Syllabus
Syllabus - Jeffrey Lang
I have enjoyed many years as a horn player, having performed abroad, as a freelance musician, and a member the Philadelphia Orchestra.
I like to share practical, and common sense advice to help my students with the technical, musical, and career challenges that come with being a professional musician. The following is a basic outline of a 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, hand position, and posture.
- Good warmup, overuse, and injury advice.
- Correct embouchure, and focus on quality practice time, and pacing.
- Correct fingerings, and use of the F and B Flat Horns.
B.
- Introduction to tone concepts, and quality horn sound.
- Expand all ranges, and dynamics of the horn.
- Clear, correct articulation.
- A natural, and uncomplicated approach to the use of air.
- Playing with a steady, smooth sound, and erasing incorrect habits.
C.
- Attention to pitch and rhythm.
- Coordination of breath, articulation and fingering.
- Evenness of sound, and quality through all ranges.
- Acoustical challenges of the horn.
D.
- Introduce basic concepts of beautiful phrasing, and musicality.
- Discuss different musical styles and genres.
- Introduction of ensemble playing
E.
- I develop the above with the use of the following materials. Pares Scales, Kopprasch 60 Studies, Concone Lyrical Studies, Schantl Method ed. Tryon, Singer Embouchure Building, Anton Horner Exercises & Etudes, I emphasize the benefits of organized and regular practice sessions with a relaxed, and singing sound. Solo repertoire may include: Corelli Sonata, Mozart First Horn Concerto, Beethoven Horn Sonata, Gliere short solo horn works, Krol-Laudatio, Haydn Concerto No. 2, Likhuta “ I Threw a Shoe at a Cat”
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.
- Encourage sharp listening to oneself.
B.
- Expand technique, endurance, range, dynamics.
- Refine concepts of warm up, pacing, and overall smart playing.
- Sight reading, and transposition work.
- More intensive work with a tuner (drones) and metronome.
C .
- More in depth discussion of musical styles.
- Finding your own voice on the horn.
- Appropriate stylistic phrasing, and sound for the genre.
D.
- Expand knowledge of repertoire, and encourage attending concerts, and listening to music.
- Continue studio lessons, and learn to balance fundamental work, repertoire, rehearsal, and performance time. 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 an aware educated musician. Etude work this year may include Kopprasch, Gallay, Fern, Concone, Brahms, and F. Strauss. Repertoire may include, but not limited to, Mozart Concertos 2,3,4, Strauss First & Hindemith Concertos, Persichetti Parable, Brahms Horn Trio, Mozart Horn Quintet, Hindemith Horn Sonata & Concerto, Hovaness ARTIK, and the Borroff Sonata.
Year Three - Repertoire and Challenge
A.
- Expand knowledge of Solo Horn Works, Chamber Music, Concertos, Sonatas, and Excerpts.
B.
- Musical maturity, knowledge of repertoire, ear training and critical, but positive listening to ones self all improve.
- Advanced level of rhythm and intonation expected.
- Individual playing personality, poise, relaxation, confidence, and performance anxiety are addressed if needed.
- Endurance, range, sound, and articulation challenges are addressed if they arise.
- Transposition skills improved
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 aspects of range, speed, dynamics, and reading are minimal issues. The student is ready to be more challenged. The playing is polished, and confidence, and musical intelligence is expected. Repertoire for this year may include the Schumann Adagio and Allegro, Dukas Villanelle, Koechlin Sonata and Concerto, Amram Concerto, Vignery Sonata, Ligeti Trio, Haydn First Concerto, Telemann Concerto, Strauss Second Concerto, Weber Concertino, Gliere Concerto, Britten Serenade, Schubert Auf Dem Strom, Gallay, Brahms, F. Strauss etudes, and all standard orchestral excerpts.
Year Four - Audition Preparation, Performance and Future Goals
A.
- Orchestral, Ballet, Opera excerpts are covered.
- Sight reading skills and checking in on basics are continued.
- Creative studio lessons with mock auditions, performance run throughs, pop up sight reading, and guests !
- Intensive study of Strauss First Concerto, Mozart Fourth Concerto, and Bach Cello - - Suites for common audition preparation.
B.
- Audition preparation, techniques and tactics refined.
- Mock auditions with friends and colleagues.
- Full recital curating, preparation, and performing.
- Listening assignments.
C.
- Use of Wagner Tuba.
- Use of Descant Horn.
- Use of Triple Horn
- Natural Horn
D.
- Attend Concerts, workshops, master Classes, and seminars.
- Freelance work and the Music Business.
- Discuss future and realistic goals.
- Graduate Studies or further study plans.
- Join Union.
- Teaching skills, and development of a private horn studio discussed.
- Professional Auditions, Teaching jobs, Grant applications, Community engagement, Commissioning works researched and implemented .
E
- In the fourth year I look forward to an advanced level of horn playing, maturity, and musicality. The goal 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 musicality while paying close attention to the fundamentals of horn playing, pacing, warm up, tone production, and preparation. In this year lessons are at performance level, with the focus being on excerpts, solo, chamber music, audition, jury and recital preparation. Professional work skills, performance etiquette, and freelance advice are shared.