My next objective with this research is to develop a new workshop aimed specifically at the community horn players in Perth. These individuals may have first encountered the horn in primary or secondary school, or even picked it up later in life as adults. The community horn players often come together for horn ensemble meetups, so they are familiar with one another and accustomed to the informal, collaborative nature of these gatherings.
This upcoming session will be slightly longer than the time I had for my initial PIA investigation. One of the most difficult elements of the prototype session was the speed in which we had to work to fit into the pre-established time slot. Fourty-five minutes was not enough time to allow for the students to get comfortable with learning a quick history lesson, while making a horn, and then also learning a new piece to play all in one swift session. While the students did fantastically in that time they were given, I could tell that some were nervous about performing to their parents when they had not really had a chance to adapt to this new horn. To make the most of this extended timeframe, I plan to begin with a small presentation before diving into the hands-on portion of the workshop. The presentation will cover the history of the horn, giving participants a context for their instrument and enhancing their understanding of its development over time.
Through reading an article addressing the planning stages and presentation of workshops, I was made aware of useful tools for participants of a workshop when working on something hands-on. They made use of a powerpoint displayed during the hands-on portion of the work shop, instructing the participants on the steps of the task they were undertaking1. I think displaying the steps involved with building their horns and perhaps a picture of the finished product as a reference would be something extremely useful to those involved.
A key component of this presentation will focus on the physics underlying the horn, which I believe is essential. While many horn players are familiar with the harmonics series and its role in producing the pitches on the instrument, I recognize that some may not fully understand the underlying principles. To address this, I plan to introduce exercises based on the harmonic series, drawn from resources I researched specifically for amateur players prior to my first workshop. These exercises will help clarify how the horn produces its distinct sound and deepen participants appreciation of the instrument's design.
The following are examples of exercises that would be used to get participants comfortable with the instrument. They are taken from two of the methods written for amateur horn or trompe de chasse players and only use notes found in the harmonic series. There is a workbook of additional exercises that I have put together based on these methods for the hosepipe horns found here.
Additionally, I think it would be beneficial for the participants to experience a small multimedia presentation showcasing the sounds of both the natural horn and hosepipe horns. Incorporating video or sound clips will allow them to imagine the tonal qualities and unique characteristics of these instruments. As I am hoping for a longer time slot for this next workshop, I believe this multimedia addition will be a valuable enhancement, providing an immersive experience that ties in with the theoretical concepts discussed earlier.
One of the most interesting aspects of the hosepipe horns is how they provide a potential solution to common issues faced by younger students learning the horn. Specifically, hosepipe horns offer a lightweight, customizable alternative to traditional horns. Over the years, through my experience teaching, I have noticed that younger students often gravitate toward certain pitches that feel more comfortable or natural for them. With hosepipe horns, the length of the pipe can be easily adjusted to accommodate these individual preferences, effectively creating an instrument tailored to each student's unique playing style. This flexibility also makes it easier for students to take the instrument home and begin experimenting right away, which is especially useful in situations where school-provided instruments might not be available due to maintenance issues or size constraints.
By providing students with a tool that is both practical and adaptable, we can help them overcome some of the challenges they face in their early stages of horn playing. This approach has the potential to foster greater engagement and learning, as students will feel more connected to an instrument that suits their needs.
