Archived under: Horn study, Practice | Gunther Schuller, Philip Farkas
Hornmasters: Farkas and Schuller on Practice
Horn teachers have always wanted their students to practice.
Farkas in The Art of French Horn Playing divided practice for purposes of improvement on the horn into three categories; what to practice, how to practice, and how much to practice. The overall point being that
The foundation of a performer’s musicianship and technical proficiency is practice. Upon the quality and quantity of this practice depends his entire success. Of course, talent and natural ability play an important part in musical development, but even the highly gifted player must devote tremendous amounts of time to careful, arduous work on a chosen instrument.
Gunther Schuller had a similar thought when he advised in Horn Technique,
While on the subject of practising, I should like to utter a word of warning to those who propose to take the horn seriously and make it a career. If you wish to achieve a position prominent enough to assure you the kind of livelihood you think you deserve, there must be some time in your student years during which you put in the six to twelve months of brutal hard work without which an enduring successful career is not possible. This ‘basic training’ period is necessary not only in order to refine your playing to the highest professional level, but to build up the easily underestimated amount of resistance, both physical and mental, that the nervous tension of everyday professional playing demands. Any short cuts in this respect will sooner or later lead to trouble.
Farkas returned briefly to the topic of practice at the conclusion to The Art of Brass Playing. After noting that the brass player needed two essential attributes, “moderately normal teeth, lips and general physique, and a feeling for music,” he notes
There is a third one—willingness to practice! Without this one, all the others are completely worthless. But, having these attributes, make use of them, and the final result will profoundly enhance and enrich your life.
Out of these I think the quote to ponder the most is from Schuller, where he wrote “If you wish to achieve a position prominent enough to assure you the kind of livelihood you think you deserve, there must be some time in your student years during which you put in the six to twelve months of brutal hard work without which an enduring successful career is not possible.” (Italics original to the quote). Straight talk, and I would echo that it is very clear that talent alone won’t get you there.
972 articles: JOHN ERICSON has wide-ranging experience as an orchestral player, soloist, and teacher.» About John Ericson » More articles » Horn Notes Edition » Contact
Related to this article
- Hornmasters: Farkas, Schuller, and Berv on Care and Maintenance
With this post for Hornmasters we turn to a brief series on care and maintenance of the horn. Farkas offers in The Art of French Horn Playing a very practical chapter on how to maintain a horn. While occasionally dated (the lacquers used by modern instrument... - Hornmasters: Farkas and Schuller on Jaw Position
Jaw Position. Seems like a simple topic, and it is the next topic to address in this series looking at classic horn texts. Even a brief look at publications on horn playing will reveal to the reader that there are two distinct approaches to jaw position... - Hornmasters: Farkas, Schuller, Berv, and Tuckwell on Fingerings
Chapter four of The Art of French Horn Playing is on the topic of fingerings and tuning as Farkas felt that “these two subjects necessarily belong together, as one cannot tune a brass instrument without first determining what fingering will be used for each note.” However,... - Hornmasters: Farkas on Holding the Horn and the Left Hand
Continuing in our series of quotes from classic publications on the the horn, now that we have our horn selected and in working order we turn to the topic of holding the horn and the left hand. As an orchestral player Philip Farkas in The Art... - Hornmasters: Schuller on Right Hand Position
The second chapter of Horn Technique by Gunther Schuller is on the topic of tone production and the first aspect of tone production discussed is that of right hand position. He considered it a very essential aspect of what it is to produce a characteristic sound... - Hornmasters: Farkas on Horns
For the next topic in the Hornmasters series we turn to horns and begin again with Philip Farkas. For the average reader today, this section of The Art of French Horn Playing must seem especially dated, but is still worth a closer look. In the context... - Hornmasters: Schuller on Horns
On instruments for beginners Gunther Schuller in Horn Technique keeps his advice simple, not taking a stand for any particular type of horn, noting on the very first page of his text to “seek professional advice from an established teacher or player.” Later however he goes...






