Composer Spotlight—Sofia Gubaidulina
by Caiti Beth McKinney
Hello everyone! This month I wanted to share with you the music of composer Sofia Gubaidulina (1931-2025) to honor her recent passing on March 13. Gubaidulina was an incredibly brave woman who dedicated her life to her music, and, against all odds and obstacles, continued to create in ways that felt honest to herself. She was born in the Soviet Union in 1931 in a time where musical tastes were strictly controlled; in fact, during her early career, the study of modern music from the United States and parts of Europe were completely banned. She and her fellow students smuggled scores from composers like Ives and Cage, all so they could learn as much as possible.
During and after her post-graduate studies, Gubaidulina’s music was frequently scrutinized by governmental figures who argued that she was on a “mistaken path,” but other composers like Dmitri Shostakovich supported her work and encouraged her to continue. Throughout her life, her music was accused of being too religious, too Western, and at times, even “irresponsible.” In the face of such blatant opposition, Gubaidulina remained undeterred; she used the less-regulated realm of film music to experiment with her ideas and develop her compositional voice. She became internationally recognized in the 1980s thanks to her violin concerto Offertorium, and this work launched her into the world of orchestral music. Her many pieces for orchestra include the deeply powerful The Wrath of God (a tour de force of low brass writing) and Fairy-tale Poem, a distinctly avant-garde work of plucked strings and flighty woodwinds.
Gubaidulina also composed an immense amount of chamber music, including her 1979 work Zwei Stücke für Horn und Klavier (Two Pieces for Horn and Piano). The piece shows the dynamic range of Gubaidulina’s musical palette; the composer plays with the full range of the piano and the dynamic capabilities of the horn, and the work is an approachable starting point for engaging with Gubaidulina’s compositions. (Enjoy Der Jagd from this work.) I find her compositional philosophy particularly inspiring and wish to leave it here for you to consider. In her own words, “The art of music is capable of touching and approaching mysteries and laws existing in the cosmos and in the world,” and it is “is consistent with the task of expanding the higher dimension of our lives.”
Student Column—Advice on Resumes
by Inman Hebert
Have you scrambled recently to locate and update your resume for a last-minute opportunity? As April brings reminders about spring cleaning, music students should take stock of their preparedness to quickly provide application materials.
Are you considering where to start? Select an electronic location (computer, cloud, etc.) and create a folder to save your application materials. As the metadata can change when documents are uploaded or migrated, include the last date modified as part of the file name so that you can easily find the most up-to-date documents. (Example: FirstNameLastName_DocumentTitle_YYYY_MM_DD [or the reverse to sort by date])
Since your contact information lies prominently at the top of your resume, could your email address be perceived as unprofessional or immature? Establish a professional email account separate from your student college account for communication, preferably one distinct from the one used for subscriptions and spam. Creating this account provides continuity as we move into graduate school and the professional world. And remember, at some point, we lose access to our university accounts.
Create a master document with a complete record of everything, including non-musical activities. This comprehensive list should include full-time, part-time, and volunteer work with details such as organization name and location, position title, start and end dates, and detailed job descriptions using active verbs. Instead of only focusing on descriptions, do not forget to list your achievements in those positions. This source file may be a document, a spreadsheet, a database, or other file type, but format—as long as it’s tidy—matters less than providing a chronicle of your professional life. Think about your education and training; teaching; performance and ensemble experience; festivals, camps, and workshops; competitions and performance awards; professional auditions (if advanced); teachers with whom you have had extensive lessons; master classes; repertoire; professional memberships, leadership roles; honors and awards; and publications.
Always be accurate and specific but understand that gathering this information may involve locating old files, digging through emails, and talking to those who can jar your memory. Use the time to be proud of your accomplishments. If feeling dubious about your experiences, understand you are at the beginning of your professional journey and think about the next steps in your continued growth as a horn student.
Research music resumes online to find a template you can adapt, and understand that certain formatting expectations apply to all resumes. In searching through templates, find one that is easy to read and allows the reviewer to skim through it in their limited time. The layout needs a balance of white space and clear category alignment. 11 to 12-point font allows easy readability. A larger header at the top includes your name and contact information.
The last step involves using that master file to tailor your resume for the experience, which could be an application for college, graduate school, music festivals, K-12 schools, a college position, orchestras, or arts organizations. While graduate schools may be interested in a more complete picture, an audition will likely focus on your relevant performance experiences. Always read the complete description of what is being requested and be selective. Before hitting that send button, remember to proofread for errors in spelling and grammar. Name the file as listed in the description or, if not specified, with your name, the position, and the title of the document. Finally, save it as a PDF and send it off knowing you put forth your best effort.
Finally, look at it often, and update it regularly.
Never be afraid to reach out to more experienced graduate students, mentors, or professors for guidance in preparing your resumes and applications. Proofreaders can catch things that our eyes may miss from constant review or familiarity. Put in the effort, and the next time you receive a last-minute opportunity, you will find yourself calm and prepared to present a professional resume.
Research to Resonance—Your Sound Starts Here
by Katy Carnaggio
Beyond data and drills, there’s you. Your imagination. Your preferences. Your sound. Last month, we explored why great horn playing relies on predictive reasoning (our ability to anticipate sound before it’s made). Next month in Part II, we’ll dive into the cognitive science behind how to train that ability. But before we get to the methods, let’s start with the most important variable: you.
Improbable.
A word sometimes playfully associated with a Verne Reynolds etude. But you also sit down in your practice room, turn to any page, and with just air, flesh, and metal, make meaning. Maybe you’ve felt it—that moment when it’s not just sound, but something that feels like you.
Music is improbable. Music is beautiful. Music is afraid of nothing.
And so are you.
As Bill Bryson writes:
“Not one of your pertinent ancestors was squashed, devoured, drowned, starved, stranded, stuck fast, untimely wounded, or otherwise deflected from its life's quest of delivering a tiny charge of genetic material to the right partner at the right moment in order to perpetuate the only possible sequence of hereditary combinations that could result–eventually, astoundingly, and all too briefly–in you.”
Embracing your improbability is where beauty, boldness, and creativity in music-making begin. Individuality precedes technical precision. Like learning choreography, we follow the steps, explore timing, and repeat until we’ve made the dance our own. And it feels like flight.
So let’s develop some wings!
Here are five ways to get to know your “choreography” of the horn. Try one, or cycle through all five over the week. Notice how your internal model of sound begins to take shape.
- Play an excerpt in the style of your favorite color. Then try a contrasting one.
- Channel another musician. From Katy Woolley to Taylor Swift—anyone works. Let their energy and phrasing shape yours.
- Use nature as a resonance map. Embody a thunderstorm, ocean tide, or hummingbirds through your breath and articulation.
- Dance with the metronome. Treat it like a partner.
- Play a phrase as a gift. Once for someone you love. Then again, as if it’s from them.
Imaginative, preference-based practice isn’t a distraction from the “real” work—it’s a legitimate, evidence-informed tool for technical growth. Each time you return to one of these prompts, you’re collecting data on what thoughts and images lead to the sound you want. That’s predictive reasoning in action.
We’ll dive deeper in Part II. Until then, may your practice be improbable, beautiful, and fearless.
Reflections from the Subcontinent
by Vidhurinda Samaraweera
The first time Priya truly understood the magic of music was in a small room, her fingers tracing the curves of a horn. No conservatories lined her streets. No professional musicians walked her neighborhood. Just silence, just the promise of sound. Her world was different from the orchestral landscapes of Europe and America—a place where musical dreams required more than talent. They demanded an almost impossible combination of passion, resourcefulness, and blind faith.
The horn her father had saved months to purchase online from Taiwan was more than an instrument. It was a lifeline, a thin brass thread connecting her to something larger than her immediate circumstances. To Priya, access to quality instruments, specialized mouthpieces, and critical accessories are luxuries. A decent instrument could transform Priya’s talent and trajectory, turning potential into professional capability. Each practice session was a negotiation between the music in her heart and the limitations surrounding her. Priya dreams of lessons with a seasoned horn professor from a world-class school that could unlock techniques which could otherwise take years to discover alone. The risk of learning bad technique could rob years of progress and require precious time to unlearn. Given the slow learning process, Priya would take ages before she is fit to take part in competitions. She sees her Facebook friends perform and dreams of her first solo recital in Delhi…but who would support her? They keep asking, “What horn?” That is where the International Horn Society comes in. The IHS has valuable content on digital platforms, and they organize international competitions and symposia which create opportunities for musicians from all around the world to learn and to showcase their talents. These initiatives do not just support individuals—they expand global perception. The IHS has an extensive library and offers reading materials to its members, providing continuous learning opportunities. For musicians like Priya, these resources represent educational pathways previously unimaginable.
Members of the IHS get the opportunity to connect with other musicians across the globe. But what if Priya has no means to become a member of the IHS? What if she cannot afford lessons with top-notch teachers despite being able to communicate with them? Priya might not be able to afford to travel to a single symposium, regardless of how much she deserves to attend.
Funds and scholarships for promising musicians from underdeveloped regions of the world could fast-track her learning and exposure to systematic training. The IHS provides valuable scholarships like the Barry Tuckwell Award and the Paul Mansur Award. While acknowledging the value such awards bring to students, we should also assess the applicability of the same to students and aspirants from developing nations. Rigid criteria requiring institutional affiliations, age limits, and contingencies could impede students like Priya from receiving any benefits. This by no means is a complaint or accusation. This is purely an attempt to breathe life into regions, including the Indian Subcontinent and Africa, by raising awareness. This might be the perfect time to garner support, from within and beyond the IHS, for deserving aspirants from developing nations. The potential impact extends beyond individual musicians. Each supported aspirant becomes a potential mentor, educator, and inspiration for future generations. Priya could become the first professional native horn player in her region, creating possibilities for others where none existed before.
Note: Priya is a fictional character, a figment of my thoughts. Her likeness is AI-generated, much as I imagine her. VS
Latin America—Wooden Mouthpieces, Part 2
by Fernando Ruiz
Welcome to Part 2 of my article on wooden mouthpieces. To read Part 1, please click here.
The most common types of wood effective for making wooden mouthpieces for horn include:
Ebony
Ebony is one of the densest and hardest woods used in musical instrument construction. It is characterized by its deep black color and a fine yet almost porous texture. In terms of sound, ebony offers a slightly darker, rounder sound with excellent dynamic control. Furthermore, its density gives it impressive wear resistance, making it a durable choice, even for those who practice long hours.
Blackwood
Blackwood, also known as "African blackwood," is a wood widely used in wind instruments such as clarinets and oboes, and is now also found in mouthpieces. Its sound quality is clear and bright due to its hardness, but without losing warmth, making it a versatile choice. Its natural resistance to humidity and sudden temperature changes makes it a viable choice.
Madagascar
This wood is very distinctive, combining elegance and functionality. Its color varies from light to dark browns with distinctive grain, giving it a unique aesthetic. Acoustically, Madagascar provides a balanced sound with a tonal richness that many musicians describe as "warm yet resonant."
Redgum
Redgum wood, native to Australia, is known for its reddish hue and smooth texture. Aurally, it is one of the warmest woods, darker than ebony, which can complement softer styles or blend well with woodwind instruments.
Beech
Beech is a less dense wood than some of the previously mentioned woods, making it lighter. In terms of sound, it provides a darker sound than redgum due to its porousness, ideal for those seeking a more natural tone.
Olive
Olive is a wood of extraordinary beauty, with grain patterns ranging from clear lines to intricate shapes in golden and brown tones. In sonic terms, olive produces a neutral, vibrant sound, with warmth and a resonance that feels "alive." This is because the olive tree never dries out and constantly secretes its resin. (This can be bothersome while playing because it leaves a bitter taste, so it must be treated and varnished before use).
Rosewood
Known for its reddish color and dark grain, rosewood is a wood traditionally associated with high-end instrument making. It offers a full-bodied sound with balanced projection that can adapt to multiple contexts, even solo and orchestral playing.
Pau Ferro
Pau ferro, also known as "ironwood," is an option that combines strength and beauty. Its color varies from dark brown to reddish tones, with very defined grain. In terms of sound, it produces a more direct and robust tone, ideal for musicians seeking a sound with character.
These are just a few of the many woods I've tried with different rim, cup, grain, and other measurements/characteristics that influence mouthpieces. Today, we continue to search for woods that are compatible with varied musical environments, that are non-toxic, and which produce a unique sound and a comfortable playing feel. Some of the woods with which we are experimenting include bubinga, zebrawood, samanguila, exotic ebony, and snakewood, among others. Many of these woods come from sustainably managed sources. It's also worth noting that combinations of wood and metal can be made, bringing together the best of both materials, achieving impressive results. From dense, dark ebony to the warmth of olive or the depth of pau ferro, each wood has its own personality that is reflected in our music and in the exploration of new sounds. Although wooden mouthpieces offer numerous advantages, they also require additional care. For example, it is important to keep them away from sudden changes in temperature or humidity to prevent cracks. It is also advisable to clean them regularly and oil them with wood-specific oil to ensure longevity and optimum performance. Furthermore, not all woods are suitable for all musicians, so trying several options prior to choosing is essential. We invite all readers of this article to learn more about wooden mouthpieces by following us on social media or at our website.
Latin America—Boquillas de madera, parte 2
English versionpor Fernando Ruiz
Maderas más comunes
Ébano
El ébano es una de las maderas más densas y duras utilizadas en la construcción de instrumentos musicales. Se caracteriza por su color negro intenso y una textura fina que casi no presenta porosidad. En términos de sonoridad, el ébano ofrece un sonido un poco más oscuro, redondo y con un excelente control dinámico. Además, su densidad le otorga una resistencia impresionante al desgaste, lo que la convierte en una opción duradera, incluso para quienes practican largas horas.
Granadillo
El granadillo, conocido también como “blackwood africano”, es una madera ampliamente utilizada en instrumentos de viento como clarinetes y oboes, y ahora también se encuentra en boquillas. Su calidad sonora es clara y brillante debido a su dureza, pero sin perder calidez, lo que la hace una opción versátil. Por su naturaleza resistente a la humedad y cambios bruscos de temperatura.
Madagascar
Esta madera s muy particular, combina elegancia y funcionalidad. Su color varía de marrones claros a oscuros con vetas distintivas, lo que le da una estética única. En términos acústicos, Madagascar aporta un sonido equilibrado y con una riqueza tonal que muchos músicos describen como "cálida pero resonante".
Redgum (Madera de Goma Roja)
La madera de goma roja, originaria de Australia, es conocida por su tonalidad rojiza y su textura suave. Auditivamente, es una de las maderas más cálidas, más oscuro que el ébano que puede complementar estilos más suaves o mezclarse muy bien con instrumentos de viento madera.
Haya
La haya es una madera menos densa que algunas de las mencionadas anteriormente, lo que la hace más liviana. En cuanto a sonido, otorga un sonido más oscuro que el Redgum debido a su porosidad, ideal para quienes buscan un tono más natural.
Olivo
El olivo es una madera de extraordinaria belleza, con patrones de vetas que van desde líneas claras hasta formas intrincadas en tonos dorados y marrones. En términos sonoros, el olivo genera un sonido muy neutro y de mucha vibración, con calidez y una resonancia que se siente “viva”. Esto se debe a que el olivo nunca se seca y se mantiene siempre segregando su resina (cosa que nos viene mal al momento de tocar ya que deja un sabor amargo, hay q tratarla y barnizar la antes de probarla).
Palo de Rosa
Conocido por su coloración rojiza y sus vetas oscuras, el palo de rosa es una madera tradicionalmente asociada con la fabricación de instrumentos de alta gama. Ofrece un sonido lleno de cuerpo, con una proyección equilibrada que puede adaptarse a múltiples contextos, hasta solos orquestas.
Pau Ferro
El pau ferro, también conocido como “madera de hierro”, es una opción que combina dureza y belleza. Su coloración varía entre tonos marrones oscuros y rojizos, con vetas muy definidas. En términos sonoros, produce un timbre más directo y robusto, ideal para músicos que buscan un sonido con carácter.
Estas son algunas, por no decir una minúscula parte de la cantidad de maderas que he probado con diferentes medidas de aro, copa, granillo y demás medidas que influyen en las boquillas y hoy en día seguimos buscando más maderas compatibles con nuestro ámbito musical, que no sean toxicas y produzcan un sonido único y una sensación confortable para tocar, algunas de estas maderas con las que estamos experimentando son Bubinga, Zebrano, Samanguila, Ébano exótico, Palo de serpiente, entre otras. Muchas de estas maderas provienen de fuentes gestionadas de manera sostenible, tambien vale destacar que se pueden hacer combinaciones entre madera y metal brindando la mejor parte de ambos materiales consiguiendo un resultado impresionante.
Desde el ébano denso y oscuro hasta la calidez del olivo o la profundidad del pau ferro, cada madera tiene su propia personalidad que se refleja en la música que producimos, explorando nuevas sonoridades. Aunque las boquillas de madera ofrecen numerosas ventajas, también requieren ciertos cuidados adicionales. Por ejemplo, es importante mantenerlas lejos de cambios bruscos de temperatura o humedad para evitar grietas. También es recomendable limpiarlas con regularidad y engrasarlas con aceite específico para madera, asegurando así su longevidad y rendimiento. Además, no todas las maderas se adaptan a todos los músicos, por lo que probar varias opciones antes de tomar una decisión es fundamental.
Asi mismo, invitamos a todos los lectores de este articulo a probar o conocer este trabajo con las boquillas en madera siguiéndonos en nuestras redes sociales o web.
Ascending Valves
by Tiffany Johns (reprinted with permission)
If you are curious about brass instruments, you may have come across something called an ascending valve in your internet travels. If you’re not sure what that is, or you do know but would like to read about all the different kinds of ascending valves out there, this article is for you.
The concept of an ascending valve is pretty simple. A normal valve is inactive when it is not pressed down (via piston finger button, rotor paddle, etc.), so the air goes straight through and doesn’t detour through the additional valve tubing. When you press down the valve mechanism, the valve activates, redirecting the air through the valve tubing and lowering the instrument’s pitch. An ascending valve is set up the opposite way—the valve is active when it is not pressed, so its default state is using the additional valve tubing. Then when you press down the valve, it becomes inactive, raising the pitch.
In fact, there is an ascending valve that is completely standard in the modern brass world: the change valve on a double horn. The instrument stands in F, and then when you depress the change valve with your thumb it shortens to B-flat. (That said, some players will [set] the change valve to stand in B-flat, especially in Europe.)
Ascending valves have a long history and have been used on various brass instruments in many different ways. They had the most widespread use in French piston-valve horns (that can properly be called French horns!) from the late 19th century until the middle of the 20th. Probably the most interesting type is the Chaussier horn, an instrument developed in the 1880s.
The valved horn was still unpopular in France at the time, and the Chaussier horn was intended to be played essentially as a natural horn with built-in crook changes. The Chaussier horn had a valve system completely alien to modern brass players:
- Stands in F
- 1st valve is a normal 1st valve (descending whole step, resulting in E-flat)
- 2nd valve is an ascending half step (resulting in F#)
- 3rd valve is an ascending major 3rd (resulting in A)
- Thumb (4th) valve is a normal 4th valve (descending perfect 4th, resulting in C basso)
The use of all these valves allows you to set the horn in any key from B basso to B-flat alto. As the highest possible standing pitch is achieved with both ascending valves (2 and 3) deactivated, B-flat alto is the true length of the open horn. But as it stands in F, it is thought of as an F horn with 2 ascending valves.
 |
 |
|
Selmer Thevet Ascendant
compensating double |
Alexander 203ST ascending
full double with stop |
When the French fully adopted valve horns, they continued with the ascending valve idea, but in a more conventional way. On many French piston-valved horns, the 3rd valve is an ascending whole step, while all the other valves are in the typical configuration used today. The result is an instrument that actually retains most standard fingerings, but with the added bonus of easier high notes using the (ascending) 3rd valve. It is still a compromise though; because you lose the descending minor 3rd of a typical 3rd valve, you lose a few notes in the low register.
A normal single F horn with descending 3rd valve can play chromatically down to sounding B1, while a single F horn with ascending 3rd valve cannot play lower than D2 (excluding pedal notes) and also can’t play A-flat2. Because of these compromises (easier high notes in exchange for worse low notes in the ascending horn, and vice versa for the descending horn), it was common in France for high horn players (1st and 3rd) to play horns with ascending 3rd valves, while low horn players (2nd and 4th) would play horns with descending 3rd valves.
A standard F/B-flat double horn with descending 3rd valve is entirely chromatic all the way down. If you exclude the F-side pedals (which most horn players can’t reach), it can play chromatically down to E1. If you do include the F-side pedals, the lowest real note is B0. (With false tones you could play even lower, into the double pedals.) Meanwhile, an F/Bb double horn with ascending 3rd valve cannot play D-flat2 (or D-flat1, a pedal), and without F-side pedals bottoms out at G1. Thus, French horn makers continued to make both ascending and descending models when double horns became standard.
Ascending 3rd valves didn’t catch on outside of France, but there are a few single B-flat horns with ascending valves that you can buy today, such as the 5-valve Ricco Kühn W125/C. There have also been a handful of modern ascending double and double descant models, though I don’t know of any currently offered.
To read the complete article and see numerous additional photographs, visit Tiffany Johns’ website at https://tiffanyjohns.com.
