Thoughts on Straight Mutes

*Just a quick note that all of the mutes discussed in this post are Rittich-style mutes. Per Horn Matters, Eugene Rittich of Toronto, Canada, who was Co-Principal Horn of the Toronto Symphony for many years, is responsible for designing this most popular style of mute, used by professionals and advanced students alike. It is a simple cone shape, with a movable inner tube for tuning purposes.*

We as musicians, especially horn players, are truly blessed, because we have so many wonderful equipment and accessory options from which to choose. When I bought my first real straight mute, back in 2004, I didn’t have a lot of options. At the time, I had been using a Stone-Lined mute for years, and it was time to upgrade. I considered getting a Trumcor, but my teacher recommended a straight mute from Ion Balu, so that’s what I ordered. It was a Walnut Balu mute that cost $110, which I still have and use to this day. I had to replace the corks on it recently, but it has held up very well over the years. The market for wooden straight mutes has severely inflated over the past decade, so many of the top brands will cost anywhere from $130 to $250.

Today, a Balu mute will run you approximately $200 (US Dollars), so I’d say that the price has increased a little over the years. It has a great reputation, and it is still one of the best all-around mutes that you can buy. The Balu mute is heavy and solid, but due to its robust construction, it produces a warm and full-bodied sound that other wooden mutes tend to lack. When comparing to other brands, I am always very impressed with the quality of construction concerning the Balu mutes. I don’t feel like I’m going to break it when I hold it or put it in the bell of my horn.

A great “middle of the road” option, which is reasonably priced and well-made, is the Trumcor straight mute. There are a number of models available by Trumcor, but the most recommended wooden straight mute is the 45T model. The 45T is tuneable, which is what the “T” stands for, and only costs approximately $130 (it’s listed for $105 on the Trumcor site). It is also available from multiple sources, such as Woodwind Brasswind, Musician’s Friend, and even some local music stores. I know many professionals that use this model mute, and I do recommend this particular one for many of my college and high school students. It’s rare that a young student will be able or even willing to pay $200+ for an accessory that they may not use that often, so I’ve found that this Trumcor mute is a great compromise. It produces a nice sound, not stuffy or too bright, and it also feels very durable. It should be noted that Trumcor mutes are not completely made from wood, but are also made using “a specially formulated resonant fiber material.”

Trumcor Model 45T (Tuneable) — Trumcor 45T

Staying in the “affordable” range, is another wooden, Rittich-style mute produced by the Denis Wick company (sorry, no relation to John Wick). The Wick company is located in England, and it is well-known throughout the brass world for producing top-quality mutes, mouthpieces, and accessories. Like the Trumcor mutes, the Wick wooden straight mute is also lined with a special fiber that helps to dampen the sound. The sidewalls are constructed of birchwood, and the bottom panel utilizes marine plywood, which is a type of wood that is able to withstand lots of moisture accumulation. The best price for this particular mute may be found at Hickey’s Music, $108.50. Personally, I was only aware of the metal Wick mutes until recently, so I don’t have much experience with the wooden mute. I did try it once, and it seems like it would be a fine option for a younger player. It would at least be better than using the metal “silver bullets” by Wick or Jo-Ral. I would still recommend the Trumcor mute over this one, but this seems to be one of the cheaper options on the market.

Another “affordable” option is the Moosic Mute, which I believe is only available through Pope Repair or Hickey’s Music. I thought that these mutes were made by Jacek Muzyk, the Principal Horn of the Buffalo Philharmonic, but I can’t find any information to support this claim. Either way, it has one of the most unique designs, and I have always wanted to try one. It is handmade, and the “design uses two layers of spiral-cut walnut and poplar veneer to create a responsive and resonant sound. It has no plastic or fiberboard and gives a very natural all wood feeling, (Pope Repair).”

The RGC mutes, which are available through Houghton Horns and produced in Spain, are a very affordable option offered in six different choices. There are three different conical versions: Ash (offers more clarity of sound and articulation), Black Ash (darker sound than the regular ash, but with same sense of clarity), and Solid Cherry (focused and projects very well, lighter than the previous two woods). All three are available for $119, and play well considering the price. Recently, after being able to try these three models at a workshop, I have begun to recommend these more often. The other three options utilize a 12-sided design, which raises the price a little, $125-$179, depending on the wood. Here are the 12-sided choices: Solid Cherry ($125, similar to the Conical version, bright sound, great projection), Cherry and Ash ($149, the Ash is meant to balance with the brightness of the Cherry), African Rosewood and Ash ($179, heavier, with a darker tone). I’m not a huge fan of the Cherry, primarily because it is a little too bright for my taste, but the African Rosewood and Ash is one of my favorite mutes. While being absolutely beautiful to look at, it also produces a very nice sound. I don’t personally own one, but after trying it numerous times at different workshops, it’s on my shortlist. My only complaint with the RGC mutes, and many of the mutes on this list, is that they are very light in comparison to my Balu mute. I’ve been using a Balu mute for so long that when I pick up other mutes, I’m always taken aback by the difference in weight. I know that all of the mutes on this list are well-made, but many of them feel flimsy when compared to my trusty Balu.

The last mute before we start looking at the more expensive options is the long straight mute by Don Maslet. It is currently available through Osmun Music and Elemental Brass at approximately $135. Unlike the other mutes in this list that are primarily comprised of some sort of hardwood, the sidewalls are constructed of carbon fiber, with the bottom plate being made of wood. Due to the materials, this mute produces a very bright and brilliant sound, while also being super lightweight and extremely durable. I haven’t tested this theory out myself, but I can only assume that this mute would work well for solo work or any type of muted passage that needs to cut through a big ensemble. It could also potentially work well in a brass quintet type setting. I didn’t find the brightness of this mute to be as offensive as that of the Cherry RGC mutes, but this could be due to the difference in material, carbon fiber vs wood.

Now, we’re starting to creep closer to that $200 threshold; however, we still have two makers that offer very nice mutes. The first is Marcus Bonna. We all know and love the cases, but the company also produces some very nice mutes. MB evidently has a carbon fiber option, but I’m only familiar with the regular wooden Rittich-style mutes. The latter can be found for approximately $175 from many of the major horn retail shops, and it is constructed of fiberboard and wood. MB does offer mutes with different designs on the sidewalls, but these options are also a little more expensive. Since Marcus Bonna utilizes fiberboard, their mutes are a little bit lighter than the Balu mutes, but otherwise are pretty similar in playing characteristics. If I’m already going to spend close to $200 on a mute, I would probably opt for a Balu mute over the MB mute, but at this point, it’s really up to personal preference. I prefer the solid, heavier feel and sound of the Balu mute, and I’m sure that other players might prefer the opposite.

Marcus Bonna Straight Mute for French Horn — Marcus Bonna

Horn-Crafts is a mute-making company based in the Netherlands. These mutes are sold by many of the big music retail companies throughout Europe. In the U.S., they are distributed by Dillon music, Osmun Music, Patterson Hornworks, and Pope Repair. Horn-Crafts currently offers three different models: Sylva (Beechwood), Betula (Beechwood), and Khaya (Mahogany). The Sylva and Betula models are the heavier options, 130 and 140 grams respectively. These two are also the cheaper options that are normally available for approximately $180. These models are very nice mutes, but the Khaya model, which is made of African Mahogany and weighs 125 grams, is my favorite. I normally don’t enjoy the lighter mutes, but this mute just feels and sounds better to me. It also costs about $250, which is the primary reason why I don’t own one of these models. The Khaya is a fantastic mute, but unless you have an abundance of money to spend, I would stick with the other two models. The Sylva and Betula models are very comparable in sound and feel to the Balu and MB mutes.

Horn-Crafts Horn Mute – Houghton Horns — Horn-Crafts

The Tom Snyder mutes, which are primarily sold through Pope Repair, are produced in Canada and available in the following options (wood): Koa, Walnut, Cherry, and Ebony. They are priced at $230, but I paid $200 for my Ebony mute back in 2016. I loved the look of the Ebony mute, and I loved the sound of it at the time. I tried all of the mutes that I could find at the 2016 International Horn Symposium in Ithaca, NY, and the Ebony won. It fit pretty well with the horn that I played at the time, which was a Wunderlich Schmidt. After I switched to an EB (Elemental Brass) Custom Yamaha 87, I did everything to make it work, but no matter how hard I tried to fix the issue, I couldn’t play in tune with it. I recently sold it, which is a shame, but if I couldn’t play it within a section, then the mute wasn’t worth keeping. It not only projected well, but technical passages were extremely clean on that mute. This just goes to show that a mute won’t work with every instrument, so be sure to try one before you buy it. Even though it didn’t work out in the long run, these are still great mutes, and I highly recommend them.

This next one isn’t necessarily a new mute, because it is made by Ion Balu, but it is new to the market. It was designed by Dan Vidican, the maker of the wonderful Lukas Horns, and this mute is evidently the “Beast Mode” version of the regular Balu mutes. The Lukas mute seems to only be available through Pope Repair and is priced at $255. The site mentions that the process for making this mute is much more labor intensive, and the following characteristics are listed: “quick response, evenness across the range, and a brighter, crisp sound full of stage presence and projection in the hall.” I have not personally tried this mute, but due to my preference for Balu mutes, I can only assume that I would enjoy the Lukas mute. Would I buy one? If I performed regularly in a professional orchestra, I would maybe consider it, but as I stated previously, it’s difficult for me to justify spending more than $200 on a mute.

Lukas Mutes — The Lukas Mute, made by Ion Balu, designed by Dan Vidican

The Cadillac/Rolls Royce of the horn mute world, the Woodstop mute, which is available in Maple ($225), Cherry ($245), and Walnut ($255). These mutes are sold through The Horn Guys, Elemental Brass, and other places, but it’s actually cheaper to order the mutes directly from the Woodstop website. The Maple has a “very lively sound with a bit of edginess” and plays with great response. The Cherry is a free-blowing mute with immediate response that “gives the traditional sound with a bit more warmth.” The Walnut “gives a very warm sound with no edginess.” It is responsive and the playability is supposedly very “similar to that of your open horn.” These mutes are played and endorsed by numerous professional musicians throughout the United States. I have never tried one, mainly because it is above my pay grade, but the straight mutes and stop mutes are both world-renowned, so you’ll definitely get your money’s worth.

walnut stright compressed.jpeg — Woodstop Walnut Straight Mute

Well folks, we made it! I know that there are other mute brands out there, but the ones listed in this post are the most “well-known” horn straight mutes available today. Unfortunately, if you’re looking for some profound wisdom concerning the “perfect” straight mute, then you are out of luck. There will always be debate over which one is the “best,” just like how we constantly fight over which horn is the best. It all depends on personal preference, which is why you should always try it before you buy it, or you might just get stuck with a $200 mute that you never use.

Being Lazy is Easy

As most of the world is under a suggested “quarantine” right now, I thought it might be a good idea for me to revisit my blog. I won’t be teaching another university course in person until the Fall, and it looks like I won’t be in my Elementary music classroom until at least May, so I finally have time to do things. Time is such a precious commodity nowadays, and if you have small kids, you know how difficult it can be to carve out time to work on anything. I stay busy, but I’ve developed this habit of distracting myself from tasks that need to be completed. Sure, I’ve finished a couple of compositions within the past year, submitted some presentation proposals (even though the events were cancelled), and other stuff; however, I’ve been unable to make myself sit down and write, whether it be blog posts or articles. I have three or four articles that I just need to make myself finish, but I always find an excuse. I also know that I need to write more blog posts, but I continually find ways to procrastinate.

This is where the title comes in, because it has been way too easy for me to be lazy lately. When I was in undergrad and grad school, I adhered to a rigid schedule, and I would always find time for anything that needed to be done. It’s not that I sit around and do nothing nowadays, because it’s hard for me to be idle, but I’ve found that I’m constantly distracting myself from the tasks that are most important. Yes, I’m choosing to do easier things over the more time-consuming, strenuous, but also more rewarding tasks. If I still had my old drive and determination, I would have multiple articles published and probably many more compositions in my portfolio. Unfortunately, the new me starts a task, gets halfway through it, and then finds ways to procrastinate. I still have a lot of great ideas, but this new routine means that I have so many unfinished projects that need to be completed. It’s frustrating, and I need to actually spend the next few weeks doing the hard work.

This month, March 2020, was supposed to be an important month for my professional career. I was going to perform one of my compositions, Caccia for Solo Horn, at the Southeast Horn Workshop, and I was also scheduled to do a presentation about my research pertaining to etude books written for low horn. Sure, I’m happy that I have a little more time right now, but I’m also bummed that I didn’t get a chance to share my work. This was to be my first presentation at a workshop or conference and an important building block for my resume. I’m also scheduled to do a presentation about anxiety and depression at the IHS Symposium in August, but I have no idea if that conference will happen either. I was already afraid that I wouldn’t be able to attend due to monetary concerns, but now, it looks like everything will be put on hold until at least the Fall. I’m very frustrated, but I can’t let my depression or anxiety keep the next few months from being a time for increased productivity. Even if I can’t go to these conferences, I can still take this time to finish articles and compositions that could also aid me in my quest to obtain a college teaching position in music.

These are very uncertain times, especially considering that we don’t know how long schools and other organizations will need to be closed down. Will orchestras be able to present full seasons next year? When are churches going to reopen their doors? How long will teachers, especially private instructors, have to teach remotely? So many of us depend on these organizations and vocations for our livelihoods, whether it be a primary or secondary source of income. I’m lucky that my jobs have been able to seamlessly convert to remote-based, because my family and I would be in trouble if we weren’t getting paid right now.

Unfortunately, even though these are questions and issues that are valid and important, these concerns are ultimately out of our hands. I cannot control the outcome of these obstacles, so I shouldn’t let all of this stuff overwhelm me and drive me into a deep depression, because it would definitely happen. I’ve been suffering from chronic depression (Major Depression, Dysthymic Disorder, or whatever you’d like to call it) for a while now, and any sort of “bad” news or negative occurrence can set it off at any moment. Instead, I should focus on the things that I can control: spending time with my family, blogging, finishing those articles, completing my compositions, and practicing my instrument.

During the school year, I’m normally so busy that my academic pursuits, including practicing horn, are often times put on hold. Teaching elementary music, especially when you’re at a school that doesn’t give you many breaks or much planning time, is exhausting. It’s especially exhausting for me, because constantly being around people drains my energy like nothing else. It’s the curse of being an introvert, which is why I enjoyed music school so much. I was built to be stuck alone in a practice room for hours. Now, I’m lucky to even practice at all, let alone get 2-3 hours per day like I did in grad school. I miss playing horn, so I’m definitely going to continue taking advantage of the extra bit of freedom that I’ve been given for the next month. I’m also going to make sure that I do things for fun as well, because we all need time to unwind. Sure, we can’t really go out, but being an introvert, I’m perfectly happy staying at home with my video games.

For what it’s worth, here’s my advice for everyone during our quarantine: do things with your family, do things for yourself (for fun and self-improvement), and do the things that you keep putting off until another time. Whether we like it or not, this is our time, and we can choose how we deal with it. I’m choosing to look at this as an opportunity to be more productive and to finally push myself to make that next step.

Reflections & Resolutions

To be honest, I have never been a fan of New Year’s Day. Sure, we all need to reflect and commit to change at times, but the resolutions made on this holiday never seem to last. Due to the “new year,” people feel the need to make resolutions and try to change the negative things in their lives, but most lack the conviction to follow through. Most individuals aren’t ready to change, but the mob mentality and group pressure associated with this holiday makes people feel the need to publicly profess a list of of resolutions.

Having said all of this, I’m going to succumb to the madness and talk about some areas that I need to address in my life. Hopefully, these reflections and resolutions won’t fall by the wayside. I tend to be a very determined person, so maybe this trait will help me to use this opportunity as a way to reset and re-establish my goals. Unfortunately, I have been horrible at finishing projects over the past six months, so there are many things that I need to fix and finish this next year.

First, I really need to get in shape. Yes, this is very cliche of me, but I feel that I have reached a breaking point. I have been overweight for the majority of my life, but when I turned 20, I got tired of being fat and lost over 100 pounds within a year. I went from 275 to 170, and I felt great. It took a lot of work and effort, but I accomplished my goal, because I was ready to change. I gained a little bit of weight when I got married, but I was able to keep my weight around 190 for seven years, until I started suffering from depression. Eating is one of my weaknesses and a coping mechanism, so when I became depressed, I ate my feelings. I also stopped exercising and maintaining my health, which culminated in me ballooning to 285 over the next four year period.

I have tried to exercise and lose some weight since gaining it all back, but I get discouraged very quickly if I don’t see immediate results. However, I hate feeling tired all of the time, and I really hate feeling winded after climbing a flight of stairs. Recently, I started taking a salad for lunch at work, and I hope to continue to make healthier eating choices now that the holidays are over. Still, I’m not young anymore, and I won’t be able to lose weight just by eating healthier. This is going to take a combination of smart eating and some sort of physical activity.

Most people will say, “Go join a gym and workout,” which is great advice; however, you forget that you’re speaking to someone with severe anxiety. I don’t like being around a lot of people in general. I also don’t really enjoy looking at myself in the mirror right now, so I definitely don’t want other people to see me while I’m working out. I know that it’s weird, but people with high anxiety are usually uncomfortable with their self-image, and it’s difficult to turn this part of my brain off, even with me being on medication.

I was able to lose weight without going to a gym last time, so I’m determined that I can do it once again. It may take a little bit longer this time, since I’m getting older, but I just really want to feel different. Not just for myself, but for my kids as well. I’m so tired when I get home that I don’t want to spend time with my kids. This has also kept me from being productive as a professional, which leads to my next resolution.

I need to set aside some time each week to work towards my professional goals. At the beginning of last summer, I was determined to write more blog posts and finally finish a couple of articles that I had started working on….this did not happen. I also wanted to write several new compositions. I had all of these wonderful ideas, and I just couldn’t wait to get it done….I finished one composition, but I have been unable to get motivated enough to finish a couple of pieces that I’ve been working on for the past several months. There have been a number of college jobs that I should have been excited about, but I just haven’t felt motivated enough to sit down and apply for them. I even need to practice more. I’ve just been so mentally and physically exhausted lately that on many occasions, I have selfishly chosen to skip anything related to music, whether it be practicing, composing, or writing a blog post. I’m working a full-time job, teaching private lessons, playing professional gigs, and trying to do all of these extra things to advance my professional goals. It’s a struggle, and I really need to be better at managing my time. Even if I need to map out a daily schedule for myself, I need to do something, because my current path isn’t working.

Aside from managing my time better, I also need to be more present as a teacher. When I say this, I’m thinking primarily about my private students, because I know that I have been very complacent over the past few months. When I started building my studio a few years ago, I was better about being innovative and pushing my students. I would always have different exercises for them to practice, and all of my students were working out of at least two different etude books, possibly more. Now, I’m not pushing them to do as many exercises and studies, and I don’t preach the importance of practice and time management as much as I once did, especially since this has become such a huge issue in my own life. They deserve better from me, and I am going to do my best to improve. Maybe I’ll try to act like I actually want to teach….it’s been so bad lately that I dread teaching at times. I hate that I feel this way, because I really do enjoy my private students, and I really get the most enjoyment and fulfillment out of teaching them. It’s nice to actually use the knowledge and skills that I went to school to develop, and I guess I need to be a little more appreciative of the fact that I have some wonderful students that I have the privilege to teach.

Lastly, but most importantly, I am determined to read more this year. I was once an avid reader, breezing through series of sci-fi and fantasy-adventure books as if they were nothing. Unfortunately, I don’t think I have read more than a handful of books to completion since graduating from WVU back in 2012. It’s sad, because this used to be such a huge part of my life. Now, I spend more time on my phone playing mindless games instead of trying to sharpen my mind and improve myself. This year, I vow to actually read a book….hopefully, more than one. I tried downloading the Kindle app and reading some books on my iPad and phone, but it just doesn’t feel the same. I need to physically hold the book to be engaged. With this goal in mind, I picked out a book last night, and I started reading it. I have so many music books to read, but in order to keep from burning out, I’m going to alternate between work and pleasure. I’m starting out with a book related to the history of the horn, and then I’ll pick out a fiction book to read once I’m done. My kids are getting to the age where they will be able to read books on their own soon, so I need to show them (and also remind myself) how much their Dad loves to read.

Thoughts on “Student” Horns

When I was a young student, I didn’t have a lot of guidance in terms of proper instrument selection. My first horn was a Yamaha (double), but I’m not sure of the model. Remember, horn was not my first instrument, so I didn’t start playing until high school. However, I quickly fell in love with the instrument and decided to buy my own. I couldn’t afford a brand new instrument, or a nice used instrument either. Someone recommended a Conn 6D, and it just so happened that I found one for sale, so I bought it. It was old, probably from the early Abilene era, definitely not an Elkhart, but it played fine. It served me well until I was in undergrad, and then I used a few different school horns: Holton 179, Yamaha 667, and 668. These horns were serviceable, but I really didn’t like them, especially the Yamahas. It’s funny now, because I have come to really enjoy playing Yamahas, but I hated them back then. Maybe it was my naivety, but it was probably because I just wasn’t a very good player at the time.

When I decided to pursue graduate degrees on horn, my teacher recommended a Conn 8D, specifically an Elkhart model, which is what I found. I played that E-series horn throughout my masters degree and most of my doctoral studies. I was comfortable playing a Kruspe-style horn, and the one experience that I had with a Geyer-style horn wasn’t very memorable (that 667), so I stuck with the Kruspe. Fortunately, I overcame my prejudice against Geyer-style horns, and I have tried many different types of horns over the past few years. I have even owned several different types of horns myself: Yamaha Triple, Yamaha 871, Schmidt, Knopf, Hoyer 801, King Fidelio. All of the horns that I have owned possess unique/distinctive qualities, and I know that good players can make any type of horn sound great, but I have come to prefer playing on Geyer-style instruments most of all. These instruments not only suit my style of playing, but they also allow me to obtain the sound profile that I want.

For my students, I try not to influence them towards purchasing a particular type of horn, but it’s difficult when our industry, mainly the orchestral realm, is becoming almost Geyer exclusive. Back in the early to mid part of the twentieth century, Kruspe-style horns reigned supreme, and everyone wanted a Conn 8D or something similar. Due to various reasons, this preference has changed, and I make sure that my students understand this. If you want to play in an orchestra, you have to fit in with the sound. Of course, this doesn’t override my true philosophy on picking the correct horn. It’s not about the style of horn or the cost, it’s about choosing the right horn for a particular student, because we are all different. I’ve had many students that hate playing on Geyers, and vice versa. First, you need to pick a horn that is well-made. Then, you just need to choose the one that feels right and helps you to play your best.

With that said, I do have some recommendations for people out there looking for a quality buy. Most of us, including myself, can’t afford a $10,000 horn, so here is the list of horns that I will normally tell people to look at first. These horns aren’t true professional/custom made horns, but they are quality instruments suitable for any student or amatuer at any skill level.

Yamaha: Especially with the introduction of the new 671 model, my go-to recommendation is typically going to be a Yamaha. The 671 is very responsive, free blowing, and extremely easy to play. I like how it feels in the high range, and it is also pretty open in the mid-low range as well. The only downside with the 671 is that it is becoming difficult to find in stock due to its popularity. It’s also nearly impossible to find one used, so one will have to buy it new, which could push this option out of the price range of most students ($4600-$4800).

As an alternative, I will tell students to find a good used 667. There are many used 667s on the market now, but they are still quality horns, especially with the lacquer stripped. It’s common knowledge that Yamaha lacquer is super thick, and after stripping a couple of Yamaha horns myself, I have noticed that the playing characteristic are greatly enhanced after taking off the lacquer. Just the difference in resonance and sound quality alone makes it worth the effort. The 667V (a custom option) is also a great horn, but only worth it if you can find it used for less than $4000. If not, I would stick with the 671. In my opinion, the 671 plays even better than the 871, a custom model. Siegfried’s Call offers a customized version of the 671 that I really love.

The 668 is also a great option, if you want a Kruspe-style horn. The quality of craftsmanship puts it above a Holton and even a Conn 8D, but I don’t know if it plays better than the Hoyer Kruspe-style horns. Either way, it’s a very good horn.

Hans Hoyer: I like Hoyers a lot, and I think that they are well built horns. At present, my main horn is a Hoyer 801. The valves are fast and mechanical, and I really like the sound that the 801 produces. The downside is that it is compact, and the 801 is not as free-blowing as other Geyer-style horns. You really have to focus the air in the high range, and it will push back if you try use too much air. It has served me well the past year, because it is very responsive and produces the sound that I desire, but I do feel that I need a more free-blowing horn now that I’m back to playing at close to full strength. That being said, I still believe that the 801 is a great horn. It’s good for students, and it’s a really good option for chamber music. If you regularly play in a large ensemble, it might fight against you when playing at loud dynamics.

The G10 is the premier Geyer-style horn of the Hoyer line, and many professionals use this horn as their primary instrument. Siegfried’s Call even offers an “in-house” customized version of the G10, which is really nice. My first experience with the G10 came back in 2010. One of the undergrads at WVU had a G10, and I really loved how it played. The mid-range was stuffy on the F side, but felt great on the Bb side. Fast-forward a few years and I just haven’t been very impressed with the G10 since then. I’ve tried at least one at every single Southeast Workshop since 2013, and I just haven’t enjoyed the feel of the instrument. It sounds fine, but it just isn’t fun or easy to play. At the 2018 SEHW, I actually preferred the 801 models over the G10. Please, don’t think that the G10 is a bad instrument just because I don’t like it anymore. Try it and judge for yourself, but I know that it isn’t the best horn for me at the moment.

Hoyer also makes some fine Kruspe model horns, the 6801 and the 7801. You can get them in either brass or nickel silver. I’ve tried several different Kruspe Hoyers, and they are really good horns. A couple that I tried were even modified by Patterson, which greatly enhanced the already good playing characteristics. To be honest, if you want a Kruspe-style horn, I would go with a Hoyer or Yamaha. Coming from someone that played an Elkhart 8D, even though I loved it, they aren’t the best horns. I also don’t really like the new 8Ds, not even the V8D, which leads to the next maker…

Conn: As much as it pains me to say it, I just don’t really like Conn horns anymore. What used to be the gold standard of American horn makers is now falling quickly behind the competition. If you can find an Elkhart 8D for a decent price, under $3000, then go for it, otherwise, stay away from 8Ds. In general, they’re serviceable, but I feel like they have more problems than not nowadays. The valves are sluggish, and depending on the player, the tone is a little too dark compared to today’s standards. Don’t get me wrong, I’d still like to have my old 8D back, but not as my everyday horn.

I also haven’t enjoyed many 11Ds that I have played recently. The horn feels a lot like the newer G10s. There is something off about them, but I just can’t figure out exactly what’s wrong. The high range doesn’t speak well and takes more effort to play than I prefer. I’m not saying that it’s bad, but if I don’t enjoy playing a particular brand of horn, I’m not going to waste my time. You might be able to find some nice customized 11Ds, but the price point increases. In general, I would look elsewhere, unless the deal is too good to refuse.

So, what does Conn have going for it? A few things, but in terms of horns for students or amateurs, I would look for a 10D. These are economical horns, and they play surprisingly well. You can find used 10Ds for under $2000, and Siegfried’s Call has started customizing 10Ds, which makes them even more appealing. The stock 10D does have its limitations, but it’s easy play (a little stuffy in the mid-range) and sounds really good for the money.

Holton: Don’t even think about it, unless you’re buying a descant, or can find one of the elusive Tuckwell 105 models. These horns will play well for a while and then start falling apart after a few years. Holtons tend to have lots of problems, don’t sound all that great in terms of depth, and do not hold their value at all. Don’t take one unless someone gives it to you.

King: A lot of people have forgotten about King horns, especially since they aren’t in production anymore. However, one can find a plethora of Kings on the used horn market. I’ve come across many Kings over the years, but there are three models that you should keep an eye out for: Schmidt, Eroica, and Fidelio. Even the older Kings hold up pretty well due to the robust build quality. The Schmidts are old, but most of the ones that I’ve seen are in pretty nice condition and play very well. Even if you have to restore it, the investment is worth it. You’ll find more Eroicas than anything, which is fine, because they’re really good horns, especially if you can find one from the McCracken era. They’re similar to an 8D in playing characteristics and feel, but at half the cost. Most that I’ve seen are less than $2000, and some can even be found for less than $1000.

In my opinion, the crown jewel of the King line is the Fidelio. It’s a Kruspe-style horn with a medium-sized bell. The Fidelio is very responsive and really easy to play. I wouldn’t even mind having one for myself as a backup, or change-of-pace horn. On both Fidelios that I’ve tried, the high range is super easy, and the mid and low ranges are just as full as on the Eroica. Very even and full throughout the range. I found one for a student a couple of years back for about $1100, and it easily plays just as well, if not better than the Yamaha 671. An excellent choice for the price.

Jupiter, Accent, Eastman, Amati, and other stencil brands: In general, these are decent horns for middle school and/or early high school. Not bad horns for getting used to playing on a double, but don’t think that they’re going to last forever. Buying one of these horns new would be a waste of money.

Briz: We’ve all experienced this at some point in our teaching career. A student walks into their lesson, excited about the new horn they just bought, only to pull out a cheaply made Chinese horn. The worst one that I have come across is the Rossetti, but I can definitely say that the Briz horns are far superior than most other Chinese-made instruments. The Briz is the brainchild of Ken Pope and Ion Balu, two well-respected horn players and repair guys. The build quality of these horns is exceptional, and I think they all play very well. The Briz is available in several different options, including the Geyer/Knopf, Kruspe, and a custom version of the Geyer/Knopf horn (hand-hammered). One of my students bought a Briz, and I’m pleased with how it has held up. For the price, $4100, it’s difficult to find a better option. Currently, these horns can only be purchased through Pope or Balu. As usual, I prefer the Geyer/Knopf version, but the Kruspe-style Briz is pretty good as well. The Custom Briz is a very fine instrument, but at a higher price point ($6000).

Verus: To compete with the Pope-Balu Alliance, Houghton Horns developed its own Chinese-made horn. The Verus is also a Geyer/Knopf-style horn available in two options, the V and VG. The VG is completely constructed of Gold brass, which seems to be the only real difference. These horns are actually priced a little lower than the Briz, $3200, so they are very appealing. I’ve only played on them once at the 2018 SEHW, but they seemed to be very well-made. I thought that they played a little sharp, but that could just be me. I’m waiting to pass a real judgement on the quality of these horns until the next time I play them. For right now, I think the Verus is a very good option, especially considering its affordability. These are only available through Houghton Horns.

Paxman: I like Paxman horns, and the brand has been synonymous with excellent craftsmanship for decades. Around 2008, Paxman decided to venture into the student horn market. I’ve seen a few Paxman Academy horns available, but the most common Paxman students horns are the Series 4 and Series 5. The Series 4 is more of a true student model, with a modified Geyer wrap. It plays fine, but doesn’t offer anything special. The Series 5 is a much better instrument, modeled after the Paxman 20 pro horn. The Paxman student horns are all made in China, but the Series 5 is definitely one to keep in mind. The quality is on par with the Briz and Verus horns, although the price tag is very steep, retailing for $5800. The Series 5 is intriguing, but I don’t think I would recommend it over a Yamaha 671 or a Briz. Good playing horn, just too expensive for the student market. You might as well try to find a good used custom(ized) horn at this price range.

In general, the biggest misconception that I’m sure most teachers deal with is the idea or concept that you have to buy a brand new instrument for it to be good. This is totally false. I have actually never owned a brand new instrument, and I’m sure that there are plenty of other people out there that can say the same. There are plenty of great used instruments available, and if money is an issue, take a look at some of the more affordable options that I mentioned. The “Classified Ads” section of the IHS website is a great place to start. A horn player and technician in Michigan, Bruce Tubbs, posts a lot of affordable and quality instruments on the IHS website, as well as eBay. Just be careful with eBay, because you just never know when someone is being truthful. If you’re interested in an item on eBay, ask the seller some questions about it. If they sound like a horn player or a music technician, then you should be fine, if not, stay away.

It’s Been a While…Thoughts After a Year of Blogging

This past summer, I thought that I would spend a lot of time writing, but I just wasn’t as motivated as I thought I would be. Sure, I accomplished some things. I wrote a few good blog posts, and I’ve been working on an article inspired by my posts on anxiety. Much of my time over the past couple of months has been dedicated to a project that had been on the backburner for a long time, about 5 years to be exact. Ever since graduating with my DMA, I’ve wanted to make a worthwhile contribution to the horn world. Right after graduation, I began working on an idea I had for an etude book. I was really excited and very motivated at the beginning. I think I wrote about 5 or 6 etudes before I became discouraged and succumbed to depression. At the time, I was very upset by the fact that I couldn’t find a job…any job. I ended up working at an awful Comfort Inn located in Morgantown, WV for about 7 months, and the only reason I even got that job is because I knew someone that worked there. It was one of the worst experiences of my life, and even though it paid the bills, it did nothing to help my psychological state.

I’ve come back to the etude book idea once or twice since then, but my heart was never into it. Until about a year ago, I was unsure if I would even continue pursuing a career in higher education, or a career in music at all. After reaffirming my commitment to music, finishing the etude book is not only something that I want to do, but it is also a way for me to try and establish myself as an academic/professional/whatever you want to call it. I’m tired of waiting for people to give me an opportunity, so I’m trying a new tactic. I’m going to make it impossible for people to ignore me, whether it be for good or bad reasons. I mean, I’m never going to make it at all if I don’t try, so I might as well make the most of it.

There are quite a few things that I’m currently working on that could aid in my endeavor to finally establish myself. I’m in the final editing stages of my etude book. I’m about to conduct the premiere of my first all original composition, a brass octet, on Sept 17. I’m also working on a new composition for horn ensemble and a short-ish composition for horn and piano (not ready to write a sonata yet). I’m planning on premiering the latter two pieces at the next Southeast Horn Workshop at Western Carolina University. I have a lot of exciting things on my plate, and even if they all fail, at least I can say that I tried. At this point, I don’t really see failing as a bad thing. I can learn from my failures. I just don’t want to continue to hold myself back by worrying too much and not even trying. I’ve done that too much in my life, so now is the time to try, no matter if I succeed or fail.

Speaking of worrying, I started this blog over a year ago, because my anxiety was through the roof. I needed a way to constructively sort through my feelings, and I really think that this blog helped me to jump over the final hurdle. I will always struggle with anxiety and depression. I’m not naive enough to think that I’m completely cured, but I do feel stronger because of this outlet. I’m also grateful that I have this new medium with which to share my ideas. I never dreamed that I would be brave enough to be so open about many of the things that I have shared, so this experiment has definitely been a step in the right direction. Hopefully, I’ll be able to continue going in the right direction by being more active on social media and maybe trying my hand at some podcast stuff…we’ll see. For right now, I’m happy, and I truly believe that I made the best decision when I first began this blog. I was extremely nervous and afraid, but now, I’m finally getting to the point where I don’t care as much about what other people think. The doubts are still there in the back of my mind, but it’s become increasingly easier to tune them out lately.

Some things that I still need to work on: Obviously, I need to post more regularly. There are a lot of reasons and factors as to why I’ve had long stretches of inactivity on my blog. Sometimes, I do let my social anxiety get the best of me. I think I’ll always struggle with it from time to time, but I know that I’m trying to get better. Other times, I’ve just felt burnt out. This summer is a prime example, because I had all of these things that I wanted to do, and I was frantically trying to stretch myself too thin at the beginning to get everything done, and then, I just gave out. I was overwhelmed, and I felt that I needed to step back, so I did.

I also need to finish what I start. I still have two blog posts that I have yet to finish that are both at least several months old. I also have many ideas for posts that I just haven’t had the time to work on yet. It’s a struggle having to work basically four different jobs to make ends meet, and then also doing this extra stuff on the side. I know that it will pay off in the end, but there are definitely times when I just have to stop and rest.

If you’re reading this: I’m glad that you’ve stuck around, because I think this next year of blogging has the potential to be truly special. I really do appreciate everyone that reads my blogs, and I promise to do a better job, or to at least keep trying to do my best.

Value Yourself

Throughout my life, I have dealt with anxiety on a daily basis. Even as a small child, I remember having anxiety attacks and being afraid of social interaction. Finally in 2011, I was diagnosed with both Generalized Anxiety Disorder and Social Anxiety Disorder and subsequently prescribed medication. I have had my ups-and-downs over the past several years, but in general, I can say that my life is a lot more livable and enjoyable on medication (my wife can attest to this as well). It took my doctors and I a few tries to find the right medication and dosage, but the trial-and-error process was definitely worth it.

The un-medicated years were tough, but I was typically able to conquer my demons. I have always suffered from performance anxiety, and it was definitely very bad at the beginning of my musical career. As a young student in middle school, I would play so softly, because I didn’t want anyone to hear me make a mistake. I really didn’t want anyone to hear me at all. No one really believed that I would be good at music back then, but I worked at it, practiced, didn’t give up, and I gained some confidence along the way. By the time I was in 8th grade and transitioning into high school, I was a decent musician. I wasn’t great, but I had potential, and my teachers began to notice it and started to treat me in a different way. I started to feel like I belonged in band, in the music world, and during high school, I began to break out of my shell. I started playing more confidently, I didn’t shy away from exposed parts or solos, and I let my personality show through my music.

I began to love and enjoy music so much that I wanted to spend the rest of my life doing it, whether that meant playing or teaching. So, I went to college, and faced a whole new array of obstacles. I’m an anxious person, and college brought a new set of people to face, a new set of rules, a new level of commitment, so I had to adjust. Through hard-work and putting myself out there, I overcame my performance and general anxiety once again. Even though it might have been helpful, I never utilized any psychological tricks during my formative years. If I had a bad performance, I picked myself up and tried again. A combination of practice, a relentless work ethic, and stubbornness helped me achieve my musical goals: getting into grad school, earning my DMA, playing in numerous professional orchestras, winning an orchestral audition, etc.

Needless to say, I have put so much effort into my musical career that it is a part of me, and a very big part of my identity. Music is not only my career, but it is my main interest/hobby. I love it so much that I can’t stop thinking about what I’m going to do next. I have gained a lot of confidence through my musical pursuits, and it really transformed me from a shy introvert, to someone that finally felt comfortable in his own skin. My achievements in music became a huge part of my self-worth, the primary part, and I was really happy, because I was succeeding.

This, unfortunately, is never a good thing and turned out to be my fatal flaw. To judge one’s self-worth through achievements is a slippery slope, because these things are so fickle and fleeting. Yes, I should be happy and celebrate my achievements, but this should never solely determine how I or anyone else values themselves as a person, which is what happened with me. Unfortunately, when my injury occurred, and I started to notice issues with my playing that wouldn’t go away, I panicked. Over the course of three years, I tried weird things, constantly changed my embouchure, changed mouthpiece placement, and eventually, I lost the ability to play for a while. When this happened, my life came crashing down. I literally didn’t know what to do with myself, because playing the horn was my world. It’s what I wanted to do with my life, and I had this goal of becoming a college horn professor, and now that I couldn’t play, I didn’t know how to adjust. I put too much value into the wrong things, and I was unable to put my life into the correct perspective when things started to take a turn for the worse.

At first, when the playing injury happened, I was in denial. For a long time, I did not want to confront the fact that I had a problem (several problems), and I kept brushing it/them off to the side. I didn’t think that this could happen to me, so I wouldn’t allow myself to believe that it was that serious. I decided to keep going about my business, and I told myself that things would get better over time. I was also under the impression that I didn’t have time to deal with this injury. There are all of these unwritten rules, and if I wanted to make it, I needed to audition more and win an orchestral job. I didn’t have time to wait and let myself heal properly, because I needed to do all of this stuff to get a job, and if I didn’t get a job in a certain amount of time or before a certain age, I would be deemed a failure, and since my personal identity and self-worth was involved, I felt like a horrible person as well.

This lack of perspective didn’t allow me to listen to my body and ignore outside (and inside) influences or pressures. My embouchure was not ready, but I pushed myself too far, and put too much emphasis on career outcome/goals, which in the end, severely altered my career trajectory. It has taken me 7 years to fully overcome these problems. Just think about that…if I had done the smart thing, maybe just take a few months away from playing, I could have saved myself 7 years of grief, and I probably wouldn’t be writing this blog right now.

Of course, if I’m trying to blame the system or the “rules” for my problems, then I’m lying to myself. Even though things need to change, we can’t make excuses for ourselves. We are the ones that have to take action, and I was unable to be truthful to myself and others. When my injury happened, I was afraid, so I didn’t accept it. When my career wasn’t going in the right direction, I was afraid, so I became more of an introvert and stopped trying. Instead of being happy for others and trying to emulate them in order to find similar success, I was angry. Angry at them for succeeding, angry at the system for not giving me a chance, and angry at myself for a multitude of things. Like I’ve stated in other posts, I was severely depressed, and for those of you that have dealt with depression, it is a mental disorder that is very difficult to overcome, and I suffered with it (as well as my family) for approximately 4 to 5 years.

In the end, I had to make the decision to overcome my depression. It took a while, but one thing that really helped was learning how to develop a positive image of myself. I needed to understand that even though my life had not gone the way I expected, I wasn’t any less of a person because of it. At the time, my self-worth/confidence was basically non-existent, and I had pretty much spent the past five years just continually tearing myself down. I also didn’t listen to others that were trying to support me. My perception of myself was so awful that I couldn’t take any positive comment the correct way. I would twist it in my own mind until it became completely negative and only added to my torment. Of course, my mind still tries to do this on occasion, but I value myself now, so I’m able to brush these negative feelings aside and know that they are untrue.

This is the key: learning how to value yourself as a person. Don’t judge yourself based on career success and/or failure. Careers change, goals change, and life changes constantly. Learn to be comfortable with who you are as a human being and don’t base your self-worth on merits. These things don’t last long, and just like the old adage, “money can’t buy you happiness.” It can buy you a lot of things, but it can’t fill that void. It’s the reason why people with bi-polar disorder will go on shopping sprees and buy lots of things during “high” periods. Everyone gets excited with a new gadget or toy, but what happens when that “newness” fades? There’s no substance within the relationship, which is why I had to make changes in my life.

First, I needed to change my relationship with music. For so long, I had judged myself based on my musical accomplishments that I had lost the joy of making music. I needed to find that happiness again, so I decided to make enjoyment the main reason for continuing to play. I love playing horn, and there is no reason why I should stop. During my struggles, I seriously considered giving it up, because things were just so unpleasant; however, I just couldn’t imagine my life without music, so it took some time, but I figured it out. I’m still practicing a lot and playing at a high level, but I’m not doing it just to make money or to get a job anymore. If I don’t want to play a gig or teach something/someone, I’m not going to do it. Earlier in my career, I wasted too much time worrying about what other people thought, and I took every single job or gig thrown my way. Now, I’m focusing a lot more on what fits best for me and my family, which led to the other big change that I had to make.

If music wan’t going to be the most important thing in my life, then something had to take its place. Thankfully, I had something that could and should take its place. The one thing that helped me successfully overcome my depression was my family. At first, when my depression began, I felt like a failure, because I was unable to provide for my family. I had spent 10 years in college, and I had just graduated, so I was supposed to start making the big bucks. Unfortunately, this did not happen, and I was extremely hard on myself. After wallowing in my own self-pity for a while, I finally realized that these individuals, my wife and kids, didn’t care about these things that I was constantly worrying about. They loved me and valued me for who I was as a person, and they didn’t care what job I had as long as I was present. This really helped me to develop a new sense of self-worth, and I began to realize myself that my job nor my career mattered as much as I thought it did. I had a great deal to be happy about. I was able to spend a lot of time with my kids and enjoy watching them grow up, and I was still able to teach and make a difference in people’s lives.

Even though I’m still searching for break in my career, I’m not discouraged, because now I have the proper mindset. I have a job that allows me to help provide for my family, but it stills gives me the time and opportunity to pursue my real interests. I’m still teaching my college students and private students, and I’m also trying to create my own opportunities by composing and forming groups to perform my music. It’s tough and a lot of work, but I enjoy it. I’m also still able to spend time with my family, which is super important.

In the end, I think it really is just about having the right mindset and keeping the important things in perspective. Hopefully, I can continue to keep my life in the correct perspective and not let my career pursuits dictate all aspects of my life as it once did.

Things They Don’t Teach You in School: Student Loans Suck!

If you are a child of the 80s or 90s, then you probably have some form of student loan debt. I know that student loans have been around for a while, but I feel that my generation was fooled the most. Starting in the 90s (possibly earlier), there was a real societal push towards the college prep track. Basically, we were told that if you didn’t go to college and get a bachelor’s degree, you weren’t going to find a good job. This mindset caused a huge influx of student enrollment in U.S. colleges during the late 90s and really transformed the higher education system into more of a big business model than a place of higher learning. Granted, I loved college and graduate school, and I am still trying to find a job as a professor, but the more I learn about the system, the more I realize that it’s all about making money. Look at the astronomical rise in college tuition as proof of this point. When I attended Augusta State University in Augusta, GA as a college freshman in 2001, the cost of attendance was roughly $1200 per semester. Today, Augusta State is now Augusta University after merging with the top medical school in the state, the Medical College of Georgia, which is also located in Augusta. AU is now a research intensive institution and is even more focused on making money rather than the quality of instruction. If I were an incoming freshman at AU for the fall, I would pay over $9000 per semester….that is an increase in tuition of approximately $8000 per semester. This isn’t even a big college, with less than 10,000 students enrolled. Needless to say, college is expensive, and I could continue to discuss the supposed reasons behind the rise in tuition, but my main point is this:

STUDENT LOANS SUCK!!

No one really warned me about these loans when I was in school. My parents never went to college, so they didn’t know, and my college professors didn’t really warn me about them either. There were a couple of passing comments about loans here and there during undergrad, but most of my professors never discussed it. The common thought at the time was, “I need a college degree to make it, so let’s do whatever it takes to get it done.” Also, don’t think that you can trust the people in the Financial Aid Office, because it is their job to get you approved for the money you need to pay for college. If you enroll in school, then that is their job security. They’re not going to warn you about the pitfalls of student loans. They won’t tell you that you’re going to accrue several thousands of dollars in interest while you’re in school, and if you go to grad school and defer, then just keep on multiplying that number. They won’t tell you that your interest rate is going to be so high that it will take 5-10 years to pay off even $1,000 of that loan debt (think of a credit card bill, but with a much higher payment and interest rate). Sure, you can consolidate through another company once you get out of college and get a job, but your debt to income ratio will probably be so high that a lot of the good and reputable companies won’t touch you.

Don’t ever take out extra student loan debt as a way to cover living expenses while in undergrad or grad school. My wife and I made this mistake, and we are still paying for it. I won assistantships for grad school, but I still took out loan money for living expenses, because we had no idea what to expect. I don’t remember the exact number, but I know that I took out around $15,000; however, through several years of deferment, we now owe over $30,000 on that loan…even after paying on it for about 5 years.

At the last Southeast Horn Workshop at UGA, I was speaking to one of the employees at the Siegfried’s Call table (very well-known and reputable horn dealer/shop), and he was telling me that a lot of students are taking out more student loan debt to pay for new horns (about $10,000 to $12,000). While at WVU, I had the same idea and took out another student loan to buy a new horn. Well, that original loan amount doubled through the deferment process, and we now owe probably a little less that $20,000 on it. If you are thinking about taking out more student loan debt to pay for a new instrument….DON’T DO IT!! It’s really easy to get that money, but paying for it afterwards is not worth it. Make the smarter choice and go to your bank or a local credit union that will work with you and give you a much better interest rate.

I put all of this stuff out there not to scare, but to inform. Please, make better choices than I and countless others in the past. I know that most musicians want to go to grad school, and I’m not saying that you shouldn’t, but you need to be smart about it. Sure, we all dream of going to Eastman, Juilliard, Indiana, Northwestern, etc., but is it really worth accruing $90,000 worth of debt for a job that might pay in the $50,000 range? There are plenty of assistantships out there and a lot of wonderful teachers, so there’s no reason why anyone should have to pay for a graduate degree. Plus, like I stated above, don’t make the stupid decision of taking out loans to pay for living expenses…find another way. Save money, work an extra job, ask a family member for assistance…do what you need to do to keep from making a big mistake.

Here’s a bit of advice that we all probably need to hear and/or think about more often: Learn from other people’s mistakes and make the better choice.

R. Morley-Pegge

During graduate school, I used this book quite a lot. It served as a “go to” reference when required to write a research type paper on things horn related. It’s a little dated, having been published back in 1960, but it is still a great read and worth having in your personal library if you intend to teach horn at any level. Currently, it is not being published, although there is definitely a movement to bring it back. I have always wanted to own it, but whenever I saw it on eBay or any other site, it sold for well over $100. This past week, I was perusing the horn listings on eBay, and by luck, I saw this book posted for $35. I won the listing (I was the only bidder), and this wonderful book is now a part of my growing library. I have bought so many music books over the past few years that it will take me a long time to read through everything, especially since I’m always busy. I think this one will be inserted to the top of my summer reading list, and I’ll probably update this post after I read it again. It’s been so long since the last I read this book, so I need to refresh my memory. I’ll let you guys know if it still lives up to the hype!

Am I a Composer?

Last Summer, I spent a lot of time fixing and preparing several arrangements that I had completed for horn ensemble. This project was a very rewarding experience, especially considering that all of these arrangements were published by Cimarron Music last September.

Even if I never have another work published, this is an achievement that was on my “career” bucket list. I’ve always wanted to write music and have it published, so I was really excited when this happened. I was especially excited, because my arrangement of Danny Boy contained a bunch of original material. Even though I did study arranging and composition with a professor at West Virginia University, you could say that this piece, Irish Tune for horn sextet, was my first serious attempt at composing music. I composed an introduction section, wrote all of the counter melodies and harmonic material, and a really cool bit of transitional material near the end. I had a lot of fun with it, and I enjoyed the process so much that I wanted to try writing more music.

I’ve written the first couple of sections of a piece for horn and piano, I’m working on another piece for horn ensemble, as well as a long list of other projects that I have planned. Oddly enough, the first completely original piece that I finished back in January was a work for brass octet. It doesn’t really have a great name yet, Fanfares for Brass, but I’m pretty happy with how it turned out. I’ve found that I focus a great deal on rhythmic interplay in my writing, and the brass piece is no exception. Each section kind of features its own rhythmic ostinato. Being that I’m a horn player, the horn parts are well-written, but I also try to spread the wealth. I attempt to make a conscious effort to give each instrument group the melody, or at least some exciting stuff to play. I intended to have the brass choir at Augusta University perform it, but that didn’t work out. However, there will be an opportunity to have it performed at a concert in September of this year, so I’m really going to push for that.

Meanwhile, I’m going to keep writing. I’m not great at it yet, but I have a lot of ideas, and I don’t think my music is that horrible. Besides, I really feel like I’ve found another passion, because I really enjoy writing music, and I get really excited even just thinking about it.

As a side note, I had the opportunity to take my horn choir to the Southeast Horn Workshop at UGA this past February, and we were able to perform my piece, Irish Tune. We performed on the balcony of the big hall next to the music building, so the recording isn’t great, but it’s something. The video is below in case anyone is interested in listening. Sorry that it’s lopsided…this was my first time editing something in iMovies.