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TESTIMONIALS

Denise Tryon, Horn
5.0
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Justin Drew
Justin Drew
2017-09-18T17:15:21+0000
Denise's teaching and pedagogical expertise has played a vital role in my professional success. In 2012 she very patiently helped see me through a challenging embouchure adjustment. I am so glad she has created a page to provide access to her wisdom! Thank you Denise, for all you are doing for the horn community!
Heather Schimp-Test
Heather Schimp-Test
2017-09-17T19:56:26+0000
I have been using/playing the DT Routine for one week and can already tell a big difference in the stability, predictability, and reliability of my horn playing! As a college teacher and freelancer, I've always warmed up and done my own routine each day, but as I've grown older, become a mother and taken on more responsibilities, I think I have tended to lean toward a shorter, less thorough exploration of the extremes in dynamics, range, tonguing, and technique (to save time!). Since purchasing the DT Routine, my old "shortcuts" have not been revisited, and I've gotten a new lease on my horn playing life. The DT Routine takes me a maximum of 45 minutes (sometimes I have to 'pull over and figure it out') and a minimum of 30 minutes, and the sequencing of each exercise is absolutely brilliant. I feel my chops are guided toward being more successful in each exercise by the exercise that came before it. I LOVE being able to play through a full range harmonic series without a single thought about a break in my range or any stiffness- it simply isn't a problem after the fundamentals that DT has you play beforehand. I could not be more satisfied with my purchase of the DT Routine and encourage all horn players to buy and Do This Routine!
Klayton Schaefer
Klayton Schaefer
2017-09-14T16:23:23+0000
I have only had a few lessons with Denise and I can comfortably say those lessons greatly improved my playing. She gave me so many amazing tools and skills in such a short time. It was truly incredible. She has a gift to be able to hear someone play and immediately get to the root of the problem. I am so happy I have been able to learn from her!
Alex Henton
Alex Henton
2017-09-14T04:10:25+0000
Denise is everything you can hope for in a teacher, mentor, colleague and friend. In 2010, I nervously approached her to ask if she would teach me. If you could go back in time and tell me that because of that interaction, in the next seven years I would get into the graduate schools of my choice, win a job in Japan, play a concert series together, and hang for a day in Tokyo because our schedules lined up; I would not believe it. She is a true pedagogue and master player that is able to diagnose issues and demonstrate solutions. She has been there for my successes and failures and has had the wisdom and knowledge to guide me through them. Denise helped show me what I was capable of as a musician and person and I will never be able to thank her enough for looking at the visibly nervous me and replying, “Yes.”
Sam Bessen
Sam Bessen
2017-09-13T17:56:19+0000
I studied with Denise for my MM at Peabody, graduating in 2017. I knew that I wanted to study with her from my first lesson 5 years ago. Her ability to hone in on any student's learning style and needs is matched only by her dedication to working with each student as a unique individual. She has a fantastic and critical ear, communicating clearly and succinctly what needs improvement. Her experience with the orchestral and solo repertoire makes her an excellent teacher for students with a variety of ambitions (and don't be fooled by the 'low-horn' label, she has an unbelievable command of the high register). As a performer, Denise's recordings don't compare to the experience of hearing her live. I would highly recommend her as a teacher and performer
Maddy Tarantelli
Maddy Tarantelli
2017-09-13T17:01:11+0000
Denise has an incredible ability to diagnose issues in horn playing. More importantly, she is able to treat said issues. I know every time I have a lesson with her, I will leave knowing exactly what to do and how to do it. Her knowledge of pedagogy is matched with her incredible playing. She is passionate, invested, quirky, and a lot of fun to work with!
Stephen Slater
Stephen Slater
2017-09-13T03:50:23+0000
I've had the pleasure of knowing and working with Denise in a variety of ways in music - she's been a teacher, mentor, colleague, and friend to me these past 6 years. It's hard to find anyone more dedicated to both her craft and the craft of her students. She's raised the bar on what it means to be a working musician in the world today, and the entire horn community is better for it.
Robie Bidleman
Robie Bidleman
2017-09-13T02:05:14+0000
Denise represents a new frontier in the world of Horn pedagogue. Having worked with her through her online course "Low Horns Unite!" (Everyone should check this out!) it is more than evident that she knows the Horn and knows how to teach it. I think that it's amazing that she is sharing her knowledge of Horn playing with the world through this medium(the Internet). Revolutionary, even. I love what she is doing and what she represents, and hope to get the chance to work with her in person at some point in my life!
Stephanie Marshall
Stephanie Marshall
2017-09-11T12:06:21+0000
Yuuitiro Toda
Yuuitiro Toda
2017-08-24T18:43:02+0000
John Paul Little
John Paul Little
2017-08-19T22:48:25+0000
Kenneth Thompkins
Kenneth Thompkins
2017-08-10T23:39:40+0000
Denise is the real deal and she is sharing passion, skill, and knowledge with the world.
Catherine Likhuta
Catherine Likhuta
2017-06-29T23:34:10+0000

REVIEWS IN THE PRESS

Review of So Low in Gramophone, January 2016

By Donald Rosenberg

Horn players who spend much of their time in the instrument’s low register tend to get the short end of the solo stick, a situation Denise Tryon has set out to remedy. On her new disc, the fourth hornist of the Philadelphia Orchestra performs works written for artists in the sonic nether regions and intended either for recital or audition purposes. The only composer most listeners may know is Carl Nielsen, but the other pieces show their creators in imaginative and appealing form.

From the audition side are Nielsen’s Canto serioso, a poetic and sweeping miniature, and Hermann Neuling’s Bagatelle, which blends Straussian swagger and songfulness as it subtly weaves descending episodes into the narrative. Likewise, many of the remaining pieces are cannily crafted to avoid signalling the fact that they’re written for low horn. Tim Martin’s Lament, for example, places the unaccompanied horn in a series of wailing episodes, complete with hand-stopped and ascending passages.

The instrument’s low register is exploited to dramatic effect in Peter Askim’s A Door Into the Dark, which evokes a blacksmith shaping metal with varied equipment. Brett Miller avoids the horn cliché of 6/8 galloping in his Hunting Songs by portraying crow, owl and falcon in music of atmospheric lyricism.

Tryon plays these works and other winning pieces by Nathan Pawelek, Dante Yenque and Andrea Clearfield with sonorous fluidity and dexterity, ending with a bit of captivating acrobatics, Gummi Polka by an anonymous composer. Julie Nishimura is an ideal partner whenever a piano is called upon to team with this down-but-definitely-never-out hornist.

Gramophone website

Review of So Low by WTJU, December 2015

By Ralph Graves

A program of music for a solo instrument (unless it’s the piano) usually has limited appeal to the general classical music lover. But this release of music for the low horn should really be the exception — because both the music and the performance is exceptional.

The low horn is part of the French horn family (and part of the horn section of an orchestra), with a range that extends below that of a regular French horn. Denise Tryon is a low horn specialist, and is not only one of the most prominent players of the instrument, but an advocate of music for it.

The majority of the works on So*Low were commissioned by Tryon, and show the low horn (and her abilities) to best advantage. Tryon plays with a warm, smooth delivery that enhances the dark richness of the instrument itself.

The commissioned works are all relatively conservative in their tonality, while being richly inventive in other ways. Brett Miller’s “Hunting Songs,” for example, turns the concept of triadic hunt calls around, and presents some dramatic and technical challenges for Tryon.

“A Door Into Dark..” by Peter Askim, exploits the lowest register of the horn, and makes the piano an equal partner in the development of the music.

Also included are some standards of the horn repertoire — Hermann Neuling’s “Bagatelle” and Carl Nielsen’s “Canto Serioso.” Although they’re the oldest works on the album, they fit nicely with the more modern selections in style.

I’m sure there are many horn players who recognize Tryon’s name and will want to own this recording. But this is more than just a specialty disc. The music and the performances make this a recording I’d recommend to anyone interested in quality chamber music.

WTJU website

Review of So Low by WSCL, November 2015

In 1989 Tryon graduated from the famed Interlochen Arts Academy and in 1993 received her Bachelor of Music degree from the New England Conservatory of Music (NEC) in Boston. She received the Presidential Scholarship while in the Artist Diploma Program at NEC.  She is known for her masterclasses in the US, Europe and Asia.   In 2009, Tryon founded Audition Mode, a yearly horn seminar, with Karl Pituch. In 2010 she was an International Horn Society (IHS) Northeast Workshop Featured Artist. This CD of mostly new works has some challenging works, but many with infectious rhythm and melody, and her sound is rich and creamy.

WSCL website

Review of So Low from Horn Call

With her long history of world-class orchestral playing as a low horn specialist, I knew that Denise Tryon’s CD, So Low, would be excellent, but after listening to the recording several times, it has truly surpassed all of my expectations. So Low fills a special need for recordings and commissions that are focused on expanding the repertoire for low horn playing. Denise Tryon’s low horn playing is so versatile, dynamic, and unimaginably solid that I believe this CD not only models great repertoire for the horn’s low register but also models exquisite low horn playing that all horn players need to hear. I hope this recording finds its way to the CD libraries of horn studios all over the country. I also appreciate Tryon’s decision to mix works from the standard repertoire with new works featuring the low horn. Throughout this CD, Tryon’s stability, flexibility and rich tone in the low register are nothing short of inspiring.

Neuling’s Bagatelle is played with ease and fluidity. Surely Tryon’s high-quality musicianship surpasses any performance that Neuling could have imagined. Tryon also includes a beautiful recording of Nielsen’s Canto Serioso. Throughout this recording project, Tryon has brought life to well-known, but infrequently recorded standards of the
low horn repertoire for professionals, students, and enthusiasts alike.

The new works for horn and piano such as Peter Askim’s A Door in the Dark, Nathan Pawelek’s Irremediable Breakdown, Brett Miller’s Hunting Songs, and River Melos by Andrea Clearfield highlight the low horn as a solo voice and not the often heard supporting voice. These are all exciting and important contributions to the low horn
repertoire and I hope they frequently find their way into the performance hall. It is refreshing to hear this range of the horn treated as an individual voice that is capable of conveying as much musicality as the horn’s brilliant upper register.

Two strong works for unaccompanied horn, Dante Yenque’s Tanguito and Tim Martin’s Lament (which is already frequently finding its way into the concert hall), allow the horn’s low register to stand on its own. Tryon’s sense of line and musical direction breathe life into these works.

An unaccompanied work titled Gummi Polka is a short, sweet, and stunning tribute to the low horn and her remarkable low register. You must hear this CD!

INTERVIEWS