How (not) to write a B♭ french horn beginners method book by Isabelle Roelofs

Name: Isabelle Roelofs Main subject: Master Natural Horn Research supervisor: Daniel Salbert Title: How (not) to write a Bb French Horn beginners method book Research question: How (not) to write a Bb French Horn beginners method book Summary of the results: As a horn teacher, I realize that the existing Dutch method books seem not to be written from the perspective of a beginning, young horn player. They show little consideration for the specific physical abilities of children at a young age when learning to play the horn, probably because those methods are mostly not written by a horn player. Therefore, I have researched the do's and don'ts behind writing a method book. If playing the exercises in a method is not physically feasible, it can lead to frustration for the student, which, in my opinion, is detrimental to the learning process. I have always learned that moments of success are crucial for the development and maintenance of motivation. I find these moments of success lacking in existing Dutch-language horn methods. I also believe that they progress too quickly to emphasize reading notation. I notice that my own students often prioritize correctness over musicality. I have critically examined and compared the available Dutch horn method books. Additionally, I interviewed fellow horn teachers to gather their perspectives. Furthermore, I attended a lesson for young horn players at BASIS (Royal Conservatory of the Hague) where auditory learning takes precedence. I am not the first to consider writing my own method. Other horn teachers have embarked on this journey, each with their unique motivations. My research has revealed that I am not the only one who has critical thoughts about the existing horn method books. A significant part of the interviewed teachers also emphasized this same point. Based on the obtained results, I have outlined the initial steps that, in my opinion, are necessary for a starting young horn player, along with the corresponding range of tones. Biography: Isabelle Roelofs, an accomplished horn player and dedicated music teacher, earned degrees in French Horn and Music Education from Codarts University. Graduating with honors from the Royal Conservatory of Antwerp, she is currently pursuing a Master's in Natural Horn at The Hague Conservatory with Teunis van der Zwart. Isabelle is the founder of Belle Musique (2018), where she imparts her musical knowledge through personalized horn lessons, shaping the future of horn players step by step.

Tune Up!

About the methodbook

The last method I'm going to talk about is Tune Up! I expect this to be the least known of the three. Before starting this research, I had not heard of it. Also, from my interviews with horn teachers, it appears that a large part of them is not familiar with this method.

Tune Up! is written by Jo Brouwers and Michel Hendrik. It is a Dutch-language teaching method for beginner horn players and it was published in 2008.

The websites tells me the following about the methodbook:

''Welcome to Tune Up! Tune Up! is a teaching method developed from the authors' years of practical experience – Jo Brouwers and Michel Hendriks. Enjoyable folk songs and well-known classical melodies are interspersed with accessible etudes and other practice material.There is a strong focus on musical aspects such as ear training (through singing). Warm-up exercises, rhythm training, and scales complete this method. Equally important is the joy of playing, which runs like a common thread through this teaching method. For several pieces in the book, accompaniments - recorded by a professional combo - are available on the included CD. These are highly suitable for performance during a recital or other occasions.Tune Up!: a comprehensive teaching method for every aspiring musician.''

The book is specifically aimed at brass wind instruments. At the moment, the Tune Up! method is available for trumpet, french Horn and trombone.

About the author

The following information about Jo Brouwers and Michel Hendriks is on the website:

"Michel Hendriks (1961) graduated from the Maastricht Conservatory as a teaching and performing trumpeter. He also obtained the practical diploma for harmony and wind band conducting. As a conductor, he works in the Netherlands and Germany. Additionally, he is the solo trumpeter of a German dance orchestra specializing in dance tournaments. Since 1986, he has been working as a brass teacher at the Kreato Center for the Arts in Thorn, where he, together with colleague Jo Brouwers, compiled several music methods."

"The career of Jo Brouwers (1957) boasts over 35 years of experience in music education. He works as a brass teacher at the Kreato Center for the Arts in Thorn. In the Netherlands and Germany, he conducts multiple wind bands. He also leads a big band and is a frequently requested studio musician."

Prior to this research, I had no experience with this method book myself. Apart from flipping through its pages on occasion, I had never used it before so I can't say from experience how my students typically respond to it. I was very curious about what I would think of it when I started using it. In my opinion, this is the best way to get to know a method and form an opinion about it. Since I did not have a young test person available, I volunteered my mother to take some lessons from it so that I could form a better understanding.

Due to the large number of lessons, I will not discuss all of them, but I will highlight a few.

Lesson Content

Personal reflection

Introduction

In contrast to "Horen Lezen & Spelen" and "Easy Steps," this book lacks an introduction. There's a picture of the French horn, but no history or explanation about learning to read music

Intrdocution

Lesson 1

Here is a photo of the first lesson

Lesson 1

They start with an F and a G. As you could read in my reflection on "Horen Lezen & Spelen," I find the F too high for a first lesson considering the physical strength required. The same goes, in my opinion, for the G.

Then the dotted half note is explained. "A dot after a note extends the note by half of its value." My thoughts: Shouldn't we first know how long this note would last without the dot? This is not explained. If they assume that it is not necessary to explain this, for example because it is the teacher's task, then I also do not quite understand why the dotted half note is explained. I would say, in this case: Explain both of them, or be consistent and leave that out too.

Next, it is mentioned that the student should breathe low. With explanation from a teacher, I assume this is clear. Then the tongue should be placed against the upper teeth and the sound "tu" should be made. I would mention here that it specifically refers to the back of the upper teeth! It is important that the tongue stays in the mouth. Then a buzzing sound should be made with the lips.

Nowhere does it say that the horn should be picked up and brought to the lips or anything like that. Clarification could be provided that the breathing, saying "tu," and buzzing are an introduction and that afterward, the horn will be played.
Without telling this it is possible that the student might start singing 'tu' instead of playing here.

On the next page, there are 10 exercises using only the F and G. The tie is also explained.

There is a lot of playing involved. It might be tiring at first, but I believe this is the way to train. Quite a variety of rhythms are used, although they are not explained.

Lesson 1A

When you turn the page, you will find there's also a Lesson 1A. This is the same lesson as Lesson 1, but with C and D instead of F and G.

Lesson 1A

For me, this was a surprise. There's no indication beforehand that you can start on two different notes. Someone who has used the book before will undoubtedly know this, but I didn't.

The first and second lessons turn out to be written in two different pitches. This allows the student to start on the pitch that suits them best naturally. I like this idea.

Lesson 3

From this point on, there is no distinction between high and low. Students continue with the same material from now on. The range spans from C to G. There are various exercises involving all these notes. Some last for 8 bars and some for 16. For some songs, it is indicated that they should be sung along with the fingering.

Lesson 3

I find the so-called 'sing and think exercise' a bit unclear. What exactly should happen here? This could use some clarification. I assume that the normal notes should be played and the ones in parentheses should be thought, but it's not labeled as a 'play and think exercise' but as a 'sing and think exercise'. In other exercises, I find singing with the fingering included helpful. I believe this contributes to developing a sound/fingering association. I think a range of a fifth is quite large for a 3rd lesson, but there is a lot of alternating between high and low, which is nice for variety and to avoid mouthpiece pressure. (I would not recommend too much in the high register at this point)

Lesson 7

In this lesson, F sharp is introduced. It is indicated that a sharp raises the pitch of the note by a half step, and that a natural sign cancels the effect of a previously used accidental. It is also explained that an accidental applies for the rest of the measure.

Lesson 7

The part about F# could be clearer by allowing students to experience the difference between F natural and F sharp. However, it's good that it mentions how an accidental can be cancelled and that it applies for the entire measure. I would just rearrange the order for clarity: "An accidental applies for the whole measure unless it's cancelled. The natural sign cancels a previous accidental." I also miss an early example demonstrating that the accidental applies for the rest of the measure. I would prefer the student to experience this first before introducing the natural sign. Currently, the natural sign is introduced earlier (Exercise 4) than the situation where the sharp applies for the rest of the measure (Exercise 5).

As for Exercise 8, it's unclear whether it should be sung or played. It's labeled as a "singing exercise," but it also mentions thinking about the fingering. What exactly do they mean by singing? Is it singing on the instrument, or is it vocal singing?

Lesson 11

In lesson 11, the expectation is for the student to learn to play the C'' note. The rhythm quarter-dot-eighth is explained, and it is mentioned that a scale is a series of notes that starts on a certain pitch and ends an octave higher or lower on the same pitch. Then, an exercise called "we sing the scale and the triad" follows. This is followed by scales and triads. Then, there are exercises involving eighth notes and the new rhythm.

Lesson 11

I find the range quite large by now and the notes rather high. It is only lesson 11, and the students are already expected to play a C''. This is a physical challenge because this note requires a lot of strength for a beginner. The first exercise is unclear to me because, once again, I don't see clearly whether it should be sung or played. Also, there are notes in parentheses, and I'm unsure of their purpose.

For the new rhythm (quarter-dot-eighth), I would prefer to start with a familiar example like "Ode to Joy." Right now, it looks like a difficult technical concept with a complicated calculation behind it, whereas I believe using a familiar practical example would make it immediately clear.

Lesson 13

In lesson 13, the student is expected to be able to play a chromatic scale. There is a technically challenging exercise with sections of chromatic scale where it is written, "How quickly can you do this?" For only the 5th time in this book, a duet is played.

Lesson 13

I find the introduction of chromatics to be rather early. I would prefer to focus on whole tones first and ensure there is an tonal understandig. This aspect has been lacking so far. In "de bij," it is written, "How fast can you do this?" I would not want to encourage my students to play something very fast at this early stage because I've noticed that it often comes at the expense of quality. I prefer slow and steady progress over technical proficiency at the cost of sloppiness, which is often the result of such encouragements, in my experience.

Lesson 14

In lesson 14, sixteenth notes are introduced. There is extensive practice with them, including in scales.

Lesson 14

The new rhythm seems to come in too early. I find it really too complicated for lesson 14! In my opinion, this should be the moment when students are still discovering their sound, practicing to produce a beautiful tone, rather than deciphering mathematical puzzles. think it's a pity that everything is introduced so hastily. As far as I'm concerned, the quality of what the children learn is more important than the quantity. So many complicated things are really not necessary so early on. I would prefer to first learn to play beautifully and construct phrases.

Lesson 21

In lesson 21, the students learn an eighth-note triplet. This is immediately used extensively.

Lesson 21

The new rhythm, in my opinion, also comes early and is repeated frequently. However, the newly learned rhythm from the previous lesson is not repeated. I think more repetition would be appropriate, and there seems to be a rush to add all these new rhythms.

I also wonder how long it takes students in practice to reach this lesson.

Lesson 25

In lesson 25, students learn about "eighth time signatures," namely 3/8 and 6/8. Right away in exercise 4, they are required to play sixteenth notes within this rhythm, with two sharps in the key signature. Additionally, articulation marks are included, such as accents and staccato dots.

Lesson 25

The students are expected to be able to play fairly long passages. What strikes me is that there are no rests included anywhere. It just keeps going continuously.

I think the 3/8 and 6/8 time signatures come quite early in the book. I would choose to wait a bit longer before introducing them and then introduce one of them at a time instead of both simultaneously. Also, I would prefer to practice more with a 6/8 time signature where there are no 16th notes involved yet.

Lesson 35

Between lessons 25 and 35, no new rhythmic patterns, articulations, or other theoretical aspects are added, except for a 2/2 time signature. However, the range does continue to expand, reaching up to an F''.

Lesson 35

Considering that no new theory is added between lessons 25 and 35, I really wonder why there was such a rush in the beginning of the book. This gives me the feeling that the content could have been spread more evenly throughout the method. It's 25 lessons of hard work to learn all the new rhythms, articulations, repetitions, time signatures, etcetra, and then there's nothing new for 10 lessons, apart from a few new notes. I find this strange and unfairly distributed.

My overall impression of book 1 from this method:

Personally, I don't find the method visually appealing, but tastes vary. There are no illustrations, which children often seem to enjoy. I miss information at the beginning of the book; it starts abruptly without any introduction. An introduction does not need to be long, but some background information would be desirable in my opinion.

The method seems to rush too much in introducing new concepts, making it overwhelming for students, especially in the first half of the book. Additionally, there is sometimes a lack of clarity in the instructions, particularly regarding singing versus playing and the use of notation.

In this method, I also find the range to expand too quickly. Learning an A in lesson 6 seems premature, as children often don't reach beyond G that quickly. Additionally, I miss ensemble playing; there are hardly any duets in the book, whereas my experience shows that many students enjoy duets the most. Apart from being enjoyable, I find them educational as well.

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Isabelle Roelofs - How (not) to write a B♭ french horn beginners method book - 2024