Ichabod Helps Students Take Pleasure in the Single F Horn

It had been about a year since we last heard from Professor Ichabod F. van Horn IV, acclaimed Professor of F horn in the preparatory division of the East Coast Institute for Highly Advanced Horn Studies and Assistant Principal Utility Horn of the Freeway Philharmonic Symphonic Society Orchestra and Chorus. With the mention of the F horn in the recent article on Thinking Over the Daily Regime, he contacted me for a chat on Facebook.

Van Horn: So Ericson, you have to admit it you just sanctioned the use of the F horn to improve accuracy.

Ericson: Oh, hey, how is it going out there on the east coast? And how are the new meds working out? Much snow? I hear that the horn teachers are all better out there.

Van Horn: Well yes we are! Only the most excellent play lots of F horn. I just love the poetry of the character of the true F horn in legato.

Ericson: Hey, I am all for tone too. Strive for tone! I just have some concerns with this “survival of the fittest” mentality that seems to be out there in favor of starting on the F horn. It is hard to play– how do you keep students from quitting?

Van Horn: Without giving away all my secrets, the fundamental explanation is for them to take pleasure in their beautiful, extraordinary instrument. Students have to identify with the horn and its exceptional role and function in the middle of the group. That “middle” is actually a key foundation for the resonance of every band and orchestra, so while horn players don’t have the melody as much they do set the “tone” for the whole ensemble.

Ericson. Those meds must really be working well! With this new, mellow mood you have, would you consider a B-flat horn for perhaps a very young student?

Van Horn: I might think about it. It is easier to play and lighter and also the natural horn is rather restrictive in a modern band situation. In the long run I would hope that the band director involved would understand clearly the options in front of them and that they are working with individuals. I can see the point that if a student has to expend great effort to play they may quit, and tone development can be addressed in later study.

Ericson: Wow, you seem to have really seen the light. You used to be sort of the caricature of someone hopelessly stuck in the past.

Van Horn: I recently realized that I was sticking too stubbornly to old resources and ultra traditional ways of doing things. I decided it was time to get on the streetcar and live in the 20th century.

Ericson: Umm, great! Keep checking back with us at Horn Matters when you have the chance.

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This article was in progress for a while and was inspired initially by text drawn from the article “Hodapp Helps Students Take Pride in Tuba,” published in the November, 2009 issue of The International Musician. The quote I liked the most from the IM profile was the following:

“Low brass players tend to be the most ignored people in the band, and yet they are the foundation of the sound that’s produced,” says Hodapp. “The gist is to encourage band directors to help students identify with their instruments and take pride in not playing the melody, while providing a more solid foundation for the band.”

Ending on a more serious note, Jeff Hodapp was low brass professor at my undergraduate school Emporia State University until December 30, 2009, when he passed on after a heart attack during a sabbatical leave at age 52. My condolences to his family, friends, students, and colleagues. For those wanting more details on his passing, there is a forum thread here on TubeNet worth reading.