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 Shane McLaughlin* |
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). The three most influential hornists for me are all Houston Symphony players: Phil Stanton, Bruce Henniss, and Bill VerMuelen. They each approach the horn in a different was, and teach accordingly. The information I needed was a synthesis of their ideas. In particular, Bruce Henniss is very involved with the mental aspects of playing, which for me was the last piece missing. 2) Do you think that your professional success could have been essentially different (either greater or lesser) if you had had other teachers? Yes. You can try and try and try, but if you don't know "how" or "what" to try, it won't get you far enough in this world. 3) How much does the possibility of becoming a competent horn player depend on a) Facial structure, b) Inborn talent, c) Application/study? a) 2%. b) don't believe in it, really. I think being raised early on to think properly and develop a work ethic is what is normally meant by "talent." This has a lot more to do with upbringing and environment. By this definition 20%. c) The other 78%. 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)? Find a new teacher. At the same time, take a really hard look at yourself and your practice habits. It's one of the two. 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 ? Do all of this, lots. Also sing. c) does not work productively in the extreme high and low range. 6) Do you know, use, recommend the "inspiron" and/or other breathing devices? Aren't familiar with. Do some distance running. Some of the problem is raw capacity, but some of it is also how the body uses oxygen, especially under stress. The running will make the heart/lung machine much more efficient. Ever had that feeling during an orchestral solo, when you still have air, but you've consumed all its oxygen because of the heart racing? Otherwise, if the horn is devouring so much air by volume that you feel you don't have enough, (really low playing excluded), take a look at your mechanics and make sure you are using the air efficiently. I play in an unfriendly hall where we really have to put out some volume, and I have NEVER felt that I'm not getting enough air. 7) Do you think that progresses in one's playing happens steadily, by constant application, or by leaps? Leaps and plateaus. But you have to be working diligently at all time so the leaps can happen. 8) Should a teacher give precise embouchure directions? And how precise? If the nature of the problem is embouchure, yes. It's actually better to do more buzzing work, and let the problems sort themselves out. If it sounds good on the mouthpiece, it is good. If not, try something else. The teachers role is to make suggestions of how to change, and then analyze the change. The MOST important thing is to have the student understand what the desired concept and goal of the buzz should be. 9) Are there special directions/techniques for mastering the low and high registers? Yes. The hand position changes, the embouchure is different, the air is used much differently. I am naturally a high player, employed as a 2nd horn. It's like playing 2 different instruments. 10) How was your experience in auditioning and what advice on this matter can you give to aspiring professionals?
Start taking them as early on as possible. It's a skill to be
practiced. Play for as many people as possible. Record yourself and
listen to it often. Audition preparation should be:
1/4 listening to recordings, to know the music and get the concept
1/4 practice auditions, to get the idea of going through and just doing
it 1/4 listening to those to hear what the committee will hear, and to
give direction to your practice so you know EXACTLY what to do.
1/4 "fixing the problems"
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* Shane McLaughlin, 2nd Horn, Knoxville Symphony, www.knoxvillesymphony.com. |