Trent Ice Horn
The Short Version
I picked up a French horn in 5th grade and never put it down. What started as “my mom made me join band” turned into a genuine obsession with the instrument, the music, and the community around it.
These days I split my time between performing, teaching, and occasionally convincing non-musicians that the French horn is, in fact, the coolest instrument in the orchestra. The evidence is overwhelming. The jury is still out only because the jury doesn’t play horn.
Background
I hold a Bachelor of Music in Horn Performance from the University of Michigan and have spent the last several years performing with regional orchestras, pit orchestras for musical theater, and various chamber ensembles across the Midwest.
I’ve had the privilege of studying with some incredible teachers who shaped not just my playing, but my entire approach to music. Every lesson I teach carries a little bit of what they gave me — the technical rigor, sure, but also the reminder that music is supposed to mean something.
Before settling in Ann Arbor, I did a stint with a touring brass quintet that took me through 23 states in one summer. We played everything from county fairs to cathedral acoustics. I slept in the van more times than I’d like to admit, but I wouldn’t trade it for anything. That tour taught me more about performance than any classroom ever did.
Beyond the Horn
When I’m not practicing or performing, you’ll find me hiking, fishing, or arguing about whether the natural horn or the modern valve horn produces a superior tone (it’s the natural horn, obviously). I’m also a pretty decent cook — my pulled pork has won exactly one informal neighborhood competition, and I will not stop mentioning it.
I’m a firm believer that being a well-rounded person makes you a better musician. The best performances I’ve ever given came after weeks where I spent as much time outside as I did in the practice room. There’s something about fresh air and a good trail that resets your ears.
Michigan is home. The lakes, the seasons, the people. I’ve had opportunities to move to bigger cities, but there’s a quality of life here that I’m not willing to give up. Plus, the local music scene is genuinely thriving — Ann Arbor punches way above its weight.
Teaching Philosophy
I believe every student deserves a teacher who meets them where they are. Whether you’re picking up the horn for the first time or preparing for a college audition, my goal is to make the process challenging, rewarding, and — dare I say — fun.
My approach is fundamentals-first. I don’t believe in shortcuts. Long tones, breathing exercises, lip slurs — these aren’t just warm-ups, they’re the foundation everything else is built on. But fundamentals don’t have to be boring. I try to find ways to make the basics feel musical, even when we’re just buzzing on a mouthpiece.
I also believe strongly in hearing yourself. Every student I work with records themselves regularly. It’s humbling at first, but it accelerates growth faster than anything else I’ve found. You can’t fix what you can’t hear.
Want to work together? Reach out anytime.
