First Solos for the Horn Player: Romance, by Alexander Scriabin

Here’s the fourth selection in the First Solos for the Horn Player video series, Alexander Scriabin’s Romance for Horn and Piano. Here are links to the other recordings up to this point.

Along with the second movement of Mozart’s Quintet for Horn and Strings, K. 407, this miniature for horn and piano is probably the most recognized work in the collection. The score and solo part are also available on IMSLP, and  there appears to be little difference between the Mason Jones and IMSLP editions.

A few interesting technical notes about this recording, and thoughts on this project thus far:

  • I experimented with the recording process on this one, using a Blue Yeti USB microphone in stereo pattern to record the audio into Logic Pro X. My hope was to sync this audio with the video from my Zoom Q2n-4k camera, and apply some equalization and reverb to improve the overall sound quality.
  • The latter effort was successful, and the overall sound quality belies the modest recording environment, a bedroom! The sound of the digital accompaniment is pretty good too, although it would have been nice to be more flexible with the tempo and dynamic subtleties. With a collaborative pianist, this would have been easy and natural.
  • Syncing the audio from Logic Pro with the video file should have been a routine task, and one which I have done several times in the past, though not with an identical set up. But as you can tell from the absence of video footage, I could not get it to work! Despite spending several minutes playing around in Final Cut Pro and consulting help pages, it still wasn’t working. I have very limited technical knowledge, but my guess would be that the sample rate between the Logic Pro recording and the camera recording was not the same.
  • Because the sound quality of the audio-only recording was superior to the camera audio, I decided to use it without any video footage, and insert a public domain image of Scriabin and his mistress, Tatiana Schloezer. For the next video I hope to work out the syncing issues.
  • A final note: I decided early on to NOT record every solo in this book. There’s a couple of reasons for this, not least of which is that recording the entire book would probably run afoul of “Fair Use.I haven’t settled on which solos to record for the remainder of the project, but I anticipate five or six more. Enough to to be representative, but certainly not a majority of the book (or even half). After that, I have some ideas for future projects, more to come.

 

First Solos for the Horn Player: “No More, I Have Heard Everything,” by W.A. Mozart, arr. Jones

The next video in the First Solos for the Horn Player project is “No More, I Have Heard Everything” (Non Più, Tutto Ascoltai), by W.A. Mozart. Paraphrasing some of the information provided by SmartMusic, this short work was originally for soprano and tenor with chamber orchestra, and was later included in Act II of the opera seria Idomeneo. It’s a lovely tune, and offers ample opportunities for the horn player to work on expressive playing.

For those who might be interested, here’s the equipment I’m using on this project.

  • Horn: Yamaha 667V
  • Mouthpiece: Houser, San Francisco 14-0-2 with 17.5mm Houser E Rim
  • Camera/Microphones: Zoom Q2n-4K
  • Video Editing: Apple Final Cut Pro

I might add that this was the last video recorded in my teaching studio at the University of Louisiana Monroe. Shortly following this session, we were advised that further precautions were being enacted to help prevent the spread of COVID-19. The rest of the videos will be recorded from my home, and I might need to adjust camera placement, microphones, etc. to fit the new space. Stay tuned!

Horn Pedagogy Videos and More from Eli Epstein

Renowned horn pedagogue and performer Eli Epstein has a posted a  new video on Breathing and Breath Support to his YouTube Channel. Mr. Epstein gives a concise, yet detailed and anatomically correct, explanation of breathing, and also demonstrates how to put these concepts into practice. Before further discussion, you should watch the video!

As I’ve mentioned in previous articles, Mr. Epstein’s approach to the horn is relaxed, methodical, and overwhelmingly positive, which makes for a very effective teacher. One especially unique element is the use of a chair to engage the same muscles used in breath support. Mr. Epstein expertly demonstrates by playing Mendelssohn’s Nocturne from A Midsummer Night’s Dream, accompanied by a silhouette and animated meter showing varying levels of breath support There is a lot of information packed into this six and half-minute video, so it should be viewed multiple times if possible.

If you like this video and find it useful, be sure to check out his other videos on Relaxation Before Performance and Radical Practicing. The relaxation video comes at a very fortuitous time, as many of us in the education field are approaching the end of our academic year. If you find yourself getting tense and more stressed than usual, take five minutes to listen to this video. You’ll feel more relaxed afterwards.

In Radical Practicing, Mr. Epstein discusses and demonstrates the importance of varied repetition as the pathway to learning new material. When we repeat material over and over in exactly the same way, we become bored, even if we continue making the same mistake. Varying our repetitions to target specific elements of a passage is a much more effective way to learn and retain. On a personal note, this concept played a huge role in the development of my etude book Solo Training for Horn.

If juries, final exams, and other end-of-term tasks are starting to stress you out, take a break and view the above videos. It will be time well spent!

Comparing Microphones for Recording Solo Horn

Here’s a video comparing three different ways to record a solo horn.

  1. MXL R144 Ribbon Microphone – placed approximately 6 feet in front of the horn.
  2. Samson C02 Condenser Microphones – stereo pair in XY configuration placed approximately 6 feet in front of the horn.
  3. Samson C02 Condenser Microphones – stereo pair in NOS configuration placed approximately 6 feet in front of the horn.

The above are three common microphone techniques. There are many more, but my limited skills and equipment prevented me from exploring others.

This little project came about for three main reasons:

  • While I am most certainly not a recording engineer, I teach an Introduction to Music Technology course, and have an interest in recording techniques. I enjoy learning about the equipment and principles, and used this video as a way to put some ideas into practice.
  • Back to back comparison of the two types of microphones I own – ribbon and condenser. I’ve used both in various situations, but had not compared them in this way. For more information on microphones, see here.
  • I also wanted to try out a new way of recording – using independent audio and video equipment, rather than the all-in-one approach I have used for years. Though it took a little more time to set up, I think the end product was pretty successful. Syncing up the audio and video was less tricky than I anticipated.

Before getting into more discussion of the results, here’s the video. Separate audio files are also embedded if you would prefer to listen to those. I chose an excerpt from Otto Ketting’s Intrada because I’m performing it in a few weeks, and also because it has lots of contrast in a short amount of time.

Ribbon:

Condenser Pair XY:

Condenser Pair NOS:

Even with the extremely low cost equipment I am using, hopefully you can hear a difference among the three techniques. To me, the XY configuration has the best overall sound, although there are elements of the ribbon that I like quite a bit. Ribbon microphones are very popular for recording brass instruments, because of the warmth they bring to the sound. Higher quality microphones should of course yield more perceptible results, although my cheap MXL ribbon is ok for my purposes. I hope to do some more videos like this in the future, with different techniques and ensembles. In case you are interested, here is the equipment I used (microphones are listed above). Assuming you have a decent laptop, all of the other gear is very reasonably priced.

  • Audio Interface/Preamps: Focusrite Scarlett 2i2
  • Computer: 13 inch, MacBook Pro, ca. 2012
  • DAW: Logic Pro X
  • Video Camera: Canon Vixia, ca. 2009
  • Video Editing: Final Cut Pro X

While there are some great all-in-one recording products out there, if you do lots of audio and video recording of your horn playing it might be worth exploring some of this equipment.

Throwback Thursday: Strauss 1 from 2004

From way back in my video archives, I dug out this live recording of a D.M.A. recital performance at the University of Wisconsin-Madison. It’s been really fun listening to this recording  – the video quality is pretty bad, but the audio is actually ok – and reminiscing about those days. The conductor is Matthew Beecher, another D.M.A. horn candidate who was working towards a minor in conducting, and the orchestra is the Camerata Chamber Orchestra, an ad hoc group made up of graduate and undergraduate students at the University of Wisconsin. Matthew and I shared this concert, with me performing the Strauss on the first half, and him performing the Britten Serenade on the second. He definitely had the more difficult job, and I remember the entire concert coming off really well. The video is too grainy to see much detail, but if memory serves the equipment is as follows:

  • Yamaha 667V
  • Moosewood B 13 (Y) mouthpiece, with an M2 rim (I think)

I definitely am a better all-around horn player now, but there are some things I really do like about this performance. This would have been my first semester as a doctoral student, and I was still working out some issues in my sound and overall approach to the horn. Yet, there’s a fearlessness to the playing and some musical ideas that I enjoy. It wasn’t a “perfect” performance, but it was definitely fun!

I performed the entire concerto, but unfortunately the DVD seems to have been damaged somehow, and the only electronic backup I had was of the first movement. Perhaps at some point I’ll be able to track down the rest of the piece.

Performance Videos, Part 2: Faculty Recital

For the second part of this performance video series, here are some live and unedited recordings from a recent faculty recital, which I shared with my colleague Jeremy Marks. All but one of these works (Koetsier’s Romanza) are from the 21st century, and any would make a great addition to a recital. Please check them out, and consider programming them in the future. I’ve included some abbreviated program notes about each work, as well as links to more information about the composers.

Imaginings for Horn and Piano by Dorothy Gates

Dorothy Gates was born in Belfast, Northern Ireland, and holds degrees in Composition and Trombone Performance from Queens University Belfast, the University of Michigan, and the University of Salford. Her principal composition teachers were Kevin Volans, George Wilson, Joseph Turrin and Peter Graham. She has produced works in many genres, which have been performed in concert halls throughout the world. In addition, she is the Senior Music Producer for The Salvation Army’s Eastern Territory in New York and has been the Composer-in-Residence for the New York Staff Band since 2002. Dorothy is the first woman Composer/Editor to be employed by The Salvation Army in this role. Imaginings was composed for and premiered by Michelle Baker, recently retired 2nd horn of the Metropolitan Opera in 2017 at the 25th International Women’s Brass Conference.

http://www.dorothygates.com/

Romanza for Horn and Piano by Randall Faust

Dr. Randall E. Faust is a Professor of Music at Western Illinois University, where he teaches applied horn and performs with the Camerata Woodwind Quintet and LaMoine Brass Quintet. In addition, he has served for many years on the Summer Horn Faculty at the Interlochen Center for the Arts. His many fine compositions for brass have been performed throughout the world and recorded numerous times. He writes the following about his Romanza for Horn and Piano:

In 1994, I was commissioned by Randy Gardner to compose a Quartet for Four Horns for a compact disc he was producing for Summit Records in collaboration with Michael Hatfield, Douglas Hill, and David Krehbiel. This Romanza was one of the four movements of that Quartet. In the Fall of 2016, I created this horn and piano setting of the Romanza for a series of recital performances I was planning for the 2016-2017 academic year.

http://www.faustmusic.com/

Romanza for Horn and Piano, by Jan Koetsier

Though relatively little known in the United States – except among brass players –Dutch-born composer, conductor, and professor Jan Koetsier (1911-2006) is well-regarded throughout Europe, and especially in Munich, Germany, where he served as professor of conducting at the Hochschule für Musik (Music Academy) for many years. As a composer he devoted much of his efforts to brass and wind instruments, and seemed especially interested in developing the repertoire for unusual or under-utilized combinations of instruments. As the title suggests, the Romanza, Op. 59, No. 2 (1972) showcases the lyrical qualities of the instrument. Composed during the same year as the Sonatina (Op. 59, No. 1), the Romanza was first performed in 1985. In this brief yet effective work, a contrasting scherzo-like central section is framed by a beautiful melody in the outer sections.

http://www.jan-koetsier.de/index_eng.php

Hunting Songs for Low Horn and Piano, by Brett Miller

Master Sgt. Brett Miller is principal hornist with The United States Air Force Band, Washington, D.C. Miller holds degrees from Youngstown State University, Indiana University, and the University of Maryland. In addition to his Air Force performing, he is a highly-regarded composer, having published over 30 works for various brass solo instruments and chamber ensembles. Commissioned by Denise Tryon for her debut solo recording So-Low, Hunting Songs is a very accessible and programmable piece for low horn and piano. Each of the brief movements evokes the titular birds of prey: serious and brooding (The Crow); tranquil and serene (The Owl); fast and nimble (The Falcon).

http://brassarts.contentshelf.com/product?product=I130801000001D14

Azure Dawn, by Frank Gulino

Frank Gulino, bass trombonist and composer, is highly regarded in the brass communities for his compositions, as well as his performance career. A graduate of The Peabody Conservatory, he earned a bachelor of music degree in performance. He has studied with members of the Baltimore, Boston, and New Jersey Symphonies. His compositions have been commissioned and performed across the world by euphonium virtuoso, Steve Mead, St. Louis Symphony bass trombonist Gerry Pagano, Atlanta Symphony bass trombonist, Brian Hecht, and members of the trombone section from the National Symphony in Washington D.C. His works are often chosen as solo competition pieces for the International Trombone Association and the International Tuba and Euphonium Association, as well as the Leonard Falcone International Euphonium and Tuba competitions, respectively. Azure Dawn is a visual and programmatic work, depicting the beautiful imagery of the Shenandoah Valley mountains during the sun rise.

http://www.frankgulino.com/index.html

Performance Videos: 2017 International Women’s Brass Conference

As promised, here are some videos of our faculty brass trio’s performance this past summer at the 2017 International Women’s Brass Conference at Rowan University. Thanks to Dr. Amy Bliss for making this recording available! The videos below are of the most substantial work we performed, Scenes from the Bayou, which we commissioned from Dr. Gina Gillie. It is an energetic and accessible new work for brass trio, and I am pleased to announce that we will be recording it – along with several other recent compositions for brass trio – in early 2018. Enjoy! NB: There is a small typo in the title screen for movement 4 – it should read “Cypress Trees.”

New Video: Louisiana All-State Etudes, Set 2

Happy New Year to all of my readers!

For my first post of 2017 I am sharing a video recorded back in December; two Kopprasch etudes that will be used for the upcoming Louisiana Music Educators Association All-State Auditions. Although these auditions are generally held in September and October, many districts in Louisiana use them as Honor Band audition material during the spring. I last recorded these etudes about 10 years ago, so it was time for a new (and hopefully improved) version. As with the previous set of etudes in this new series, I’m working on a set of preparatory exercises to accompany them. Look for those in a future post and video recording.

If you’re interested in the equipment I’m playing on this video, the horn is my new Yamaha 671, and the mouthpiece is a Laskey 75G in silver plate.

Faculty Recital Recordings and Upcoming Posts

October was a very busy month, with a performance or other professional obligation every weekend. November will be a little lighter, which should allow me to post more regularly…at least until December. In early October Richard Seiler and I presented a recital entitled Old Wine in New Bottles: Transcriptions for Horn and Piano. The performance went very well, and I’m pleased to share videos of a few works from the program. All but one  were my own arrangements, which I am planning to record for a forthcoming recording project. More on that later.

First up is my version of Weber’s Romance. For program notes please refer to the link above, but in short the piece  – which is attributed to Weber and often performed by trombone players – works quite nicely on horn. The horn part is not terribly difficult, but does tend to emphasize the low range. It is published and available through Cimarron Music Press.

Next is my take on Ravel’s Vocalise-Etude en Forme de Habanera, originally for voice, but transcribed for numerous other instruments. Not yet published, but coming soon!

The last excerpt from our program is Robert Schumann’s Fantasiestücke, Op. 73, in a wonderful arrangement by Kazimierz Machala. It’s a great piece, but not as difficult as the Adagio and Allegro, Op. 70. I’ve performed the Fantasiestücke multiple times over the years, and it is always rewarding to play.

One item worth noting in the videos is that I am standing by the keyboard, with my bell facing the audience. I have seen more and more horn players standing this way for solo recitals, so I decided to give it a try for this program. My usual position is turned about 180 degrees, in the bend of the piano. These two setups have their advantages and disadvantages, and it is worth trying both as well as other variations. Much depends on the size and acoustics of the hall, but in general I liked being closer to the keyboard for ensemble reasons as well as getting more clarity of sound.

Looking ahead to future posts for this blog, I have a sizable backlog of items for review, including recordings, books, and a new horn!

New Videos: Louisiana All-State Horn Etudes and Preparatory Exercises

One of my mini-projects this summer was to make new recordings of the Louisiana Music Educators Association All-State etudes for horn. I last recorded these about 10 years ago, and it was time to update at least the first set with video recordings, as well as some preparatory exercises to help guide students in their practice (similar to my Solo Training for Horn studies). I hope students and music educators in the state find them helpful. There are three main components to this collection:

  1. An unedited video recording of the Set 1 Etudes by Kopprasch and Gilson, shown below.
  2. Suggestions for performance and several preparatory exercises, which can be downloaded here: Preparatory Exercises LMEA Etudes Set 1.
  3. Video demonstration of the above exercises, shown below.

 

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