Student Column—Sound Models
by Inman Hebert
As students of the horn, we will inevitably acquire musical role models. But how can we move beyond viewing successful horn players as unapproachable icons and learn to translate their experiences into unlocking our potential? We ought to examine the performances, skills, and traits of role models and apply these to our own musical development.
Listening to the recordings of great horn players connects us to sound models. For example, generations of horn players have attempted to emulate the sound of Dennis Brain on his recordings of the Mozart horn concerti. While very few living horn players knew him personally, his legacy continues through those recordings, influencing our ideas about the proper sound and style with which to perform Mozart. Other great players have made recordings which are easily accessible on YouTube or Spotify, and we have only to explore to discover the spectrum of interpretations that exists.
For artists who can be considered sound models, listen to their recordings, then consider the nuances in their phrase structures and emulate the subtleties. Additionally, research their published pedagogical materials. Many players have written articles or books outlining their philosophies on aspects of horn playing. Consider exactly what in their playing you admire, and incorporate their ideas as part of your quest for improvement. From those who have not written about sound concepts, many have been interviewed and so have recorded thoughts. (The IHS YouTube channel and website are repositories of many of these.) With proper research, we can learn a great deal from horn players with whom we have never had the privilege of interacting.
Our definition of musical models, however, should not be limited to elite performing artists of the horn. We should not neglect the lessons other instrumentalists and vocalists have to offer. From studying the breath support of singers, to how blowing relates to bowing, to the phrasing of concert pianists, other musicians’ ideas can powerfully inform our horn playing.
Teachers serve as role models but also mentor and guide us through challenges to help us accomplish our goals. They already know our weaknesses as players, so we should never allow pride to prevent us from asking questions. As students, we must keep an open mind and listen to the diagnoses and solutions they offer and follow through with persistence to solidify improvement.
We interact with horn players in school and at symposiums, workshops, concerts, and music festivals. Taking the time to learn from role models in the horn community may shift our ideas. With curiosity, we will become more observant, ask more questions, and open ourselves to new possibilities.
Pedagogy Column—Comedy Hour: Impressions
by Nikolette LaBonte, Principal Horn, Calgary Philharmonic
I’ve been a somewhat regular SNL viewer for most of my teenage and adult life. Throughout the years watching it, even as casts and writers change, one role has remained a constant presence on the show: the Impressionist. Often featuring heavily in political sketches, the Impressionist can recreate the presence of the most recent headline-making figure and bring them to whatever sketch has been prepared for that week’s cold open. Behind the scenes, I imagine these performers spending time in front of their computers, pulling up clips of the person they are trying to emulate. The actors take notice of hallmark features: tone of voice, inflection, hand gestures, body language, etc. Then they work out how to mimic them: what shape their oral cavity needs to have, how their tongue should move, into what physical shape they need to contort their bodies, and so on.
I’m not a comedian, despite how funny I might think I am. But I’ve been thinking a lot about impressions on the horn. Go to www.hornexcerpts.org right now and click on an excerpt you like. Listen to the first reference recording and think about how you could “do an impression” of that horn player. Just like a comedian, think about the shape of their oral cavity, their air, how they are articulating, their phrase shapes. Then take those ideas and try to incorporate them into your own playing. You might not sound exactly like they do; but do you sound more like them than before?
Impressions are the building blocks of exploring new colors, phrasing points, and inflections. Here’s an example: I am listening to a recording of the Beethoven 6 third movement excerpt, and I hear that the sound is wide and round, and the articulation is minimal. If I want to sound like that, I’ll modify my oral cavity to use an OH vowel, increase my air support to accommodate the larger space, and keep my articulation as low and back as possible. If I do all those things, I can sound a lot like that player’s rendition of Beethoven 6. Do I personally like that approach to that excerpt? Not entirely. But I do like the idea of that floaty sound, so I might try to modify my default oral cavity so that it’s a bit more open than usual…maybe with an AW vowel. But even if I don’t like everything about that approach to Beethoven 6, I LOVE it for Brahms 1. I’ll take the impression over to that excerpt and try it out there—and now my sound is rounder and broader, and it fits the character of Brahms perfectly!
Not sure where to start? Try something! Through trial and error, you’ll find you get better, just as comedians master their abilities over many years. You’ll notice which variables you can change in your own playing to be able to sound like any recording you might hear. And slowly, you’ll discover how to use these variables to create your own musical identity pieced together from various impressions, with varying tone colors, articulation styles, and interpretations. And maybe someday, other players will be working on impressions of you!
Additional Health Considerations for the Horn Player (Part 4)
by Todd Goranson
In addition to performance anxiety and musculoskeletal injury prevention, there are several other health considerations that merit attention by the horn player. These include the topics of hearing loss, focal dystonia, and holistic wellness.
The high level of loud sound/noise inherent to the musical workplace creates a significant risk of hearing injury for the brass player. In a 2014 study of German professional musicians, data indicated a fourfold hazard risk for noise-induced hearing loss as well as a 57% higher rate of tinnitus (ringing of the ears) for musicians compared to the general population.[1] The constant exposure to high decibel levels can cause gradual damage that may not be noticed until a significant deficit is present. Fortunately, there are several commercially available earplug options that attenuate sound evenly through the frequency spectrum (unlike foam earplugs) that are designed for musician use, as well as others that can be custom-fitted for players by an audiologist. Creating a habit of decibel-level awareness, as well as using hearing protection in practice, rehearsal, and performance can prevent hearing injury and mitigate future hearing loss. Other steps to decrease risk may include appropriate use of plexiglass shields and risers in rehearsal and performance spaces, taking regular breaks when in a loud environment, increasing space between oneself and students during teaching, and choosing the safest possible acoustic spaces for practice and rehearsal. When listening to music on personal devices, be mindful of the volume and, if possible, use over-ear headphones rather than earbuds or AirPods to reduce risk of hearing injury. (Over-ear headphones generally provide better passive noise-blocking and lower risk of ear infection than in-ear devices.)[2]
Focal dystonia is a neuro-muscular disorder that impacts muscles in any single region of the body by causing them to move or pose abnormally. At least 1% of musicians are affected, which is a rate several times higher than the general population.[3] Brass players are particularly susceptible to focal embouchure dystonia (FED). For those impacted, symptoms can vary anywhere from a rare, single pitch inaccuracy, to a completely debilitating condition that makes regular playing unfeasible. It is sometimes compared to a “short circuit” in the nervous system, and the symptoms include tremors or involuntary contractions of the mouth, as well as air leaks at the corners of the embouchure. The affected muscles can include any of the facial muscles, including those of the jaw, mouth, or tongue. While focal dystonia is alarmingly common among musicians, it is a confounding condition that may involve several risk factors (including repetitive motion, mouthpiece pressure, psychological trauma, family history, and gender, as most affected individuals are male).[4][5] Focal dystonia does not have a known cure, but treatment currently centers around retraining the body/nervous system to perform the impacted musical task without triggering the dystonic response, rest, and stress management. There are several international support organizations for individuals with focal dystonia, and a promising 2024 journal article by Joy Grifoni et al in Frontiers for Neuroscience advocates for a “comprehensive, multimodal therapeutic approach that recognizes the multifaceted nature of the condition.”[6] The authors proposed a combination of personalized psychotherapy, physiotherapy, and neuromodulation (remapping neural pathways) for treatment of affected musicians.
Finally, the pursuit of holistic health is of vital importance for the artist-athlete. Amid the demands of deadlines and performance schedules, musicians frequently prioritize musical or vocational goals above their personal well-being. However, we are limiting ourselves when we sacrifice our long-term health for short-term accomplishments. “Check in” with yourself frequently. Remember to take breaks. Adequate sleep and rest, proper nutrition, and regular exercise that promotes flexibility, strength, and cardiovascular health will enhance our ability to perform and our enjoyment of life. There is wisdom in the avoidance of toxic circumstances and substances. Reserving moments of mindfulness each day, finding time to enjoy quiet, and connecting with friends and loved ones with intentionality will not only help us achieve optimal physical and emotional health, but will remind us why we have chosen the path of an artist.
Todd Goranson, DMA, BSN, RN
Professor of Saxophone & Bassoon, Messiah University
[1] Tania Schink et al., “Incidence and Relative Risk of Hearing Disorders in Professional Musicians,” Occupational and Environmental Medicine 71, no. 7 (April 30, 2014): 472–76
[2] Ammar Yousif Omar et al., “Bacterial and Fungal Growth in Males Wearing Mobile Earphone Appliances,” Mustansiriya Medical Journal, December 10, 2024.
[3] E. Altenmüller and H.‐C. Jabusch, “Focal Dystonia in Musicians: Phenomenology, Pathophysiology and Triggering Factors,” European Journal of Neurology 17, no. s1 (June 8, 2010): 31–36
[4] Ibid
[5] Christos I. Ioannou and Eckart Altenmüller, “Psychological Characteristics in Musician׳s Dystonia: A New Diagnostic Classification,” Neuropsychologia 61 (August 2014): 80–88
[6] Joy Grifoni et al., “Musician’s Dystonia: An Opinion on Novel Treatment Strategies,” Frontiers in Neuroscience 18 (April 8, 2024),
South Asia—Breaking Barriers: Hornissimo 2025
by Vidhurinda Samaraweera
For horn players worldwide, "Hornissimo" is a name synonymous with excellence. This prestigious festival—dedicated to teaching, knowledge-sharing, and empowering horn players across all skill levels—recently marked a historic milestone with its first-ever participant from South Asia.
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| Hornissimo Ensemble in rehearsal |
A Festival Born of Passion
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| Hornissimo founder Peter Arnold |
The Hornissimo Festival is the brainchild of Professor Peter Arnold, a distinguished German horn player and educator whose contributions to the instrument have earned international acclaim. What began modestly in 1998 in Glottertal, Germany, with just 25 participants has evolved into a cornerstone event for the global horn community. Since relocating to Staufen in 2003, the festival has grown exponentially, now attracting over 100 participants annually from across the globe.
The 2025 edition, held from June 19-22, showcased this international appeal with representatives from over ten countries, including Australia, China, Hong Kong, Japan, Korea, Poland, Spain, Switzerland, Taiwan, and Ukraine. This year's festival was particularly significant as it welcomed its first participant from the South Asian region—a moment that could reshape opportunities for horn players across the subcontinent.
World-Class Faculty and Industry Support
Hornissimo provides an exceptional combination of renowned faculty, innovative programs, and industry support. The 2025 faculty featured a stellar line-up including Christoph Eß (Director), Peter Arnold, Christian Lampert, Samuel Seidenberg, Will Sanders, Saar Berger, Dariusz Mikulski, Philip Römer, and Martin Grom, each bringing decades of performance and expertise to the table.
Leading instrument manufacturers and dealers, including but not limited to, Gebr. Alexander, Hans Hoyer, Ricco Kühn, Juhász Zoltán, Dotzauer, Josef Klier, and Durk Horns supported the festival. On-site sales and marketing proved to be a useful method for creating invaluable networking opportunities between participants and industry professionals.
Immersive Learning Experience
The festival's unique structure allowed each attendee to participate in horn ensembles conducted by various faculty members in addition to receiving individual lessons. The state-of-the-art facilities of the Bund Deutscher Blasmusikverbände (BDB, the Association of German Brass Bands) provided an ideal setting for this intensive learning experience, with accommodation and meals provided for participants.
Competition and Performance Opportunities
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| Competition winner Hanna Arnold |
The festival opened with the finals of the Hornissimo competition, featuring finalists of three age categories: horn4kids, born4horn, and horn4pros. This year's festival concert on June 20 in Bad Krozingen showcased emerging talent, with 20-year-old Hanna Arnold claiming first prize in the horn4pros category. Eloy Tamo and Oskar Szathmáry secured second and third places, respectively. The celebration continued with final concerts on June 21 and 22 at the BDB Musikacademie where competition winners and participants shared the stage.
Cultural Bridging and Future Implications
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| Vidhurinda Samaraweera |
The attendance of South Asia's first Hornissimo participant represents more than a personal achievement; it signals potential transformation for the region's horn community. This breakthrough, supported by Professor Peter Arnold's encouragement and a full scholarship offered by Gebr. Alexander, addresses a critical gap in formal horn education across South Asia. The connections forged at Hornissimo 2025 could catalyze improved playing conditions, higher performance standards, and expanded educational opportunities across South Asia.
Hornissimo remains not just a festival, but a gateway to excellence—one that now extends its reach to new corners of the world, promising a more inclusive and diverse future for players of our noble instrument.
Student Column—Buying Used Horns Online
by Payton Grotewiel
The task of buying a personal horn can be daunting, especially with a four- to five-figure price tag attached. Luckily, purchasing a second-hand horn can provide you with a manageable, lower price. Finding a quality used horn can be easy if you know two things: where to look, and what to look for.
Instrument manufacturers and suppliers, such as Yamaha Corporation, and retailers, such as Houghton Horns or local music and instrument shops often sell online. These shops usually contain a dedicated page or filter for “pre-owned” or “used” horns, allowing you to narrow your search on their website.
The second place you can search is in online community markets, like Facebook Marketplace. Advantages of purchasing from these markets include the ability to ask about the instrument directly with the owner and inspect it in person before buying. As these markets often require little verification from their sellers, know in advance exactly what to look for when buying.
Once you find a horn that fits your needs, note the price, damage, any accessories, as well as the seller’s credibility. If you do not make your purchase from a credible seller, there is a chance you could lose a lot of money or purchase a horn different from what was listed. To verify a seller’s legitimacy, check their reviews both on the site and on other online venues. If a website requests too much personal information or has a vague return policy, avoid them. To ensure reliability, stick to familiar and popular sellers that allow returns on products.
Price is another key factor to consider before purchasing your horn. Used horn prices will vary, but you can expect a price of $2,000-$7,000 depending on the model and condition. If the price is over $8,000, you should be looking at a high-quality model with minimal damage. If a price seems extremely low, it could be due to damage to the horn, which is why you should closely inspect all photos of the horn. Any dents or scratches to the bell of the horn will not likely impact the instrument's sound, but damage to the leadpipe, main branches, or tuning slides will require costly repair. Remember that it is okay to request additional photos and to negotiate the price before purchasing.
Accessories included with the horn will also affect the price. Many instrument companies will not sell a mouthpiece with a preowned horn due to sanitary concerns. Additionally, some sellers may not include a case or maintenance supplies. Thoroughly read the description of the product so that you can re-adjust your budget for the remaining items.
Owning a horn is a significant milestone in a player’s musical journey, so it is important to be cautious when selecting yours. If you shop online and apply these crucial guidelines, you should not have any trouble finding a horn that suits your needs. Good luck!
Research to Resonance—Don’t Toss the Tuner, But….
by Katy Carnaggio
PERFORMANCE REMINDER: Nobody’s coming to see a perfectly resonant, in-tune G…they are coming to see you! The same quirks and qualities that endear you to your friends can also captivate an audience. If the pressure to “get it right” in your final moments of prep becomes overwhelming, try this:
- pick 3 of your favorite personal characteristics
- ask a friend to give you 3 more
- bring this list to your repertoire
Are you funny? Turn your appoggiaturas into inside jokes. Thoughtful? Let the rests breathe like they’ve just said something profound. Empathetic? Explore how your instrument wants to vibrate and how it interacts with surrounding objects in the room; even the ceiling has its own sound and resonance.
With added depth to your music, focus to your practice, and authenticity to your performance, you can’t go wrong by leading with your best qualities!
Meet the People—Matthew Haislip
by Matthew Haislip, DMA
Hello, everyone! I am Dr. Matthew C. Haislip, Associate Professor of Horn at Mississippi State University. I currently serve the International Horn Society as Media Reviews Editor for The Horn Call and as Mississippi Area Representative. I am a founding member of Quintasonic Brass and am a contracted member of the Starkville Symphony, North Mississippi Symphony, Meridian Symphony, and Missouri Symphony. Additionally, I serve on the faculty of Blue Lake Fine Arts Camp in Michigan during the summer months and have performed with ensembles across the nation, including the Cincinnati Opera, Opera Naples, Omaha Symphony, West Texas Symphony, and Billings Symphony, among others.
The International Horn Society has filled me with a strong sense of community ever since Shawn Hagen, retired hornist of The United States Army Band “Pershing’s Own,” bought me a three-year membership to the IHS when I was in junior high school. His influence on me as a family friend who inspired me to take up the horn and who supported me in my studies demonstrates the generous camaraderie of horn players that countless others have also experienced from members worldwide.
As a composer, I feel that new music is vital for our future as hornists. My book, Dueling Fundamentals for Two Horns, published in 2019 by Mountain Peak Music, has been endorsed by several international hornists. I was ecstatic to learn that players of all levels found it to be a helpful and enjoyable pedagogical tool. I am also proud to have had the opportunity to lead the successful commissioning consortium for Anthony Plog’s Horn Sonata and to have performed the world premiere of this riveting new work in 2023. The IHS offers members help with commissioning new music through the Meir Rimon Commissioning Assistance Grant Project. Consider the relationships hornists have cultivated with composers that brought us masterworks such as Benjamin Britten’s Serenade for Tenor, Horn and Strings, or Krzysztof Penderecki’s Winterreise Horn Concerto. Perhaps we could see a new horn concerto by a thrilling contemporary composer such as Caroline Shaw someday! With each endeavor, we hope that future generations will look back on this era in the international horn community and see our work as having been meaningful and enduring…and I believe that they will.
Our horn world has never been richer, and the IHS is leading the way with profound artistic performances, groundbreaking commissions with prizes awarded to repertoire by composers of diverse backgrounds, excellent regional and international symposia, a regular podcast, celebrations of stylistic freedom for maximal artistic expression and exploration, and decades of educationally enriching publications available at the click of a button—including The Horn Call and Horn and More. How will you make your own unique mark on the horn world? We can’t wait to see!
Composer Spotlight—Avril Coleridge-Taylor
by Caiti Beth McKinney
Hello everyone!
This month I want to introduce another outstanding orchestral composer, Avril Coleridge-Taylor (1903-1998). While you may recognize her surname thanks to the increasing popularity of compositions written by her father, Samuel Coleridge-Taylor (1875-1912), the works of his equally-skilled daughter have yet to gain proper recognition. Avril had unique access to quality music education thanks to a combination of musical parents; her mother, Jessie Walmisley, was a talented singer. Avril was born into challenging circumstances due to racial bias; the Walmisley family disapproved strongly of Jessie’s marriage to Samuel due to his African ancestry (his father was a Creole man from Sierra Leone, while his mother was white). The Coleridge-Taylor family experienced frequent financial hardship, and after Samuel’s passing in 1912 when Avril was only nine years old, Jessie banned music in the household.
Despite these devastating circumstances, young Avril taught herself piano by practicing works left behind by her father, and she eventually won a scholarship to the Trinity College of Music in London to study music. While in school, she studied with another composer whose name should be familiar to horn players, Gordon Jacob (1895-1984). The entirety of Avril’s life is a testament to resilience and fortitude in the face of adversity; a loveless marriage, racial discrimination (she was forced to flee a music tour in South Africa after her heritage came to light), as well as bias towards her gender. Even so, she became the first woman to conduct the Royal Marine Band, and she guest conducted ensembles like the London Symphony Orchestra and the BBC Orchestra.
In addition to her accomplishments on the podium, her compositions are likewise outstanding. My personal favorite—and one that feels especially timely—is a work entitled Sussex Landscape, Op. 27. (Here is mvt. 1, Largo, from this work.) This twelve-minute tone poem, despite its idyllic and pastoral sounding name, was actually written about Avril’s heartbreak at the outbreak of World War II. Coleridge-Taylor uses horns and brass to great timbral effect in this work, including a variety of chorales and solo moments that allow the performers to show off a variety of tone colors and moods. Deeply emotional and moving, Sussex Landscape is a valuable and noteworthy addition to our orchestral repertoire.
