In this chapter, I delve into Dutch methods for the Bb horn. I am surprised to find so few Dutch-written methods available. Klaske de Haan found out the same thing during her master's research, she described this situation as ''strange''.1
I have come across only three Dutch French horn method books: "Horen lezen spelen", "Easy Steps", and "Tune Up!". Additionally, I found two Dutch-language methods for brass classes, namely "Samen Leren Samen Spelen" (Learning Together, Playing Together) and "Essential Elements". However, I have chosen not to include them in my research as they cater to brass classes or group education. These settings often prioritize getting different instruments playing together quickly, which can exacerbate existing difficulties with the horn.
Horn teacher Karreman confirms this: ''My brass band uses Samen Leren Samen Spelen for the group lessons (basically the beginners' ensemble), so I extract some material from there. However, it is clearly designed for other brass instruments (trumpet, trombone, baritone), making the range very awkward for the horn.''2
Nonetheless, I mention them to acknowledge their existence.
Interviews with various horn teachers corroborated my findings; none mentioned any other methods. I asked several experienced horn teachers which Dutch-language method books they are familiar with. I involved both Dutch and Flemish teachers. These were the answers:
It is likely that I have not overlooked any options, and these are indeed the only Dutch-language books available. that is not much. Does this imply that in the Netherlands, there's a need to reinvent the wheel for a method that aligns with my preferences?
There are probably methods written in other countries that take a bit more time before reaching higher notes and have more material within the same range. Why are we not using those?
The reason for this is that the Netherlands is one of the few countries where we start on a Bb horn. In professional orchestras, a double horn is common. In the Netherlands, horn players of all ages start on a Bb horn, and if we switch to a double horn, we add the F side. it is the opposite in most of the rest of the world; they start on an F horn, and if they switch to a double horn, they add the Bb horn.
Regarding this, Klaske says the following: ''After an extensive search among the existing horn methods it is clear that there are only a few methods based on the B flat horn and it is natural harmonics. Strange because the B flat horn in the Netherlands is the most played instrument for the beginning horn player, especially in wind bands. Many methods are foreign and based on the natural harmonics of the F Horn. A beginner on the B flat horn with this method for F horn is faced from the start with sometimes-difficult valve handles. Even the popular methods with a play along CD are not based on natural harmonics but start with do-re-mi songs. Often they are just adaptations of methods for other wind instruments.'' 4
With this, I think she hits the nail on the head. There is a lot of material available, but most is written from the F horn perspective, and therefore not suitable for beginners on a Bb horn.
The method books that are written for the Bb horn are not authored by a horn player, and thus, in my opinion, lack a lot of relevant knowledge about the difficulty of the instrument and consequently the understanding of what is or is not playable at a young age.
Clicking on any of the first three photos will reveal the contents of this book. For the aforementioned reasons, I am excluding the last two methods from consideration.
