This brings ups some interesting questions that I have had for a while now. As one who has taught both in the US and in Europe, I must say that the system of solfege, clef reading, and ear training that formed the basis of musicianship for my European students was FAR superior that that which most young musicians get in the United States. I have not reconciled the concept of fixed or movable "Do" in my mind, and although I prefer fixed, I have heard compelling arguments from Hungarian trained musicians for movable. This brings to mind the concept of the transpositions required for horn, and I often wonder (despite the fact that the valveless horn had a specific fundamental pitch) why composers chose not to write the actual pitches in the parts, but chose to employ a sort of "movable do" concept in a mostly fixed do world. Why do we have the confusion (mild though it is) of having some Bb instruments read in concert and others read transposed.
I come from a musical family, but most of us didn't get good solfege training until conservatory. Despite my fine training and experience as a teaching fellow in the ear training dept. at a major conservatory, I was completely humbled by the level of skill (surpassing my own) of my young students when I taught in Italy. What has happened to musical training in the U.S., or, was it ever closer to the "European" school? Too many students relate a written pitch with a button on the piano before they "hear" the sound. Doesn't it make more sense to imagine the sound first? I had two horn students, actually young professionals who were the sons of the principal horn player of a full time professional orchestra in Italy. Both students had extensive solfege training prior to ever touching the instrument. Their understanding of music was exceptional, and their facility regarding applying the written note to the correct sound of the horn no matter what key was well beyond that of my finest students in the U.S. Nevertheless, much of the finest playing I have heard has been by American born and trained horn players, who not always have very good solfege skills. My experience tells me not to preach absolutes, although I have formed some strong opinions. I therefore have little patience for those who are quick to criticize those whose path to success differs from their own. Hans acknowledges this in his recent caveat, and while his shorter "matter of fact" statements often rub me the wrong way, I think he explains himself well here, and I cannot disagree. I would certainly love to read other opinions on the training of very young musicians, and perhaps some historical perspective from Hans and others who have been in the business much longer than I. Orlando -----Original Message----- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of Hans.Pizka Sent: Saturday, February 25, 2006 2:21 AM To: 'The Horn List' Subject: RE: [Hornlist] curious pricing Larry, you dont know the situation here in Europe. We have (or had) music classes in the schools, not instrumental, but theory. This lays the roots for musical understanding. And band music is not a thing of the schools, just to make more or less organized noise & use military drill. Band music is outside of school, like village band, fire guard band, sharp shooter band, etc. The music for the horns is written in E-flat most of the time (was written that way, as many publishers adopted the same stupid way of transposing the parts). The youngsters first used a transposing crook inserted into the main slide. But that was for their old single horns only. Today, playing double horns, they transpose. They receive their training in public music schools, where their parents do not pay much. But parents also invest into the education of their offsprings. They get also more lessons by training camps, by retired military musicians, in a most traditional way including basic transposition skill. And even these young players are exposed to the "classics". Larry, we live on different planets. They have solfege classes in Hungary & Italy, Spain, France, Czech Rep., Finland. So they have much less problems with transposing as they read all music in concert pitch. They transpose allready. They can do it, because the educational system is different. I did NOT say better than yours. I admit also, that we have a lot of young professionals, who play superbly regarding technique, but hove zero in their brain regarding understanding music or the background. But this has been allways. But it is a very bad attitude, to preach, one thing be not necessary for this or that reason, just at the moment, another pointed to that deficit. This is very negative thought, very negative, and cannot be any impetus for the younger generation, but be an extremely destructive excuse for missing skill. ============================================================ ==================================================== -----Original Message----- From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] On Behalf Of [EMAIL PROTECTED] Sent: Saturday, February 25, 2006 7:12 AM To: horn@music.memphis.edu Subject: Re: [Hornlist] curious pricing yet again it is assumed that the beginning horn student starts out with a private teacher....this is false, maybe in Europe, but not here in the states. Usually a young student picks up the horn on the first day of school and then has to sit next to everyone else in band class and learn to play it. Band directors must explain the basis of music...rhythm, pitch, sound, fingerings. This is done almost exclusively for the first 3 years and even into high school. I know no instance when transposition would rear its ugly head in band music...so its very likely that a horn player with 7 years of experience playing the horn, would have seen NO transposition. Does that mean they can't enjoy Mozart or Haydn? We seem to think that the norm is private lessons at the age of 11 and a solo career at the age of 20, that's just not the case. There are many students out there who can' t get the professional help, it might be they can't afford it, or it might be they don't have enough time. I see natural talent wasted all the time! Its very easy for us to think as a professional players, after all many of us are, but we were the lucky ones. We had money to study and most likely our parents were 100% behind us. We are in the minority, at least here in the uncultured USA. If a student can enjoy a solo without getting frustrated trying to read it, then Im all for that. Perhaps Tuck was thinking about something else other than the fifth house in south of France! Larry T _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/hans%40pizka. de _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/pandolfi%40deerfield.edu _______________________________________________ post: horn@music.memphis.edu unsubscribe or set options at http://music2.memphis.edu/mailman/options/horn/archive%40jab.org
