Syllabus

The following is a basic outline of my four-year lesson program in horn performance.  It is modified as needed to adapt to the students individual needs, progress and length of study. Graduate students cover this material in a condensed more intensive form. The year-by-year areas of concentration are as follows:

Year One-Basics
Year Two-Development
Year Three- Challenge and Repertoire
Year Four-Audition Preparation, Performance and Future Goals

Year One - Basics

A.
- Proper set up of the horn.
- Adjust, clean and repair horn as needed.
- Proper playing position and posture.
- Hand position.
- Correct embouchure.
- Correct fingerings and use of the F and B Flat Horns.

B.
- Introduction to tone concepts and types of horn sound.
- Expand all ranges of the horn.
- Expand all dynamics.
- Articulation.
- Air support.
- Playing with a steady sound.

C.
- Attention to pitch and rhythm.
- Coordination of breath, articulation and fingering.
- Evenness of sound through all ranges.
- Acoustical challenges of the horn.

D.
- Introduce concepts in basic phrasing and musicality.
- Discuss different musical styles.

E.
- Introduction of ensemble playing through occasional studio lessons. A studio lesson consists of focusing on one composer’s orchestral excerpt, horn section excerpt, solo or concerto work and horn ensemble work. I have one or two on average per semester.

F.
- I employ all of the above through the use of the following materials. Pares Scales, Kopprasch 60 Studies, The Anton Horner Book, and my collection of specific short solos, orchestral excerpts and daily drill work. I emphasize the benefits of non-stop playing of lesson material and thoroughly prepare moderately difficult jury repertoire. I focus on correct horn playing in this year and avoid spending time on overly difficult works. Solo repertoire examples: Corelli Sonata, Mozart First Horn Concerto, Beethoven Horn Sonata, Gliere short solo horn works, Krol-Laudatio.

Year Two - Development

A.
Finish work left over from year one and continue to improve on the basics that need attention.
Address any bad habits that may form.

B.
Expand technique, endurance, range, dynamics.
Learn concepts in warm up and pacing.
Sight reading and transposition work.
More intensive work with a tuner and metronome.

C .
More in depth discussion of musical styles.
Finding your own voice on the horn.
Correct stylistic phrasing.
Appropriate horn sound and style for the period of music.

D.
Expand knowledge of repertoire.
Continue studio lessons.
Compose etude.

E.
In year two we start to put the solid foundation of horn playing learned in year one to more extensive use. The student will become a more mature horn player and developed musician. Repertoire for this year may include Kopprasch, Gallay, Fern,Concone, Brahms and Strauss etudes, the Singer book,Haydn Second Concerto, Mozart Concertos 2,3,4, Strauss & Hindemith Concertos, Persichetti Parable, Brahms Trio, Mozart Quintet,  Hindemith Sonata and Hovaness ARTIK.

Year Three - Repertoire and Challenge

A.
Solo Horn Works.
Chamber Music.
Concertos.
Sonatas.
Contemporary Music.
Excerpts.

B.
Musical maturity and knowledge.
Ear training and critical listening.
Advanced level of rhythm and intonation expected.
Work on playing personality, poise, and relaxation and performance anxiety.
Endurance problems.
Transposition

C.
More performance experience.
Continue studio lessons.
Listening assignments.
Compose solo horn work.
Recital.


D.
In the third year I like to see a reduction of etudes and more time spent on solo repertoire and excerpts. It is assumed by now that technical playing problems of range, speed, dynamics and reading are minimal and the student is ready to be more challenged. The playing is polished, and confidence and musical intelligence are expected. Repertoire for this year may include Schumann Adagio and Allegro, Dukas Villanelle, Ligeti  Trio, Hadyn First Concerto, Telemann Concerto, Strauss Second Concerto, Weber Concertino,Gliere Concerto, Britten Serenade, Gallay, Brahms, Strauss etudes, and all standard orchestral excerpts.

Year Four - Audition Preparation, Performance and Future Goals

A.
All Orchestral Excerpts.
Ballet.
Opera.
Sight reading.
Continue studio lessons.

B.
Audition preparation, techniques and tactics.
Mock auditions.
Full recital preparation.
Listening assignments.

C.
Use of Wagner Tuba.
Use of Descant Horn.
Use of Triple Horn
Natural Horn

D.
Attend Concerts.
Freelance work and the Music Business.
Discuss future and realistic goals.
Graduate Studies or further study plans.
Join Union.
Develop horn  studio.
Professional Auditions

E.
Intensive study of Strauss First Concerto and Mozart Fourth Concerto for audition purposes.

F.
In the fourth year I look forward to an advanced level of horn playing and musicality. The goal of this year is to set a clear course for future study or work as a professional musician. By now audition preparation and increased performance opportunities are the focus. One must maintain a high level of playing by paying close attention to the fundamentals of horn playing, pacing, warm up and preparation. In this year lessons are at performance level with the focus being on excerpts, solo, chamber music, audition, jury and recital preparation.