French Horn Playing 2

Subject guarantor:

Zdeněk DIVOKÝ

Name of lecturer(s):

Zdeněk DIVOKÝ

Learning outcomes of the course unit:

Using easier etudes and recital pieces playing deficiencies are named and defined. This course searches for the best ways for correction.

1. Searching for ways to remove deficiencies.

2. Defining proper technique principles, conscious mastery of each finger.

3. Continuing proper breathing, breathing exercises.

4. Etudes focused on rhythm, intonation and metric precision - Alphons, Gallay.

5. List of recital compositions is expanded to more challenging compositions - P. Dukas, E. Bozza, R. Strauss.

Mode of study:

On-going attendance in chamber music competitions and symphony and opera orchestra auditions.

Prerequisites and co-requisites:

Instrument skills corresponding to the student study year and profile.

Recommended optional programme components:

Chamber literature for duets, trios, and other combinations of wind, string, keyboard and percussion instruments.

Course contents:

This course provides students with the technique, tone, intonation and performance skills to stand up in solo, chamber and orchestra auditions. This course guides the future artist to independence in implementing their own ideas and defending their thoughts. Considering that each student has abilities to quickly or slowly react to new realities or physically different predispositions for managing different aspects of play the instrument, an individual path is chosen for each which allows them to learn as early as possible, proper habits and to remove everything that does not belong to playing the instrument. The aim of the course is to find the proper way to remove those deficiencies, define principles of proper technique, continue proper breating exercises, etc. Rhythm, intonation and meter precision are practiced in etudes - Aphons, Gallay. It is necessary that the student properly understand in French Horn 1 all playing techniques. They should learn to fundamentally master individual fingers such that they will be able to hold every tone which is important or interesting and in this manner emphasize it with embouchure coordination. In recital compositions not only is the technical playing made precise but also the knowledge of the structure of a classical concert and laws of music as well. The selection of recital compositions is oriented to the words of P. Dukas, E. Bozza, R. Strauss, etc. An effort to master all playing attributes in the most balanced manner is necessary.

Recommended or required reading:

Alphons Etudy II. a III.díl Gallay Etudy II. a III.díl

P. Dukas Villane

E. Bozza Sur Les Cimes

R. Strauss Koncert d-moll

Planned learning activities and teaching methods:

On-going attendance in chamber music competitions and symphony and opera orchestra auditions.

Assessment methods and criteria:

Student performance is assessed in all aspects of performance. First, the composition the student played is analysed and individual pitfalls of performance are demonstrated. How the student managed these issues is assessed. The level of playing is also remarked on in technique, intonation, sound, dynamics and performance.

Course web page:

http://www.hamu.cz/katedry/katedra-dechovych-nastroju

Note:

Instructors take care of alternating individual chamber parts according to composer notes and preference to solo and accompaniment components.

Schedule for winter semester 2013/2014:

The schedule has not yet been prepared

Schedule for summer semester 2013/2014:

The schedule has not yet been prepared

The subject is a part of the following study plans:

• Obor Lesní roh (Bc) (compulsory subject of the main qualification)