I approach teaching as a partnership. I, as the teacher, provide feedback and offer a toolbox of skills, exercises, and adjustments that you, the student, can take with you for a lifetime of practice. I believe in a pragmatic approach. We all know what great horn playing sounds like, but there are many different ways to get to the same outcome. In every lesson, we will investigate ways that can make your playing better. You will learn the fundamentals and we will explore tried and true techniques and exercises. We will also experiment, take risks, and find what works best for you. You will learn how to listen critically and productively. You will learn what adjustments might help you create the sound you want. In our lessons we will:
1. Examine the technical elements, making sure you are using your air, embouchure, and tongue efficiently. We will work to eliminate excessive movement and muscle usage. You will learn to lip trill invisibly, play high soft, and low loud, just to name a few.
2. Make music. This is why we do what we do. We love the horn because of its incredible color and sound range. You will learn how to take advantage of the horn’s wide spectrum of sound and phrase with natural, singing lines.
3. Teach yourself. My pragmatic approach teaches you how to teach yourself. I keep my thought process transparent so that you can learn how to problem-solve. I want you to create your own toolbox of adjustments and skills that you can have at the ready for years to come.
Horn Lessons and Studio Class Syllabus
Hazel Dean Davis, Faculty of Horn
Email or Text preferred, but you may call if you cannot otherwise get ahold of me.
The objectives of horn lessons and studio class are to give students the opportunity to learn and to practice under careful supervision the techniques for mastery of music fundamentals, horn technique, and expressive performance. Lessons and studio class will focus on fundamentals of technique and sound, excerpts from the standard orchestral repertoire, audition preparation, and the solo and chamber music repertoire for horn. High and low playing will be covered, as well as ensemble and section playing.
13 lessons, generally bi-weekly double length lessons
13 hours of Studio class: 2 hour studio classes, generally bi-weekly
Students must come prepared to lessons and studio, and come ready to learn with a good attitude.
Students should be prepared to play in every studio class. Students will be expected to play in class as well as critique and comment on each other’s playing. The pre-study of recordings may be required before certain studio classes.
Students must perform a minimum of one time on a Thursday Recital, twice if you are a horn performance major. A solo recital is required for senior performance majors.
Mid-term mock audition in studio class, date to be determined
Jury performance each semester
Attendance at at least 6 music performances each semester is required, at least one of which must be a non-student concert or recital. Attending concerts off campus is encouraged.
Required Texts and Materials:
Student must bring horn and applicable music to each lesson and studio class. All horn players must own straight mutes, and basic supplies for horn maintenance (oils, grease, cleaning snake, etc.). A stop mute is suggested. Each student will be required to purchase, print legally off IMSLP, or borrow from the library all music as instructed. Music requirements will be tailored to each student, but students are encouraged to buy or get from the library:
Kopprasch book 1 and 2
Gallay Etudes for Second Horn
Mozart Horn Concertos
Richard Strauss Horn Concerto 1
In case of illness or emergency (lack of preparation does not count!), a lesson may be rescheduled if arrangements are made at least 24 hours in advance and the instructor approves the change. Lessons missed or cancelled with less than 24 hours notice are not made up. Lessons missed due to absence of the instructor will be rescheduled. On weeks that the instructor has other obligations, an alternate date and time that will be offered. Students will be notified at least 1 week in advance whenever possible, and every effort will be made to find a mutually acceptable time.
50%-Lesson and Studio preparation, attitude, and improvement
20%-Performance quality at studio master classes, mock auditions, and recitals.
Information regarding hearing health and safety may be found at this link: http://cola.unh.edu/music/health-safety
Academic Honesty is a core value at the University of New Hampshire. Please spend a few minutes taking this plagiarism tutorial. It gives helpful examples on what is and is not considered plagiarism. http://cola.unh.edu/plagiarism-tutorial-
Lesson and Studio Dates
All dates below are up to date, but may change. Please check back often for updates.
September 11: Lessons and Studio 4-6
Studio Hour 1: Back to the Basics: Daily Routine, Warm Up, Kopprasch
Studio Hour 2: Audition Notes/Masterclass, Quartet-Octet Reading
September 25: Lessons and Studio 4-6
Studio Hour 3: Intonation and Section Playing: Excerpt #1 Beethoven 8 Trio (horn 1 and 2)
Studio Hour 4: Lip/Air Balance
October 9: Lessons and Studio 4-6
Studio Hour 5: High Horn and Lip trills: Excerpt #2 Wagner Short Call
Studio Hour 6: Orchestral sectional/thursday performance plans
October 16: B and D lessons 5-7
October 23: Lessons and Studio 4-6
Studio Hour 7: Horn Ensemble Rehearsal/Solo Masterclass: Mozart 3 1st Movement (no cadenza)
Studio Hour 8: Low Horn and Flexibility: Excerpt #3 Tragic Overture Horn 2
October 30: Lessons and Studio 4-6, no lessons after 6
Studio Hour 9: Excerpt #4 Mahler 3 opening Horn 4; Excerpt #5 Brahms 4 Horn 3
Studio Hour 10: Excerpt Review and Mock Audition practice
November 13: Facetime/Skype Lessons, no studio
November 20: Lessons, Studio 4-5 and Mock Auditions 5-6
Studio Hour 11 Jury Pieces and Sight Reading
Studio Hour 12: Mock Auditions: Mozart 3 and 5 Excerpts
December 4: Lessons and Studio 4-6
Studio Hour 13: Jury Practice, Q and A
Studio Hour 14: Studio Dinner Party
December 11: Juries 9:15am