by Matthew Haislip
Assistant Professor of Horn, Mississippi State University

A well-balanced warm-up may be the single most important aspect of the horn playing experience. It is in this daily time spent on the various fundamental components of our instrument that efficiency and refinement are cultivated. It is where we train the subconscious connection of our inner musician to the instrument. However, hornists often play a “warm-up” that is far too strenuous. It becomes a “burn up” instead and can lead to burn out, physically, mentally, and emotionally. A “burn up” session will take one backwards in development, not forwards. I’ve been there many times. I was frustrated as a student that my dedicated work on a daily warm-up led to injury and reduced sensitivity and range. It’s not necessarily our fault, either. We look at the exercises in the well-known routines in publication and believe we need to play them from start to finish as written. Each overtone series. Each variation. Each tempo. Each note of the range. In doing so, we are missing the goal of warming up altogether. We also miss that many of these authors did not intend for every single item in their warm-up routines to be played every single day as written.

According to Oxford Languages, the definition of a warm-up is to “prepare for physical exertion or a performance by exercising or practicing gently beforehand.” Notice the word gently. Interesting, yes? How often do we finish our warm-up feeling adequately prepared for subsequent physical exertion or a performance? How often do we prepare for the playing day in a gentle manner? Do we end our warm-up session feeling empowered to face whatever playing demands come our way? Or do we feel as though the warm-up was all we could play for the day? Is our warm-up session an entire hour in length with little to no respite? To be sure, the warm-up needs built-in times of rest to restore our strength before moving on to the next area of work. Perhaps not every day should have the exact same warm-up. On heavy ensemble playing days, it needs to be short enough to conserve our endurance to last the day. This could be fifteen to twenty-five minutes. That is plenty of time to ready our playing gently and thoroughly. A day free of ensemble playing could see us lengthen the warm-up into a fundamental workshop of a couple of well-spaced hours, provided there is ample rest time built in. We should be able to adjust our warm-up time for whatever life throws at us…which might include a traffic jam allowing no warm-up at all before a gig!

What should a solid warm-up include? This question will vary with everyone’s experience, but there is a reason why sustained tones, chromatic slurs, overtone series slurs, scales, and other familiar exercises are so common. I feel that a good warm-up is centered around the idea of developing a characteristic sound in the middle register and then taking that sound across the range of the instrument with smoothness, flexibility, and varied articulation. I like to start with some mouthpiece buzzing in the car on the way to my first destination and then work in this order once I arrive: easy middle and low range chromatic slurs with limited long tones establishing a beautiful free sound before moving on to various overtone series slurs, scales, and flexibility exercises. It is important for me to spend a few brief moments on loud and soft extremes, too. I touch a couple of soft high entrances and play a short etude fragment or solo passage to finish. My warm-up can take as little as needed or can go forty-five minutes with breaks built in. I try to vary things a bit each day, too. To me, a warm-up is also about our mentality. At the end of our warm-up, we need to be able to confirm that we have adequately prepared our mind and body to make beautiful music on the horn. The mental act of connecting our subconscious mind to the instrument can help us be ready to make music before we even play one note—which is helpful for the rare occasions we are not afforded time to warm up!

One key way the warm-up could be streamlined from an exhausting session to an efficient one is to change from playing every single exercise in each key or overtone series on the horn to playing them in only one to four different keys. This keeps the lips fresh and actually allows for more exercises to be played in our warm-up time. Instead of getting through just one or two overtone series slur patterns, for instance, one could play a variety of several different slur exercises in different keys. This trains the coordination of air speed and sound production far better while keeping the mind engaged and free of boredom from monotonous repetition. It isn’t true that we won’t be ready to play unless we play each exercise in every single valve combination. Two or three series can be sufficient to solidify the approach to the pattern. We can explore new challenges in this time by improvising new exercises or by trying a wide variety of the already-published exercises in our fundamental repertoire. This applies to the way we practice each fundamental, especially scales. We can play some scales in different patterns, some quickly, some slowly, some starting from above, some from below, some in different tonalities, some softly, etc. all in the same amount of time that we could run through the exact same pattern, tempo, and dynamic across all twelve keys. By varying how we practice each activity on the horn, we become more skilled players, not only warming up, but also improving.

An effective warm up ultimately comes down to trust. Can we trust that we will be ready to play whatever we encounter after our warm-up? Yes. Can we trust that we will improve and not stagnate in our abilities if we warm up gently? Yes. This might mean saving some time later in the day for more strenuous musical calisthenics. It may mean adjusting the order, range, and time spent on our exercises. Each person is unique in their warm-up needs. Some virtuosos warm up in such impressive ways that would leave the rest of us injured just attempting to get through it! Yet they sound fresh and prepared for the incredible feats they perform on the horn that day. Still, other virtuosos warm up in a limited amount of time and within an intermediate-level range to feel prepared. Some don’t warm up at all! It is individual, but the principle remains: our warm-up can and, for most of us, should be gentle and empowering. Burn ups won’t prepare us, nor will they make us better.

May you find what warm up works best for you in your journey on our fabulous instrument!

Meet the People—Katy Carnaggio, Horn and More Columnist

by Katy Carnaggio 

It might sound a little unusual, but it all started the day my best friend cracked her head open playing Ghost in the Graveyard. Let's set the scene.

I was a fifth grader in elementary school, and my class was learning about different musical instruments to prepare for band enrollment. While our future director enthusiastically extolled each instrument’s virtues, we secretly cast our votes: cool, uncool, and “is that even an instrument?!” Our silent ballot was in full swing.

One day, we were ushered into the gymnasium to try them out. Painfully shy, I panicked as I saw my classmates gather around the fan favorites. 

That’s when I saw the horn: uncool, not even an instrument, and gloriously ignored. I quickly tried it for my band director. Luckily, playing felt natural, and he was excited that we had found an immediate fit. Feeling too timid to try anything else, I promised myself I’d take a shot at something cooler that night at parent-teacher conferences. With mom at your side, you can do anything!

But I missed the meeting. Fast forward through an after-school game gone wrong, and there we were: my best friend, now an emergency room VIP thanks to a headfirst dive into adventure (and bushes), and me, her loyal sidekick, swearing eternal friendship even if she didn’t make it—while a nurse desperately fought back giggles as she administered two stitches.

Dale Clevenger often asked, “Why did you pick the horn?” The anticipated and often true answer is because we love the sound. But for me? I chose horn because of connection. Initially, it was through an act of solidarity with my friend. I chose it again because my “sectionals” were hilarious one-on-one lessons with my band director. (Believe it or not, nobody else wanted to play a “Christmas ornament.”) And now, I choose the horn because it remains the most honest and sincere way that I connect with others. 

We think so much about mastering the horn that we forget it’s an instrument for something far greater. Don’t get me wrong. Anybody who reads “Research to Resonance” knows I’m obsessed with mastery. I tailored my doctoral studies to specialize in skill acquisition. I spend each morning exploring research insights through my practice. Then I get to go to my pinch-me job at the Jacobs School of Music creating performance education materials, reviewing recitals, and planning workshops—all aimed at helping students advance their abilities.

But human connection in your music must come first. An impressive high range is only powerful if you use it to express emotional depth. And a great sound is only captivating if you have something genuine to say. And a performance is only memorable If your ideas are clear and direct. If you forget connection, music can quickly become uninteresting, forgettable, and not to mention, way harder to make. 

So, when you struggle to look beyond the horn and the challenges it can inspire, the International Horn Society is our first-line defense to get connected to those who also decided to play “not-even-an-instrument.” Whether through this Newsletter, The Horn Call, regional workshops, or global symposiums, we are surrounded by extraordinary individuals ready to share invaluable lessons. 

To start, here are five things I’ve learned from my major teachers. To meet me is to meet the people who deeply matter to me, after all.

Paulette Velazquez—College of Dupage

Instead of: Comparing yourself to others and judging yourself for the ways you feel you fall short…. 

Try this: Remember, it’s not about where you are; it’s about where you’re going. Set a direction, believe you will get there, and take the next step. 

Randall Faust—Western Illinois University (BM)

Instead of: Believing you’re not important until you’ve “made it….”

Try this: Know that you can learn something from everyone. Seeking the lesson in every handshake and the story behind every face enriches your knowledge and builds a community where everyone is valued.

Jeff Powers—Baylor University (MM)

Instead of: Feeling stuck because you’re tired/doubtful/confused/too-happy-to-focus/totally depressed/have standards that are too high/have standards that are too low/basically-anything-ever….

Try this: Show love through action. Love, when consistently expressed through actions marked by diligence, integrity, and devotion, inspires deep and lasting transformation. 

Dale Clevenger—Indiana University (DM)

Instead of: Allowing personal losses or hardship to distance you from music….

Try this: Put it all on the horn. Happiness, heartbreak, excitement, longing…explore it all through your music.

Katy Woolley—Present Mentor

Instead of: Trying to fix everything by focusing on your flaws….

Try this: Recognize that safety isn’t a place, it’s a presence. Creating a reliable presence within yourself built upon unconditional acceptance and positive belief enables you to act with the courage you need to aim higher and venture further than you ever thought possible.

by Katy Carnaggio

I know, I know…every musician on the planet enjoys performing the way they practiced.

“It’s exactly how I wanted it to go!” Right? And who doesn’t love getting what they want!

But you know what’s even better? Getting something beyond what you could imagine.

Let’s face it, we all know what it’s like to want something and work really hard for it, only to fall short. Yet, often, when you look back, you’ll find plenty of reasons to thank your lucky stars you didn’t get what you wanted. You shot for the moon, missed, but got a whole new galaxy instead!

And yes, there is power in developing NASA-levels of predictability…in the practice room. You want to be able to clearly envision every detail with commitment and confidence.

But in live performance, if you know everything will happen exactly the way you want, you take away unpredictability. If you take away unpredictability, you take away vulnerability. And without vulnerability, we lose the opportunity to create a deep and meaningful connection with our audience. All those incredible unplanned moments of transcendence? Gone.

So how do you surrender to unpredictability while having enough foundation to share what you planned? A simple pregame routine will do the trick. Let’s break it down:

First up, assess yourself to find your strengths. Review your successes, consult your practice journals, coach yourself, affirm your readiness. Remind yourself of the best parts of you!

Then, assess the situation. Ahead lies a task, an opponent, and a space where it all unfolds. A great pregame routine prepares you to navigate any one or all of these:

• Task: While we definitely set out to do things like win auditions or impress audiences, these are desired results, not tasks! The true task is to stay focused on executing your process moment by moment. This means that you’re present with the sounds you want to create, the lines you want to spin, and the narrative you want to express. Prime yourself by connecting directly to your process: center yourself, be present, review a key process cue…or two!
• Opponent: A challenging opponent keeps any game interesting, and performance is no different. But rather than a person, your opponent is the thoughts or situations that tempt you to abandon your self-trust. You KNOW there are probably a few habitual thoughts or less-than-ideal scenarios that tend to trip you up. Anticipate them, and decide now, while you’re level-headed, how you will choose to respond.
• Space: Like it or not, the hall gets a voice in your sound. Familiarizing yourself with it in advance, whether in-person or through envisioning, helps you to walk into the hall with certainty instead of questions.

Finally, decide that you are enough. You have assessed yourself and the situation, and you are here at this moment for a reason. Decide that you have all the knowledge and skill required. You want to feel a sense of certainty and determination. This is not about being egotistical, boastful, or even right about whether you’re good enough: it's about knowing that certainty and determination are essential tools in creating beautiful music. And as a musician, it's your responsibility to use these tools! In the words of performance coach Don Greene, “Courage is always the best option.”

When you’re connected to your strengths, you are familiar with salient aspects of your situation, and you’ve made the decision that you’re enough, that you don’t need predictability. Instead, you’re ready to perform with the skill, presence, and responsiveness required to communicate.  

Here’s to all the musicians deciding they’re enough! I see you! I am you! We got this!

Student Horn Competitions at Horns on the Horizon: IHCA & IHS 56

by Inman Hebert

For student horn players, competitions can be our greatest fear but also our crowning achievements. While competing may (understandably) stress out many students, these events benefit all who participate, not just the winners. The preparation process and the experience of competing can prepare young horn players for that venture into the professional world in search of a job. Below, I have listed the horn competitions occurring this summer at and immediately before the International Horn Symposium. Each of these competitions offers unique opportunities for student horn players to develop their playing and gain valuable performance experience.

Having command of solo repertoire is important for any student horn player and is part of university auditions, recitals, job searches, and performances. For 2024, the International Horn Competition of America (IHCA) is hosting its biennial solo horn competition from July 26 to July 29, 2024, in conjunction with but preceding the International Horn Symposium at Colorado State University in Fort Collins, Colorado.

This solo horn competition hosts both a professional and university division. For the student division, the competition is open to all nationalities, but students must be enrolled at a university, no older than 26 years of age, have never signed a full-time performance contract, and have not been a previous division winner. High school students may participate with legal permission from an adult. The registration fee increases after March 31, 2024.

The first round requires an in-person performance of the first movement of a Mozart Concerto, no. 2, 3, or 4, with one rehearsal allowed with an IHCA accompanist. Original piano scores must be provided, but use of your own accompanist is permitted for the first round only. In addition, students will also perform one of the listed works for unaccompanied horn. Performers are expected to wear concert attire and are encouraged to perform standing; however, memorization at this level is optional. The semi-final round includes a choice from a list of works for horn and piano, whereas the final round consists of one of four complete concerti. See the IHCA’s university division repertoire for a full list.

Judges may name finalists, award first and second, or choose a combination depending on the performances. Regardless of the results, the most important part of IHCA is that all contestants will be provided copies of the judges’ evaluation sheets and be allowed to consult with adjudicators. This means that students can gain live feedback from distinguished horn players across America. The manner in which students constructively work through their IHCA comments to develop will define the success of their IHCA experience, not the results themselves.

A reminder that the International Horn Society (IHS) has a tab under Programs for Awards and Performance Contests. One event featured here is the IHS Premier Soloist Competition held at the IHS Symposium from July 29 to August 2, 2024. Hornists under 28 years of age planning to attend the IHS symposium must apply before March 18, 2024, and submit a mp3-format recording of the three repertoire requirements. Judging is based on anonymized recordings, and up to five finalists will be invited to perform the same concerto submitted to the judges. Awards include cash prizes and a one-year IHS membership.

At the Symposium, the IHS also hosts Frizelle Orchestral Audition Contests for full-time students under 25 years old. For the High Horn and Low Horn categories, judges may choose winners who will receive an orchestral coaching session and a free one-year IHS membership. Online registration remains open until July 17, 2024. These contests provide students with an opportunity to simulate orchestral auditions. Also, students with a weaker horn register can prepare the excerpts for that category, which gives them pieces to structure the development of their range. Judges at the competitions provide feedback sheets that help students understand their mistakes in the audition, which can inform their future work on the excerpts. Through this process, students can become better prepared to join the professional world.

Students under the age of 24 seeking financial assistance to attend the IHS symposium may apply for the Jon Hawkins Memorial Award by March 20, 2024. The application requires three short essays describing your background, future goals, and financial situation related to your plans and a recording of two contrasting works. In addition to cash assistance to attend IHS, the winner receives a private lesson or masterclass at the Symposium, gives a solo performance, receives a copy of Werner Perlinka’s Concerto for Jon, and a one-year IHS membership. I cannot place enough stress on the importance of this award. Attending an IHS Symposium offers an invaluable chance for students to gain inspiration and compete in the mentioned competitions, which can help wonderfully in their development.

As horn students, we must embolden ourselves to face the mettle of competing. Even if the results do not go our way, the process of preparation will prove valuable. This summer, the International Horn Symposium offers a chance for students of all ages and classifications to participate in the competition experience. Fellow students, come to the IHS symposium and compete!

Encourage your favorite composer to submit works to the 2024 Composition Contest.

The winner of each division will receive a prize of $1250 U.S.D. The winning compositions will be performed or featured, if possible, at an International Horn Society Workshop. The winning composers will have the option of having the work published by the IHS Online Music Sales.

For the 2024 Contest the Instrumentation of the Divisions follows:

FEATURED DIVISION:

• Compositions for Solo Horn (alone/unaccompanied)

VIRTUOSO DIVISION:

• Compositions for Solo Horn with Vocal Ensemble
• Compositions for Horn Ensemble (two or more players, all horns)
• Compositions for solo horn and keyboard instrument. (Keyboard instruments may include piano, harpsichord, organ, electronic keyboard, or mallet percussion.)
• Compositions featuring Horn with chamber ensemble of three or more players (one horn part only). (The chamber ensemble may include any combination of electronic instruments, acoustic instruments and/or voices. Electronic instruments may be live or pre-recorded. Acoustic instruments may include Wagner Tuben.)
• Compositions featuring Solo Horn featured with large ensemble. (The large ensemble may include any group of electronic, acoustic instruments and/or voices. Electronic instruments may be live or pre-recorded. Acoustic instruments may include Wagner Tuben.)

Information and application procedures may be found at-

https://www.hornsociety.org/about-the-ihs/composition-projects/composition-contest

Entries must be received no later than December 1, 2024.

For more information about the International Horn Society’s Composition Projects, please see the Book:  The International Horn Society: The First 50 Years: Chapter Four: The I.H.S. and New Music for Horn, as well as reading the ongoing reports in The Horn Call—including articles in previous issues. Also, please attend the International Horn Society Composition Contest Program on Wednesday, July 31, 2024, at our Symposium IHS56: Horns on The Horizon.

by Marty Schlenker

Dear Fellow Ambitious Amateurs,

We begin column #4 with an introduction to Richard Davis of Franklin, TN. He originally contacted me so that I could put him in touch with Marilyn Bone Kloss to receive Cornucopia, then graciously agreed to be profiled here. Elements of his journey as an amateur are similar to my own and can serve as inspiration to anyone.

Richard grew up in Mason City, Iowa, USA, hometown of Meredith Willson of The Music Man fame. His father was the band director in town, and that set Richard on a course toward a music degree until he encountered 18th century counterpoint and changed majors. Nevertheless, his dedication to horn continued.

Richard is well into retirement but practices at least an hour each day. He notes, “People begin to lose muscle mass in their 50s, but you never need to lose much at all if you keep using it. You don’t need to stop challenging yourself.” He believes practicing is good and necessary, but also that one must play with a group. It’s a way to exercise the “performance gene,” challenge oneself on repertoire, and manage sound.

Richard is a member of the Brass Band of Nashville (https://brassbandofnashville.org/) and the Franklin Brass Quintet whose members all come from the Brass Band. He observes, “As we age, we can become generationally isolated. Music is a way around that.” He enjoys working with younger players. The youngest member of his quintet is 29.

Like me, Richard resumed lessons in middle age, with Dr. Jeff Snedeker of Central Washington University. Richard felt he needed to mix things up after doing too much of the same thing, and embarked on a study of jazz horn. He met his match in studying improvisation, gaining the appreciation that it is every bit as challenging as older forms of composition.

I’ll be happy to be going as strong on horn as Richard when I reach his age, and happy if the lessons I recently embarked on bear as much fruit as they have for Richard.

Now a quick note on my lesson saga. Last month, I mentioned the advice I got to quit tonguing so hard. I still don’t feel like I am at habit-strength with my new tongue position (farther back, more vertical), but it’s definitely heading me in the right direction.

I wrote last month that the new tongue position changed the shape of my oral cavity. The most obvious effect of this has been an improvement in my upper register. Within a couple of weeks of settling my tongue in on the first ridge of my palate, B-flat and C were coming out with the ease (a relative term, of course) that I used to experience for G and A. Hooray! At all dynamic levels? No, not yet. Whenever I might want them? Also no. But there’s hope!

Next month, I hope to have another profile for you of an ambitious amateur, plus the next bits of direction that I’ve received in my lessons, one of which has had immediate, unmitigated positive impact, and one of which has put me squarely in “get worse to get better” territory.

Ambitious amateurs, get in touch and share your stories. This column will be much more with your contributions.

Until next month,

Marty Schlenker, Amateur Hornist

by Layne Anspach

Hello musicians!

This month, Chamber Music Corner will feature Esther Ballou’s Suite for Winds (1957). Born in 1915 in Elmira, NY, Ballou was a composer, educator, and pianist. She obtained degrees from Bennington College (Vermont, 1937), Mills College (1938), and the Juilliard School (1943). She taught at Juilliard (1943-1950), Catholic University (1951-1954), and American University (1955-1972). In 1963, Ballou became the first American woman composer to have a work, Capriccio for Violin and Piano, premiered at the White House. She published a music theory textbook in 1971 entitled Creative Explorations of Musical Elements. While on sabbatical in 1973, she passed away in Chichester, England, due to a recurring illness.

Suite for Winds is a work for double woodwind quintet. It was premiered at Catholic University in 1957 by members of the United States Air Force Band. The work appears in three movements. The first, Allegro, is characterized by its uplifting mood, and it features each instrument paired with its counterpart. The opening section features the full ensemble with a few instances where the upper voices (flute, clarinet, oboe) alternate with the lower (horn, bassoon). The middle section features a soli from the oboes and a brief transition presented by the clarinets. The final section reprises a shortened version of the opening material before ending with a flourish.

The aptly named Lento e dolce holds a contemplative air. Only the woodwinds are featured in this movement. The first bassoon underscores much of the movement either as a supportive or solo line, but the flute is featured as the main melodic voice. The form of the final movement, Allegro, alternates between the entire ensemble and smaller groups in a dance-like triple meter. The opening section, which returns twice in the movement, uses all voices with a consistent reliance on fortepianos. The alternating sections feature a smoother and less dramatic ambience; a lovely oboe solo is prominent in the second iteration. The work concludes with a peaceful, somewhat anticlimactic coda.

The reference recording from the Atlanta Chamber Winds’ album, Wind Music (2020) from Albany Records. The hornists are Jason Eklund and Helen Werling.

Ein Waldhorn Lustig

Florian Dzierla