The Italian Horn Website
| Il Club del Corno is promoting an opinion survey among professional horn players, based on a list of questions. The answers will be published on the site in English and in Italian. |
| Good questions! Here is my response.
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1) What where the turning points in your development as a horn player? List any factor that was important to your progression as a musician (e.g. which conservatory/music school attended, influential teacher/s, particular events). In my case, three big factors: 1) Going to Ward Fearn (long time 2nd horn in Philadelphia Orchestra) for lessons at age 15. 2) Going to Interlochen Arts Academy for last two years of HS-the orchestra was very good as well as the horn teacher, Don Haddad, and we played a full symphony concert, new program, every week, so I was getting professional quality performing experience at an early age. 3) Studying at Curtis with Mason Jones and John DeLancie (oboist) as WW ensemble teacher, getting first "gig's" at that same time, playing extra and subing w/Philadelphia Orchestra. 2) Do you think that your professional success could have been essentially different (either greater or lesser) if you had had other teachers? Hard to say, but I think Ward Fearn was one of the all-time great teachers and he taught me the fundamentals. 3) How much does the possibility of becoming a competent horn player depend on a) Facial structure, b) Inborn talent, c) Application/study? All three are equally important.ÊI would say "good ear," as opposed to "inborn talent" but perhaps we mean the same thing. 4) Should a student who is having serious problems in the fundamentals, after studying the horn for some years, abandon the idea of becoming a professional at all, or could he/she be still brought to a level of competency by appropriate teaching metods (that is, by finding a new teacher)? Hard to say, would depend on the individual. I know of a few success stories in this regard, but they are very few and far between. In my opinion, a bad ear is usually the defining factor more than any other one thing. 5) What is, in your opinion, the importance and use of a) Mouthpiece buzzing, b) Handled rim (rim on a stick) buzzing, c) Free lip buzzing ? All useless except rim on a stick is good for looking at embouchure structure. 6) Do you know, use, recommend the "inspiron" and/or other breathing devices? Also, useless. Breathing is natural and the player only needs to learn how to use what they've got properly. These devices might help to measure some difficiency but I can always hear it or see it so who needs a measuring stick? 7) Do you think that progresses in one's playing happens steadily, by constant application, or by leaps? I think both happens at times to most people. 8) Should a teacher give precise embouchure directions? And how precise? If the student has embouchure trouble and the teacher is competent to fix it, fine. Very few teachers are good with embouchure, though. I have known teachers who screwed up many people with their "expertise." 9) Are there special directions/techniques for mastering the low and high registers? No tricks, only hard work and experience. 10) How was your experience in auditioning and what advice on this matter can you give to aspiring professionals? Get the right notes, the right rhythm and don't play too loud. It's a business. |
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