by Tiffany Johns (reprinted with permission)

If you are curious about brass instruments, you may have come across something called an ascending valve in your internet travels. If you’re not sure what that is, or you do know but would like to read about all the different kinds of ascending valves out there, this article is for you.

The concept of an ascending valve is pretty simple. A normal valve is inactive when it is not pressed down (via piston finger button, rotor paddle, etc.), so the air goes straight through and doesn’t detour through the additional valve tubing. When you press down the valve mechanism, the valve activates, redirecting the air through the valve tubing and lowering the instrument’s pitch. An ascending valve is set up the opposite way—the valve is active when it is not pressed, so its default state is using the additional valve tubing. Then when you press down the valve, it becomes inactive, raising the pitch.

In fact, there is an ascending valve that is completely standard in the modern brass world: the change valve on a double horn. The instrument stands in F, and then when you depress the change valve with your thumb it shortens to B-flat. (That said, some players will [set] the change valve to stand in B-flat, especially in Europe.)

Ascending valves have a long history and have been used on various brass instruments in many different ways. They had the most widespread use in French piston-valve horns (that can properly be called French horns!) from the late 19th century until the middle of the 20th. Probably the most interesting type is the Chaussier horn, an instrument developed in the 1880s.

The valved horn was still unpopular in France at the time, and the Chaussier horn was intended to be played essentially as a natural horn with built-in crook changes. The Chaussier horn had a valve system completely alien to modern brass players:

• Stands in F
• 1st valve is a normal 1st valve (descending whole step, resulting in E-flat)
• 2nd valve is an ascending half step (resulting in F#)
• 3rd valve is an ascending major 3rd (resulting in A)
• Thumb (4th) valve is a normal 4th valve (descending perfect 4th, resulting in C basso)

The use of all these valves allows you to set the horn in any key from B basso to B-flat alto. As the highest possible standing pitch is achieved with both ascending valves (2 and 3) deactivated, B-flat alto is the true length of the open horn. But as it stands in F, it is thought of as an F horn with 2 ascending valves.

Selmer Thevet Ascendant compensating double	Alexander 203ST ascending full double with stop

When the French fully adopted valve horns, they continued with the ascending valve idea, but in a more conventional way. On many French piston-valved horns, the 3rd valve is an ascending whole step, while all the other valves are in the typical configuration used today. The result is an instrument that actually retains most standard fingerings, but with the added bonus of easier high notes using the (ascending) 3rd valve. It is still a compromise though; because you lose the descending minor 3rd of a typical 3rd valve, you lose a few notes in the low register.

A normal single F horn with descending 3rd valve can play chromatically down to sounding B1, while a single F horn with ascending 3rd valve cannot play lower than D2 (excluding pedal notes) and also can’t play A-flat2. Because of these compromises (easier high notes in exchange for worse low notes in the ascending horn, and vice versa for the descending horn), it was common in France for high horn players (1st and 3rd) to play horns with ascending 3rd valves, while low horn players (2nd and 4th) would play horns with descending 3rd valves.

A standard F/B-flat double horn with descending 3rd valve is entirely chromatic all the way down. If you exclude the F-side pedals (which most horn players can’t reach), it can play chromatically down to E1. If you do include the F-side pedals, the lowest real note is B0. (With false tones you could play even lower, into the double pedals.) Meanwhile, an F/Bb double horn with ascending 3rd valve cannot play D-flat2 (or D-flat1, a pedal), and without F-side pedals bottoms out at G1. Thus, French horn makers continued to make both ascending and descending models when double horns became standard.

Ascending 3rd valves didn’t catch on outside of France, but there are a few single B-flat horns with ascending valves that you can buy today, such as the 5-valve Ricco Kühn W125/C. There have also been a handful of modern ascending double and double descant models, though I don’t know of any currently offered.

To read the complete article and see numerous additional photographs, visit Tiffany Johns’ website at https://tiffanyjohns.com.

excerpts from an interview by Ellie Jenkins for Cor Values, The Horn Call, May 2018 (reprinted with permission)

What inspired your move from being employed by UMI to establishing your own full-time repair business?

After working 23 years in brass instrument manufacturing, I was ready for a change. I was very disappointed in some of the decisions being made, and I was doing the jobs of four people. I wanted these great companies to be great again, but their bottom line always won out. As more and more responsibilities were put on me, and as I realized my interests in the pro market were being ignored, I decided I needed to move on and transition my part-time repair business into a full-time venture. This was at the end of 1996. I wasn’t sure how UMI was going to receive this, but they did offer me a contract to continue designing and cutting all their screw bells at the rate of 450 per year, and this has continued since. Around 2000, United Musical Instruments was sold to the Steinway Corporation who also owned the Selmer/Bach Corp. In 2004, the Steinway Corporation purchased the Leblanc Corporation which owned the Holton Company. Confused yet? Around 2005 the Holton Company moved into the King/Benge/Conn factory. At that point I began cutting the bells and installing screw rings for them as well.

For what models—of horns, trumpets, trombones—have you been the primary designer? and of which are you the proudest?

I have been repairing and designing brass instruments for well over four decades, and I was in full-time business for myself by 1997. I was still very involved with Conn. Besides cutting and installing screw rings for the various Conn bells, I was building special models such as the Conn 12D and the Holton H200 descant horns in my shop. I built 75 Conn 88H Thayer valve trombones and 10 Conn 112H Thayer valve bass trombones in my shop as well. The longest project was the 8D Vintage project. This horn was to come as close to the Elkhart 8D as possible. Much work and experimentation paid off. I had just finished four prototypes for testing when the entire project was put on hold as a result of new ownership. Two years later, I was called into a meeting with the new plant manager who wanted to know how Conn could build a horn like the Elkhart 8D. I didn’t even know what to say except to inform him that two prototypes were sitting in the shipping room. He thought I was kidding, but from that day on, Vintage horns were in production. I also designed an 8D prototype horn that had a separate B-flat tuning slide. This horn was meant to appeal to the European market, but it never took off as Conn had hoped.

Of all the brass instruments that I’ve designed, I am most proud of the Benge 190F and 290 trombones, the Conn 36H alto trombone, the Conn 10D/11D and the 8D Vintage model horns. I also designed and built the contrabass trombone for the Cleveland Orchestra. I believe the fact that I was a professional horn player sets me apart. I could relate to all brass players, and they knew I would listen to their ideas and understand them.

What do you enjoy most about working on horns?

Working as a repairman for professionals is very worthwhile for me. I enjoy it thoroughly! My name is on the business, so I do all the repairs myself. My favorite job is valve rebuilding. Taking a worn-out horn and making it play again is very rewarding for me. I have my own plating system and the necessary tooling, so I can complete a valve rebuild in two days. Chemical cleans are numerous and I go beyond just cleaning: I tighten all the bearings, regulate the slides, and do minor dent work. The horn is like new or better. I even build custom horns for players, both horn and trombone. I’ve got the best of both worlds. I like what I do, and my shop is right next to my house in beautiful Chardon, Ohio. The Conn/Holton factory is only 20 miles away, which makes it easy for me to work with them.

What do you wish players would do better to care for their instruments?

One of my goals is to convince players with older horns to consider a valve rebuild before spending a fortune on leadpipes. I hear the same thing all the time: “I bought a new leadpipe, and I think it plays better, but I’m not sure.” I understand the desire to try new things that might improve your playing, but please have a competent horn tech (there are not many left) check out the valves first. Then consider a new leadpipe. Leadpipes don’t usually wear out, but valves do. Horn maintenance is another thing I would like players to know better. With each valve rebuild and chemical clean, I give a flyer on how to take care of your valves. I also give out a sheet on suggested lubricants. My biggest advice to all brass players is to oil your valves every time you play your instrument. Synthetic oil does not need to be applied quite as often, as it stays in the valves longer. Oiling lubricates and keeps the valves clean.

https://www.chuckwardbrass.com

English version

por Fernando Ruiz

Maderas más comunes

Ébano

El ébano es una de las maderas más densas y duras utilizadas en la construcción de instrumentos musicales. Se caracteriza por su color negro intenso y una textura fina que casi no presenta porosidad. En términos de sonoridad, el ébano ofrece un sonido un poco más oscuro, redondo y con un excelente control dinámico. Además, su densidad le otorga una resistencia impresionante al desgaste, lo que la convierte en una opción duradera, incluso para quienes practican largas horas.

Granadillo

El granadillo, conocido también como “blackwood africano”, es una madera ampliamente utilizada en instrumentos de viento como clarinetes y oboes, y ahora también se encuentra en boquillas. Su calidad sonora es clara y brillante debido a su dureza, pero sin perder calidez, lo que la hace una opción versátil. Por su naturaleza resistente a la humedad y cambios bruscos de temperatura.

Madagascar

Esta madera s muy particular, combina elegancia y funcionalidad. Su color varía de marrones claros a oscuros con vetas distintivas, lo que le da una estética única. En términos acústicos, Madagascar aporta un sonido equilibrado y con una riqueza tonal que muchos músicos describen como "cálida pero resonante".

Redgum (Madera de Goma Roja)

La madera de goma roja, originaria de Australia, es conocida por su tonalidad rojiza y su textura suave. Auditivamente, es una de las maderas más cálidas, más oscuro que el ébano que puede complementar estilos más suaves o mezclarse muy bien con instrumentos de viento madera.

Haya

La haya es una madera menos densa que algunas de las mencionadas anteriormente, lo que la hace más liviana. En cuanto a sonido, otorga un sonido más oscuro que el Redgum debido a su porosidad, ideal para quienes buscan un tono más natural.

Olivo

El olivo es una madera de extraordinaria belleza, con patrones de vetas que van desde líneas claras hasta formas intrincadas en tonos dorados y marrones. En términos sonoros, el olivo genera un sonido muy neutro y de mucha vibración, con calidez y una resonancia que se siente “viva”. Esto se debe a que el olivo nunca se seca y se mantiene siempre segregando su resina (cosa que nos viene mal al momento de tocar ya que deja un sabor amargo, hay q tratarla y barnizar la antes de probarla).

Palo de Rosa

Conocido por su coloración rojiza y sus vetas oscuras, el palo de rosa es una madera tradicionalmente asociada con la fabricación de instrumentos de alta gama. Ofrece un sonido lleno de cuerpo, con una proyección equilibrada que puede adaptarse a múltiples contextos, hasta solos orquestas.

Pau Ferro

El pau ferro, también conocido como “madera de hierro”, es una opción que combina dureza y belleza. Su coloración varía entre tonos marrones oscuros y rojizos, con vetas muy definidas. En términos sonoros, produce un timbre más directo y robusto, ideal para músicos que buscan un sonido con carácter.

Estas son algunas, por no decir una minúscula parte de la cantidad de maderas que he probado con diferentes medidas de aro, copa, granillo y demás medidas que influyen en las boquillas y hoy en día seguimos buscando más maderas compatibles con nuestro ámbito musical, que no sean toxicas y produzcan un sonido único y una sensación confortable para tocar, algunas de estas maderas con las que estamos experimentando son Bubinga, Zebrano, Samanguila, Ébano exótico, Palo de serpiente, entre otras. Muchas de estas maderas provienen de fuentes gestionadas de manera sostenible, tambien vale destacar que se pueden hacer combinaciones entre madera y metal brindando la mejor parte de ambos materiales consiguiendo un resultado impresionante.

Desde el ébano denso y oscuro hasta la calidez del olivo o la profundidad del pau ferro, cada madera tiene su propia personalidad que se refleja en la música que producimos, explorando nuevas sonoridades. Aunque las boquillas de madera ofrecen numerosas ventajas, también requieren ciertos cuidados adicionales. Por ejemplo, es importante mantenerlas lejos de cambios bruscos de temperatura o humedad para evitar grietas. También es recomendable limpiarlas con regularidad y engrasarlas con aceite específico para madera, asegurando así su longevidad y rendimiento. Además, no todas las maderas se adaptan a todos los músicos, por lo que probar varias opciones antes de tomar una decisión es fundamental.

Asi mismo, invitamos a todos los lectores de este articulo a probar o conocer este trabajo con las boquillas en madera siguiéndonos en nuestras redes sociales o web.  

by Katy Carnaggio

Beyond data and drills, there’s you. Your imagination. Your preferences. Your sound. Last month, we explored why great horn playing relies on predictive reasoning (our ability to anticipate sound before it’s made). Next month in Part II, we’ll dive into the cognitive science behind how to train that ability. But before we get to the methods, let’s start with the most important variable: you.

Improbable.
A word sometimes playfully associated with a Verne Reynolds etude. But you also sit down in your practice room, turn to any page, and with just air, flesh, and metal, make meaning. Maybe you’ve felt it—that moment when it’s not just sound, but something that feels like you.

Music is improbable. Music is beautiful. Music is afraid of nothing.
And so are you.

As Bill Bryson writes:

“Not one of your pertinent ancestors was squashed, devoured, drowned, starved, stranded, stuck fast, untimely wounded, or otherwise deflected from its life's quest of delivering a tiny charge of genetic material to the right partner at the right moment in order to perpetuate the only possible sequence of hereditary combinations that could result–eventually, astoundingly, and all too briefly–in you.”

Embracing your improbability is where beauty, boldness, and creativity in music-making begin. Individuality precedes technical precision. Like learning choreography, we follow the steps, explore timing, and repeat until we’ve made the dance our own. And it feels like flight. 

So let’s develop some wings! 

Here are five ways to get to know your “choreography” of the horn. Try one, or cycle through all five over the week. Notice how your internal model of sound begins to take shape.

1. Play an excerpt in the style of your favorite color. Then try a contrasting one.
2. Channel another musician. From Katy Woolley to Taylor Swift—anyone works. Let their energy and phrasing shape yours.
3. Use nature as a resonance map. Embody a thunderstorm, ocean tide, or hummingbirds through your breath and articulation.
4. Dance with the metronome. Treat it like a partner. 
5. Play a phrase as a gift. Once for someone you love. Then again, as if it’s from them.

Imaginative, preference-based practice isn’t a distraction from the “real” work—it’s a legitimate, evidence-informed tool for technical growth. Each time you return to one of these prompts, you’re collecting data on what thoughts and images lead to the sound you want. That’s predictive reasoning in action.

We’ll dive deeper in Part II. Until then, may your practice be improbable, beautiful, and fearless.

by Inman Hebert

Have you scrambled recently to locate and update your resume for a last-minute opportunity? As April brings reminders about spring cleaning, music students should take stock of their preparedness to quickly provide application materials.

Are you considering where to start? Select an electronic location (computer, cloud, etc.) and create a folder to save your application materials. As the metadata can change when documents are uploaded or migrated, include the last date modified as part of the file name so that you can easily find the most up-to-date documents. (Example: FirstNameLastName_DocumentTitle_YYYY_MM_DD [or the reverse to sort by date])

Since your contact information lies prominently at the top of your resume, could your email address be perceived as unprofessional or immature? Establish a professional email account separate from your student college account for communication, preferably one distinct from the one used for subscriptions and spam. Creating this account provides continuity as we move into graduate school and the professional world. And remember, at some point, we lose access to our university accounts.

Create a master document with a complete record of everything, including non-musical activities. This comprehensive list should include full-time, part-time, and volunteer work with details such as organization name and location, position title, start and end dates, and detailed job descriptions using active verbs. Instead of only focusing on descriptions, do not forget to list your achievements in those positions. This source file may be a document, a spreadsheet, a database, or other file type, but format—as long as it’s tidy—matters less than providing a chronicle of your professional life. Think about your education and training; teaching; performance and ensemble experience; festivals, camps, and workshops; competitions and performance awards; professional auditions (if advanced); teachers with whom you have had extensive lessons; master classes; repertoire; professional memberships, leadership roles; honors and awards; and publications.

Always be accurate and specific but understand that gathering this information may involve locating old files, digging through emails, and talking to those who can jar your memory. Use the time to be proud of your accomplishments. If feeling dubious about your experiences, understand you are at the beginning of your professional journey and think about the next steps in your continued growth as a horn student.

Research music resumes online to find a template you can adapt, and understand that certain formatting expectations apply to all resumes. In searching through templates, find one that is easy to read and allows the reviewer to skim through it in their limited time. The layout needs a balance of white space and clear category alignment. 11 to 12-point font allows easy readability. A larger header at the top includes your name and contact information.

The last step involves using that master file to tailor your resume for the experience, which could be an application for college, graduate school, music festivals, K-12 schools, a college position, orchestras, or arts organizations. While graduate schools may be interested in a more complete picture, an audition will likely focus on your relevant performance experiences. Always read the complete description of what is being requested and be selective. Before hitting that send button, remember to proofread for errors in spelling and grammar. Name the file as listed in the description or, if not specified, with your name, the position, and the title of the document. Finally, save it as a PDF and send it off knowing you put forth your best effort.

Finally, look at it often, and update it regularly.

Never be afraid to reach out to more experienced graduate students, mentors, or professors for guidance in preparing your resumes and applications. Proofreaders can catch things that our eyes may miss from constant review or familiarity. Put in the effort, and the next time you receive a last-minute opportunity, you will find yourself calm and prepared to present a professional resume.

by Todd Goranson, DMA, BSN, RN; Professor of Saxophone and Bassoon, Messiah University

When I completed my Doctor of Musical Arts degree twenty years ago, I had no idea that a passion for teaching injury prevention and performance anxiety management to musicians would one day lead me to nursing school. Two nursing degrees later, I now spend many of my “days off” in clinical practice as a registered nurse in the emergency department observation unit at a Magnet hospital in the region—while maintaining my full-time job as a university music professor, performer, and clinician.

I have had the opportunity to work with thousands of students and professional musicians over the past fifteen years to help them find the healthiest ways to approach their craft. I am excited to share evidence-based strategies and tactics for managing performance anxiety, injury prevention, and overall health for the horn player. This first column in Horn and More will address the physiological symptoms and causes of performance anxiety, followed—in next month’s issue—by recommended approaches for management.

Understanding the “what?” and “why?” of performance anxiety is critically important for managing the phenomenon. Many of the students I meet report their belief that their “stage fright” experiences make them “unusual” or “disadvantaged” among their peers (which is, of course, untrue). First, let's destigmatize performance anxiety by acknowledging that those who experience it are not in the minority, even in the professional world. In the ICSOM (International Conference of Symphony and Opera Musicians) 2015 Musicians' Health Survey, 98% of the respondents indicated that they had experienced instances of performance anxiety.[1] Speaking or performing in public (i.e. the potential of public embarrassment) is ranked as the second most common fear-inducing activity, behind potentially deadly situations such as combat.[2] [3] Furthermore, the symptoms that we encounter when experiencing this anxiety are not an indication that our bodies are malfunctioning or that we “aren't cut out” for public performance. In fact, the symptoms simply reflect that we have a fully functional sympathetic nervous system (SNS). The flight/flight/freeze response from the SNS is one of the most brilliant and critically useful features of the human body—but it can be an unfortunate distraction if it is triggered during a junior recital or a performance of Till Eulenspiegel.

The...

by Vidhurinda Samaraweera

The first time Priya truly understood the magic of music was in a small room, her fingers tracing the curves of a horn. No conservatories lined her streets. No professional musicians walked her neighborhood. Just silence, just the promise of sound. Her world was different from the orchestral landscapes of Europe and America—a place where musical dreams required more than talent. They demanded an almost impossible combination of passion, resourcefulness, and blind faith.

The horn her father had saved months to purchase online from Taiwan was more than an instrument. It was a lifeline, a thin brass thread connecting her to something larger than her immediate circumstances. To Priya, access to quality instruments, specialized mouthpieces, and critical accessories are luxuries. A decent instrument could transform Priya’s talent and trajectory, turning potential into professional capability. Each practice session was a negotiation between the music in her heart and the limitations surrounding her. Priya dreams of lessons with a seasoned horn professor from a world-class school that could unlock techniques which could otherwise take years to discover alone. The risk of learning bad technique could rob years of progress and require precious time to unlearn. Given the slow learning process, Priya would take ages before she is fit to take part in competitions. She sees her Facebook friends perform and dreams of her first solo recital in Delhi…but who would support her? They keep asking, “What horn?” That is where the International Horn Society comes in. The IHS has valuable content on digital platforms, and they organize international competitions and symposia which create opportunities for musicians from all around the world to learn and to showcase their talents. These initiatives do not just support individuals—they expand global perception. The IHS has an extensive library and offers reading materials to its members, providing continuous learning opportunities. For musicians like Priya, these resources represent educational pathways previously unimaginable.

Members of the IHS get the opportunity to connect with other musicians across the globe. But what if Priya has no means to become a member of the IHS? What if she cannot afford lessons with top-notch teachers despite being able to communicate with them? Priya might not be able to afford to travel to a single symposium, regardless of how much she deserves to attend.

Funds and scholarships for promising musicians from underdeveloped regions of the world could fast-track her learning and exposure to systematic training. The IHS provides valuable scholarships like the Barry Tuckwell Award and the Paul Mansur Award. While acknowledging the value such awards bring to students, we should also assess the applicability of the same to students and aspirants from developing nations. Rigid criteria requiring institutional affiliations, age limits, and contingencies could impede students like Priya from receiving any benefits. This by no means is a complaint or accusation. This is purely an attempt to breathe life into regions, including the Indian Subcontinent and Africa, by raising awareness. This might be the perfect time to garner support, from within and beyond the IHS, for deserving aspirants from developing nations. The potential impact extends beyond individual musicians. Each supported aspirant becomes a potential mentor, educator, and inspiration for future generations. Priya could become the first professional native horn player in her region, creating possibilities for others where none existed before.

Note: Priya is a fictional character, a figment of my thoughts. Her likeness is AI-generated, much as I imagine her. VS

Chamber Music Corner—Catherine Likhuta’s Out of the Woods? (2011)

by Layne Anspach

Chamber Music Corner will start a new series on a different chamber instrumentation—horn, violin, and piano, i.e. horn trio. The first article in this series will focus on Catherine Likhuta’s Out of the Woods? (2011). Likhuta (b. 1981) is a Ukrainian-Australian composer and pianist. Her solo and chamber works for horn are regularly appearing throughout the horn community, notably on albums by Denise Tryon and Adam Unsworth. Likhuta has written extensively for wind band in addition to works for orchestra and chamber music. As described on her website, “[Likhuta’s] music exhibits high emotional charge, programmatic nature, rhythmic complexity, and Ukrainian folk elements.”

Out of the Woods? was commissioned by hornist Adam Unsworth in 2011. Likhuta writes in her program notes, “This is essentially a toccata that attempts to reflect the spectrum of emotions and actions of a person being chased. It jumps between a playful chase, an adventurous runaway, and a run-for-your-life escape.” She ends the program notes questioning whether or not the escape is successful, leaving it up to the listener to decide.

The trio starts with a rhythmic piano figure that continues with violin melody and frantic horn interjections. The horn and violin trade the melody back and forth as the piano varies its supportive motifs. The first reprieve is an upward violin glissando and a downward horn glissando, but it’s a brief moment that gives way to a horn melody and a new piano rhythmic figure. A slower piano alone section ends this first frantic episode as the work transitions to a new section which is marked Freely. High-tessitura violin and less-frantic figures from both horn and piano depict a still anxious section of the work. There is a continuing increase in tempo with each subsequent section, although the anxiety ebbs as the music pulses forward. Sections in this movement include Agitated; With Energy and Confidence; Focused, angry, suspicious, nervous; and, Ominously!

The work then comes to Playfully, focused in which the texture temporarily thins. Horn and violin take turns leading until the work arrives at Desperately, somewhat freely. The new section contains extended passages for violin and horn alone, responding to each other. The piano re-enters with another rhythmic motif at Focused, with energy as the violin and horn move forward with renewed energy to a short Cadenza for horn. The horn begins the Coda with acrobatic figures, and violin and piano join in turn as the ensemble races to conclude the work.

The reference recording is from a recital at the Queensland Conservatorium in 2014. Adam Unsworth is the hornist with the composer at the piano.

by Austris Apenis

Welcome Tillmann! How did you discover the horn? Do you play any other instruments?

I actually started on the trumpet pretty early. Since I grew up in a family of musicians, we had all kinds of instruments laying around, and I chose the trumpet. In the first few years I never really practiced, though; I just played a few minutes a day for fun, if at all. When I turned 11, I got more serious about practicing and joined a youth orchestra in my hometown Hamburg. Those first experiences with orchestra and chamber music turned music into a real passion for me. When I turned 14, I got to try the horn and instantly fell in love with it and all its possibilities, so I changed instruments. What I loved and still love about it is the warm sound, the range between the lower and higher registers, all the incredibly beautiful solo pieces and the ever-changing job you have in an orchestra. Sometimes you play as part of the brass section, sometimes as a part of the wind section, and sometimes you intertwine with the strings in a very special way. It just never gets boring.

Your dad is a well-known trumpet player. How was growing up in such a musical family?

Well, I always had music around me, in all shapes and forms. It was also very normal to listen to classical music every day, seeing my parents practice, their concerts and tours, and conversations about their experiences. I got to know names of different orchestras, soloists, and conductors, so I always had an idea of what being a part of this world entails. There were as well, of course, the moments where I wished to not constantly be surrounded by classical music. When I was with my friends and their families, we listened to pop, rock, and the charts, for example. This led to me being interested in a lot of different styles besides classical music, which was unusual for my family.

In the end, I did choose classical music as my profession, and the experience of my parents has always been a huge gift for me. Because of them, I already knew the world of classical music, even before I properly entered it—and that has been incredibly helpful.

I think the thing that shaped me the most is the fact that my parents, even though they’ve basically spent their whole lives doing this, never get tired of it. They have nothing more important to them, they never get bored of improving, practicing, learning new pieces, and simply experiencing all these wonderful things. That has had such a huge impact on me, and I’m incredibly grateful for this influence.

The motivation behind being a classical musician is fascinating. If you think about it, we have to put in an endless number of hours to keep in shape and improve; it never stops. I think because of that it stays interesting. We’re always discovering something new. What are your thoughts?

That's true, being a classical musician needs an endless amount of time and dedication. But to be honest, every musician also knows how hard it can be sometimes and how there are days or even weeks where you lack the much-needed motivation to push through that. But I think what is most important is to find what brings you joy in music, especially with your instrument, and then to sometimes remind yourself why you’re so passionate about this.

My personal motivation to keep pushing is almost always the joy of just playing for myself in a room, to be in contact with my instrument, and just to enjoy the music I’m creating. I find it so incredibly important to have goals you can achieve on your own, without external things that need to happen. For example, I set goals of nailing a certain phrasing, feeling comfortable with my breathing, finding a balanced posture, or learning a new piece. For me, it has always felt easy to stay motivated like that, because ultimately, it’s not about “staying in shape” or “doing what I have to do;” it’s about doing what I want to...

Ein Waldhorn Lustig

by Caiti Beth McKinney

Hello everyone! This month I wanted to share with you the music of composer Sofia Gubaidulina (1931-2025) to honor her recent passing on March 13. Gubaidulina was an incredibly brave woman who dedicated her life to her music, and, against all odds and obstacles, continued to create in ways that felt honest to herself. She was born in the Soviet Union in 1931 in a time where musical tastes were strictly controlled; in fact, during her early career, the study of modern music from the United States and parts of Europe were completely banned. She and her fellow students smuggled scores from composers like Ives and Cage, all so they could learn as much as possible.

During and after her post-graduate studies, Gubaidulina’s music was frequently scrutinized by governmental figures who argued that she was on a “mistaken path,” but other composers like Dmitri Shostakovich supported her work and encouraged her to continue. Throughout her life, her music was accused of being too religious, too Western, and at times, even “irresponsible.” In the face of such blatant opposition, Gubaidulina remained undeterred; she used the less-regulated realm of film music to experiment with her ideas and develop her compositional voice. She became internationally recognized in the 1980s thanks to her violin concerto Offertorium, and this work launched her into the world of orchestral music. Her many pieces for orchestra include the deeply powerful The Wrath of God (a tour de force of low brass writing) and Fairy-tale Poem, a distinctly avant-garde work of plucked strings and flighty woodwinds.

Gubaidulina also composed an immense amount of chamber music, including her 1979 work Zwei Stücke für Horn und Klavier (Two Pieces for Horn and Piano). The piece shows the dynamic range of Gubaidulina’s musical palette; the composer plays with the full range of the piano and the dynamic capabilities of the horn, and the work is an approachable starting point for engaging with Gubaidulina’s compositions. (Enjoy Der Jagd from this work.) I find her compositional philosophy particularly inspiring and wish to leave it here for you to consider. In her own words, “The art of music is capable of touching and approaching mysteries and laws existing in the cosmos and in the world,” and it is “is consistent with the task of expanding the higher dimension of our lives.”

by Haeree Yoo, Solo Horn, WDR Sinfonieorchester; IHS 57 Featured Artist

There are many effective ways to practice, but the impact of quality practice on a musician's growth is often overlooked. Since I began playing the horn at the relatively late age of 15, I had to progress quickly, and I believe that effective practice played a crucial role in that journey. In this column, I'd like to share the approaches that have worked for me. While I'm still early in my teaching career, I hope my experiences can offer useful insights to students preparing for competitions and auditions.

For over ten years, I have kept detailed practice notes, documenting my daily plans, reflections, and lesson feedback. Before each session, I wrote down what I planned to practice, and afterward, I noted my observations. My notes included specific exercises, such as scales, arpeggios, and articulations, as well as personal insights into what techniques were working.

I always set clear goals for my exercises. If I was working on articulation, I focused on clarity. For legato, I aimed for smoothness and softness. One of my biggest challenges was lip trills. To improve them, I systematically increased my tempo using a metronome, gradually building up from 60 to 180 bpm over a year. I tracked this progress in my notebook, ensuring steady improvement.

I also connected fundamental exercises directly to the pieces I was working on. For instance, after practicing lip trills, I immediately applied that technique to the trills in the first movement of Mozart's Horn Concerto No. 4. Similarly, after working on one-octave intervals, I practiced the singing passage after the fanfare in the first movement of Strauss Horn Concerto No. 1. This approach refined my repertoire while reinforcing technical development.

When learning a new piece, I followed a structured method:

• Step 0 Research background information on the piece and listen to multiple recordings.
• Step 1 Read through the entire piece and mark challenging sections.
• Step 2 Practice difficult sections in isolation.
• Step 3 Focus on musical expression and phrasing.
• Step 4 Check intonation and tempo using a metronome and tuner.
• Step 5 Review and apply lesson feedback.
• Step 6 Work with the accompaniment to synchronize with the pianist.
• Step 7 Record my playing and analyze areas for improvement.
• Step 8 Simulate a performance with mental training in front of an audience.

I assigned each piece to an appropriate stage based on my progress, ensuring a regimented and efficient practice routine. After each session, I wrote down my reflections and reviewed past notes to track improvements. If I discovered an adjustment that worked particularly well—such as modifying my embouchure or mouthpiece placement—I documented it carefully for future reference. In addition to personal notes, I recorded my lessons (with my teacher's permission) and listened back to them during practice. This helped me absorb feedback more thoroughly and refine intonation, rhythm, and timing.

I structured my practice schedule by balancing essential daily exercises with rotating exercises based on their relevance. When preparing for competitions or recitals, I distributed my repertoire practice throughout the week, adjusting my focus as needed. For major events like auditions, I planned my practice flow well in advance. Two days before a performance, I limited my sessions to three hours to manage fatigue and adjusted my practice times to match the audition schedule. For auditions, I incorporated long breaks to simulate the waiting period between rounds, helping me stay mentally ready.

My structured approach might seem intense, but it was incredibly helpful. Organizing my practice gave me a sense of accomplishment, as I could track my progress and stay motivated. Daily practice can sometimes feel repetitive and exhausting, but breaking it into clear, manageable tasks made it more rewarding. Checking off each item on my to-do list provided a sense of satisfaction and helped me stay engaged.

Of course, this method may not work for everyone, but since it played a significant role in my own development, I wanted to share it. Every musician has a different approach to practice, but I hope my experiences can offer useful guidance. With thoughtful and structured practice, I believe that anyone can make meaningful progress.