Horn Studio - College of Mount St. Joseph

Studio Handbook Student Self-Evaluation Horn Studio Course Syllabus Time Frame for Syllabus Repertiore Levels Pedagogical Goals and Objectives Cornucopia Concert: 11/2/98 Horn Studio Recital: 2/25/99 Private Lessons

HORN STUDIO HANDBOOK
College of Mount St. Joseph - Mr. Glen Tuomaala, Adjunct Instructor

TEACHING
Each student will receive one lesson per week. Mr. Tuomaala is also available for extra lessons should an important need arise such as an audition. Sectionals for large ensembles may also be arranged as requested from the Director of Bands. By the second week of classes a lesson schedule will be posted. Each lesson will begin and end promptly on time, 10 minutes of the hour in order to obtain closure with each student and to prepare for the next student.

HORN TRIO
The goal of the Horn Trio is to develop chamber ensemble skills and provide an appropriate environment to work on ensemble tuning, balance and blend associated with playing in a horn section. Concepts learned in Horn Trio can then be applied to large ensemble work. Horn Trio will rehearse once per week and perform once each semester on Studio Recital. Additional performances off-campus may take place for recruitment purposes or as requested by the Director of Bands.

STUDIO RECITAL
Horn students will perform on Studio Recital once per semester. Music performed will be determined by the experience and motivation of the student. Selections may range from etudes and scales to full concertos. Horn Trio will also perform on the Studio Recital.

GRADING
Your grade will be based on several factors. Obviously, much of your grade will be based on your work in your lessons. Your work in your lessons largely will be determined by your practice schedule. It is your responsibility to prepare for each private lesson. We will discuss and mutually agree upon an amount of time you will commit to practicing each week.

Your grade will also be affected by meeting or not meeting the following standards, which are based on your own best interests in gaining proficiency as a horn player:
1. Attend all private lessons prepared to learn; practice outside of lesson time
2. Attend all Horn Trio rehearsals with parts prepared
3. Excused absences made up within 2 weeks

ASSESSMENT AND EVALUATION TOOL
The assessment and evaluation of the horn studio syllabus will focus on a simple written assessment tool that will set the individual goals of the student and provide weekly written feedback on their progress. The assessment tool will use more general areas of application such as the common use of etudes (technical development, analytical skills), scales (technical development), solos (music historical/stylistic, analytical skills, improvisational skills), orchestral excerpts (music historical/stylistic, analytical) and special needs (sight-reading skills).

The assessment tool will stay the same as the needs of the individual student develop and change over the four year course of study thereby encouraging balanced goal setting by the instructor and a stable assessment environment for the student. A sample assessment tool is included on the following page for review.

ATTENDANCE POLICY
Excused absences from private lessons and horn quartet are permitted for serious illness, dire sickness or death in the family, religious obligations, and auditions or job interviews. If you have a part-time job we ask that you change your work hours to fit studio events.

One unexcused absence is allowed per semester (from a private lesson or Horn Quartet). An additional unexcused absence will result in a lowered grade. There are no unexcused absences from Studio Recital.

Please note that you must inform Mr. Tuomaala at least 24 hours in advance if you anticipate missing a private lesson or Horn Trio rehearsal. You may notify Mr. Tuomaala of absences by calling 244-4863 at least 24 hours in advance or speaking to me in person. Verbal messages may be given if accompanied by a written memo. Do not send messages through other students or leave a note on the office door (exceptions allowed in cases of emergency).

HORN PARTY Social gathering for music students and friends will take place after each Studio Recital. Exact time and place will be determined by the studio. Carpools will be available. Plan to attend!

Horn Studio Self Evaluation
College of Mount St. Joseph Department of Music

Name: _________________________________ E-Mail: ____________________________________
The objectives of your learning contract for the first semester of 1998 are:
Individual lesson once per week
Repertoire class performance
Successful participation in horn trio
Horn recital once per semester
Solos, etudes, scales and exercises as assigned
Prepared for all lessons and performances

The goal of this self-evaluation is to reflect on achievement and assist in setting new goals and objectives for next semester. This self-evaluation serves as your final exam for private horn lessons. Based on the objectives listed in your learning contract please answer the following questions and return to Mr. Tuomaala’s mailbox by Mon, Dec 7:

HORN TRIO
Literature. How would you describe the music we played as in too challenging, too easy, more/less variety, etc.

Seat rotation. Should we rotate chairs more often or not at all? Do you have a preference as to what part you play in horn trio? What is your opinion?

Performance sites. Are there any places (schools, performance halls, community events, etc.) you would enjoy traveling to and performing at with the horn trio?

Name at least three things that we could change/improve for next semester that would allow us to rehearse and perform better:
1.
2.
3.

Based on the private practice time that I allocate for working on horn trio music, attendance at rehearsals and performances, and actively contributing in rehearsals I believe that my grade for horn trio should be _____

PRIVATE LESSONS
Warm-up. Describe your warm-up routine in detail prior to practice session or performances. Do you warm-up on a regular basis prior to practicing or performing?

My goal is to practice ____ hours per day. On average, I normally practice ____ hours per day On average, I normally practice _____ hours per week Name at least three strengths of your horn playing:

Name at least three weaknesses of your horn playing that we should focus on and solve in the near future:

Based on the practice time that I allocate to work on private lesson assignments, attendance at lessons, being prepared for all lessons, and actively working during all lessons I believe that my grade for private horn lessons should be _____

What questions do you have for next semester regarding private lessons/horn trio or anything else?

FRENCH HORN STUDIO COURSE SYLLABUS
College of Mount Saint Joseph Department of Music
Glen Tuomaala, Instructor - Thursday, August 06, 1998

TECHNICAL DEVELOPMENT Technical development is the primary focus of the horn student in their Freshmen and Sophomore years. Work on the basics of technical craft is accomplished primarily through etude materials. The following is a list of proficiency areas that each horn student will strive towards:
1. Breathing using the V.C Air Flow Exercises
2. Intonation
3. Rhythm
4. Articulation
5. Embouchure
6. Style and Phrasing / Expressiveness using the Concone lyrical studies
7. Transposition
8. High and Low Range Extension
9. Knowledge of F and Bb Horn
10. Right hand / stopping / trills
11. Specialty instruments: natural horn, mellophone

In addition to the above technical areas, scales will also be emphasized in each lesson. The ability to practice and perform in all tonal centers is absolutely vital to sight-reading, technical competency and intonation. Each student will be assigned scales and scale patterns at each lesson. Memorization of specific scale patterns will be required at each jury. Scale learning progression will be: Major, Melodic Minor, Harmonic Minor, Natural Minor, Whole Tone, and interval scales in thirds, fourths and fifths.

SIGHT-READING SKILLS Along with fundamental technical development, sight-reading skills will also be a focus in the beginning of the four year course of study. The only way to learn how to sight read well is to practice sight reading every year. Sight reading is a skill that must be developed early to pay dividends for the student later in their musical career. The major text that will be used is the Sight-Reading All State Excerpts published by Music Services Unlimited. Specific time will be set aside during each lesson for sight reading.

SOLO MUSIC
The horn has developed during the past two decades as the appropriate solo instrument it was considered to be during the classical period. Employment as an orchestral musician, chamber musician, and teacher includes ample opportunities for solo performance.

The study of solo performance should incorporate all of the interpretive concepts of music that can also be applied to the student's own future teaching. In preparation of solo materials, emphasis will be placed upon developing the student's interpretation and individual views on interpretation. In this way, experimenting in phrasing, styles, tempi, etc. is approached as growth and understanding by experience. Excellent execution is emphasized primarily in the latter stages of preparation. Final performance will be on the studio recital.

Analytical skills will be developed using solo materials in the following manner:
1. Horn and accompaniment harmonic and melodic relationship assignments
2. Form assignment (sonata form, rondo, etc.)
3. Comparison assignment of other pieces written by the same composer

Music-historical/stylistic components will be developed using solo materials in the following manner:
1. Composer biography assignment
2. Listening assignments of professional horn players
3. Article and journal reading assignments on the solo material

ORCHESTRAL EXCERPTS
The study of musicianship through orchestral literature, and their high performance standards, have a direct benefit to all future employment both performing and teaching. Orchestral positions are the primary avenue for employment for horn players. The study of orchestral excerpts then becomes basic for all students regardless of major. Excerpts are a prism through which study of musicianship is fully appreciated.

Analytical skills will be developed using orchestral excerpts in the following manner:
1. Form and development assignments
2. Harmonic development assignment
3. Melodic texture and phrase mapping assignments

IMPROVISATIONAL SKILLS
Improvisational skills are only addressed after the technical development of the student is to a sufficient level that they can begin making music decisions for themselves. Solo materials are the introductory assignments for improvisational development in the form of cadenzas in the traditional literature of Mozart and Rosetti.

Additional improvisational work can also follow the path of student melodic etude assignments based on traditional orchestral excerpts as well as technical areas of weakness. These student compositions can then be practiced and analyzed by the entire studio.

TIME FRAME FOR SYLLABUS
Technical development and sight-reading skills are emphasized in the beginning while the analytical, music historical/stylistic and improvisational skills are emphasized in the later years. Most horn students do not enter a four year course of study with enough prior technical or sight-reading experience and therefore, special attention is provided in these areas early on.

Once the student is sufficiently flexible with the technical demands of the instrument the analytical, historical/stylistic, and improvisational elements are introduced using more and more solo literature and orchestral excerpts. Please note that all students will enter the studio with different strengths and weaknesses that must be identified early in the four year course of student. Not all students will follow the same regimented time frame.

FRESHMEN YEAR
1. Technical Development 50%
2. Sight-Reading 25%
3. Music Historical/Stylistic 10%
4. Analytical Skills 15%
5. Improvisational Skills 0%

SOPHOMORE YEAR
1. Technical Development 40%
2. Sight-Reading 20%
3. Music Historical/Stylistic 20%
4. Analytical Skills 25%
5. Improvisational Skills 5%

JUNIOR YEAR
1. Technical Development 20%
2. Sight-Reading 10%
3. Music Historical/Stylistic 35%
4. Analytical Skills 25%
5. Improvisational Skills 10%

SENIOR YEAR
1. Technical Development 15%
2. Sight-Reading 5%
3. Music Historical/Stylistic 50%
4. Analytical Skills 20%
5. Improvisational Skills 10%

REPERTIORE LEVELS

FRESHMEN YEAR
A-LEVEL REPERTIORE
Kopprash: 60 Selected Studies, volume 1 (C. Fischer) Maxime-Alphonse: Deux cents etudes nouvelles, volumes 1 (A. Leduc) Gallay: 22 Studies (International) Tuckwell, Barry. Playing the Horn. London: Oxford University Press, 1978. Yancich, Milan. A Practical Guide to French Horn Playing. Rochester, New York: Wind Music, 1971. Mozart: Concerto No. 1 Mozart: Concerto No. 3 Read: Poem (Carl Fischer) Danzi: Sonata (International) Bozza: En Foret (A. Leduc)

B-LEVEL REPERTIORE
Franz: Complete Method (C. Fischer) Pottag and Hovey: Pottag-Hovey Method, 2 volumes (Belwin Mills) Bakaleinkoff: Cavatina (Belwin) Bakaleinkoff: Canzona (Belwin) Foerster: Concerto (Schirmer)

C-LEVEL REPERTIORE
Horner: Primary Studies (Elkan-Vogel) Tuckwell: 50 First Exercises (Oxford) Pottag: Daily Exercises (Belwin Mills) Carse: 2 Easy Pieces (Galaxy)

SOPHOMORE YEAR
A-LEVEL REPERTIORE
Kopprash: 60 Selected Studies, volume 2 (C. Fischer) Maxime-Alphonse: Deux cents etudes nouvelles, volumes 2 (A. Leduc) Pares: Pares Scales (Rubank) Singer: Embouchure Building (Belwin Mills) Selected Orchestral Literature: Pottag Books I and II Baines, Anthony. Brass Instruments: Their History and Development. London: Faber and Faber, 1976. Carse, Adam. Musical Wind Instruments. London: Macmillan, 1940. Reprint: Da Capo Press, 1965. Mozart: Concerto No. 2 Mozart: Concerto No. 4

B-LEVEL REPERTIORE
Mueller: 34 Studies, volume 1 (International) Tuckwell, Barry. Horn. New York: Schirmer Books, 1983. Schuller, Gunther. Horn Technique. London: Oxford University Press, 1971. Phillips (ed.): Classical & Romantic Album (Oxford) Glazanov: Reverie (Belwin-Mills) Francaix: Canon in Octave (International) Mozart: Concerto No.1 Mozart: Concerto No.2

C-LEVEL REPERTIORE
Gallay: 24 Studies (International) Miersch: Melodious Studies for Horn (C. Fischer) Langrish (ed.): 8 Easy Pieces for Horn (Oxford) Marshall (ed.): An Album for the Horn (Oxford)

JUNIOR YEAR
A-LEVEL REPERTIORE
Franz Strauss: 17 concert Studies (Eulenburg) Singer: Embouchure Building (Belwin Mills) Orchestral Excerpts: Pottag and Chambers excerpt books Maxime-Alphonse: Deux cents etudes nouvelles, volumes 3 (A. Leduc) Gregory, Robin. The Horn: A Comprehensive Guide to the Modern Instrument and It's Music. London: Faber and Faber, 1961. Beethoven: Sonata (Schirmer) Dukas: Villanelle (International) Gliere: Concerto (International

B-LEVEL REPERTIORE
Pottag: Andraud - Selected Studies Kling: 40 Studies (International) Mueller: 34 Studies, volume 2 (International) Merewether, Richard. The Horn, the Horn... London: Paxman Musical Instruments, 1979. Beethoven: Little Rondo (Schirmer) Chabrier: Larghetto (Salabert) Stout (ed.): Master Solos (H. Leonard) Saint-Saens: Romance (Belwin-Mills) Mozart: Concerto No. 2 Mozart: Concerto No.4

C-LEVEL REPERTIORE
Belloli: Etudes Gugel: 12 Studies (International) Morley-Pegge, Reginald. The French Horn. London: Ernest Benn, 1973. Mozart: Concerto No. 1 Mozart: Concerto No. 3

SENIOR YEAR
A-LEVEL REPERTIORE
Maxime-Alphonse: Deux cents etudes nouvelles, volumes 3 and 4 (A. Leduc) Pettitt, Stephen. Dennis Brain. London: Robert Hale, 1976. Pottag: Andraud - Selected Studies Singer: Embouchure Building (Belwin Mills) Orchestral Excerpts: Pottag and Chambers excerpt books Weber: Concertino (Tuckwell version by Schirmer) F. Strauss: Concerto No.1 and Concerto No.2 (Schirmer) Hindemith: Concerto (Schott) Cherubini: 2 Sonatas (Schirmer)

B-LEVEL REPERTIORE
Angel: 12 Etudes for Horn Farkas, Philip. The Art of French Horn Playing. Evanston, Ill.: Summy-Brichard, 1956. Ppolyhar (ed.): Horn Solos (Belwin Mills) Rosetti: Concerto No.2 (International)

C-LEVEL REPERTIORE
Voxman (ed.): Concert & Contest Collection (Rubank) Coar, Birchard. The French Horn. DeKalb, Ill: Boar, 1947.

These materials may be ordered from:
Mannerino’s Sheet Music: 522-8975
Southern Ohio Music Company: 251-5769
Shattinger Music Company: 1-800-444-2408
Malecki Music: 1-800-253-9692
Luck’s Music: 1-800-348-8749
Southern Music: 1-800-284-5443

PEDAGOGICAL

ETUDES & FUNDAMENTAL STUDIES
Work on the basics of technical craft is accomplished primarily through etude materials. The following is a list of proficiency areas that each horn student should strive towards:
1. Breathing
2. Intonation
3. Rhythm
4. Articulation
5. Embouchures
6. Style and Phrasing / Expressiveness
7. Transposition
8. Sight-reading
9. High and Low Range Extension
10. Knowledge of F and Bb Horn
11. Right hand / stopping / Trills
12. Specialty instruments: natural horn, mellophone

Preparation for recitals will begin with selection of an accompanist at least two months in advance. Recital material will be ready to perform at a lesson, with accompanist at least two weeks in advance. Credit will also be given to additional solo performances off campus at a church service or community ensemble.

SCALES
The ability to practice and perform in all tonal centers is absolutely vital to sight-reading, technical competency and intonation. Each student will be assigned scales and scale patterns at each lesson. Memorization of specific scale patterns will be required at each jury.

Cornucopia Recital
An Evening of Chamber Music for French Horn featuring the Mount Horn Trio

7:00 p.m.
Wednesday, December 2, 1998
Recital Hall - College of Mount St. Joseph

PROGRAM

Hail the Conquering Hero Handel (1685-1759) / Milford

Sonata J. Boismortier (1689-1755) / Shaw
I. Modere II. Allegro III. Lentamente IV. Gigue

Divertimento No. 4 W.A. Mozart (1756-1791) / J. Hilfiger
I. Allegro II. Adagio III. Allegretto

Allengail Donald Edward Matthews
Dedicated to Lori Davis, Software Engineer horn player

PERFORMERS
Kathy Nevin is a sophomore Music Education major. Ms. Nevin graduated from Finneytown High School in Cincinnati where her band director was Brian Goslee. In 1995 she was selected to perform with American Music Abroad orchestra which toured Europe. She is a former horn student of Karen Schneider and currently studies horn with Glen Tuomaala. Ms. Nevin is a member of the Creative and Performing Arts Club, but is also looking forward to playing traditional Irish Whistle in January at the Riley School of Irish Music.

Mona Min is a freshmen double major in Music and English. Ms. Min is a graduate of Charles F. Brush High School in South Euclid (East of Cleveland) where her band director was Mrs. Gretchen Weaver. She has also studied piano with Derek Nishimura at the Cleveland Institute of Music. Ms. Min currently studies horn with Glen Tuomaala and has performed locally with the Chamber Arts Ensemble. She is also a member of the Creative and Performing Arts Club. She also plans to attend law school after graduation. Ms. Min has the unique distinction of meeting and shaking hands with the renown Rev. Jessie Jackson.

Glen Tuomaala is an adjunct faculty member at the Mount, Music Director at Purcell Marian High School and conductor of the Cincinnati Chamber Arts Ensemble. A native of Royal Oak, Michigan; Mr. Tuomaala graduated from Bowling Green State University with a double major in Music Education and Horn Performance. He is currently a candidate for a Masters in Music Education from the University of Cincinnati. His former teachers include Bryan Kennedy, Detroit Symphony; Herb Spencer, Bowling Green State University; and Thomas Sherwood, Cincinnati Symphony. Mr. Tuomaala was first chair flute his freshmen year in high school prior to changing to horn his sophomore year; and immediately becoming last chair.

IN APPRECIATION
Special thanks to Ulli Brinksmeier and the Department of Music for their support of this new musical ensemble and Jason Smith for recording the performance.

For information on music studies at the Mount please contact Ulli Brinksmeier, Chair of the Music Department at 244-4863. For additional information on studying horn at the Mount or to request the Mount Horn Trio for a campus or community performance please contact Glen Tuomaala at 588-6711 or CincyCAE@aol.com

RECEPTION
Please join the Mount Horn Trio for a reception after the concert at UNO’s Pizza at 342 Ludlow Avenue (281-8667), West off of Clifton in the Gaslight District. Contact any of the horn players for directions or transportation to the reception.

Studio Recital
Featuring the students and faculty of the Mount Department of Music

7:00 p.m.
Thursday, February 25, 1999
Recital Hall
College of Mount St. Joseph

PROGRAM

Chants de la Foret (1977) Rene Mignion
Glen Tuomaala Concerto No. 3 W.A. Mozart (1756-1791)
I. Allegro Kathy Nevin Theme and Variations Johann Strauss
Mona Min Divertimento No. 4 W.A. Mozart (1756-1791)
I. Allegro Tripperie No 1: Easy Swing (1981) Lowell Shaw
Mount Horn Trio

Glen Tuomaala is an adjunct faculty member at the Mount, Music Director at Purcell Marian High School and conductor of the Chamber Arts Ensemble. A native of Royal Oak, Michigan; Mr. Tuomaala graduated from Bowling Green State University with a double major in Music Education and Horn Performance. His former teachers include Bryan Kennedy, Detroit Symphony; Herb Spencer, Bowling Green State University; and Thomas Sherwood, Cincinnati Symphony.

Philip Amalong received a Master’s degree in Chamber Music and Accompanying from the Cincinnati College-Conservatory of Music where he studied with Sandra Rivers. His career includes engagements with William Ver Muelen (Principal Horn, Houston Symphony), Richard Hawley (Principal Clarinet, Cincinnati Symphony), Cincinnati Symphony & Pops, Fort Wayne Symphony and Dayton Philharmonic. In 1980 Mr. Amalong was first prize winner in the Cincinnati College-Conservatory Van Cliburn Competition. In July of 1998 he also received Fourth Prize in duo-piano division of the IBLA Grand Prize International Piano Competition in Sicily. He continues to perform over 100 different programs each year.

PERFORMANCE INFORMATION
For information on music studies at the Mount please contact Ulli Brinksmeier, Chair of the Music Department at 244-4863. For additional information on studying horn at the Mount or to request the Mount Horn Trio for a campus or community performance please contact Glen Tuomaala at 487-3135 or CincyCAE@aol.com

RECEPTION
Please join the Mount Horn Trio for a reception after the concert at T.G.I. Fridays at 6320 Glenway Road in Western Hills (662-5555) Contact any of the horn players for directions or transportation to the reception.

NEXT CONCERT
Join the Mount Horn Trio for another evening of great chamber music on Wednesday, May 5th at 7p.m. at the College of Mount St. Joseph Recital Hall. Our next recital will continue to highlight a variety of works for solo horn, horn duet and horn trio.

CHAMBER ARTS ENSEMBLE
The Cincinnati Chamber Arts Ensemble will perform at Holy Trinity Church in Norwood on Thursday, March 4th at 7pm and at the downtown Public Library of Cincinnati and Hamilton County on Sunday, March 14th at 2pm. For more information contact Glen Tuomaala, conductor at 588-6711 or check their web page at: www.geoctities.com/Vienna/Opera/1360.

Private lessons for beginning and advanced french horn players are available for both college and community musicians of all ages. Current students enrolled at the College of Mount St. Joseph should consult their list of classes, contact the Department of Music, and contact Mr. Tuomaala prior to enrolling in half hour or hour lessons.

Students in grades 5-12 and local community musicians may schedule private lessons with Mr. Tuomaala directly by calling (513) 588-6711. Please leave your name, phone number and any additional information you feel is necessary. These private lessons can be scheduled once a week for a half hour or hour between the hours of 3pm and 9pm at the College of Moutn St. Joseph.