Chapter 3: Preparations for the Prototype Workshop

As part of this research, I intended to put on a workshop during the July 'School Horn Day' in Perth, Western Australia. This was part of my PIA and would enable me to test certain elements of my research in real life and get feedback from the students. This event is organised by the Perth Horn Society, a group I have been actively involved with and continue to support. The Society hosts a 'School Horn Day' four times a year, aligning with school holidays, to provide valuable learning experiences for student and community horn players in Perth. These events typically include group warm-ups, ensemble playing, presentations by local and visiting horn players, and a final concert where participants showcase their progress to their parents.

In early June, I was informed that I could proceed with my workshop, though in a slightly modified format from what I had initially planned. While I originally designed the session to run for about one hour, I was allocated only fourty-five minutes per group—one for younger, beginner (junior) players and another for older, more advanced (senior) students. Despite my initial concerns about the limited time, I embraced this as an opportunity to test a streamlined version of my workshop, focusing on its most essential component: the construction and playing of 'home-made' horns. Adapting to the time constraints, I refined the session into a more concise, prototype version, ensuring that students could still engage in a hands-on, creative experience.

                                       Aims of the Workshop

These aims are based on a full workshop that I hope to run and not the slimmed down version that was run as a prototype, although they are very much similar in intention.

-            Give students a background history of the horn, where it developed from, what advancements were made that led to the modern horn

-            Keep this information light and fun using pictures, videos, sounds, demonstrations, quizzes etc.

-            Create a fun, hands-on construction time for them to customise their instruments

-            Give them a chance to play and practise these instruments for each other

-            Perform, in an informal setting, the music we work on as a group in the workshop to the parents of the students

                                                       Outcomes

At the end of the session, I hoped that:

-            The students enjoyed themselves

-            The students would have had a chance to learn where the horn developed from and it's origins

-            The students could learn what the natural horn sounds like (baroque versus classical to compare etc.)

-            The students would be able to make their own instrument to take home

-            The students would have a chance to make some noise and have fun playing together

-           That I would have inspired them to learn more about the instrument and potentially make some kids interested in early music

                                                                                                                        What do I need to prepare?

-            Find and organise exercises for the students to get comfortable with their new instrument

-            Test my own version of a hosepipe horn - making sure the length and materials work!

-            Purchase materials (hosepipe and funnels) from hardward store

-            Purchase zip ties (multi-coloured for easy identification and customisation of horns)

-            Arrange and print small tunes for the younger group

-            Pre-cut hose pipe so it would easy for the kids to grab and start constructing

Repertoire Choices

In addition to exploring historical instructional methods, I have expanded my research to include contemporary teaching resources that support both the pedagogical and practical aspects of workshop delivery. These resources encompass a wide range of tools, including presentation software, interactive exercises, games, mobile applications, and other digital aids commonly used by modern educators. The integration of these contemporary tools allows for a more dynamic and accessible learning experience, helping students of various ages and backgrounds engage more effectively with the material.

A key component of my workshops involves utilising contemporary hunting horn melodies as a foundation for the repertoire. Often these hunting melodies and methods are written for the Trompe de Chasse, which has remained to this day a common hunting instrument. It is extremely close in function and sound to the natural horn and its music generally stay on the notes of the harmonic series1.

This choice stems from the historical connection between simple brass instruments and hunting calls, which were often used for communication and ceremonial purposes. The images included in this exposition are derived from this aspect of my research, illustrating how these melodies inform the musical content of the workshops. By incorporating traditional hunting horn motifs, I aim to acknowledge the historical roots of the instrument while making the material relevant and engaging for modern learners.

For the music selected for the workshop, my initial plan was for the senior group to attempt Le Rendez-Vous de Chasse by Rossini2. I firmly believe this piece would have been well within their capabilities had we been allocated more time for preparation. However, due to time constraints, I decided to adjust my approach and opted for a somewhat simpler piece. In retrospect, I feel the group could have managed the Rossini after all, so I will be sure to include it in the next workshop.

For the junior group, I arranged a set of simplified tunes taken from modern beginner horn methods Learn  To Play the French Horn3, Learn as You Play French Horn4, and Starter Duets for Horn5 that remained within a specific range and modified the melodies to utilise only open harmonics. This adaptation proved to be an excellent fit for the group, allowing them to progress through the material efficiently within the given timeframe.

The Quick Note on the Term 'The Amateur' & the Trompe de Chasse

One of the central questions I have explored is the applicability of various instructional methods to my target audience. Historically, numerous horn methods have been published, particularly following the establishment of the Paris Conservatoire, where formalised brass instruction became more widespread. However, many of these methods were designed with conservatory students in mind, focusing on advanced technique and professional-level training rather than catering to amateur musicians. Given that my workshops are intended for amateur players—individuals who are either new to the instrument or learning for recreational purposes—it was essential to identify pedagogical materials specifically tailored to their needs.

The concept of an amateur musician has evolved over time. Today, the term 'amateur' is often defined as “a person who takes part in an activity for pleasure, not as a job” or even “someone who does not have much skill in what they do”7. However, in the 19th century, the term 'amateur' often referred to a highly skilled individual who pursued multiple artistic and intellectual interests. Many of these ‘Gentleman Amateurs’ possessed a strong ability to self-teach and experiment with new instruments, often without formal instruction8. Recognising this distinction, I sought out historical methods that were designed with these proficient amateurs in mind, as their instructional approaches could still be relevant for today’s workshop participants who are approaching the instrument as beginners.

Through my research, I identified multiple pedagogical methods that specifically addressed amateur musicians or would be useful for beginner students. Some of these were written by Bos9, Ploosen10, Willeman11 and Tyndare-Gruyer12. One, written by Vanderbroek13, is specifically dedicated to amateur musicians. Each of these methods offers unique insights into brass pedagogy, with exercises and approaches tailored to learners outside the conservatory system. As I examined each method, I documented the exercises and techniques that would be most beneficial for familiarising students with their instrument, helping them build confidence and develop foundational skills in a structured and accessible manner.

By synthesising historical and contemporary teaching resources, my research aims to create a comprehensive framework for instructing amateur horn players in a workshop setting. This approach not only honours the rich pedagogical traditions of the past but also leverages modern educational tools to enhance learning outcomes and engagement. Moving forward, I plan to continue refining the workshop structure, integrating insights from historical sources with practical applications that make brass instruction more inclusive and effective for today’s learners.

Regarding the Trompe de Chasse and a focus on methods written for it, the Trompe de Chasse, often interchanged with the Cor de Chasse, was an instrument used predominantly in France during hunts and therefore primarily plays music written on the harmonic series. It is still used today and continues to use repertoire that utilises these melodies and exercises that can be found in these methods. Because of this focus and limited note use, methods written for it are perfect for this type of workshop as the exercises can be adapted to the hosepipe horns very easily.

These methods aimed at 'Amateurs' and Trompe de Chasse are highlighted in a list of the early methods for horn found here.