Repertoire Quiz

Here’s a fun little quiz to get you thinking about repertoire.  Actually, this series of questions is very similar to some from my doctoral preliminary examinations, and is a great exercise for current or future horn teachers.

For each of the following categories, name three solo works, three etude collections, and three orchestral excerpts you could use yourself or recommend to a student to develop that particular technique.  For example:

High Range Development: (Solos) Telemann, Concerto in D; Haydn, Concerto No. 1; Wilder, Suite for Horn and Piano (Etudes) Reynolds, 48 Etudes; Gallay, Unmeasured Preludes; Kopprasch, Etudes for High Horn, Op. 5 (Orchestral Excerpts) Beethoven, Symphony No. 7, 1st horn; Shostakovich, Symphony No. 5, 1st movement, 1st horn solo; Ravel, Pavane for a Dead Princess, 1st horn

Try completing the rest of the categories below based on your knowledge of horn repertoire.  You can check other resources if necessary, but try to generate as much as you can on your own.

Low Range                                                                                                                         Stopped/Echo Horn                                                                                                              Multiple Tonguing                                                                                                                        Soft Playing                                                                                                                                  Loud Playing                                                                                                                               Staccato                                                                                                                                          Legato                                                                                                                                      Slurring                                                                                                                                        Flexibility                                                                                                                               Transposition                                                                                                        Phrasing/Interpretation                                                                                                      Extended Techniques                                                                                                                          Jazz Horn                                                                                                                                     Improvisation

Of course, many of the same works can be used in multiple categories.  If coming up with three solos, etudes, and excerpts is easy for you, then go with five (or ten) of each type.  Try coming up with new categories too, as I’m sure my list can be supplemented with other techniques.

Quotes from The Horn Handbook

One reference text I keep coming back to is The Horn Handbook, by Verne Reynolds.  One of my favorite chapters is the last one, “Teaching the Horn.”  Below are some of my favorite quotes from that chapter.   On a side note, although I never studied with Mr. Reynolds, I did have the opportunity to study with a couple of his former students during my summers at Brevard Music Center; Cynthia Carr and Dr. John Ericson.  I consider my summers there as some of the most important in my musical development, and I highly recommend attending Brevard to any serious musician.  Now on to the quotes:

It was once believed that several year’s experience in a symphony orchestra was prerequisite to college teaching, or, after long service in an orchestra, a ‘college teaching job’ would be a fine way to finish one’s musical life.  Few college positions in applied music today do not demand a high level of performing ability and an educational record that signifies intellectual breadth and vigor.  This combination of strengths is needed to obtain a professorship, to advance in the academic world, and to prosper in the private studio.(p. 221)

If we are content with teaching as we were taught, with feeding upon the labor of others who provide us with music and information, and are satisfied with playing and teaching the same music year after year, our students are likely to follow our example.  This is not teaching as it is understood in most disciplines.  In their undergraduate years our students are especially sensitive to the models they see around them.  These are the years that set up lifelong patterns of attitude, industry, and behavior. (p. 224)

A fine studio teacher continues to learn.  Just as fine players must set aside time for practice in order to progress, studio teachers should organize their professional and academic lives to include reading and research.  A day without reading can be compared to a day without practice. (p. 239)

A successful private teacher combines kindness with determination.  The teacher’s effectiveness is not lessened by a genial countenance.  Kindliness is a manifestation of benevolent strength.  Determination is strength of conviction aided by perseverance and confidence.  All of these-determination, strength of conviction, perseverance, and confidence-are qualities that a fine private teacher strives to instill in students; they are also qualities that must be present in the teacher. (p. 240)

And one final quote from the “Epilogue II” section.  Quite inspirational!

Which instrument requires the physique of an athlete and the heart of a poet?  Which instrument demands dedication, perseverance, industry, honesty, and an indefinable musical gift?  Which instrument rewards the player and the listener with perfect joy?  The horn, the horn, the horn, of course. (p. 247)

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