Meet the People—Chuck Ward
excerpts from an interview by Ellie Jenkins for Cor Values, The Horn Call, May 2018 (reprinted with permission)
What inspired your move from being employed by UMI to establishing your own full-time repair business?
After working 23 years in brass instrument manufacturing, I was ready for a change. I was very disappointed in some of the decisions being made, and I was doing the jobs of four people. I wanted these great companies to be great again, but their bottom line always won out. As more and more responsibilities were put on me, and as I realized my interests in the pro market were being ignored, I decided I needed to move on and transition my part-time repair business into a full-time venture. This was at the end of 1996. I wasn’t sure how UMI was going to receive this, but they did offer me a contract to continue designing and cutting all their screw bells at the rate of 450 per year, and this has continued since. Around 2000, United Musical Instruments was sold to the Steinway Corporation who also owned the Selmer/Bach Corp. In 2004, the Steinway Corporation purchased the Leblanc Corporation which owned the Holton Company. Confused yet? Around 2005 the Holton Company moved into the King/Benge/Conn factory. At that point I began cutting the bells and installing screw rings for them as well.
For what models—of horns, trumpets, trombones—have you been the primary designer? and of which are you the proudest?
I have been repairing and designing brass instruments for well over four decades, and I was in full-time business for myself by 1997. I was still very involved with Conn. Besides cutting and installing screw rings for the various Conn bells, I was building special models such as the Conn 12D and the Holton H200 descant horns in my shop. I built 75 Conn 88H Thayer valve trombones and 10 Conn 112H Thayer valve bass trombones in my shop as well. The longest project was the 8D Vintage project. This horn was to come as close to the Elkhart 8D as possible. Much work and experimentation paid off. I had just finished four prototypes for testing when the entire project was put on hold as a result of new ownership. Two years later, I was called into a meeting with the new plant manager who wanted to know how Conn could build a horn like the Elkhart 8D. I didn’t even know what to say except to inform him that two prototypes were sitting in the shipping room. He thought I was kidding, but from that day on, Vintage horns were in production. I also designed an 8D prototype horn that had a separate B-flat tuning slide. This horn was meant to appeal to the European market, but it never took off as Conn had hoped.
Of all the brass instruments that I’ve designed, I am most proud of the Benge 190F and 290 trombones, the Conn 36H alto trombone, the Conn 10D/11D and the 8D Vintage model horns. I also designed and built the contrabass trombone for the Cleveland Orchestra. I believe the fact that I was a professional horn player sets me apart. I could relate to all brass players, and they knew I would listen to their ideas and understand them.
What do you enjoy most about working on horns?
Working as a repairman for professionals is very worthwhile for me. I enjoy it thoroughly! My name is on the business, so I do all the repairs myself. My favorite job is valve rebuilding. Taking a worn-out horn and making it play again is very rewarding for me. I have my own plating system and the necessary tooling, so I can complete a valve rebuild in two days. Chemical cleans are numerous and I go beyond just cleaning: I tighten all the bearings, regulate the slides, and do minor dent work. The horn is like new or better. I even build custom horns for players, both horn and trombone. I’ve got the best of both worlds. I like what I do, and my shop is right next to my house in beautiful Chardon, Ohio. The Conn/Holton factory is only 20 miles away, which makes it easy for me to work with them.
What do you wish players would do better to care for their instruments?
One of my goals is to convince players with older horns to consider a valve rebuild before spending a fortune on leadpipes. I hear the same thing all the time: “I bought a new leadpipe, and I think it plays better, but I’m not sure.” I understand the desire to try new things that might improve your playing, but please have a competent horn tech (there are not many left) check out the valves first. Then consider a new leadpipe. Leadpipes don’t usually wear out, but valves do. Horn maintenance is another thing I would like players to know better. With each valve rebuild and chemical clean, I give a flyer on how to take care of your valves. I also give out a sheet on suggested lubricants. My biggest advice to all brass players is to oil your valves every time you play your instrument. Synthetic oil does not need to be applied quite as often, as it stays in the valves longer. Oiling lubricates and keeps the valves clean.
Transitions—From Professional Player to Development Professional
by Hannah Culbreth
If you have ever been paid to play the horn, you are the beneficiary of someone’s philanthropy and generosity. There is an entire world behind your paycheck! If you’d like to know what it’s like to be a part of that world, keep reading.
I spent the two years right after graduating from the Curtis Institute of Music playing full-time in orchestras. My first season (22-23), I played 3rd horn in the Atlanta Symphony. The following season (23-24), I played 2nd horn in the Phoenix Symphony. Both of these experiences taught me so much, and I met many incredible and warm people along the way. Throughout my life and career, I have always had the inner longing to be more involved with my communities. I enjoyed putting together my own projects, teaching, and volunteering both while in school and in professional orchestras, but I still felt like I needed to contribute to the longevity of orchestras in a closer way. I believe that I’ve found the perfect fit for me in the development field.
The biggest piece of work in development is relationship-building. We put incredible importance on fostering relationships with our donors and community members in order to ensure long-term financial stability for our organization. Through developing these relationships, we can understand both why the symphony has a positive impact in our community and how to make sure it grows and thrives. The technical side of the job includes grant writing, soliciting sponsors, advertisers, and donors, fostering partnerships, running campaigns, and managing finances. The aforementioned skills are all influenced by the relationships we build.
Horn playing and development are much more parallel than one might think. As horn players, we are constantly tuning in to the intricacies and worlds of the people next to us in order to internalize and react to the many moving parts around us in order to make refined art together. Similarly, in this field, you must truly understand motivations and personalities. Development is a great career path for those who love the communal aspect of playing in ensembles, have a deep relationship with music, and have the listening and communication skills to express the need for music in our communities.
As a full-time development professional, I spend the average Monday-Friday each week out at my donor solicitation meetings and in the office or working at home. Some weeks, I am able to drive about 50 minutes south to sub with the Baltimore Symphony Orchestra. Occasionally, I am able to work fully remote and travel a bit farther to play with different orchestras. One of my administrative colleagues, an incredible cellist, also travels across the US to sub in major orchestras and as a cover conductor. The best part of the stability that comes from having a full-time administrative job is that you only need to take gigs that provide some sort of joy or fulfillment. This balance ended up being perfect for me and my personal needs. Hearing about why all sorts of folks enjoy going to the symphony is both healing and motivating.
The beautiful thing about consistently sharing with patrons why music is impactful is that it reminds me every single day why I play the horn. I find myself seeing each practice session as a gift. The limited time and bandwidth also requires each session to be efficient, and I’ve found that my playing has only improved. There is a misconception that transitioning into administrative work will take away from your musical skills and love for your instrument. I’d like to argue that it can really consistently remind you why it is important to do what we do, directing even more meaning to our horn playing. Only we can define what success looks like in our lives. Success, to me, looks like making sure musicians and concertgoers get to always experience what I’ve been so lucky to experience in my life as an artist.
Performing is the cherry on top.
I truly believe that horn players have the malleable and intuitive personalities to be wonderful development professionals.
Latin America—Wooden Mouthpieces, Part 1
by Fernando Ruiz
How does such a crazy idea come to make wooden mouthpieces?
It's somethi
ng as simple as looking at each instrument's past, further back than the bronze age and the use of metals. Wood, all parts of a tree, has historically been the most common construction material, from building a house to creating art. When we talk about wind instruments (such as the horn), one of the less obvious aspects, but profoundly influential, is the mouthpiece.
Most brass players use metal mouthpieces. Wooden ones are rare, but they are still used, not only for visual appeal, but also for the unique qualities they offer in terms of sound. High-quality woods were chosen for hand-carved wooden mouthpieces. The most common woods used are walnut and maple since they offer perfect hardness and durability. One of the instruments that is a great example of this is the alphorn, which in the 21st century continues to be built in wood and played with a specifically-designed wooden mouthpiece.
It is also true today that there are more materials to make both parts, instrument and mouthpiece, such as carbon fiber and plastic, but these do not offer that unique sound quality that wood can offer.
As technologies developed, humans achieved effective tools for shaping metal, leaving behind the use of wood and bringing about incredible evolution to instruments and, thereby, to music.
But again, curiosity arises, and in the desire to innovate, we ask ourselves, “Why not combine wood with current technology?”
The choice of mouthpiece has great importance in the way the sound of the instrument projects. Having studied mouthpieces for years, I have discovered that wood has important advantages for those looking for a warmer tone and softness; everything will depend on the wood selected. These mouthpieces give the player particular sensations that are different from other materials. An important issue is comfort—for example, not feeling the cold metal as we initiate sound or after a long pause has no comparison.
The type of wood used directly influences the quality of sound and the level of comfort. In Part 2, we will look at some of the most common woods used in manufacture of horn mouthpieces, although in the course of the time, I have discovered that certain woods (such as palo de serpiente or zebrano) stand out for their sound characteristics. When final test results are available, I will let you know.
Latin America—Boquillas de Madera, Parte 1
by Fernando Ruiz
Boquillas de madera. ¿Como surge una idea tan descabellada de hacer una boquilla en madera?
Es algo tan simple como mirar al pasado de cada instrumento, más atrás de la edad de bronce y el uso de los metales.
El uso de madera era lo más común, en todos sus ámbitos y secciones, desde construir una casa hasta llegar al arte. Cuando hablamos de instrumentos de viento como la trompa o corno francés, uno de los aspectos menos obvios, pero profundamente influyentes es la boquilla. La mayoría de los músicos (por no decir todos) suelen utilizar boquillas de metal, las boquillas de madera son poco frecuentes, pero si utilizadas, no solo por su atractivo visual, sino también por las cualidades únicas que ofrecen en términos de sonido.
Se usaban boquillas de madera talladas a mano, se seleccionaba una madera de buena calidad para comenzar a darle forma. Las maderas mas comunes que se usaban son el Nogal y Arce dado que ofrecían una dureza y durabilidad perfecta y uno de los instrumentos que no mejor nos expone este caso es La trompa alpina, la cual en pleno siglo XXI se sigue construyendo en madera y tocando con una boquilla especial y especifica en madera. También es verdad que hoy en día existen más materiales para hacer ambas piezas (instrumento y boquilla) como la fibra de carbono y el plástico, pero estas no ofrecen esa calidad sonora y única que puede ofrecer la madera.
Con el paso del tiempo la humanidad logró herramientas más efectivas para moldear el metal, dejando atrás el uso de la madera y dando una evolución gigante a los instrumentos y a la música. Pero nuevamente surge la duda y las ganas innovar preguntándonos ¿Por qué no usar la madera con la tecnología actual?
La elección de la boquilla tiene una gran importancia en la forma en que el sonido del instrumento viaja y se proyecta. Durante un largo tiempo de estudio de las boquillas he descubierto que la madera presenta ventajas importantes para aquellos que buscan un timbre más cálido y suave, todo dependerá de la madera que seleccionemos. Estas boquillas nos dan una sensación particular y diferente a otros materiales. Lo principal es su punto de apoyo y comodidad, por ejemplo, el no sentir el frio metal para comenzar a tocar o después de una pausa larga no tiene comparación.
El tipo de madera influye directamente en la calidad del sonido y la comodidad. Estas son algunas de las maderas más comunes utilizadas en la fabricación de boquillas para trompa, aunque en el transcurso del tiempo, he descubierto ciertas maderas (como lo es el Palo de serpiente o la Zebrano) que destacan por sus características sonoras que poco a poco y cuando estén los resultados definitivos les daré a conocer.
Pedagogy Column—Discipline as the Key to Success: Thoughts on Successful Horn Playing
by Zora Slokar, IHS 57 Featured Artist
A musician's success depends not only on talent but, crucially, on the ability to maintain consistent daily routines. Years of conscious practice are essential. Discipline is the foundation that enables us horn players to perform at a high level over many years. Working on technique, musicality, and mental strength requires relentless practice and the willingness to push through difficult phases.
A crucial part of our daily practice is the care and strengthening of our lip and facial muscles. Our body is a part of our music instrument, making its care and maintenance an essential part of our daily practice. Developing this discipline during our studies is vital. Unlike string players, who can replace their strings, or a timpanist who can adjust the drumhead, we horn players cannot simply exchange our embouchure.
I always emphasize in my teaching that being a horn player must become a lifestyle. This means starting the day early—ideally with physical exercise and a cold shower followed by a first practice session. This structure allows enough time for relaxation and muscle recovery between further practice sessions. It is essential to regularly push our limits while also incorporating conscious recovery phases.
As Thomas Edison famously said, "Genius is 1% inspiration and 99% perspiration." While this is a figure of speech, it underscores the idea that diligence, persistence, and continuous effort matter far more than talent. I often think of the iceberg metaphor: what people see—beautiful performances—is just the tip, while beneath the surface lie perseverance, discipline, hard work, sacrifice, courage, tears, and disappointment.
Yet, beyond the relentless effort, we must also nurture the joy of playing. I believe that anyone who chooses to become a horn player already has a deep passion for music and the instrument. This passion and musical sensitivity grow even stronger the more expressive and technically proficient we become through dedicated practice. A solid technical foundation allows us to focus more on musical phrasing rather than struggling with technical difficulties.
Finally, a few words on mental strength. The words of the Roman poet Juvenal, "Mens sana in corpore sano" (A healthy mind in a healthy body), are of central importance to me. A well-rested and properly nourished body is the foundation of a functioning mind. Therefore, we must establish routines that support both physical and mental health. Each horn player must find what works best for them, whether it is yoga, autogenic training, the Feldenkrais Method, the Alexander Technique, or simply a walk in nature.
Chamber Music Corner—Jean Papineau-Couture’s Suite for flute, clarinet, bassoon, horn, and piano (1947)
by Layne Anspach
This month, CMC will focus on Jean Papineau-Couture’s Suite for flute, clarinet, bassoon, horn, and piano (1947). Papineau-Couture (1916-2000) was a Canadian composer and administrator. He studied composition with Quincy Porter at the New England Conservatory and later with Nadia Boulanger. Papineau-Couture taught at the Quebec Province Conservatory (Montreal) and then at the University of Montreal where he eventually became dean. Serving as president of numerous organizations, including the Canadian League of Composers, the Canadian Music Council, and the Canadian Music Centre, he proved to be an effective administrator. His compositions range from solo pieces to large orchestral works.
The Suite for flute, clarinet, bassoon, horn, and piano was composed shortly after his appointment to the faculty of the Quebec Province Conservatory. The work is considered part of his early neoclassical period. The reference recording can be found through the Canadian Music Centre Library here. The Suite is in four movements. Prélude begins with a flowing melody, theme A, presented by the flute then passing to the piano. The volley is repeated with varying accompaniment, and all with meter changes which keep listeners guessing. Theme B is led by the horn with countermelodic material in the flute and clarinet. Theme B is passed from member to member, and finally the piano retransitions to A. Both A and B themes come back in turn with a short coda on the A material which builds to an emphatic ending.
Starting at 3:17 in the recording, the second movement, Sérénade, is essentially a horn solo with piano accompaniment. The initial 5|8 meter adds an off-kilter lilt to the movement. The B section shifts to 5|4 with entrances in the lower register of the horn. The A section returns with elongated low horn notes and an unchanging piano accompaniment to finish the movement.
The third movement, Canon, at 6:37, is a duo between flute and clarinet. True to its name, the movement is a slow methodical canon between the two instruments. An ABA form unfolds with the middle B section encompassing quicker rhythmic motives to contrast with A.
Scherzo, at 9:51, reestablishes the use of the entire ensemble in a 7-part rondo form. The opening refrain is a display of continuous frantic sixteenth notes in the piano, set against a flowing line in the winds. The B section is a dialogue between winds and piano, but eventually the piano completely takes over. The refrain returns in a new voicing. The C section omits the piano, and changes tempo and character. ABA returns with re-orchestration of parts. The final A section starts strong, but slowly diminishes to set up a startling final chord.
Research to Resonance—Prediction as a Tool for Letting Go
by Katy Carnaggio
Great horn playing isn’t just about executing; it’s about predicting. Our brains continuously anticipate what comes next. This predictive ability, known as internal modeling, allows musicians to pre-hear, pre-feel, and pre-shape sound before it leaves the instrument, shaping accuracy and expressiveness.
Imagine you’re given a pencil and a blank sheet of paper and asked to draw a white chair. You wouldn’t draw the chair itself. Instead, you sketch the edges, the shadows, and the negative space, trusting that the chair will emerge. Music works the same way. A note isn’t something you directly produce; it’s the result of everything around it—breath, embouchure, posture, and thoughts. How you are around the note is the note.
Musicians who actively predict the next note play with greater fluidity and precision. But predictive reasoning—trusting a white chair will emerge from graphite lines—isn’t about control. It’s about surrender.
We trust this process in other areas. A pencil isn’t designed to draw something white, yet we never doubt that we can. But when handed an instrument built to vibrate with sound, we hesitate. We doubt ourselves. We’re unsure of what picture we want to create. We second-guess the breath, tense before the note speaks, and adjust mid-phrase as if sound is something to chase rather than create. But just as the chair appears through drawing, sound emerges naturally from the conditions that create it.
Refining predictive reasoning in the practice room builds a rich, flexible internal model of sound. It’s an ongoing logic puzzle: if A, then B. Separating thought from the play-outcome loop helps you learn faster, explore more deeply, and lose yourself in moments of flow.
But in performance, especially in collaboration, music isn’t something you execute. It’s something you step into. It unfolds in real time, shaped by the moment, the space, and the musicians around you.
When you’ve internalized the thoughts and sensations needed to create your intended sound, surrender is not passive. It’s the strongest form of presence, a balance of determination and responsiveness. You are not playing the music; you are the music—moving with it, shaping and being shaped by it. And in those rare, extraordinary moments, ego disappears. There is no you playing, no them playing around you. Only sound, alive in the moment.
True connection.
(Check out part 2 next month: How to Develop Predictive Reasoning in the Practice Room.)
South Asia—A Rare Opportunity
by Vidhurinda Samaraweera
In February 2025, Sri Lanka's horn playing community experienced an unprecedented event as Professor Peter Arnold, a distinguished German hornist, conducted a series of masterclasses and culminating recital in Colombo. Historically, opportunities for specialized horn training and ensemble performance in the region have been scarce, primarily due to a lack of formally trained educators. This initiative, organized by the Gustav Mahler Society of Colombo (GMSC) in collaboration with Musicmatters Sri Lanka, marked a significant milestone in the region’s horn playing journey.
On February 13th and 14th at Musicmatters Sri Lanka, Professor Arnold led intensive masterclasses attended by local horn players and enthusiasts. Demonstrating his commitment to nurturing talent, he generously provided each participant with a Markus Arnold 'BuzzR', a specialized tool designed to practice buzzing without the instrument.
The sessions explored several critical aspects of horn performance. Professor Arnold emphasized the importance of correct breathing techniques and posture, introducing exercises to rectify common breathing habits and promote diaphragm engagement.
Participants engaged in buzzing exercises aimed at strengthening embouchure and improving tonal quality. Revisiting the instrument's roots, the masterclasses incorporated fundamental natural horn exercises, offering players both historical context and technical proficiency. Although natural horns were not available, participants used their instruments like natural horns by playing in only a single harmonic series at a time. A significant focus was placed on solo horn repertoire with Professor Arnold sharing insightful interpretations and practical approaches to mastering the works. Additionally, a five-member horn ensemble received training while exploring diverse genres and ensemble dynamics under his guidance.
The culmination of this endeavour was a recital on the morning of February 15th. Professor Arnold began the event with two solo pieces, captivating the audience with his artistry and technical prowess. Following his performance, students showcased the results of their intensive training.
The recital also featured ensemble works arranged by Professor Arnold, including Glottertäler Hornruf, an evocative piece highlighting the ensemble's cohesive sound. (This is often played at the well-known Hornissimo Festival hosted by Prof. Arnold in Germany.) Ave Maria and Blues for Horns (a spirited piece which concluded the recital on a high note) were highlights which the audience seemed to enjoy.
Professor Arnold's visit left an indelible mark on the Sri Lankan horn community. Participants not only enhanced their technical skills but also gained a renewed appreciation for the instrument's rich heritage. As Country Representative of India and Sri Lanka for the International Horn Society, I am happy to share with our global horn community the report of this momentous occasion. It stands as a testament to the unifying power of music and the continuous pursuit of artistic growth.
