Chapter 8 : Inspiring other method books
In this chapter, I discuss what I find important in a new teaching method and which existing methods, whether written by or for horn players, inspire me.
Something that I had not noticed until recently but that has actually been happening for years: my students frequently ask me if what they play is "good''. No one has ever asked me if I liked it or if it sounded beautiful or anything of that kind. With this in mind, I realized that sometimes I am also too focused on playing a technically perfect piece because I want to play it well, but that is not exactly what the music is about.
In my lessons with my main subject teacher at the Royal Conservatoire Teunis van der Zwart, we try to bring out more musicality. We are working on expressing my emotions and ideas through phrasing, articulation, colors, and dynamics. Of course, a piece needs to be technically correct, but there is so much more that matters. I notice that embracing a different mindset - it is about so much more than perfection; a piece with 'kicks' or a wrong note is not a disaster - also gives me a lot of confidence. I feel more secure on stage than I did in previous studies. I wish this confidence for my students and future players of my future method book as well.
Therefore, I believe it is important for students to learn to listen to themselves and to think less in terms of right or wrong. So, in the very beginning, I do not want to focus too much on the right pitch and reading notes.
The question is at what moment the notation should be introduced. As far as I'm concerned, one thing is clear: This cannot be the starting point; the auditory sense should guide from the outset.
I want the focus to be on blowing, on producing the tone, on buzzing, and on feeling what the lips need to do to create a sound. I believe that the starting point should be a tone that comes naturally, not one that is forced to meet the expectations of a book written by someone who most likely has never felt a horn mouthpiece on the lips.
I want my students to gain trust in the instrument and listen to their sound before we start learning to read sheet music, so there are no distractions from reading notes and rhythms, and there is only focus on making sound. Also, I want to promote musicality instead of prioritizing technical skills initially. Therefore, in the beginning, I want to let go of reading staff notation and seek a simpler approach.
I searched online for beginner methods for various instruments, for inspiration.
That is how I came across the Hal Leonard piano method. After reading the reviews, I ordered to see if I can learn something from this. Although piano is completely different from the horn, I liked that it starts with graphic notation instead or reading staff notation.
The method book starts with only two different tones that are not yet notated as actual notes on a staff. At this point, no note names are provided, nor is it indicated which octave should be played.
(Since this comes from a piano method book, it is notated in C, unlike most other examples which are notated in F.)
With graphic notation, making a distinction between long and short, the intended rhythm seems very clear for me.
The book starts with black keys, which are flats/sharps. I have never seen this in a horn method; typically, we start on a C or an F, and flats/sharps are introduced much later. I believe that horn methods often prioritize what appears visually manageable, which is why we tend to avoid them in the initial phase, regardless of how playable they may be.
Several songs follow where the children find the right fingers based on the numbers provided instead of note names.
The piano method starts with only two fingers at the black keys, but later also white keys. The thumb is 1, index finger is 2, middle finger is 3, ring finger is 4, and the pinky is number 5. It seems that this way, they can simply follow the fingers.
This is also a difference with the horn; all method books I know start from lesson 1 with learning to read notes, while reading finger combinations on the horn is equally possible as on the piano, albeit without indicating exact pitch.
Slowly, they learn different rhythms: the whole note, half note, and quarter note. After a few pages, the concept of a "bar" is explained. The barline is used from now on, but it was not used before. The notes still are not placed on a traditional staff. Later in the book, the staff is also introduced, and the process of learning to read staff notation begins. Fingers are no longer indicated with the notes, only the note names. Eventually, even these disappear, and the exercises are notated in traditional music notation.
The entire way the material is presented seems very child-friendly to me, because it all seems to progress very gradually and there is never a large amount of information. The transition from graphic notation to staff notation occurs very gradually. This seems to avoid overwhelming the students with a large amount of theoretical information all at once.
Now the big question is whether we can also use this way of music notation, and the transitioning to staff notation, for the horn, considering it is a very different instrument.
Can we also start playing based on numbered fingers, in a graphic notation, without specifying an exact pitch?
I think we can, and I even believe it offers a significant advantage. Aside from postponing the introduction of staff notation, this makes the starting note variable, since on the horn there are more possible tones with the same fingering, allowing children to begin with the pitch that naturally suits them best.
I believe the first step is to learn how to hold the instrument and how to blow, without finding the right pitch being the main focus. It would be nice for students to become familiar with the instrument and play for a while before note reading becomes the focus.This way, they can focus on sound quality, breathing, and blowing first.
They could familiarize themselves with these aspects using only two different notes, just like in the piano method. These notes do not need to be named yet. They could have numbered fingers, similar to the piano method.
Given the way our valves work (see ''The French Horn''), students can play certain intervals without knowing the note names and thinking of a correct pitch yet.
The method does not need to specify a particular pitch for the starting tone. Indicating the fingers that should be pressed should be sufficient.
As previously written, when the student does not press any valves, there are a few possible notes that can come, because that is how the instrument works. You can see all the possibilities here, although many notes will be out of reach for a beginner.
Because I'm thinking from the perspective of the horn player, the example is notated in F.
This is our natural harmonic series.
Some of the natural harmonics, we do not play as open tones (that is, without pressing any valves) because they do not tune well. For these, we use an alternative fingering that tunes better, although they are still part of the series.
From my own experience, I would say that middle C is the most obvious note, but it could also be another one. Which one, depends on the amount of air and lip tension. It does not matter which tone sounds first; I would go with the tone that naturally comes out and not force playing higher or lower because we are first going to focus on sound quality and gaining confidence in the instrument and our own abilities.
If we press a certain finger or combination of fingers in the middle register, this results in a specific interval with the open tone (the ones without valves) no matter which tone we started on. I will clarify this.
When you press a valve, a mechanism inside the instrument turns, making the air go through an extra tube.
With the addition of this extra tube, the total length of the instrument's tubing is therefore longer.
With the same amount of air and lip tension, the pitch automatically drops when you push a valve, because the instrument becomes larger.
So, for example, with the fingers 0->2, we descend by a half step. This means students will play C->B or F->E. (Or, in exceptional cases, A->G#. When the first finger is pressed, the horn lowers by a whole tone. So (from the perspective of horn players) 0->1 means C->Bb or F->Eb (or in special cases A->G.) 0->2/3 lowers 1,5 tone.
Even when the starting pitch is variable, in the middle register, the interval to the next note will be the same.
One of the greatest previously discussed challenges of the French horn is that there are many possible tones with the same fingerings. Normally, this is a challenging concept, but what if we try to see the advantages in this?
So normally, when you read sheet music, the intention is to play the note indicated on it. However, sometimes even if you press the correct keys, a different note might sound. What if, when pressing certain keys, we momentarily release the expectation of a specific pitch and leverage the fact that there can be multiple outcomes, using the one that comes naturall?
It is possible to play certain exercises or even songs just following the fingers, starting from a variable pitch. This could be, for example, a C or an F. There could be two different accompaniments for one piece, so in any situation, it is possible to play together with the accompaniment, one for the students that start at C and one for the ones that start at F. The teacher would then need to listen and decide whether accompaniment A or B is suitable. (Click here for additional clarification, during the testing of the material with student Alexander.)
For example:
Mary had a little lamb Clair la lune
Both pieces can start from different notes and still work fine. The only drawback is that you will end up playing one or two flats right at the beginning. (without know that you play them.) I do not see other horn methods starting flats or sharps this early, but it does create the possibility to play well-known pieces and exercises from a variable pitch, making it suitable for every beginner student, in the range that fits them best. Is it a problem to use the flats this early?
Based on what Jeffrey Agrell writes, I do not think there is a problem. He describes that what works best visually does not necessarily work best in practice. He writes that there are often poor choices regarding keys because people often start in C and then add a flat or a sharp, leading to F or G. For example, he describes that D-flat major is just as comfortable for a beginner as C; it just has different fingerings.1 Agrell: ''If you are teaching visually, D-flat has an appalling number of flats, and ditto for B with sharps. If you teach aurally, you learn everything first by ear and by kinesthetic feel, not by how it looks on the page. D-flat major is just as comfortable for the beginner as C; it just has some different fingerings.''
So, although it is not common, I do not think that some flats or sharps would cause any issues. Playing them can be challenging for someone who has not done it before, because it looks different from other notes. If you start doing it right away, you will not know any different, so it is probably not a problem. Starting on the black keys proves to be successful on the piano. In the method from Hal Leonard, the students do not even realize that they are playing a flat or sharp and that it is something special. Probably, it is no different on the horn. Of course, the piano and the horn seem quite dissimilar, but trombone books also introduce flats right from the first lesson, as you can see below.
(Since this comes from a trombone method book, it is notated in C, unlike most other examples which are notated in F.)
The advantages are that flats make it possible to explore the lower register first, which requires less physical effort than the high register. Of course, it is also possible to play low without flats sharps, but if you want to play well-known songs, with the use of a relative notation, you do need them.
A tune a day
My oldest student (a gentleman of 76 years old) has been playing from this method with great pleasure for years. I haven't used it for children, mainly because it does not look very cool. I would describe the layout myself as quite dull, there are no pictures or anything like that. Also, there are no accompaniments included. In principle, I do find the absence of accompaniments a real loss, as it can provide students with so much support for timing, rhythm, pitch, and intonation. Nevertheless, this method has made it onto my list of inspiring methods, so I will explain why.
A very brief but clear explanation is given, after which you can immediately start playing. What I find very nice is that it not only describes what you should do, but also what you should be musically thinking at that moment. For example, it describes how to count in your head while playing. This is something I miss in most other horn method books. I find this very clear and helpful.
What really appeals to me is that when something new is introduced, it does not seem to be assumed right away that the student has mastered it. For example, when a new flat or sharp is just learned, attention is drawn to the fact that you need to think about it. it is written above, 'this note is ___?' so you do not accidentally overlook it. (Something that often happens in other books, as something is explained once and then assumed to be clear and applicable).
From the next page there is written 'think' instead of 'this note is ___?' I also find this a pleasant way to draw attention to the fact that you need to think about something. This helps prevent the 'oh yeah moment' after a wrong note has sounded.
In this method, you are always reminded briefly about new things.
From lesson 9 onwards, there is what de Haan calls 'tonal awareness.' For example, they write ''Key of F, one flat (♭)''
Then, it is also checked whether the student has remembered this. 'Key of ___ Flat is ___?
Also they tell ''The first thing you should look for is the key signature, the second thing, the time signature''.
As a teacher, I also repeat this time and time again, but it is surely nice for the student to be able to read it back as well.
A very clear explanation is given of how the rhythms fit together. Special exercises are also done with this, stating how you should count this in your head.
If I were to summarize this book in a few keywords, they would be: clarity and repetition!
Horn Fuchs
Through the internet, I came across the German book "Horn Fuchs." The reviews caught my attention, so I purchased it for inspiration.
Which aspects of this method attract me and what can I learn from this method?
I must honestly admit that at first glance, the method would not have caught my attention; perhaps I am being too critical. But this is because on the front cover of the book, there is an image of a man holding the horn in a rather peculiar way, with his right hand on the valves and his left hand holding the bell (instead of the left hand on the valves and the right hand in the bell). My initial thoughts upon seeing this cover were not very hopeful. However, given the many good reviews, I was still curious about the content; after all, a picture does not tell the whole story. The content proves me wrong. I am really impressed with it.
The book begins with a word to the parents, in which they are reminded that they also have a responsibility: their child is starting with music lessons, and their success depends on how this is valued and supported at home.
''Ihr Kind hat sich entschieden, ein Musikinstrument zu erlernen. Sicherlich ist Ihnen bewusst, dass auch Sie damit ein gewisses Maß an Verantwortung übernommen haben. Darauf werden Sie aber auch mit vielen unvergesslichen Momenten belohnt werden. Der Erfolg Ihres Kindes hängt im Wesentlichen davon ab, wie diese zusätzliche Freizeitbeschäftigung zu Hause geschätzt und unterstützt wird. Findet Ihr Kind daraufhin entsprechende Unterstützung, steht einer positiven Entwicklung des jungen Musikers in verschiedenen Bereichen seiner Persönlichkeit nicht mehr im Wege. Zahlreiche von renommierten Instituten durchgeführte Studien belegen, dass sich das aktive Musizieren äußerst günstig auf bestimmte Bereiche wie z. B. Konzentration und insbesondere auf gruppenintegrative Fähigkeiten auswirkt!'' 2
Translation by chatgpt: Your child has decided to learn a musical instrument. Surely, you are aware that you have also taken on a certain level of responsibility. However, you will also be rewarded with many unforgettable moments. The success of your child largely depends on how this additional leisure activity is valued and supported at home. If your child finds appropriate support, it will no longer hinder the positive development of the young musician in various aspects of their personality. Numerous studies conducted by renowned institutions indicate that active music-making has extremely beneficial effects on specific areas such as concentration and, particularly, on group-integrative skills!
Next, suggestions are made to make learning as easy as possible for the child, including staying in touch with the teacher or motivating them by taking them to concerts. It is also encouraged to react enthusiastically when the child performs for the parents.3
On the next page, it is explained that every beginning is difficult and that as adults we are often not aware of this. It is explained that learning to play an instrument requires a lot from children: effort, perseverance, a lot of time, and much more. According to the authors a good dose of humor is also essential.4
While a child hopefully makes the choice to learn to play an instrument themselves, I thinkit is good that the book also addresses the parents and encourages them to show positive interest.
There follows a very short chapter about the history of the horn.it is not lengthy, but I thinkit is good thatit is included. This also makes it clear why the hand is placed in the bell of the horn. Then there is a photo showing parts of the instrument, and the posture of the horn player is described. Distinction is made between a child's posture and an adult's posture. I think this is great and aligns with how I had envisioned it myself.it is very helpful that the method book shows no ambiguity about this.
Translation by chatgpt/Isabelle
"Child position (left photo): Place your hand lightly curved in the bell. It's important to keep your shoulders relaxed. Adult position (right photo): Insert your extended hand with closed fingers into the bell, ensuring that the ball of your hand does not cover the opening. The right time to transition from the child position to the adult position is when you can hold your horn easily and effortlessly in this way."
Following this, there is some information about cleaning the instrument, and it even explains what to do if your mouthpiece gets stuck in the horn.
The entire introduction is long, but very clear. It seems that it is not aimed at children but at parents.
Following are fun and playful illustrations that demonstrate breathing exercises. In my opinion, it connects with the children's world, and I believe they will enjoy doing these exercises, which, according to Williams, is so important: It has to be fun!
There follows an explanation of how to place the mouthpiece on the lips, and then we move on to the first exercises. These seem similar to what I had envisioned myself, but much more beautifully developed.
There are 8 exercises in which only 1 note is used, focusing on rhythms. It is clearly indicated how many counts the notes should last, and even when you should breathe. Exercises 9 and 10 introduce a new note. In exercises 11, 12, and 13, these two notes are used interchangeably, following the rhythms learned earlier.
The method consists of separate exercises; there is no set number of exercises per lesson. There are thus no visible expectations regarding how much a student should accomplish in a week, which I personally find very pleasant. Additionally, it is clearly indicated what is new in each exercise, which is helpful. The range is gradually built up, which is also nice. there is also an awareness of key signatures.
There are even templates where the student can fill in how many minutes they practiced each day.
They say:'' Be honest: How long do you practice every day? Here you have the opportunity to write down how much you actually played for a week. Then it says: If you have accumulated more than 200 minutes, you're super! If you have gathered approximately 150-199 minutes, that's great! If you have collected 130-149 minutes, that's oke! If you have gathered approximately 100-129 minutes, you haven't been very diligent! If you have gathered less than 100 minutes, you were clearly too lazy!''
The description of what you are when you have practiced for a certain number of minutes I find a bit strict (I can imagine that a child might not like being called lazy even if they tried their best. And honestly, I do not think 100 minutes per week is very bad) but I do like the idea of having a practice schedule. I have one myself, though, in the form of an app. For me, it makes it quite clear whether I am on track or not, and it also motivates me to strive for my minimum goal even on long busy days.
I do find it a pitty that I personally can not agree with the chosen pitch at which this method begins. I believe it may work for some students but not for others. However, this can be resolved; for children for whom the beginning is too high, additional material can be provided so that they can follow this book after a few lessons. I also regret that the book has not been published in Dutch; in my opinion, this would be a welcome addition to the Dutch-language material!