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Conductors Say the Darndest Things II

3558793509a09f0b51cc7110.L._SL500_AA240_.jpgThe great American horn teacher Philip Farkas had a story about water in the horn that he loved to tell. Nancy Fako relates the story as told by Farkas in the questions and answers part of a recorded 1979 panel discussion in her book Philip Farkas & His Horn.

I remember one time we played a TV show when Mr. Kubelik was conductor of the Chicago Symphony. One day he called me in and said that he was very upset. He had received two postcards that week saying that Mr. Wedgewood [second horn of the CSO] and I were caught by the camera dumping the water out of our horns. He said, ‘I don’t want any more of that!’ I said, ‘What do you mean, sir?’ He said he did not want us to take the water out. It was a one hour show. I looked at Mr. Wedgewood, who smiled (we weren’t too fond of him anyhow). ‘All right, sir.’ We knew what the program was. Nothing essential on it, so we did not take the water out for one solid hour. By the end of the program, the horn was gurgling all the time, even on the soft passages. He looked at us with a dirty look and when the show was over, he was furious. By this time, I was furious too. He said, ‘What were you making those sounds for? This is a broadcast!’ I said, ‘Well, Mr. Kubelik, you told us not to take the water out of our horns and this is what made the sounds.’ I took the slide out and dumped the water on his shoe. He was very quick and got his shoe out of the way, which probably saved my job!’

Part I of conductors say the darndest things is here.

A New Resource: A Dissertation on the Brahms Trio

Joshua Garrett has kindly offered Horn Matters a copy of his dissertation “The Brahms Horn Trio: Background and Analysis for Performers.”

It is a comprehensive historical and musical analysis of the Brahms Op. 40 Trio — required reading for anyone performing this piece.

Access the full dissertation here.

Mr. Garrett is a graduate of SUNY at Stony Brook and the Juilliard School, and formerly served as third hornist in the San Jose Symphony Orchestra.

In his post “A Brass Viola?” John Ericson noted that the somewhat controversial publication A Devil to Play by Jasper Rees makes use of Mr. Garrett’s dissertation — without credit.

Photogenic natural horn with 4 couplers stacked up (does not work that way!)

In certain books on the horn you will find photos of a horn built on the same general system as this one below.

Cousenon bell natural horn

It is made to use a combination of crooks and couplers to be placed in every possible key, and is an ingenious system actually. This instrument I made using the same system with the help of natural horn maker Richard Seraphinoff when I was a Doctoral student.

The system uses three master crooks and four couplers. The crooks are in C alto, B-flat alto, and in G, and the couplers are set up as follows from smallest to largest

  1. Takes G down a whole step to F
  2. Takes G plus the first coupler down another whole step to E-flat
  3. Takes G down to E
  4. Takes G down to C

With various combinations of these couplers with the G crook you can get every key you need to get on the natural horn. D horn for example is the G crook plus the second and third couplers.

This example really plays quite well, I use it often. It was built using a bell and first branch from a Cousenon mellophone from around 1900, and the crook tapers and bore are typical of French natural horn of the period.

To the point of this article, so what key are you in when you set the horn up like the photo, with the B-flat crook and all the couplers stacked up? You are in no known key and the horn plays terribly. But it looks cool! That is why it is in the photos in the books like this. But it does not work that way in reality.

UPDATE: And of course check out my natural horn book, available in a second edition in affordable print and Kindle formats through Horn Notes Edition.  

Food for Thought, A Recipe For Success

Imagination + motivation = CREATIVITY. A recipe for success.

Get fired up and get those creative juices going!

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Please Don’t Poo Poo the Pops

sad-clownPlaying pops for fun and profit.

Some orchestral musicians dislike playing Pops concerts…

…really dislike Pops.

These types of orchestra musicians are prone to complain about anything and to be frank, are best to be avoided. It is usually a grumpy minority of highbrow whiners that view playing popular music as a chore — something that is below their intellectual and skill level.

I am never sure why some musicians have this attitude. Some of my favorite music is usually programmed at Pops concerts. What horn player can’t help but to get excited by a piece written by John Williams?

Pops full-time

Imagine if your full time gig was to play nothing but Pops?

Kevin Owen doesn’t have to imagine. He is the principal horn of the Boston Pops.

He admits that his part in the performance can be repetitive. “But who wouldn’t be excited when the crowd bursts into cheers?” he asks.

Pops concerts many times have some fun and challenging horn parts, and audiences genuinely love the stuff.

“I like the French horn a lot, because it is tolerant of failure,” says Owen. “We don’t have to play a lot of notes, very high notes, or very loud notes. What we like to do is play a very simple melody, and the tone is very beautiful.”

Owen took up the French horn because he was “a washout at all the other instruments,” he demurs.

Read the complete feature in a nice article at BU Today.

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PHOTO: http://www.flickr.com/photos/goranpg/105205030/

Embouchure Focal Dystonia

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brainWhen the nerve connection breaks down.

When I recently visited John Ericson to discuss launching this website, he was ending a lesson with a student afflicted with focal dystonia. (He has written briefly about focal dystonia before.) I had an interesting discussion with this student and it opened my eyes to this debilitating medical condition.

I have perhaps seen this condition in several students, but at the time was not fully aware of the possibility that it might have been focal dystonia.

Dystonia is a neuro-muscular disorder that causes muscles in the body to contract or spasm. “Focal” dystonia is generalized to one region of the body. For musicians, it typically affects the specific area of the body that is used to play the instrument.

A failure to communicate

The connection between the specific muscles for playing and its corresponding area in the brain — for some unknown reason — short-circuits itself. Something goes awry with muscle memory.

It is not something that occurs overnight. According to a post at Chamber Music Today:

  • Multiple parts of the body can be affected, or sometimes just one such as hands, arms, neck, face, eyes, or vocal cords;
  • Symptoms are usually chronic and progressive;
  • Varying degrees of disability and pain, from mild to severe, interfering with performing on your instrument;
  • Affected body parts specifically are ones that are intensively utilized in your performing—ones that are the focus of intense attention, cognitive effort, and repetitive rehearsal.

Treatment

By all reports, it is incurable. Medications used to treat dystonia are generalized and temporary, and do not cure the condition.

Dianne Rhem, a National Public Radio personality that I regularly listen to, receives periodic shots of Botox directly into her vocal chords to help treat her spasmodic dysphonia. Sometimes this Botox treatment is prescribed for focal dystonia.

At Embouchure Dystonia, Joaquín Fabra suggests that Botox injections into the embouchure might ruin it forever.

This disorder is generally unknown among doctors, most of them have never seen a case and have no experience on this matter, generally they are cautious and sincerely admit they do not know the disorder, but others may dare to suggest botox which can ruin the embouchure forever.

Botox is, after all, a poisonous substance – a botulinum toxin. There may be some validity in Mr. Fabra’s assertion. How many Hollywood celebrities have we seen with plastic, frozen facial features from too many Botox treatments?

Trombone professor David Vining at Northern Arizona University in Flagstaff, Arizona recounts his experience with embouchure dystonia and his more holistic approach towards treatment.

This is what can be very puzzling about dystonia; it is not easily diagnosed and, at present, there is no recommended medical course of treatment.  This leaves the patient to find alternative non-medical avenues to rehabilitation.

My approach to this problem was exactly that – I aggressively sought non-medical options.

Adaptation and coping

Other musicians choose to adapt, as Billy McLaughlin did. Fortunately for him, switching hands was an option.

Other resources:

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Farkas on Lip “Curling”

I spent the summer looking at many different books on horn playing in depth. Farkas in print was not into the whole concept of rolling the lips. But, it turns out reading in the Fako book he did experiment with rolling the lips or at least elements of this type of approach. Which for me is no surprise, I recall vividly once seeing him enter an elevator talking to Rick Seraphinoff mentioning that he had recently changed his embouchure, which he did many times.

3558793509a09f0b51cc7110.L._SL500_AA240_.jpgOne book I have read a number of times is The Art of Brass Playing by Philip Farkas. Nancy Jordan Fako recalls in her book Philip Farkas & His Horn the time she spent as an IU student of Farkas editing and re-writing the manuscript of The Art of Brass Playing six times. She recalled that “Phil’s writing and organizational ability were extraordinary when one considers his limited formal education…. His parents placed great importance on writing and communication skills and this certainly equipped their son well for a full and productive intellectual life.”

According to Fako, Farkas took a lot of notes and was a fastidious record keeper. On tour with the Cleveland Orchestra in 1965 Farkas wrote a note to himself on an embouchure discovery while in Russia, which Fako quotes in full on page 182.

1. Must hold both lips tightly against teeth. Feeling is almost that of the oboeist ‘curling’ his lips over his teeth. 2. This holding the lips tightly back against teeth will result in a slight but definite feeling of a smile. 3. Playing can and should now be done with very light pressure. 4. Lip position seemingly not too important to this total feeling but seems to arrive naturally at 2/3 upper & 1/3 lower lip.

Curling in of the lips is related to an idea of rolling of the lips. You can’t really roll them in due to the teeth being in the way but you can conceptualize control of the lip opening by thinking of rolling the lips. With the larger point being that Farkas was willing to experiment with things that were a bit outside of the pedagogy presented in his publications. We all would be better off if we were like Farkas and were not afraid to experiment with embouchure mechanics, it can lead to personal discoveries.

Bruce and John FAQ

So, you have started a huge new horn website! How did you meet?

We met in real life in 1984. That year Bruce was a Junior at The Eastman School of Music and John was a new MM student, a graduate of Emporia State University in Kansas. We were in the same ensembles rotation, sat across from each other in the horn choir, and John lived directly above Bruce in the dorm for those two years at Eastman.

Were you studying with the same teacher there?

JohnBruceEastman1986

No, at that time Bruce studied with Milan Yancich and John studied with Verne Reynolds. This photo is of the two of us at the horn party for 1986. As you can see we both have hardly changed a bit.

Right…. So have you been tight all the years since then?

Actually, we went in different directions with very little contact but both ended up in Arizona. John went on to earn his Doctorate at Indiana University, then was Third Horn in The Nashville Symphony for six seasons. After that he was the horn professor at the Crane School of Music in Potsdam, NY and then on to Arizona State. Bruce played in Mexico and came back to the states to study with Thomas Bacon at Arizona State, and has performed with various groups in Arizona, including his current position as Third Horn in the Arizona Opera Orchestra.

So do you perform together often?

There is the occasional gig or event in the area but where we have worked together the most has been online. Bruce was the creator and website guru of the original IHS website. Jeff Snedeker brought John onboard to be the website manager toward the end of his time at The Crane School and it just worked out that we both ended up living in the Phoenix area. John was website editor for six years and Bruce was with the site nearly ten years. We both left the IHS site at the same time to further develop other projects of our own. The website work gets in your blood; we both have stuck with it with our personal and professional websites and blogs.

We did back at Eastman however play together on at least three recordings which true Horn Matters fans will all want to purchase:

  • Carnival, Wynton Marsalis, Cornet, Eastman Wind Ensemble, Donald Hunsberger, conductor, CBS Masterworks, 1987.
  • Rudolf Friml: Chansonette, Eastman-Dryden Orchestra, Donald Hunsberger, conductor, Arabesque, 1986.
  • Pied Piper Fantasy, James Galway, Flute, Eastman Philharmonia, David Effron, conductor, RCA, 1987.

On Carnival John is second horn and Bruce third, on the Friml Bruce is first and John second on some tracks and Bruce second on some tracks with another first horn, and on the Galway John is first and Bruce third.

So basically you met 25 years before the launch of Horn Matters and have had solid experiences as horn players and teachers and with blogging and websites. Where do you see Horn Matters going?

While we have both enjoyed our individual blog efforts I think that above all we see something beyond our individual blogs that we believe will be a truly unique and valuable horn resource.

Final question, do you collaborate on site content? Is there a master plan?

No, actually we often surprise each other. We have different angles on things and that makes for a better variety of content, sort of a “Siskel and Ebert” of horn. We hope that the variety of content keeps bringing you back for more.

Welcome to Horn Matters

iStock_000003198608XSmallAs the old saying goes, “two heads are better than one.”

Combining the Horn Notes Blog and Horndog Blog into one resource, Horn Matters is a new collaborative project between old colleaguesmyself and John Ericson.

We have carefully gone through all our old content and have done some pruning and sprucing to preserve a good quality of useful articles. Our combined effort (to date) amounts to a huge library of over 800 entries that cover a wide variety of topics.

John and I are aiming to make this site a preeminent resource, and as it takes flight and moves forward we will be announcing exciting new features and expansions.

» Out with the old, in with the new

While new materials will no longer be published at either the Horn Notes Blog or Horndog Blog, all remaining content will stay online — for the time being. In some cases, links within the imported content here may reference back to these old sites.

There may be some chinks in the armor here that we are not aware of. If you are experiencing problems, please make note of them in the comments below.

Because John and I will be writing here exclusively, please update your bookmarks and RSS feeds accordingly. In time, the old sites will be phased out.

Thanks for reading — please enjoy and participate in our new site!

Farkas and the Art of Marketing II

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In the comments to my recent post on the Reynolds Pottag Model horn (seen below) I quoted what Farkas said was his goal in designing the Farkas Model horn. Farkas wanted to

…take the good qualities of each of the various famous horns I owned at the time and eliminate the bad qualities (I knew what they were); then add the right bore and taper for the best blowing horns and the added comfort in the hands, which none of them seemed to give any consideration to. It was actually a hybrid horn that had all the good qualities of the Alexander, the Kruspe, the Geyer, the Schmidt, and several others.

ReynoldsPottag.jpgThis is from page 121 of the Nancy Jordan Fako book on Farkas. In the period he started working with Holton he actually played on a Geyer and a Conn 8D in the CSO. His initial contract with Holton, quoted in part on page 123 of the Fako book, allowed him to play any horn he wished if needed for a specific musical context but that he would “endorse the said Holton Double French Horn and will diligently promote the sale of such instrument whenever possible.” Having some background in advertising, as noted in part I, again served him well. He worked with Holton closely for the rest of his life.

I like how the contract specifically says he will “diligently promote” the new instrument. In a larger sense we all need to diligently promote the horn. Encourage someone to play horn, encourage your students and colleagues to join the IHS; there is much we all can do to diligently promote the horn.

Return to Part I