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.

Answers by Luke Zyla*

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). My first turning point was when I was able to study with a real horn player when I was 15 years old. I studied with a graduate student at Ohio University. His name was Bill Cooper. My study of horn at West Virginia University with David Sternbach was another turning point. The biggest influence on my playing was performing in a horn quartet with three great players during college: Llew Humphries (4th horn in Utah Symphony, Paul Riggio (New York freelance artist), and Vince Richards. They were all better than me and gave me no mercy! What a great experience that was! 2) Do you think that your professional success could have been essentially different (either greater or lesser) if you had had other teachers? It is hard to say. I don't think so. 3) How much does the possibility of becoming a competent horn player depend on a) Facial structure, b) Inborn talent, c) Application/study? 90 percent of becoming a good horn player is intelligent, hard work. 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)? I think that a new teacher would not make much difference. I would encourage the student to try other instruments. If there is talent, the student could blossom. 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 ? I have only recently buzzed using a BERP. I think it helps a lot. Several of my students have found it to be useful. 6) Do you know, use, recommend the "inspiron" and/or other breathing devices? No. 7) Do you think that progresses in one's playing happens steadily, by constant application, or by leaps? Progress comes in varying degrees. Making it through the plateaus is the toughest. 8) Should a teacher give precise embouchure directions? And how precise? The most natural embouchure is the best. Unless there are fundamental problems that prevent tone production like a bunched up chin, I don't mess with embouchures, especially if the student is finding success. 9) Are there special directions/techniques for mastering the low and high registers? Definitely! Keeping firm corners and a firm bottom lip in the low register is critical! There are so many books written about high register playing. One should research them all and find one that works. 10) How was your experience in auditioning and what advice on this matter can you give to aspiring professionals? I play in a regional orchestra. I did not win a position at my first audition. I played a solo that was too hard, trying to show off my technique. Suzanne Riggio, the principal horn, advised me to play a Mozart Concerto. One can be more accurate and play beautiful music to impress the non horn players on the committee. The excerpts are the main thing. Also, she encouraged me to work more on intonation. I won the second audition which was for 2nd horn. The excerpt that did it for me was the second horn bass line in Beethoven 7th. Such a simple little lick that is so easy to mess up. I have served on several audition committees as a member of the West Virginia Symphony. The biggest thing that take people out of the running, especially in the early rounds is RHYTHM! Particularly counting out long notes and rests. A solid internal pulse is so critical in ensemble playing! Students should spend lots of time practicing with a metronome, but most importantly, playing in ensembles with good players. Any kind of small ensemble will do, but find players that are at your level or better yet, better than you.

* Luke Zyla, 2nd horn, West Virginia Symphony Orchestra.