John Clark

(Re-posting something from earlier)

A major concern of all Horn (French Horn) players who are operating in the non-classical realm is: how to be heard when there is a loud rhythm section, or even a loud group of brass, woodwinds or whatever!  The bell pointing ‘backwards’ and the hand in the bell are hindrances, but they’re part of our instrument, so what to do?  For me, keeping the bell elevated off the leg and hand position are important, but that’s not enough in some circumstances.

When I need to amplify myself, I use the AMT wireless:  http://www.appliedmicrophone.com/.

If there’s no sound system, and I need to provide my own amplification, I bring my lunchbox amp:  https://www.ztamplifiers.com/products.html  It’s not super-powerful but if you locate it behind you, you can hear yourself!

I’d love to see your comments on this subject.

I guess traditionally, folks figured it would be a good way to gain accuracy and range.  I don’t really subscribe to that, and I don’t think anyone does nowadays. If you can’t hit a certain note accurately on your double Horn, you probably can’t on your F alto Horn.

So then, why play this instrument?  In a word: CLARITY.

It seems to me there are many ways of explaining this.  An example is perhaps best: Play a bebop tune as fast as you can, on the double horn.  Then play the exact same thing on the F alto horn (descant or triple).  Which do you think sounds clearer / more intelligible / listenable?

For those Horn players who played trumpet before they played horn:  It feels familiar.  You relate to the instrument in a similar way: range / register / fingerings; although it is in a different key.

If you never played trumpet before you played Horn, you have a bit of a learning curve here, but it’s not that awful.  The patterns are the same, just moved a bit!

There is some great information from John Ericson here: http://hornmatters.com/2012/10/playing-descant-and-triple-horns-a-new-e-book/

As always, I’d love to hear your thoughts!  Please add them in the “Comments” section below? Scroll down to where it says “Leave a Reply”, then type in the “Comments” area.  Thanks!

 

(This is a re-post of something I posted earlier; now that the mailing list is working better, I’m really looking forward to hearing everyone’s thoughts about this.)

As a player, when sight-reading new music, I really prefer not to see too much information.  Sure, you need the essentials – time and key signatures, tempo and the notes.  But I’ve played many pieces of music that have so much detailed information that it distracts me from listening to the other instruments.  Listening is so very important, and I’m afraid many of us including myself, don’t pay enough attention to it.

Of course, a lot depends on what the composer intends.  If the composer has a very clear, specific goal for how a piece should be played, then perhaps there should be as much information as possible?  But if the composer is willing to allow for personal and group interpretation, the musicians will be more able to find their own voice in a piece, if there aren’t too many markings and instructions.

Another thing to be considered is: what do the musicians prefer?  I’ve already said that I really like openness, not too much instruction and allowing for more interpretation.  But I realize that some ensembles and individuals prefer to see a lot of information, and if they don’t see it, they’ll be wanting to ask the composer “How do you want me to play this?”

So, I sincerely welcome any feedback regarding my own compositions and arrangements – I’ve even considered making two versions of each arrangement; one with very little information, and another with a maximum directions!  That’s it for today, looking forward to your comments!

John

Recently I heard from Mike Kates in Florida, with a question about the book (Exercises for Jazz French Horn). Rather than paraphrase the whole thing, which would of course be easier for YOU, I decided to just copy & paste Mike’s question, along with my reply, which makes it easier for ME. See, it’s all about ME…just kidding, a little snarky New York humor….. Seriously, I think you’ll understand his question and the reply just fine this way. Any questions or further clarification, please reach out to me. Here it is:

Dear John:

              I have been studying your book for a couple of years now and as a result of your exercise 1.1 I developed an interest in further studying the 7 modes. I recently wrote an article that has not yet been published or edited that attempts to simplify or at least facilitate the playing each of the modal scales starting on all 12 possible notes either on the piano, or the horn (more difficult to visualize).  When I started practicing Exercise 1.1, I thought what you intended was for us to play the exercise using the Lydian mode scale in every key starting with C, C#, D, etc.  When I went to Appendix A, I believe that the only example of Lydian mode was in the very first two lines. All of your examples start on the notes C or C#, not in any of the other keys. The subsequent two example lines are in Phrygian mode, the next two in Dorian, then only one in Ionian, Two in Locrian, Two in Aeolian and two in Mixolydian.  I Don’t think any hornist following the instructions for 1.1 would end up playing what you  presented in the Appendix which is the exercise in just two keys (C&C#) in 5 of the 7 modes (Lydian and Ionian were only in C with no example starting on C#).  

 Many of your illustrated Jazz excerpts improv examples are extremely difficult to play in every key, and others where the underlying patterns are simpler are less challenging, this is obvious. I had no problem memorizing Appendix B, but this was not so with Appendix A.   Please let me know if I’m off base with my observation about this particular exercise and your illustration of what it looks like written out in its entirety.  I don’t know if anyone else has brought up this issue, or if I’m just misinterpreting the instructions for 1.1. ??

Thanks…  Mike Kates

Mike, here’s what I think:
You are just looking at it from a different angle than I was.  
You’re absolutely right in your interpretation of it, but that’s if you look at it a certain way.  The way I think of it, and that’s when I’m practicing it, is this: Every 2-system group is in the Lydian Mode, it just begins on a different scale degree.  In other words, Staves 3-4 are in Db Lydian, beginning on the C, the 7th degree.  Systems 4-5 are in D Lydian, also beginning on the 7th degree.  Then 7-8 are in Eb Lydian beginning on C, the 6th degree of Eb Lydian.
It probably would have been helpful if I’d explained this at the top of page 21!  Anyway, this is the way I always used to practice these because it kept me starting from my lowest notes.  In more recent years, I enjoy just starting anywhere and playing them in any range, just maintaining the key signature and THINKING of the scale. Is this explanation helpful? click yes or no LOL

Well, the pandemic has certainly turned everything upside down and inside out. One effect it had on me, was that I stopped composing anything new, which is kind of the opposite of what I should have been doing…. Just recently, I decided to do a home recording of the latest version of “Dark Rhapsody” – this one for Four Horns. I offer it to you, as a free download, enjoy! And if your ensemble is interested in playing it, email me and I’ll send .pdf’s of the score and parts completely gratis 🙂 At some point, it will be added to the online store for a fee, so act now!

Stay safe and well, everyone!

OK, it’s a little different from my normal world of Jazz Horn….but certainly Rap / Hip Hop is related to jazz. And I always love to see the Horn involved in anything non-classical. You’ll only see me for a few seconds, and you’ll need to listen hard for the Horns. But I wanted to share this, mainly because of how bad I feel about the rotten treatment of Puerto Rico, by the Trump administration.

Hey Everyone, just wanted to let you know about something I’m doing in a few days:

https://shop.outreachmusic.org/free-masterclass-waldhorn-more

Hey everyone, hope you are all ‘sheltering in place’ successfully and staying healthy!  Now, to continue with my thoughts regarding Jazz Horn Excerpts:

Here’s just one example: from Alexi David’s (http://www.alexidavid.com/html/) brilliant transcription of “Peggy’s Blue Skylight”.  To hear this arrangement live, you’d want to come to FatCat in NYC to hear Alexi’s Octet. That is, when we finally defeat this virus….

Meanwhile, you can hear a great version of the tune here: https://www.youtube.com/watch?v=jgkhazlOt9Q

So, what I’m saying is that it would be really helpful to you to study and practice this, just in case you get a last minute call to go sub at FatCat……!

Eventually I’d like to make available a lot of excerpts from various bands I’ve played with, such as Gil Evans, McCoy Tyner, Carla Bley, Kuumba Frank Lacy….  Do you have some excerpt you’d like to share with the class?!?!  Perhaps something you’re working on and need help with, or just something you’d like me to include?

There are so many sources for orchestral excerpts for Horn. To prepare for an audtion, there’s virtually no piece of music that might appear in your audition, that you couldn’t prepare for by accessing the written music and several recordings. But what if you should happen to be a jazz student wanting to prepare for the many challenges of big band playing? Trust me when I say that there are many, many Horn parts in well-known jazz arrangements, that are not totally easy to sight read! Even in my own recent experience, mainly with the Mingus Orchestra and the Jazz at Lincoln Center Orchestra, I see parts that I wouldn’t want to ask a sub to just come in and sight read….

This brings me to my next project. What if there were a volume of jazz excerpts for Horn, complete with audio examples? Would this be something of value? Can you think of any specific pieces, or recordings, or composers or arrangers that you’d want to see in this volume? I would love to hear your thoughts on this subject!