets to be in your mind when you touch the horn? Exploring these tools can help you craft a world of messages that honor the very best parts of you.

Links:

The Kindness Method

Signature Character Strength Guide

The Super Human App