Pedagogy - Learning to Lip Trill
by Daniel Grabois
A good lip trill makes a thrilling sound on the horn. You trill quickly between two notes, usually a whole step apart, using the same fingering for each note. Many people struggle with learning how to do a lip trill, so I will propose three methods of practice below.
But first, a quick note about fingerings. It goes without saying that any fingering that produces an excellent sounding trill that is in tune is a good fingering. I have found fingerings that work for me, and I’ll offer them to you here.
Typically, the lowest lip trill we will play is from F♯ at the bottom of the treble clef (note that all the trills I discuss will be whole-step trills, since half-step trills can almost always be done as fingered trills; so when I say “F♯ trill,” I mean a trill from F♯ to G♯). I finger the first two trills in my sequence, the F♯ trill and the G trill, with the fingering for the higher note, played on the F horn:
F♯ trill, finger F23
G trill, finger F12
Many people finger the G trill F13, but I find that fingering out of tune for both notes of the trill, G and A. F12 gives me better intonation.
For the next set of trills, from the G♯ trill up to the C trill, I finger the lower note on the F horn:
G♯ trill, finger F23
A trill, finger F12
B♭ trill, finger F1
B trill, finger F2
C trill, finger F0
From C♯ on up, finger the lower note on the B♭ horn. You know those fingerings, so I don’t need to list them.
Now that you know which fingerings to use, how do you actually make the trill “kick in?” Below are the 3 methods to practice; but before examining those, here is one quick explanation: by making the trill “kick in,” I mean having the alternation between the two pitches of the trill gain lightning speed, seemingly by magic, so that it actually sounds like a trill and not a labored motion from note to note. Now, try each of these approaches:
Composer Spotlight - Jane Vignery
by Caiti Beth McKinney
Hello, Horn Friends!
Some of you may know of Jane Vignery’s Sonata for Horn and Piano, Op. 7—especially since it was one of the second round works for the Professional Division of this year’s International Horn Competition of America—but for those of you who do not, it is an absolute must-listen.
Born in 1913, the Belgian violinist and composer studied with several notable 20th century composers, including Nadia Boulanger and Paul Dukas. While her output of works is relatively small, consisting of several chamber pieces, songs, and works for orchestra, it seems that only her horn and violin sonatas have gained any wide recognition.
The Sonata itself is a challenging three movement work with many opportunities to feature both technical prowess and musicality. The first movement begins with a showy fanfare, somewhat reminiscent of the opening call in Richard Strauss’s Concerto No. 1, but it soon moves into a graceful contrasting theme. Fair warning: players need to be on their stopped and muted game for this piece. The second movement is an eerily chromatic Lento ma non troppo with a beautifully haunting melody. Especially noteworthy is the interplay of the piano with the horn line—many moments feel more like duetting voices than solo with accompaniment. (Personally, this is my favorite movement of the sonata…it’s just so beautiful!) The final movement is brisk and lively, featuring numerous technical passages. The perpetually moving piano underneath the horn keeps up the pace while the soloist gets to show off their stopped horn ability. Suitable for advanced college students and professionals alike, Jane Vignery’s Sonata is an absolute showstopper.
Amanecer and Pequeña Venecia: two compositions for horn
by Gabriella Ibarra and José Luis Colmenares.
To play arrangements and compositions by José Luis has always been a spirited challenge for me. As a musician skilled in all the technical, interpretive, and expressive resources of the instrument, he knows very well how to best show off the horn’s varied sound qualities. His musical career has always been balanced between his roles as an orchestral horn player and as an arranger/composer through which he has been able to effectively showcase his talent by contributing to the repertoire of renowned groups such as the Canadian Brass who recorded his arrangement of the Venezuelan waltz Andreina, originally written by Antonio Lauro. Here is that performance: Canadian Brass performs Vals Andreina.
Following is a synopsis of the two featured works as described by the composer.
Amanecer
Concerto for two horns and orchestra in C minor
Venezuela, 2016
Movement I
The first movement is an Allegro, evoking Argentine and Spanish airs with dynamic interaction between questions and answers, and the orchestra plays a prominent role while accompanying the solo horns. Structurally, moments of climax can be heard which move in forced harmonic blocks along with the interplay of numerous countermelodies. At the end of the first movement, a cadenza, inspired by traditional milking songs of the Venezuelan composer Simón Díaz, features the soloists.
Movement II
Inspired by the Tonada de Luna Llena (Full Moon Tune), a tapestry of sound contrasts is developed over a full orchestration, and an atmosphere generated by the rhythm of the Venezuelan merengue accompanied by crystalline sonorities provides notable moments and smooth textures.
Movement III
The closing movement is more epic, with harmonies at cardinal points that bring to mind cinematic music in which the entire orchestral horn section along with the two soloists are given prominence by the use of bright colors and with a relentless call in the timpani. The brass section maintains presence throughout the piece, emulating great symphonic works, with solos by the concertino and a highly virtuosic development presented by the woodwinds.
This work is available in versions for 2 horns and orchestra, 2 horns and concert band, and 2 horns with piano reduction.
The world premiere took place in November 2016 with the Aragua Symphony Orchestra conducted by Moiceli Medina at the Maracay Opera House. The soloists are José Luis Colmenares on horn 1 and Carmelo Cacioppo on horn 2. The performance can be seen here: Concert for Two Horns and Orchestra "AMANECER"
Romanza Pequeña Venecia
Work for Solo Horn
Venezuela, 2015
“In 1499, Alonso de Ojeda, accompanied by Américo Vespucio, arrived in his ship at the Gulf of Coquivacoa. There he saw the small houses of the Indians built on the sea supported by wooden posts which reminded him of Venice, and so he gave the place the name ‘Little Venice,’ which we now know as Venezuela.”
This is my first work composed for Horn Solo. The piece begins with a tonada, the song performed by farmers at the time of milking so that the cow feels loved and pampered. The milker takes the name of the cow and sings to her, and the cow, motivated by the song, gives much more milk than normal—and dairy experts say that its flavor is much better. In the Allegro, the horn makes a call similar to that of a shofar. Then a Venezuelan merengue introduces the El Becerrito theme, written in 5/8 time. This is an original song composed by the eminent Venezuelan musician Simón Díaz. The merengue in 5/8 gives the sensation of walking as if with a lame foot, and it evolves, eventually returning to the call from the beginning but with more presence and impetus.
Finally, I resumed the milking song and immediately, to provide a more traditional stamp, I took the theme Alma Llanera and developed it to create a convincing ending. We must remember that we are the essence of our ancestors, for other countries of the world will not know our culture if we do not preserve our roots.
Both compositions are available for purchase in PDF format, and you can request them by contacting: jlcomusichorn@gmail.com
José Luis Colmenares began his musical studies at the age of 7 at the Táchira State Symphony Orchestra, one of the centers of El Sistema for the National Children's Orchestras in Venezuela. At the age of 18, he moved to the capital where he took classes at the Simón Bolívar Conservatory and at the Superior School of Music. He joined the National Philharmonic Orchestra as third horn, and after four years he won the principal horn position, serving there from 1989 to 2017. Along with his playing career, he has avidly pursued his career as an arranger and composer.
Amanecer y Pequeña Venecia: dos composiciones para corno francés
In Englishpor Gabriella Ibarra y José Luis Colmenares.
Tocar los arreglos y las composiciones de José Luis siempre han representado para mí una ejecución desafiante y llena de mucho brío. Él como buen conocedor de los recursos técnicos, interpretativos y expresivos del instrumento sabe muy bien cómo hacer gala de las cualidades sonoras del corno. Su carrera musical siempre ha estado entre su rol como cornista orquestal y el de arreglista/compositor con el cual ha podido demostrar ampliamente su talento al ser parte del repertorio de reconocidas agrupaciones como lo es el Canadian Brass quienes grabaran su arreglo del vals venezolano “Andreina”, escrito originalmente por el maestro Antonio Lauro. Para escucharlo está el siguiente enlace: Canadian Brass play Vals Andreina by Antonio Lauro arr. Jose Luis Colmenares
A continuación la sinopsis de éstas obras descrita por el mismo compositor.
Amanecer
Concierto para dos cornos y orquesta en C menor
Venezuela, 2016
1. Movimiento
El primer movimiento es un Allegro evocando aires Argentinos y Españoles con interacción dinámica entre preguntas y respuestas, y en donde la orquesta tiene un gran protagonismo en compañía del dúo solista. Estructuralmente se pueden apreciar momentos de clímax que se mueven en bloques armónicos obligados con la presencia de muchos contra cantos. Al finalizar el primer movimiento tiene lugar a la Cadenza que está inspirada en los Cantos de ordeño del compositor Venezolano Simón Díaz.
2. Movimiento
Inspirado en la “Tonada de Luna” llena se desarrolla una estructura orquestal de contrastes sonoros con gran orquesta y atmósferas en ritmo de Merengue Venezolano con sonoridades muy cristalinas evocando momentos grandiosos y texturas suaves y tersas.
3. Movimiento
Este movimiento de cierre es más épico, con armonía de puntos cardinales que evocan a la música de una película en donde se le otorga protagonismo a toda la sección de cornos de la orquesta y los dos solistas con colores brillantes y una llamada siempre a cargo de los timpanis. Los metales tienen una gran presencia a lo largo de la obra emulando las grandes sinfonías, con solos del Concertino y un desarrollo virtuosísimo de las maderas.
La obra está disponible en versiones para: 2 Cornos y Orquesta, 2 Cornos y Banda de Conciertos y 2 Cornos con Reducción para Piano.
Para escucharlo acá está disponible el link de su estreno mundial en Noviembre 2016 con la Orquesta Sinfónica de Aragua, bajo la dirección de la maestra Moiceli Medina en el Teatro de la Ópera de Maracay, Venezuela. El maestro José Luis Colmenares interpreta el primer corno solista y el maestro Carmelo Cacioppo el segundo.
Concert for Two Horns and Orchestra "AMANECER" Composer: Jose Luis Colmenares- "World Premier"
Fearless Performance - Language Matters
by Jeff Nelsen and Katy Webb
Words good matter, well.
Let’s eat Grandma! (Punctuation matters too, but that’s another article.)
…aaaand here’s the axiom:
It’s true! So let’s talk about words and choices. For our short article this month, we’d like to focus specifically on three aspects of word choice: we have found people can be less general, less emotional, and less problem-based. This would mean that we can all be more specific, more scientific, and more solution-finding. While we’re at it, let’s take out the word more: we can be specific, scientific, and solution-based. Here are three case studies which examine the problems with each and potential solutions for each.
Case #1: Specificity directs us to what to do.
*Student performs*
Teacher: How was your intonation?
Student: Pretty good. (a general statement)
Teacher: Okay, good! Be more specific.
Student: Nothing was too bad, but this note here was a bit wonky.
Teacher: Okay, good you’re right! Get more specific.
Student: This note was out of tune.
Teacher: You’re right, get more specific :)
Student: This note was sharp. (a specific statement)
Case #2: A scientific focus on content adds clarity and drops destructive emotion.
*Student performs*
Teacher: How was your intonation?
Student: I felt it was pretty good. (an emotional statement)
Teacher: Okay, get more scientific.
Student: It’s hard to play that note in tune.
Teacher: Did you play that note in tune?
Student: No, my pitch on that note sucked.
Teacher: What about that note would you like to change?
Student: These notes were in tune, but that note was sharp, and I’d like to lower it a bit. (a scientific statement)
Case #3: Solution-finding reveals clear habitual actions.
*Student performs*
Teacher: How was your intonation?
Student: I always have trouble with keeping my F’s and G’s low. (a problem-based statement)
Teacher: That’s useful information. Did you?
Student: No, they need to be lower.
Teacher: Great, what’s your solution?
Student: I will play my F’s and G’s lower. (a solution-based statement)
In the spirit of word choice, we are not saying this is easy. However, simple is different than easy. We have, we hope, made constructive word choice a bit simpler for you. As with all the other things that were not easy at first—but in which you were able to gain ease through practice—this is worth it.
We wish you a life full of bad at getting frustrated! (See what we did there?)
IHS 55 - Let the Unveiling Begin
Dear fellow horn players,
We have big plans for this summer! 19 featured artists from around the world will join us in Montreal next July. We have just started unveiling who these artists will be, and we’d love to keep you up to date!
First, we have not one but four artists joining the line-up: Kerry Turner, Kristina Mascher-Turner, Geoffrey Winter, and Denise Tryon will all be in Montreal next summer. Entering its fourth decade and following a hiatus of four years, the American Horn Quartet continues to be unique in the field of brass chamber music. Their exuberant performances have brought audiences all over the world to their feet. In 1982, four American horn players who were living and working in Europe met for the first time to explore the potential of the horn quartet, a chamber ensemble with a surprisingly long tradition. They quickly began to supplement the existing repertoire with their own compositions and arrangements. The group has undergone a few personnel changes since the early days but has always maintained the highest standards of artistry and technical mastery.
Next up, we have Katerina Javurkovà from the Czech Republic. Katerina has won several interpretation competitions but values most her first prize from the Prague Spring International Competition 2013 and the 2nd prize from the ARD International Music Competition in Munich, Germany. She now plays with the Czech Philharmonic.
Finally, all the way from Brazil we have Victor Prado. With a Master of Music degree from the Federal University of Rio Grande do Norte, Victor Prado has been working in the Brazilian popular music scene for over ten years. Playing horn outside the usual classical music scene, he started to develop his own musical language, blending jazz, Brazilian music, and improvisation. This places him among the horn pioneers in jazz in Brazil.
…and make sure you check out our website for regular updates: www.ihs55.org
The IHS 55 Organizing Committee
IHS Online Music Sales
November 2022 Edition
Compiled by Gina Gillie, OMS Editor
New Releases Since February 2022
Shorter lists of new releases from the IHS Online Music Sales catalogue will be published as they become available throughout a calendar year. Since this is the first such list offered in Horn and More—and ahead of the holiday shopping season—all 2022 releases are included for your consideration. Click here to go to the online shop. MH
Angels We Have Heard arranged by Douglas Hill
This traditional French carol was arranged to be performed by a large group of alumni from the University of Wisconsin-Madison, all of whom were guest artists, presenters, teachers, and professionals attending the 50th International Horn Symposium at Ball State University in Muncie, Indiana in 2018. When the players were students, the UW Horn Choir was often referred to as “Hill’s Angels.” The name stuck and, thus, to celebrate the reunion of so many, Angels We Have Heard was arranged with a joyful character, some mixed meter, and a brief reference to On Wisconsin.
6/4 Trend (for horn and jazz ensemble) by John Jacob Graas, Jr. (ed. Jeffrey Snedeker)
6/4 Trend was originally released on a 10-inch test record entitled John Graas—French Horn Jazz in 1954. French Horn Jazz was Graas’s first solo release, and featured works by Graas and many of the people with whom he frequently worked, including Shorty Rogers, Jimmy Giuffre, and Nelson Riddle. 6/4 Trend has several innovative aspects, including its meter, tonal ambiguity, a solo section that is harmonically static, and a rather thick wind section.
