A Sample Title
Evan G. Chancellor
My research has focused on the areas of brass pedagogy and horn technique. For a variety
of brass exercises and etude books in PDF format, please visit the " Technique " page. 

Understanding of historical performance practice and instrument history has all kinds of practical applications for scholars and teachers.  The evolution of the Horn has influenced the way it is taught as well as the way composers write for it.  Much of my graduate research focused specifically on pre-valve horn technique, examining a variety of methods books and comparing these to solo literature of a comparable period/style.  It is fascinating to trace the influences of regional styles passed down through particular notable teachers as well as to note the cross-polination that occurs throughout the history of the instrument.  My Masters document, Early Nineteenth-Century Horn Technique in the Sonata for Horn, Op. 28 by Franz Danzi, uses a particular solo work as a vehicle to explore the low horn techniques of pre-valve hornists.  My Doctoral dissertation deals with the life and work of a specific individual, who became one of the most influential teachers in the Paris Conservatory tradition.  This document received the 2014 OU Provost's Dissertation Prize: Humanities & Fine Arts Award and was nominated for the 2015 Council of Graduate Schools Distinguished Dissertation Award. 

To read my dissertation in its entirety follow this link:  Heinrich Domnich...Career, Pedagogy and Concert Works

For a summary of it's goals and subject matter read the following:

            The document, Heinrich Domnich: A Discussion of His Career, Pedagogy, and Concert Works for the Horn, explores the life, music, and writing of Heinrich Domnich, a professor at the Paris Conservatoire and a horn virtuoso of the late eighteenth and early nineteenth centuries. Domnich lived from 1767 to 1844 and taught many of the prominent Parisian hornists of the nineteenth century including three of his successors at the Conservatoire. He published three concerti for the horn as well as a widely acclaimed method book for the horn, which details his approach to hand-horn technique and discusses its origins.
            It is the goal of this document to provide the first biographical work focused on Domnich and his career. Its scope also includes the production of performance editions for horn and piano of the first two solo works by Domnich, Concerto No. 1 pour le Premiere Cor and Concerto No. 2 pour le Second Cor, as well as the Symphonie Concertante for two horns. The available works exemplify the style and techniques employed by a prominent hand-horn player at the height of the instrument’s virtuosic capabilities. The document explores techniques employed in the concerti, comparing them with the methodology described in Domnich’s Méthode de Premier et de Second Cor, published in 1808. The comparative study of these works together with biographical data provides the basis for an assessment of the contributions of this highly influential individual. Examination of Domnich’s work also provides a microcosm view of the changing political and artistic climate in France during the early nineteenth century. 
            The work of Heinrich Domnich marks a pivotal period in the development of virtuosic hand horn technique in France. Domnich represents a link between the playing style in what has been called the Austro-Bohemian tradition,[1] and that which developed at the Paris Conservatoire during the nineteenth century. The span of his career includes the founding of the Conservatoire and several major changes in the institution following shifts in the tumultuous political landscape of post-revolution France. In addition, Domnich’s music exemplifies the major shifts in formal approach and expressive style taking place during this period.
            The playing approach taught by Domnich and his colleagues at the Paris Conservatoire continued to be influential even after the widespread use of the valve horn.  Before the advent of the valve, the horn player used the right hand to cover the bell of the instrument in varying degrees in order to create pitches not found in the natural overtone series. This playing technique, also known as hand-stopping, continued to be influential even after the invention of the valve, particularly in France.
            This method was particularly important for the cor basse, or low horn, player. As shown in Example 1 below, the low range of the instrument has fewer available overtones, or notes which are available naturally without the use of valves or altered hand position. For hornists of Domnich’s day passages with stepwise motion or complex melodic playing in the middle-to-low range would require greater use of hand-stopping in order to produce the desired pitches. It is for this reason that low horn players were so influential in the development of hand horn playing to a high level of virtuosity.
            Hornists of the eighteenth century specialized as either cor basse, low horn, or cor alto, high horn. In the orchestra, horns were scored in pairs, with one high horn and one low horn. These specialties may also be referred to by their role in the orchestra, high horn being labeled as “first horn,” and low horn being referred to as “second horn.” A defining figure in this performance tradition, Domnich was not only a widely recognized player but also a highly influential teacher. Domnich’s performing career consisted predominantly of posts for cor basse, or low horn, playing. It was this specialty in cor basse that made him an excellent compliment to his colleague Frédéric Duvernoy, a high horn player, at the Paris Conservatoire.
            Domnich came from a family of horn players. The family was originally from Hungary, then part of the Habsburg Empire. His father was an accomplished hornist who performed throughout modern day Germany, then part of the Holy Roman Empire also ruled by the Habsburg monarchy. Domnich claims to have adopted much of his playing methodology from Dresden hornist Anton Hampel and Hampel’s student Giovanni Punto, who became Domnich’s principal teacher. Domnich’s Méthode, published in 1808, credits Hampel as the first to develop the method of hand-stopping which was employed by Punto, Domnich and many of their contemporaries.
            Punto came from the region called Bohemia, a part of the Habsburg Empire, which comprises part of the modern Czech Republic. Punto studied with Hampel in Dresden and eventually taught Domnich and a number of other students while performing in Paris. Because of the close regional ties of Domnich and Punto, their playing style may be said to represent an Austro-Bohemian playing tradition. It is unclear to what extent these techniques were developed by Hampel himself and what contributions may have been made by Punto and Domnich before being codified in the 1808 Domnich publication. Punto’s own method for horn offers a series of exercises for the student but does not include historical or pedagogical discussion. 
            While Domnich himself acknowledged that other players besides Hampel were using hand-stopping around the same time,[2] it is significant that this book is the first source to credit an inventor for the method it sets forth. The Domnich text not only details methodically the concepts and techniques for playing according to this particular pedagogical tradition, but is the only known text of its time that gives any narrative as to its origin. Domnich’s relationship to Hampel and Punto makes him an important link between this Austro-Bohemian school of horn playing and that which developed in France in the late-eighteenth and early-nineteenth centuries, specifically at the Paris Conservatoire.         
            Domnich’s legacy can be traced through two sources that present his approach to horn playing and musicianship. These are his Méthode for horn, one of the most comprehensive pre-valve tutors in the literature of the instrument, and his concerti for horn.  These compositions were studied and performed by Domnich’s students and contain passages that clearly reflect specific techniques and exercises from the Méthode.
            The concerti and the Méthode show that Domnich valued the development of extensive and flexible high range. However, his work is especially illuminating for the examination of low horn playing in this period. He is also one of the first authors to discuss this distinction between high and low players in depth. His solo works are very specifically tailored to fit one specialty or the other. The second concerto, for example, is one of the most virtuosic in the literature of its time with respect to the use of chromaticism and wide leaps in the middle and low range of the instrument. 
            Understanding these in the context of Domnich’s pedagogical writings tells us a great deal about the capabilities and technical approach of the hornist. Works such as Domnich’s offer quite a different view of the horn than much of the standard solo repertoire, which was often written by composers of greater fame and craft, but who were not themselves accomplished players of the instrument. Domnich’s pieces also responded to trends of the early nineteenth century, being less concerned with following a prescribed formal approach than with virtuosity and expression. This literature gives us a unique window into the music and writings of a man who helped define horn playing for a generation. Examination of his work will both increase our understanding of hand-horn technique in this period, and illuminate the performance practice of the instrument, its expressive uses and stylistic conventions.


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