I agree completely, and I don't think it could have been said better.
Perhaps it is the 'new method' of learning, where it is by rote so it is just good enough to past standardized tests? On a related note, in my field of programming, I often come across people with a lot of degrees and who are able to pass through all the right hoops, but cannot think clearly enough to solve problems elegantly, to work well with others, or to develop something that is going to be easy to work with, easy to understand, and easy to fix. True knowledge isn't instant. It takes a lot of time, a lot of work, and a lot of discipline. -William -----Original Message----- From: Hans Pizka <[email protected]> To: The Horn List <[email protected]> Sent: Mon, Aug 15, 2011 2:26 pm Subject: [Hornlist] BE other & related If the horn teaching follows the old days method like e.g. Schantl, it might not be enough to arrive at a quality like Thomas Joebstl or Manuel Huber (Vienna Phil). Studying the old way is not that fast as modern ways with learning the fingerings, but you receive a good feeling about the natural pitches whereabouts and for a sound horn tone. It is like learning to read. The old method is slower, much slower, but if you master it, and if you are patient enough, you will start reading fluently much later but be able to read complicate foreign names like "Utztalcoatl" or "Przewalski horse" without difficulties. But: the teacher has to insist that things are learned at 100%, including ALL signs & respecting them, not just forte & piano. All the accents, all the dots, the complete scale of different rhythms, excluding the "off regular track rhythms" for the following three or four years. Not looking for the high notes until commanding the whole compass from G below low c (= concert C) up to written g2 (sitting over top line), no higher by no means, commanding also the first scales from 1# to 4#s & 1-flat to four flats. But then higher up to written b-flat2 just occasionally & by no means over high c3 or even higher. These stratospheric notes are for the real student in the last year before graduation if at all. If those last mentioned students forget to practice the lower middle & the real low range too, they will produce these severe defects which make such books as BE or others in this field seem being necessary. And being 100% good brings satisfaction for both parties & the audience. Remember regarding programs or pieces: Less is often more, where "less" means "less demanding" & "more" means "more quality". If a solid foundation have been laid, the problems will not occur, except through accidents or illness. The other source for the defects in the embouchure its the ambition, both by the teacher & by the student. Why starting with Mozarts no.1 concerto, - and study it for weeks & months, because not mature enough for it -, as there is a legion of short & not high pieces for horn & piano to please the embouchure, the student, the teacher & the audience. But what can you do, if teachers have not one cent worth knowledge about this literature. Students study Strauss no.1 forth & forth & forth again for up to more than a year & arrive at a school performance frustrated completely, as they hate the piece already. But they do not hate the little new pieces. Well, the new pieces might bring disasters first, if …… See my comment about reading abilities. If teachers & students (and parents) would observe the rules of real horn study, the embouchure would be balanced at all times and confusion would be eliminated at first hand. But if the values become inverted, the field for all kind of confusing therapies would be prepared. _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/valkhorn%40aol.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
