Educator | Performer | Composer | Author


Horn Technique: A New Approach to an Old Instrument:
The horn (AKA the French horn) is a captivating concatenation of curving copper that is renowned for being perhaps the most beautiful of musical instruments in its shape and sound, but also the scariest and most unpredictable to play. This book (fifteen years in the making) is a new look at how this beautiful beast reallyworks.

Horn players are blessed for the quantity and quality of repertoire and pedagogical materials in their tradition, but cursed at the same time for letting that tradition mute curiosity about what is still missing and what should be part of horn study in this new millennium. Horn Technique is a detailed, thoughtful (and occasionally tongue-in-cheek) look at ways old and new to get from one note to another, plus many illustrated suggestions about the most efficient ways to teach the instrument to students at any level.

It is a comprehensive resource for teachers, and a combination road map and gold mine of information for serious students. Above all, it encourages the reader/player to combine the book’s approach with what they already do, and, fueled by curiosity and imagination, to use the book as a springboard to make new discoveries about the best ways to master this ancient and amazing instrument.

The Creative Hornist:
Conventional horn wisdom has always been that one simply doesn’t go exploring with the horn. It simply isn’t done. You play the ink. Basta! Other instruments – say, instruments with a jazz tradition – are allowed off the leash, but horn? Uh-uh, no way, no how. It’s too difficult. It’s dumb. It’s dangerous (you might make a mistake!). It’s scary. It’s not the norm. It’s embarrassing. You’re too young. You’re too old. You haven’t had the proper training. You don’t have time. It’s against the rules/tradition/laws of man and nature. Why bother? There’s nothing out that there that the experts haven’t already discovered. What are you going to play, anyway? If you try to make something up, it will sound mistake-ridden and bad. Who do you think you are? Remember what happened to Icarus and his winged experiments! Be sensible! Just. Don’t.

The arguments, brimming propriety and good sense, go on and on. They are, in fact, built in to our unconscious fundamental understanding of our definition of horn playing, so that the mere idea of ‘exploring’ with the horn almost never occurs to us, and any flicker of desire to do so is immediately rejected – if it ever surfaces at all. The Creative Hornistis a collection of countervailing and iconoclastic essays and information to persuade you to create your own music and discover your own musical voice. Don’t wait any longer. Start now – today! – enjoying the other half of music and musicianship that has been missing.

Improvisation Games for Classical Musicians, published by GIA Publications. 354 p. (2008)
It is a collection of 500+ games of all kinds that enables traditionally trained instrumentalist, vocalists, pianists, educators, students, amateurs, professionals, composers, music therapists, pianists, conductors, and even jazz players to create their own music without jazz, and includes extensive explanatory and resource material.
Click here for Contents and here for Reviews.

Improv Games for One Player, a portable book of games for one player for use in warm-ups and working on technique and musicianship. 50 p. (2009, GIA). Click here for Contents and here for Reviews.

Improv Duets for Classical Musicians, a portable book of improv games for 2 players. GIA. 46 p. Click here for Contents and here for Reviews.

Improvised Chamber Music, a portable book of improv games for four (or 3 or 5) players. GIA. 52 p. Click here for Contents and here for Reviews.
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