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Matt Monroe

Matt Monroe is Adjunct Professor of Horn for the Linda Berry Stein College of Fine Arts & Humanities at Jacksonville University. He was previously the Adjunct Instructor of Horn at Oregon State University where he was in residence with the Arrieu Wind Quintet. In 2000 the quintet toured China, performing and teaching masterclasses in Kunming, Zhengzhou, Jinan, and others. While at OSU he presented horn masterclasses, coached the local youth orchestra, and led the university horn ensemble. Professor Monroe has held the position of Second Horn with the Oregon Ballet Theatre Orchestra since 1999. He performs with the Coastal Symphony of Georgia, the St. Augustine Music Festival, the San Marco Chamber Music Society, and is a founding member of the Jacksonville Brass Quintet. He has performed with The Moody Blues, Pink Martini, Johnny Mathis, Dave Brubeck, Bernadette Peters, Garrison Keillor, and Yo-Yo Ma. He recorded with the Oregon Bach Festival Orchestra on their Grammy Award winning première of Krzysztof Penderecki’s Credo. His other orchestra credits include the Jacksonville Symphony, Florida Orchestra, Orlando Philharmonic, Illinois Symphony, Illinois Philharmonic, Elmhurst Symphony, Rockford Symphony, Milwaukee Symphony, Kalamazoo Symphony, the Lyric Opera of Chicago, Eugene Symphony, and the Oregon Symphony. Matt’s students have performed in the Jacksonville Symphony Youth Orchestra and Chicago Youth Symphony Orchestra. In Chicago, he taught at the Merit School of Music where he conducted the region’s only large youth horn ensemble, and in 2013 founded Horn Camp, a week-long summer seminar for young horn players. His junior high and high school students perform a solo and ensemble concert each spring at the yearly “Young Hornists of Jacksonville in Recital”. As a student, Matt studied at Tanglewood and the Summit Brass Seminar, learning from legendary brass pedagogues such as Barry Tuckwell, Philip Farkas, Sam Pilafian, and Roger Voisin. He attended international orchestra and chamber music festivals in Austria, France, and Canada. His teachers include Gail Williams, William Barnewitz, Ellen Campbell, and Thomas Bacon.

 

 

With horn players, what we put in the bell is very important. It starts at the very beginning with how to hold the instrument. The right hand position can make or break things like tuning, tone quality, projection, how easily the instrument plays, and even the range.

While muted passages become more common as players advance, the need for a mute in band or orchestra can happen after only a couple years. As with the position of the hand, the mute choice makes all the difference in how the horn plays.