REVIEW ON THE IVASI SYSTEM
BY: Christopher Leuba 
Former Principal Horn-Chicago Symphony
Submitted to the 'Horn Call' for publication

Having recently participated at the IHS Conference, I had the opportunity to see, and hear, the IVASI materials in action. The IVASI exhibit was probably the most popular one at the Conference. Young players were utilizing the facility around the clock. Whenever I happened to drop by, enthusiastic hornists were performing in front of the big 50" screen, individually and in groups.

The IVASI program comprises two distinct elements, the MASTER SERIES FOR HORN which includes the teaching materials and the 100 interactive orchestral passages commonly asked for in auditions and accompanied by a full orchestra; plus a second series of over forty compositions performed in their entirety, played by major ensembles, while being conducted on the screen.

What I missed, viewing the MASTER CLASS on my 13" screen at home, was the presence provided by large-screen projection and a cinema-theatre sound system, in a specially dedicated studio space, which could, and indeed should be provided at any conservatory/performance oriented school.

I have a minor caveat Several of the Conductors chosen for the videos are, to say the least, annoying, especially as they are very close-up, "in your face." But, this may be an asset in disguise, training the young player to isolate the Conductor's mugging and stabbing, to focus on the music itself, and to avoid being dependent upon the Conductor's gyrations. Having seen countless "real" conductors on telecasts of symphonic concerts, it is obvious that most are not telegenic, and that the better Conductors follow Arthur Nickitch's dictum to conduct mainly with the eyes.

The IVASI program is directed to all instrumentalists, not only hornists. As I mentioned earlier, given the right physical environment, this format genuinely excites the young player, as was proven to me, without any doubt, by the non-stop performance activity at the IVASI exhibit.

ORCHESTRA REPERTOIRE VIA INTERACTIVE VIDEO
BY: Brian T. Kilp

The program starts with Strauss's Don Juan. The lights dim, the audience hushes in anticipation, the video projects the image of the conductor as he gives the downbeat, the players respond by...Wait a minute! Video? Is this a nightmare coming to pass? Or is it the high-tech. concert of the future? Actually, it is neither, although it is certainly "high tech." It is the brainchild of the legendary West Coast hornist James Decker called International Video Audition Service Institute, IVASI.

IVASI was developed and was originally intended to make the first rounds of orchestral auditions far more affordable. Players were to make a video tape in a local television studio and send it rather than travel to an audition site. The real value of the project soon became apparent - it is the ultimate orchestral repertoire education tool.

Here's how IVASI works: A conductor is videotaped conducting to a CD. The DVD is replayed on a large television facing musicians who watch a score and the screen, listen, through speakers and sound monitors, and play along. If they are in tune and rhythmically accurate, they won't hear their voices on the recording, as their own playing covers it. They hear the missing instruments, and all those instruments no one in the room is playing. One player or any number of players can take part in a session.

This system allows players to focus on any aspect of the excerpts, in context, with opportunity for learning together as a section, and matching intonation with the video. More repertoire can be covered than with most school orchestras, and in a more controlled environment.

I experienced IVASI at the Bowdoin Summer Music Festival in Brunswick, Maine for the last three summers, where Decker had us work with a live conductor, then darken the room, turn on the video and our stand lights, and off we went-  Strauss, Wagner and Stravinsky - sometimes several pieces in a sitting. There are now over sixty titles available.

All the students at Bowdoin agreed that their experience with IVASI was a most valuable and rewarding one, and wished that all their schools had the system. A recent demo at the University of Arizona has led to discussions and the faculty as well as students are enthusiastic about the program!

Brian is a professor of Horn/Theory at The University of Indiana, Terre Haute, IN

Reviews on the Master Series for HornMusic Educators Journal
JULY 1995 (Condensed)
Richard Fries , Concert Band Director
Pottsville, Pennsylvania

The video is extremely helpful to those students able to perform along with it, and perhaps the greatest benefit to many younger horn players would be using the video for demonstration purposes. The video displays the proper approach to practicing drills, and the audiocassette provides additional detailed information.

The video concept provides many wonderful opportunities. First, the student has an aural model to copy, matching the professional's sound, pitch duration and intensity. Proper embouchure, hand position and breathing are demonstrated. Additionally, the student has a unique opportunity to follow various conductors in the excerpts section.

The entire series is very well done. Special recognition goes to the excerpts section of the workbook and video. The student is asked to listen first; rewind and play along with the professional while following a conductor; and then rewind and turn off the volume to play the excerpt by just following the conductor (on screen timings tell the student when to begin playing). This is a valuable tool for a teacher to help a promising horn student. The book is divided into the following three sections:

I. Basic Drills: Long Tones, Balancing Tones, Developing the Double and Triple Tongue, Scales and Transposition, the Natural Horn, the Advanced Natural Horn, Coordinating the Legato, Stopped and Echo Horn, Endurance, the Lip Trill, Concentration, and Your Guide to Applying for an Audition.

II. Memory Excerpts: Sixty-two excerpts of standard orchestral audition material selected from audition lists of thirty orchestras. In addition to the actual excerpts, there are two additional lists of material not included in this edition; one for low horn and one for high horn.

III. Group Rhythm Studies: Fifteen studies to be played by horn sections, stressing all aspects of horn playing found in the Basic Drills.
Included in the book is a repertoire list of solo literature (graded 1-6), German and Italian translations of musical terms, and the contents of Volume II (more excerpts and concepts to anticipate).

Dr. James Winter, Former President of the IHS:
"If you can play everything in this book, you are extraordinarily well qualified to play for a living. It is the most comprehensive thing of its kind I have seen."

Dr. William Scharnberg, Former President of the IHS:
"The orchestral excerpts and group studies are extremely valuable learning aids that necessitate repeated viewing and are most highly recommended."

Milan Yancich of the Rochester Symphony and distributor of many horn books:
"The most interesting aspects of this project are the exercises and basic drills. I am a firm believer that many of our problems can be solved by the use of a proper drill rather than vocal explanations."

The Cornucopia Horn Pamphlet, from the New England Horn Ensemble:
"A most valuable and rewarding experience."

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