Pip Eastop, Horn player, Photographer, Trumpet player

Horn player, Photographer, Trumpet player

Vanishing Technique – a teaching method

The problem with the horn is its sheer technical difficulty.

The technical difficulties are so great that they often form a barrier against musical communication.

With most other instruments technique is not such a huge obstacle to communicative playing.

It is always disappointing when technical problems intrude in a performance, distracting both player and audience from the music.

Many horn players do not play musically. You can hear that, instead, they are working on their technique; playing carefully instead of communicating music. This downgrades horn playing from an art-form to something more like a sports activity.

Music is not a sport. It’s a unique, wonderful and mysterious form of communication. It is something special which happens between people – a kind of language. Horn technique, on the other hand, is a private thing – something you have to sort out on your own – to study in isolation.

My goal in teaching is to get the technique of my student so highly polished that it effectively vanishes. Only when this is achieved can truly musical things begin to happen. It seems paradoxical that in order to make something vanish one has to work at it to an almost obsessive degree but, in my view, this is exactly what a horn player must do to overcome her/his musical “event horizon”.

Thus, to my students it must appear that I am obsessed with detailed technical considerations and completely uninterested in music. Paradoxically, nothing could be further from the truth. Technique is only a means whereby musical communication can happen. It should not be an end in itself – as it is in sports and crafts.

I believe that the playing characteristics of any horn player are precisely defined by what and how they practise. Thus, getting the practise regime right is crucial. If a player does not play well, technically or musically, it is because they have not been practising well.

So, in my teaching, rather than simply teach someone how to play I tend to work with them on how they practise – how they learn how to play. In other words, I teach them to teach themselves.

In playing the horn there are a lot of techniques to learn which, once learned, have to be maintained. It makes sense, then, to develop an efficient system of practise which gets the maximum amount of useful work done in the shortest possible time.

I try to equip each student with a system for developing and evolving their own super-efficient practice regime.

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