Pete Jirousek, French Horn
Welcome to my web page.
Horn playing has a good deal of mystique attached to it. Some of this is good, some of it is unhelpful. However, I take a simple approach to the instrument that establishes musicality and lyricism as the cornerstones of performing. In weekly horn lessons, students receive guidance to develop their fundamental brass-playing skills, enhance technique through lyrical etude study, and learn beautiful horn literature that deepen musical talents.
Whether you are looking for a french horn teacher, considering music schools, or preparing an audition, I can help. Please feel free to contact me: (312) 860-4996.
Lessons
I highly recommend starting horn players on the french horn, not another brass instrument. For instance, there is a significant difference in mouthpiece size and placement on the lips between trumpet and french horn. This difference can make for a challenging transition onto horn.
I begin teaching new horn students with french horn mouthpiece buzzing. I have students focus on only 3 things: proper mouthpiece buzzing (2/3rds of the mouthpiece on the upper lip, 1/3rd on the lower lip), deep breathing, and mental singing of the melody. We buzz tunes they are familiar with. I also have the students listen to recordings of french horn solos to internalize the natural sound of the instrument.
After this short trial, we begin playing the french horn, again focusing on 3 things: mouthpiece buzzing, deep breaths, and the mental singing, The technique of inserting the right hand into the bell of the horn is introduced. With time and guidance, tone quality develops as students continue to listen to recordings and imitate my playing in lessons. We're off to the races!
Ideas for Young Students and Parents
Daily practice, if even for 20 to 30 minutes a day at first is very important. Reviewing the ideas from previous horn lessons really speeds progress along. Students and their parents are encouraged to contact me between lessons if they need guidance. There's no need to wait 7 days to get answers!
Many parents and new students are unfamiliar with the french horn. The horn's size and acoustic properties often make it a bit ungainly for beginners. Never fear! The french horn is no more difficult to master than any other musical instrument. Choosing the correct first instrument is important.
There are two basic french horns from which to select:
~ A single french horn built in the key of F is a common choice for youngsters. It will allow for rich tone development, and will demand the students be good "marksmen" (aiming for the correct note) from Day 1. When shopping for a single french horn, verify with the seller that it is pitched in F, not in B flat (single B flat horns have a "brighter" tone quality and problems with intonation in some registers). Single french horns have three valves.
~A double french horn built in the keys of F and B flat (together in one instrument) is a more advanced, 4-valve instrument. Some new students may start on the double horn, but frequently beginners start on single horns, later transferring to the double horn by their high school years. Double french horns offer warm, resonant tone, decent intonation, and, with the additional thumb valve (for the B flat part of the horn), they allow for greater accuracy on high notes.
I highly recommend starting horn players on the french horn, not another brass instrument. For instance, there is a significant difference in mouthpiece size and placement on the lips between trumpet and french horn. This difference can make for a challenging transition onto horn.
I begin teaching new horn students with french horn mouthpiece buzzing. I have students focus on only 3 things: proper mouthpiece buzzing (2/3rds of the mouthpiece on the upper lip, 1/3rd on the lower lip), deep breathing, and mental singing of the melody. We buzz tunes they are familiar with. I also have the students listen to recordings of french horn solos to internalize the natural sound of the instrument.
After this short trial, we begin playing the french horn, again focusing on 3 things: mouthpiece buzzing, deep breaths, and the mental singing, The technique of inserting the right hand into the bell of the horn is introduced. With time and guidance, tone quality develops as students continue to listen to recordings and imitate my playing in lessons. We're off to the races!
Ideas for Young Students and Parents
Daily practice, if even for 20 to 30 minutes a day at first is very important. Reviewing the ideas from previous horn lessons really speeds progress along. Students and their parents are encouraged to contact me between lessons if they need guidance. There's no need to wait 7 days to get answers!
Many parents and new students are unfamiliar with the french horn. The horn's size and acoustic properties often make it a bit ungainly for beginners. Never fear! The french horn is no more difficult to master than any other musical instrument. Choosing the correct first instrument is important.
There are two basic french horns from which to select:
~ A single french horn built in the key of F is a common choice for youngsters. It will allow for rich tone development, and will demand the students be good "marksmen" (aiming for the correct note) from Day 1. When shopping for a single french horn, verify with the seller that it is pitched in F, not in B flat (single B flat horns have a "brighter" tone quality and problems with intonation in some registers). Single french horns have three valves.
~A double french horn built in the keys of F and B flat (together in one instrument) is a more advanced, 4-valve instrument. Some new students may start on the double horn, but frequently beginners start on single horns, later transferring to the double horn by their high school years. Double french horns offer warm, resonant tone, decent intonation, and, with the additional thumb valve (for the B flat part of the horn), they allow for greater accuracy on high notes.
About Pete Jirousek
Pete Jirousek began teaching at the VanderCook College of Music as Professor of Horn in 2009. Previous teaching positions were held at Elmhurst College and Notre Dame University. Mr. Jirousek received his Bachelor of Music Performance degree from the University of Illinois, and a Master of Music Performance degree from Northwestern University. He lists among his teachers, Roger Rocco, Norman Schweikert, and Richard Oldberg.
He has played numerous Broadway in Chicago shows over the past 20 seasons, including productions of Wicked, Les Miserables, Phantom of the Opera, Billy Elliot, and Miss Saigon.
Pete served as Principal Horn in the South Bend Symphony for 14 seasons and as the Chicago Chamber Orchestra's Principal Horn for 8 seasons. He has been second horn for the Northwest Indiana Symphony since 1990. He served as third horn in the Shreveport Symphony Orchestra, and has performed with the Chicago Symphony Orchestra, Lyric Opera of Chicago, Chicago Philharmonic, Ravinia Festival Orchestra, Grant Park Symphony, and Grand Rapids Symphony.
In 2017, he performed on the CSO Resound label live recording of Bruckner's 9th Symphony, Riccardo Muti conducting.
Pete Jirousek began teaching at the VanderCook College of Music as Professor of Horn in 2009. Previous teaching positions were held at Elmhurst College and Notre Dame University. Mr. Jirousek received his Bachelor of Music Performance degree from the University of Illinois, and a Master of Music Performance degree from Northwestern University. He lists among his teachers, Roger Rocco, Norman Schweikert, and Richard Oldberg.
He has played numerous Broadway in Chicago shows over the past 20 seasons, including productions of Wicked, Les Miserables, Phantom of the Opera, Billy Elliot, and Miss Saigon.
Pete served as Principal Horn in the South Bend Symphony for 14 seasons and as the Chicago Chamber Orchestra's Principal Horn for 8 seasons. He has been second horn for the Northwest Indiana Symphony since 1990. He served as third horn in the Shreveport Symphony Orchestra, and has performed with the Chicago Symphony Orchestra, Lyric Opera of Chicago, Chicago Philharmonic, Ravinia Festival Orchestra, Grant Park Symphony, and Grand Rapids Symphony.
In 2017, he performed on the CSO Resound label live recording of Bruckner's 9th Symphony, Riccardo Muti conducting.