Techniques

Blow Your Own Horn!: Horn Heresies by Fergus McWilliam

By Fergus McWilliam

Blow your personal Horn is Fergus McWilliams tackle horn enjoying and extra quite often on track schooling. Written in a truly lively variety, the e-book covers all features of taking part in and the occupation, together with sensible parts corresponding to auditions, embouchure, respiring, and workouts. additionally, McWilliam explores subject matters resembling brain video games, angle, innovations, relativity, stressed, why we'd like lecturers, and masses more.

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Extra resources for Blow Your Own Horn!: Horn Heresies

Example text

Perhaps it begins at an unusually early and vulnerable age when many aspiring musicians give themselves (or are given by their parents) into the charge of instrumental teachers who are accorded such unquestioned authority that they often assume quasi-parental status. For children, parents are gatekeepers to a family-based world of values and “truths”. For music students however, a part of the natural relation to their parents can be replaced in some way by the new relationship with the music teacher.

And that does not have to take long at all. Nevertheless, students in particular tend to spend inordinate amounts of time warming up. The most common and powerful motivation for these over-extended warm-ups is underlying insecurity and its most profound manifestation: inhibited, restricted breathing, both inhalation and blowing. It is not in fact the lips that need to be warmed up so much, but rather it is much more the self-confidence that needs massaging. The issue that concerns me most is the confusion about three distinct tasks: • quick and efficient warming-up • daily training routine • mental focus I believe the warm-up can, and should be accomplished as quickly as possible, so that the hornist can then move on, as soon as possible, either to a constructive daily routine, or to the performance.

And regardless of how revered or respected they might be, the highest goal of any teacher should be to achieve his own redundancy. I am concerned however that much conventional horn-teaching achieves exactly the opposite, namely the production of hornists who are not only identifiable “offspring” of their teachers (not in and of itself necessarily bad) but who also remain dependently bound to their teachers. The least developed or tested part of these hornists’ artistic personalities or outlook may well be that which differs from their teacher’s point of view—and yet it is exactly this part of their personalities that will be such a source of strength and be so vital for a successful life in music performance.

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