by Haeree Yoo, Solo Horn, WDR Sinfonieorchester; IHS 57 Featured Artist
There are many effective ways to practice, but the impact of quality practice on a musician's growth is often overlooked. Since I began playing the horn at the relatively late age of 15, I had to progress quickly, and I believe that effective practice played a crucial role in that journey. In this column, I'd like to share the approaches that have worked for me. While I'm still early in my teaching career, I hope my experiences can offer useful insights to students preparing for competitions and auditions.
For over ten years, I have kept detailed practice notes, documenting my daily plans, reflections, and lesson feedback. Before each session, I wrote down what I planned to practice, and afterward, I noted my observations. My notes included specific exercises, such as scales, arpeggios, and articulations, as well as personal insights into what techniques were working.
I always set clear goals for my exercises. If I was working on articulation, I focused on clarity. For legato, I aimed for smoothness and softness. One of my biggest challenges was lip trills. To improve them, I systematically increased my tempo using a metronome, gradually building up from 60 to 180 bpm over a year. I tracked this progress in my notebook, ensuring steady improvement.
I also connected fundamental exercises directly to the pieces I was working on. For instance, after practicing lip trills, I immediately applied that technique to the trills in the first movement of Mozart's Horn Concerto No. 4. Similarly, after working on one-octave intervals, I practiced the singing passage after the fanfare in the first movement of Strauss Horn Concerto No. 1. This approach refined my repertoire while reinforcing technical development.
When learning a new piece, I followed a structured method:
- Step 0 Research background information on the piece and listen to multiple recordings.
- Step 1 Read through the entire piece and mark challenging sections.
- Step 2 Practice difficult sections in isolation.
- Step 3 Focus on musical expression and phrasing.
- Step 4 Check intonation and tempo using a metronome and tuner.
- Step 5 Review and apply lesson feedback.
- Step 6 Work with the accompaniment to synchronize with the pianist.
- Step 7 Record my playing and analyze areas for improvement.
- Step 8 Simulate a performance with mental training in front of an audience.
I assigned each piece to an appropriate stage based on my progress, ensuring a regimented and efficient practice routine. After each session, I wrote down my reflections and reviewed past notes to track improvements. If I discovered an adjustment that worked particularly well—such as modifying my embouchure or mouthpiece placement—I documented it carefully for future reference. In addition to personal notes, I recorded my lessons (with my teacher's permission) and listened back to them during practice. This helped me absorb feedback more thoroughly and refine intonation, rhythm, and timing.
I structured my practice schedule by balancing essential daily exercises with rotating exercises based on their relevance. When preparing for competitions or recitals, I distributed my repertoire practice throughout the week, adjusting my focus as needed. For major events like auditions, I planned my practice flow well in advance. Two days before a performance, I limited my sessions to three hours to manage fatigue and adjusted my practice times to match the audition schedule. For auditions, I incorporated long breaks to simulate the waiting period between rounds, helping me stay mentally ready.
My structured approach might seem intense, but it was incredibly helpful. Organizing my practice gave me a sense of accomplishment, as I could track my progress and stay motivated. Daily practice can sometimes feel repetitive and exhausting, but breaking it into clear, manageable tasks made it more rewarding. Checking off each item on my to-do list provided a sense of satisfaction and helped me stay engaged.
Of course, this method may not work for everyone, but since it played a significant role in my own development, I wanted to share it. Every musician has a different approach to practice, but I hope my experiences can offer useful guidance. With thoughtful and structured practice, I believe that anyone can make meaningful progress.
