- The general and specific objectives of the subject are:
General aim of the course is that students learn at a professional knowledge and versatile musical culture, which meets the quality requirements of the era and makes him suitable for the music teacher’s job to fill. The training takes place in a private lesson where the teacher’s personality, teaching methods and instrumental presentation are for example for a prospective student candidate.
Under the semester 8 of the main subject work, the role of the student in the teaching of the teacher’s career is to raise consciousness, emphasize the theoretical background and educate the self-esteem in his instrumental play. It is the task of the subject to explain the methods of effective practice, to create the sensitivity of the beautiful tone in the student, to the inner quality of the perfect workmanship, and ultimately to guide him in the development of his abilities.
The aim of the course is that students should know the literary works of music, mastering, music thinking, knowledge of styles and instrumental skills developWith the formatted, theoretical, and the knowledge of the style, it is necessary to be able to analyze the works, to have independent musical thinking, to develop the need for constant self-cultivation, to expand the existing professional and general music literacy and to perform successful work on the teaching track.
The aim of the course is to allow students to participate regularly in stage practice, recognizing the responsibility of public participation. After listening to each other’s productions (with the help of a teacher), learn responsibly to make an expert opinion.
- Content of the course:
- Admission requirements
- 2 etude
- 2 performing piece from freely choosen from the age of baroque, classical, romanticism or XX. century
- Content of the course
Acquiring a high level of technical skills is done by processing an appropriate quality and hardness of ethereal material. These etudes are a kind of fingerprints, blowing and articulation exercises that improve the students’ technical skills. Because of the many repetitions (exercises), the automation is essential for the instrumental play. The same purpose is served by similar pieces of presentation as well.
Another important element of the training is the development of musical, performative skills and style knowledge, which is primarily solved by the analysis, learning and interpretation of works born in different music history periods.
In addition:
The playing which is based on blowing technique on horn – air management, flexibility and resonance of the lips, voice training, voice range, stamina – continuous improvement. Synchronization of mechanisms by means of scale exercises, achieving secure intonation.
The professional development of technical elements – binding variables, rhythm combinations, various sound initiations, double and triplan languages, decorations, and fliers – are performed with the same kind of etudes.
Through the processing and interpretation of performance pieces, music formatting, expression tools, style knowledge, presentation skills, education for independent music thinking, and personality traits of performers.
Learn more about the instrumental solo and orchestral literature, analyze the repertoire of basic horn training.
Studying contemporary music, mastering the special cinematographic signs. Processing or transducing orchestral excerpts.
Memory development, playing from memnory, acquisition of platform security. (Interpretative Practice Requirement.)
Breakdown of content in semester, control method:
1.semester:
- Development of blower technology, compilation of an appropriate exercise sequence from the different methodology stages
- Scales
- Development of playing technique characterized by characteristic etudes and school books s
Curriculum:
Beethoven: Sonata
Bozza: En Foret
Chabrier: Larghetto
Mozart: 12 Horn Duets
Mozart: Concerto Nr. 3
Condition of Signature:
Participation in a seminar (up to 3 absences per semester)
Participation in at least 1 scholarly concerto
Exam Requirements:
2 etude from different ages (one of them from memory)
1 classical concerto (from memory)
1 solo piece from the XX. c.
3 freely choosed orchestral excerpts
- semester
Performing pieces from different music history periods
Memory development, playing from memory
Transposition
Orchestral excerpts
Curriculum:
Mozart: Rondo
Rahmaninov: Vocalise
Saint-Sains: Morceau de Concert
F. Strauss: Nocturno
R. Strauss: Alphorn
R. Strauss: Andante
Condition of Signature:
Participation in a seminar (up to 3 absences per semester)
Participation in at least 1 scholarly concerto
Exam Requirements:
2 etude from different ages (one of them from memory)
1 performing pieces (from memory)
1 solo piece from the XX. c.
3 freely choosed orchestral excerpts
- semester
- Practicing technical elements from the chosen etudes
- Performing pieces from different ages
- Acquire podium security (stage performances, 2-3 occasions)
Curriculum:
Bach: Cello Suites
Dukas: Villanelle Cherubini: 2 sonatas Hindemith: Sonata in F Mozart: Concerto Nr. 2
Condition of Signature:
Participation in a seminar (up to 3 absences per semester)
Participation in at least 1 scholarly concerto
Exam Requirements:
2 etude from different ages (one of them from memory)
1 performing pieces (from memory)
1 solo piece from the XX. c.
3 freely choosed orchestral excerpts
4.semester
- Transposition
- Technique Development
- Orchestral excerpts
Curriculum:
Neuling: Bagatelle Poulenc: Elegie Rasmussen: Duets
F. Strauss: Introduction, Theme and Variations R. Strauss: Concerto Nr. 1
Condition of Signature:
Participation in a seminar (up to 3 absences per semester)
Participation in at least 1 scholarly concerto
Exam Requirements :
etude from different ages (one of them from memory)
concert (from memory)
solo piece from the XX. c.
freely choosed orchestral excerpts
5.semester
- Technique Development
Curriculum:
Arnold: Fantasie for Solo Horn
Berge: Horn Call for Solo Horn
Haydn: Horn Concerto Nr. 1
Haydn: Concerto for 2 Horns
Mozart: Concerto Nr. 4
Condition of Signature:
Participation in a seminar (up to 3 absences per semester)
Participation in at least 1 scholarly concerto
Participation in at least 1 scholarly concerto
Exam Requirements:
2 etude from different ages (one of them from memory)
1 performing pieces (from memory)
1 solo piece from the XX. c.
3 freely choosed orchestral excerpts
- semester
Practice of Contemporary Music
Orchestral excerpts, transposition
Curriculum
Hidas: 1. Kürtverseny
Mozart: Quintet
Krol: Laudatio
Rossini: Prelude, Theme & Variations Schumann: Adagio & Allegro Schubert: Auf dem Strom
F. Strauss: Concerto
Condition of Signature:
Participation in a seminar (up to 3 absences per semester)
Participation in at least 1 scholarly concerto
Exam Requirements:
2 etude from different ages (one of them from memory)
1 performing pieces (from memory)
1 solo piece from the XX. c.
3 freely choosed orchestral excerpts
- semester
- Performing pieces from different music history periods
- Memory development, playing from memory
- Acquire podium security (stage performances, 2-3 occasions)
- Selection from the repertoire of the basic curriculum
- Transposition
- Orchestral excerpts
,
Curriculum:
Messiaen: Interstellar call for solo horn Buianovsky: 4 Improvisations for Solo Horn Persichetti: Parable for Solo Horn
Brahms: Horn Trio
Förster: Horn Concerto
Condition of Signature:
Participation in a seminar (up to 3 absences per semester)
Participation in at least 1 scholarly concerto
Exam Requirements:
2 etude from different ages (one of them from memory)
1 concert (from memory)
1 solo piece from the XX. c.
3 freely choosed orchestral excerpts
- semester
Compilation of the final exam repertoire, interpretation at concerts.
Curriculum
Glier: Concerto
Hindemith: Sonata in Es
L. Mozart: Concerto in D
R. Strauss: Concerto Nr. 2
Teleman: Concerto in D
Weber: Concertino
Condition of Signature:
Participation in a seminar (up to 3 absences per semester)
Participation in at least 1 scholarly concerto
Exam Requirements: Final Exam Concert
1 baroque concerto’s 2 movements
1 classical, romanticism or contemporary concert or performing piece
1 solo piece
1 chamber work
(The performing pieces must be played without sheets)
- List of compulsory or recommended literature
Cantilenas
Neuling: Studies
Gallay: Studies
Kopprasch: Studies
Maxime: Studies-4-5-6
Paudert: Studies
Kautzky: Studies
Methodology Practices for Basic Functions, Improvement, and Development of Blowing Technology:
Lucien Thévet: Méthode Compléte de Cor I-II-III, 60 Etudes I-II.
Karl Biehlig: Schule für Horn in B
Franz Oscar: Complete Method for the French Horn J. F. Gallay: Methode pour le Cor op.54
3. Leloire: Methode de Cor
4. Schollar: Schule für Waldhorn
5. B. Arban-Foster: My First Arban
Technical etudes:
Peter Damm: Studien für Horn; Jean Désiré Artót: 19 Ausgewahlte Etüden;
Karl Biehlig: Kompendium der Horn Technik;
E. Bozza: Achtzehn Etüden in Form von Improvisation;
6. Koetsier: 12 Etüden; Belloli:12 progressive Etüden;
Artistic, modern etudes:
Martin Hackleman 21 Charakteristic Etudes for High Horn Playing; 34 Charakteristic Etudes for Low Horn Playing; Verne Reynolds: 48 Etudes for French Horn, Barboteu: 20 Etudes Concertantes, Etudes classiques
Transcription: Müller: 34 Studies op.64
Publications containing orchestral excerpts:
Bach-Janetzky: Studien für Waldhorn I-II; Chambers: Orchestral Excerpts vol. I-V.;
Performing pieces:
Quantz: Esz-dúr kürtverseny
Haydn: D-dúr kürtverseny No1-2 ; W. A. Mozart: D-dúr, Esz-dúr kürtversenyek No. 2-3-4; L. v. Beethoven: F-dur Szonáta
Romantika: R. Schumann: Adagio und Allegro; Rossini: Bevezetés téma és variációk; Weber:
Concertino
R. Strauss: Esz-dúr kürtverseny No 1-2; R. Glier: Kürtverseny; Saint-Saens: Concert Morceau; A. Gedike: Kürtverseny.
Dukas: Villanelle; E. Bozza: En Foret; R. Plenel: Caprice; B. Kroll: Laudatio;
Sonate; K. Turner: Sonate; Winter: Hunters Moon; Schoeck: Kürtverseny;
Hidas Frigyes: Kürtverseny; Malek Miklós: Kürtverseny; Hollós Máté: Canticornum,
Recommended books:
Gisella Csiba und Jozsef Csiba: Die Blechblasinstrumente in J. S. Bachs Werken
R. Donington: A barokk zene előadásmódja N. Harnoncourt: A beszédszerű zene
Farkas: The art of the brass playing Farkas The art of the horn playing Wekre: How to play the horn well