April May 2022 Archives - The Instrumentalist

You Win/They Win How to Manage Music Classes

theinstrumenta — Sat, 11 Jun 2022 00:11:25 +0000

When reflecting on classroom management issues during my career, several instances immediately come to mind. First, the bizarre and inexplicable. Early in my career, I was teaching a seventh-grade fine arts class and turned to write some erudite comment on the board about Beethoven sure to fascinate my musical scholars. When I turned back around, I found one of my smaller students, a clean-cut little soul, sitting perfectly still with a trickle of blood running from the corner of his mouth down to the side of his chin. I asked him what happened, and he meekly said, “Damien hit me.” I looked at Damien, also a quiet kid but with a decidedly rougher look, not unlike a member of the iconic 80s rock band Guns N’ Roses. He was calmly sitting next to his victim as if nothing had happened at all.

“Did you hit him?” I asked.
“Yes,” he said, nodding slightly.
“Why?”
He just shrugged.
“Well, you need to go to the principal’s office then,” I said. Without any fuss, he got up and went. I didn’t have problems with him after that, even though I worked hard to keep him out of arm’s reach of other students since he had such a good right cross.
The other instances that come to mind, though less bizarre, all happened when I was new to a school and position. These situations defied everything I ever learned about class management. Kids I inherited were so difficult to deal with because I was basically a step-band director replacing the one they didn’t want to leave. I had an eighth-grade band my first year that talked so much that I was shushing between every other word without realizing it. It was only after I heard the flutes counting that I realized they were counting every time I went shush. I was teaching across the curriculum without knowing it.
Matters improved once the kids bought into what I was doing or quit, and I would have great discipline for years. When I took a new position, the process repeated itself. Sadly, I don’t have foolproof advice on transitions since my success was mixed. If your class discipline is great in this situation, consider yourself highly skilled and fortunate. If not, be patient until all the kids are yours.
With that said, I can offer tips that will benefit you sooner or later if you remain consistent no matter how much resistance you receive. Long gone are the days when students were respectful and well-behaved just because you are an adult; you must earn it. Here are some suggestions that will help make your early years of teaching more enjoyable and successful.
You must be determined and resolute. You must believe that you have worked too long and hard to let disruptive students win. Decide that you simply will not let anyone ruin the career you have spent so much of your life preparing for. Think: “Others have done it. I can do it. I will not back down.” As for students, if they aren’t behaving, it’s because they won’t, not because they can’t.
Have a plan. Determination is good but worthless without a plan. Do your homework on discipline and have high expectations. There are two books I believe every teacher should read to help formulate their plan. At the risk of sounding callous and cranky, if you are not willing to read at least two books on discipline, you deserve what you get. There are others, but my two favorites are the classic Assertive Discipline by Lee Canter and Classroom Management in the Music Room by David Newell.
Keep your plan simple. Here is one that has worked well for me over the years. I give one warning per student; a warning occurs when I say their name and declare “this is your warning.” Be very diligent about this. With the warning, you are being more than fair; you are putting them on notice, a courtesy you don’t have to give. The second time I warn a student, the student puts up their instrument and sits away from the rest of the class but within view. (If you have an office, that will work as well.) The next time they pass one warning in class, whether a week or a month later, I call the parents. The third time they pass one warning, I send them to the principal. This rarely happens if you have called the parents. As for principals, keep in mind that they really like a teacher who takes care of their own business and doesn’t bring them petty matters. However, don’t hesitate to ask for help when you need it. The goal is that things get so good later that you rarely use the plan but still have it in place if needed.
Clear your plan with the principal to make sure it aligns with school policy. It is quite embarrassing to be overruled by an administrator on a disciplinary issue. Once you have approval, communicate the plan to the parents.
Make sure all the band staff is on board as well. If you work with other directors, make sure you all follow the same procedures. Students and parents can play you against one another if you don’t; they will be sure to find inconsistencies if they can.
Implement your plan early and often. As Barney Fife from the classic Andy Griffith Show would say, “nip it in the bud.” When a student is disruptive, turn your body to look them directly in the eye and apply your corrective action. If you make an early example of one student, the others will catch on that you mean business. If they see that you let things slide, they will adjust accordingly.
Have high expectations. Students certainly have many problems that can make behavior difficult for them. The best thing for them is a teacher who believes it is in every child’s best interest if they learn to behave. Don’t have two standards of behavior – one for students perceived to be normal and compliant and a lower one for problem students. Your approach to some students may vary, but the expectations should be the same.
Clearly communicate your expectations on the first day of school. Remind students of these expectations every day until you know they fully understand and follow them. Students should not find out expectations as they go. Be precise about what you want. Five simple expectations have worked for me over the years.
I expect them to be punctual, and I define what on-time means. It can vary from year to year depending on logistics, but on time for me generally means that two minutes after the bell, their instrument is out, and they are warming up and practicing music they are responsible for that day in class. (Seven Nation Army and Careless Whisper do not fit in this category.)
When I step up on the podium, they are to get quiet immediately. I tell them that I only step up on the podium when I am ready to begin and that there is absolutely no reason that I should have to ask them to be quiet and pay attention. I also explain that I will not talk over anyone. We practice this repeatedly if they are not doing it. I expect 100% compliance. Second, I will not recognize anyone who speaks unless they raise their hand, and I call on them. Third, we do not play a note unless every last one of them starts together. This requires me to get my head out of the score, scan the room, and give the downbeat.
Explain the reasoning behind your rules. I tell students that we do this so that we can achieve musical excellence and that there is no way to achieve this without discipline. Reasoning with students will work much more than you realize. The only true way that they will fully buy in is if they understand that goofing off keeps the group from reaching its goals. If they only behave because of threats and the fear of getting in trouble, you will never reach the highest level of success. Over time, more mature leaders will straighten out the slackers because they want the group to be the best ever.
Be ultra-prepared for class. I thought great preparation would be a cure-all in my first year of teaching. It wasn’t. However, I can’t imagine how my rehearsals would have been had I not had a strong rehearsal plan in place so I could move quickly from one task to another without hemming and hawing, giving them time to fill in the gaps with their own disruptions. You are not doing yourself any favors if you can’t keep the class moving and the students engaged.
Build trusting relationships. Maybe you have heard the phrase: “They don’t care how much you know until they know how much you care.” Some of your best tools to establish good discipline are things you do away from rehearsal. Show an interest in students as individuals, encourage them, compliment them, call their parents with positive news, tell them that you missed them after an absence, and send positive notes home. The more that students believe that you have their best interests at heart, the better they will behave.
Use assertive phraseology. Some-times in an effort to sound reasonable, teachers can come across as unnecessarily soft. “Will you please pay attention?” puts the choice to behave in the classes’ corner. Do not say please when asking students to do something. A confident, specific, declarative statement is what is in order: “When I step on the podium, I expect you to stop talking or playing your instrument so I can begin the warm-up. If you cannot do that, we will do it repeatedly until you do.” Do not put things in the form of a question, as in “Can we all start together?” You are unconsciously turning over the classroom to them.
Involve parents sooner than later. Don’t fear parents. Despite what you may have heard, most want their child to act the right way. Always approach the parents from the viewpoint of concern. Start by telling them something positive about their kid, and how you want this situation to work because you really care about their child and want them in band. Most will respond well to that. However, if you are at a breaking point with a student, be clear to the parents just how serious you are about the connection between their child’s behavior and continued participation in band. They might not realize you are ready to drop the student from the program the next time their child gives you problems. Something this drastic should not be a surprise. You should also document the problems and corrective actions you have taken with a particularly troubled student.
The more stressful a situation becomes, the more calm you must project. During my first year of teaching, students would tell stories about how upset the previous directors would get at times. One grabbed a girl’s arm (leading to his dismissal), and the other was so upset one day that he went into his office and shut the door during class. The students took such delight at causing this level of angst that I vowed I would stay calm no matter what. To this day, I remember my junior high choral teacher angrily kicking a music stand off the podium and almost hitting me with it. (I wasn’t the object of her wrath; she just wasn’t skilled at directional kicking.)
Finally, be patient with yourself. Many fine directors have taken a while to get their classroom management skills to a high level. Be persistent and you will surely experience one of the greatest feelings in the world – standing up in front of young people and performing music together in an engaging and respectful environment.

* * *

5 Non-Negotiables
for Beginning Band

In my experience, beginners are the quietest they will ever be on the first day of school. Take advantage of this by laying out your plan and sticking to it as they loosen up over the ensuing days. Keep your rules simple and few. Consider posting them. I suggest the following:

1. Be punctual. On-time means sitting in your seat and warming up on your instrument.

2. When I step on the podium, you get quiet immediately. I will not ask you to be quiet.

3. You must raise your hand and be recognized before speaking.

4. You will always sit with proper posture and correct horn position. This will show me you are alert and ready to go.

5. Every first note must be played by everyone in the class. If even one person enters late, we try it again.

Constantly remind them that they do this because the band is striving for musical excellence!

The post You Win/They Win How to Manage Music Classes appeared first on The Instrumentalist.

What Worked For Me

theinstrumenta — Fri, 10 Jun 2022 23:51:52 +0000

After a teaching career ends and upon some reflection, there is a need to share some personal advice. In my case the following approaches served me well, but may not for others. Some may be new, or simply well-known reminders expressed a bit differently.

On the Tracks
Whenever possible, it is wise to have a plan B. Circumstances often change without warning, as recent history demonstrates. Creativity and ingenuity involve making adaptations to work around roadblocks. Rather than resenting such occasions, stay on the tracks and avoid them with a good plan B.

Backwards Planning
It always seemed important to plan backwards from the end product or goal. I would ask myself, “Where do I want to end up?” For example, I envisioned the ultimate performance or interpretation of a concert piece. With marching shows, I imagined what the final show would look and sound like, and planned backwards to achieve the vision. Following this, planning daily objectives and specific strategies to meet those step-by-step objectives should be set. Overall, never lose sight of your ultimate goal. You can get lost in details and be less than pleased with results when not planning in reverse.

An Organized Library
It is tempting not to take the time required to keep an organized music library. Cataloging, sorting, repairing, and filing all are essential but need not be the director’s sole responsibility. As part of the band student leadership, establish a librarian position filled by a student willing to learn how to do some of the work and dedicated enough to follow through. From the upper elementary grades through high school, there are always appropriate students for this vital role.

Rehearse In Sections
Analyze the form of a piece and divide it into sections to be rehearsed separately and then put into context in stages. The story is told of a father asking his son why an important concert selection sounded fine until the last several minutes of the piece. The boy supposedly answered, “Oh we never got to finish it because the passing bell always rang, and there was no time.” For example, with a Broadway musical, it is not always required to rehearse the first act first. Beginning a rehearsal with the second act or randomly selected scenes can ensure that the final performance is of equal quality from beginning to curtain call.

Achieve Clear Ensemble Sound
Hearing clear sound is like viewing a photo that is in perfect high-definition focus. An out-of-tune ensemble simply sounds muddy or blurry. A band can play in focus only by playing in tune. Consequently, students must discover what in-tune really is. Working in pairs, students should complete a tuning profile by playing their chromatic scale ascending and descending from the lowest fundamental pitch to as high as they are able. Players should hold each pitch long enough for their partner to notate flat, in-tune, or sharp. Adjustments should be made to allow not only what feels in-tune but also to hear it as well. Fortunately, in my day this process was completed using a fine twelve window strobe tuner that was available for this assignment as well as daily ensemble rehearsals. I am convinced that by emphasizing playing in tune and requiring completion of this profile each semester, students felt they contributed individually and collectively to achieving a clear, impactful ensemble sound.

Include String Bass
From my first day of teaching I was blessed to have a string bass player in my bands. These were not only good players, but exceptionally fine players. These students played tuba parts when string bass parts did not exist, sounding an octave lower most of the time. This added depth to the band sound not otherwise possible. Some staccato articulations were played pizzicato, which automatically influenced the wind and percussion sections and lessened hearing too much attack and more actual sound. Try it – you’ll love the result.

Play Along with Students
It is important for students to hear you play and sing along with them from the podium, in class, or privately. It can happen on multiple instruments or on your primary instrument. Rather than explaining, teachers can demonstrate tone and style or simply how to practice. It is important for teachers to model.

Show and Observe Passion
Fine directors demonstrate excitement and sincere joy in the music they bring to students. Good rehearsals are well planned, relaxed yet urgent, and paced to allow for digging in as well as sharing a laugh. Observe fine rehearsal technicians such as All-State conductors whenever possible and incorporate ideas and techniques that are appropriate for you and your program. Invite a clinician to work with your band. It is rewarding to have fresh solutions and ideas to energize you and your students.

Lists
Making a list of things that need to be done might seem to be a bother, but the great feeling when you cross things off is well worth the effort. There is nothing better than that sense of accomplishment.

Office Lamps
Bright florescent lighting is fine and appropriate for the rehearsal space. However, I needed to have occasional breaks away from it during my teaching day. I invested in a desk lamp, and my colleagues with whom I shared the music office also had lamps on their desks. It is hard to describe the effect of having softer light in such a space, but it allowed me to recharge, complete paper work, and plan in a relaxed manner. The only downside to this was that students also craved the same thing – a calm, darker area. Occasionally, I needed to shoo students out, but overall, I believe relaxed office area lighting is beneficial.

Punctuality
Being on time actually means arriving early. It is important to demonstrate that you are on site, eager, and ready to begin a class, lesson, or rehearsal. It also implies that delving into whatever is planned is important. The last thing to suggest is that students will face a tired, uninspiring musical experience.

Collaborate
Work with others as part of a team on concerts, variety shows, musicals, marching routines, accompanying choir pieces, and with soloists. To me it was always important to have the band shine, but whenever possible, as a part of other aspects of the music program. Collaboration demonstrates strength in numbers plus comprehensive music making.

A Balanced Lifestyle
Many in our profession focus on their musical careers to the exclusion of developing other interests or skills. Often these people burn out simply because of this 24-7 mindset. Begin by limiting screen time. Reserving time with family and friends, exercising, pursuing outdoor activities, reading, traveling, cooking, exploring artistic pursuits such as painting or graphic design, and participating in community service are just a few ways that will help maintain a balance to a demanding and wonderful vocation.

Taking Stock
This summer take some time to think about the year ahead and consider trying some of the ideas listed here. The worst that can happen is finding that something doesn’t work. The reward would be adding an approach that increases your teaching effectiveness.

The post What Worked For Me appeared first on The Instrumentalist.

Year-End Wrap Up

theinstrumenta — Fri, 10 Jun 2022 23:44:03 +0000

This gem from our archives originally appeared in the April 1990 issue of The Instrumentalist.

As the end of the school year approaches, most directors turn their attention to special activities to ensure their ensemble’s growth as well as their own. On these pages several successful band and orchestra directors share their ideas for different year-end activities.

What creative ideas can you offer for recruiting junior high musicians into your high school program?

John Bradley, Lincoln County High School (Augusta, Georgia)
We have the outstanding instrumentalists from the high school visit the junior high to give younger students a complete picture of our band program. My students lead discussions on topics such as band requirements, tests, travel information, performances, uniforms, rehearsals, classes, grading procedures, and anything else the junior high musicians want to ask.
The band performs a concert at the junior high school each year, which allows students to demonstrate their talents on instruments not normally seen at football games or other performances. We schedule all of these concerts with the support of the principal and the guidance counselor.
I offer prizes to students who bring the most new members to band. These new students must remain in band throughout the year. Ten new members qualify a student for such prizes as albums, CDs, or other musical items.

James Warrick, New Trier High School (Winnetka, Illinois)
Each year we sponsor a jazz festival for 15 area high school jazz ensembles. We hire a clinician to work with our feeder junior high school jazz ensembles and do not charge the junior high groups a participation fee. We also provide reduced-price tickets to the evening concert featuring our high school ensemble with a guest artist. The junior high clinician selects the most outstanding junior high musicians, to whom we present Jamie Aebersold albums.
When I taught at Lakewood (Ohio) High School I had the three junior high jazz ensembles perform on the same concert as the high school jazz ensemble each year. Guest artists were heard by all. This concert alone almost ensured that junior high jazz students would give the ninth grade band a try.
I ask students who are wavering in their decision about playing in a high school group to make only a one-concert commitment. That way they make a short-term commitment they can handle, and by the first concert I have given them my best effort to encourage them to continue indefinitely.

Earl Benson, Jefferson High School (Bloomington,Minnesota)
Our recruiting efforts begin long before junior high school with concerts performed by the high school and junior high school bands at the elementary schools. These concerts feature several soloists and brief instrumental demonstrations. Students are invited to conduct the band on marches. I also feature the most popular coach, the school cook, or the custodian as conductors.
The junior high school bands perform at our district band festival with the community, high school, and all-city elementary band. This union of bands (a tradition for 20 years) is called the Bloomington Band Festival, and gives parents and community an opportunity to see all levels of band participation in one enjoyable evening.
The high school marching band program has become popular with junior high school students. Close cooperation between directors has made the transition from junior to senior high school smooth. As the assistant conductors of the marching band, our junior high school directors are integral parts of the entire instrumental music team. Students see this closeness and cooperation, which helps immeasurably when it is time for them to decide on high school music.
Our junior high directors provide lists of band parents, to whom we send a brochure describing the high school band and the responsibilities of membership. This material helps students decide to include band as a high school subject. The key is communication.

Gary Wolfman, Appleton Public High Schools (Wisconsin)
We form a city-wide junior symphony of all eighth and ninth grade strings and the best ninth grade winds. They rehearse with me and then perform at the all-city string festival, where they and their parents hear the high school orchestra.

Kim Trytten, North College Hill High School (Cincinnati, Ohio)
I select eighth grade band members to sit in with the high school students in rehearsals. Different ensembles – concert, marching, jazz, or pep bands can be used. I prefer random selection to simply choosing the best players because often it is players at the bottom of the sections who quit between eighth and ninth grade. The weak players need the same chance as the better players. Participants from the high school solo and ensemble contest perform at the junior high school.
We include our eighth grade or junior high band in the annual homecoming halftime show or a band night. You can bet every parent is there, and the young players are thrilled to be part of the spectacle.
Even though it is not necessary for fitting purposes, I organize a preliminary uniform fitting night in the spring for the incoming band class. Once the eighth graders put on one of our uniforms, many are hooked and can’t wait for next year, when they will be issued their own uniform.

Bill Scott, Spartanburg High School (South Carolina)
In Spartanburg the high school orchestra program is a continuation of the junior high and elementary strings program. Recruitment at the high school is more a matter of retention. One factor that contributes to successful retention is vertical teaching. String instructors teach the same students from elementary to the junior high level and then continue to work with them in high school sectional rehearsals.
I also try to emphasize role models. When we recruit students for fifth grade strings, they have the opportunity to hear a demonstration by a string quintet from the high school. If the quintet happens to contain members of the varsity football team or cheerleading squad and they happen to wear their jerseys or cheerleading outfits – all the better. It is important for youngsters to see older students who are talented in several areas and have an interest and love for music.
An organized plan for extracurricular fun activities helps keep students interested. Our sixth grade string students have a skating party, junior high students take a trip to an amusement park, and high school students have the opportunity for travel to conventions and a European concert tour.

How do you encourage students to attend a summer camp?

Bill Scott: We have music camp activities to suit the needs of every age group. All elementary string students are invited to attend the “Stringer Music Camp,” which is administered by a faculty member. At the junior high level, students are encouraged to attend a day music camp sponsored by the school district. After students have had the fun of participating in one of these two local activities, it is quite natural that their parents will want to send them to a more advanced music camp that may last up to eight weeks. Many of our older students have been fortunate in securing scholarships for summer study.

James Warrick: We have a concert each year specifically to raise money for summer music camp scholarships. Funds in the camp scholarship fund are there for the asking. We do, however, expect students who request those funds to be the students who sell the most’ tickets to that scholarship concert and the other concerts throughout the year.
The best encouragement to attend summer camps is for students to be aware of the others from our school who have attended camps in the past. For example, in the fall concert program I place an asterisk beside the names of students who attended a camp the previous summer. This is a strong message to ambitious young players who can see that most of the students in the advanced ensemble have an asterisk beside their name.
We are selective about the camps we recommend. While students are welcome to attend any camp they wish, we also make them aware of the programs that have been the most beneficial for past students. We also devote space to the topic of summer music camps in our spring band and jazz newsletters. We also photocopy and distribute the “Guide to Summer Music Camps” printed every spring in The Instrumentalist.

How do you have students evaluate your music program?

Kim Trytten: I ask the seniors to complete the following questionnaire.

Trojan Band Senior Exam
This is your senior exam. If you answer the questions thoughtfully and thoroughly, you will receive an A. If you answer the questions without thought and without thoroughness, you will receive a grade commensurate with your effort. Please take a moment and sign the yearbook that is on my desk. One person at a time in my office, please.

Question 1: Consider for a moment the possibility that I have resigned as director of bands at this school and have moved with my family, two cats, and nine fish to a remote island in the North Atlantic to garden, write music, and meditate on the meaning of life. For some inexplicable reason the school board placed you in charge of the band for next year. What changes would you make, which things would you continue to assure the success of this organization? Detail any change you would make to the discipline policy of this class.
Question 2 (in three parts): Relate the most memorable musical experience during the school year, the most memorable non-musical band-related experience, and explain why you make music.

James Warrick: During the last week of school, I seat the seniors in a circle and open up the floor for discussions about the instrumental department, and the changes they would have appreciated. My primary role is to keep quiet and listen. Many times students who have said nothing for four years offer the best insights.
In each of the bands I distribute a sheet of paper divided into two sections. Section one lists all of the band’s activities for that year, and section two lists all of the music studied or performed by that ensemble for the year. The students are asked to rank the items in each list from most favorable to least favorable.
At the end of each grading period I distribute an evaluation form asking students to give me a grade. This is only fair, as I have just graded them.
My favorite questionnaire is one that gives band members an opportunity to complete sentences about me and the band. I have found that the questions that follow inspire the most revealing answers.

Sample questions:
In band, the director always ________ The director never _______________
I wish the director would __________
The best part of band is ___________
The thing I dislike most about band is ______.
I wish the music we play were more _____.
I wish the music were less _________.
Playing in band makes me _________.
The most fun I had in band this year was when ______.

It takes self-confidence to ask the students to evaluate the director and the band program. Not everyone will take these sentences seriously, but this exercise has never failed to bring something to my attention that I had never before considered.
Another productive evaluation exercise is to divide the band into groups of five or so and then give each group a topic to discuss for an entire class period. Good topics include band discipline, music selection, rehearsal productivity, the band’s work ethic, the performance calendar, and the band’s image in school. Each group should select a spokesperson who will make a brief presentation the next day to the entire band on the points their group discussed.
This critical thinking exercise can be stimulating if students in the ensemble are mature enough to deal with such matters fairly. Regardless, everyone will get to know each other better, particularly if this exercise is undertaken during the first week of school and repeated the last week.
Gary Wolfman: I distribute a blank index card. On one side students write, “What I like about orchestra,” and on the other side they write, “What I don’t like about orchestra.” With this informal structure, loads of information comes back to me.

John Bradley: I ask the students first to evaluate me as a director by writing a short narrative on their likes and dislikes. The areas that I ask for include my methodology, organizational skills, management, personality, and anything else that they may deem important. No signature is required on the paper.
The students then receive a questionnaire, which they answer with either a statement or a yes/no.

Band Questionnaire
1.        Do you feel that we have a comprehensive band program?
2.        Do you find an esprit de corps in the band program?
3.        Are you able to express your ideas and opinions in band?
4.        Do you feel that the band director works with the administration and other departments of the school?
5.        Do you feel that we have a sound band program?
6.        Do we participate in too many or not enough school and community functions?
7.        How does our band program measure up to other schools our size?
8.        How does our band program measure up to schools larger in classification?
9.        Are our students highly recruited by colleges and universities?
10.    What is the success rate of our students who continue in band on a college or university level?
11.    Are you permitted to audition for district, state, or other ensembles?
12.    Are you encouraged to participate in various ensembles?
13.    Do you and other students have the opportunity to progress from the beginning level through advanced performance levels?
14.    Does the program provide literature that will challenge all students?

The post Year-End Wrap Up appeared first on The Instrumentalist.

String Clinic, How to Practice Eight Essential Bow Strokes

theinstrumenta — Fri, 10 Jun 2022 23:32:51 +0000

The bow arm is responsible for sound quality, dynamic nuance, tone color, and many aspects of phrasing, articulation, and expression. Yet most string players spend more time thinking about and practicing their left-hand technique than their right-hand technique. Players need to learn many notes to keep up with ensemble work and perform solo repertoire. Since even a novice listener can identify poor intonation, string players work hard on left-hand position to clean up pitch problems. As a result, many students develop a sophisticated left-hand technique but play with a weak tone and struggle with off-the-string strokes. Imagine if players invested as heavily in their right arms. A review of essential bow strokes can jumpstart right-arm awareness, and players who incorporate daily bow-arm practice will be amazed at the transformation in their sound and expressive possibilities.
Before starting right-arm practice, check the bow to make sure everything is clean and functional. Rosin the bow and invest in a bow rehair if needed. Remind students not to touch the bow hair since the oil from their hands will stick to the bow and transfer to the strings, leading to slick parts of the bow. Check the tightness of bow hair. In the middle of the bow, the space between the stick and hair should be about the size of a fingertip.
Next, review the ideal bow grip. On the violin, the tip of the ring finger sits on the eye of the frog, and the other fingers drape over the frog. The thumb is underneath the stick and usually rests across from the middle finger. All of the fingers are bent. Students who struggle to keep fingers bent or relaxed can discover a natural grip by picking up and bouncing a tennis ball with their palms facing the ground.

Detaché
Detaché consists of a separate bow for each note, and each stroke connects to the next. The strokes are smooth, and the weight of the stroke stays consistent. Detaché can be played in any part of the bow, with any length of stroke, and with different bow speeds. Although detaché is usually the first bow stroke a string player learns, it offers many practice possibilities. Keep the bow parallel to the bridge and practice detaché at the frog, middle, and tip. Identify the ideal sounding point for each string, with the bow closest to the bridge on the highest string. Evaluate the bow grip: are all of the fingers (including the thumb) bent and relaxed? Practice ten-second bows and build up to thirty-second bows, with the sound staying focused and pure.

Slurs
Once players are confident playing separate bows with one note per bow, they can start practicing multiple notes in a bow. Use a sticky note to divide the bow into two even parts. Begin with two-note slurs where the second note aligns with the sticky note. They should try to keep the bow moving and deep in the string while changing pitches with the left hand. For students who are already able to execute two-note, three-note, and four-note slurs, incorporate asymmetrical slur patterns. For example, try a two-note slur on a down bow and a three-note slur on the up bow. Practice unusual numbers of slurred notes: five, seven or eleven notes on a bow. Practice slurred string crossings to gain flexibility in the right hand.

Martelé
Martelé, which translates to “hammered,” is a powerful, percussive bow stroke that consists of a sharp attack followed by a quick release. It can be notated in several different ways. Martelé is type of detaché, since there is only one note per bow, and the stroke can be played in any part of the bow and with any amount of bow.

To practice this stroke, place the bow on the string near the frog and allow natural arm weight to enter the stick of the bow. Some players like to engage the right index finger to gain a firmer grip on the string. Once the bow is completely attached to the string, initiate a down bow with fast bow speed while releasing the pressure that is in the bow. The result is a crisp, biting attack followed by a release into a clear tone, or a sharp consonant relaxing into an open vowel.
Each martelé stroke takes time to prepare, so practice it at a slow speed with spaces between all notes. This bow stroke cultivates clarity and articulation, but the fast bow speeds can send the bow spinning over the fingerboard. Practice in front of a mirror to maintain a beautiful bow lane and sounding point.

Staccato
When playing staccato, create space between each short (one to three inch) bow stroke. Separate bow staccato (one note per bow stroke) starts with a pinch like the martelé, but with less force. To set up a clear attack, place the bow on the string at the middle of the bow and dip the stick of the bow toward the string. Use right-hand flexibility to release from the dipped position into a clean stroke. Practice multiple staccato notes on a single bow, or “slurred” staccato, to work on bow division and clarity in all parts of the bow.

Add weight with the index finger to achieve a powerful sound in the upper half of the bow. To develop coordination, alternate slur and staccato practice. Play six staccato notes on a down bow followed by six slurred notes on an up bow. Try asymmetrical patterns like five notes slurred on a down bow followed by three staccato notes on an up bow.

Collé
In collé, the right-hand fingers execute short bow strokes. Collé can be played in many different parts of the bow but is usually practiced in the lower half. Practicing up-bow collé at the frog leads to greater control over bow changes, a wider range of off-the-string strokes, and a natural approach to playing chords. Set the bow at the winding near the frog. Keep the bow grip neutral, where the fingers are not completely straight or completely bent. Bend the fingers in a quick, energetic motion while initiating an up-bow stroke. By the end of the quick stroke, the fingers are completely bent and the right-hand knuckles are flat. Players often describe this motion as picking or scooping notes out of the string. (See pictures below.)

Practice up-bow collé in 3/4 at quarter note = 100. Play the collé stroke on beat one, release the fingers on beat two, and reset on beat three. Collé involves intense finger action, so young players may find that their pinky fingers get tired. If this happens, they can practice collé without the instrument. Point the tip of the bow toward the ceiling and practice bringing the frog into the hand and then releasing it toward the floor.

Brush Spiccato
Spiccato is a bouncing bow stroke where the hair of the bow leaves the string between each note. String players are required to play spiccato at many different speeds. Fast spiccato strokes work better higher in the bow than slow spiccato strokes. The brush spiccato is a heavy, slow-speed stroke that works best near the frog.
Start by placing the bow on the open A string about two inches above the winding at the frog. Wrap the left hand around the right forearm to stabilize the bow arm and isolate hand motion. Practice down and up bows (about two inches per stroke), using the left hand to silence extra motion in the right arm. Some players like to practice this stroke with their elbows against the wall to remove inefficient motions.

Once the right hand is able to control on-the-string strokes near the frog, increase speed and see if the bow begins to bounce. Some players visualize that they are tracing the bottom of a bowl with their right hands, creating a U-shaped bow stroke. Practice brush spiccato with two, three, or four repetitions of each pitch before moving to the next note. Advanced players can practice asymmetrical spiccato patterns: two repetitions of the first pitch followed by three repetitions of the second pitch.

Sautillé
Sautillé is a very fast spiccato bow stroke that works best just below the middle of the bow. In this stroke, the bow hair itself may not actually leave the string, but the flexibility of the stick makes it sound like the bow is bouncing. Practice this stroke slowly and completely on the string at first. Set the bow on the D string one inch below the middle. Practice open D to open A string crossings in various patterns, allowing the right hand to articulate the strokes.

Keep the right elbow and forearm stable, relaxed and heavy, and let the right hand dance at the end of the arm. Gradually increase speed and redirect the bow to one string. If the bow hair is flat, the right hand fingers are bent, and the bow is moving very quickly in small (one-inch) bow strokes, the stick of the bow should start to bounce.

Ricochet
This fun bow stroke is one of the only strokes that starts from above the string. Ricochet relies on the natural bounce of the stick. Multiple notes bounce on one bow stroke, but the player only instigates one impulse. Ricochet is much easier to play down-bow, and ricochet passages in repertoire usually consist of two, three or four notes on a down bow followed by a single note on an up bow.

Ricochet requires experimentation. Students should start with the bow one to two inches above the string in the middle of the bow. Let the bow drop to the string while initiating a down bow motion. See how many bounces come out of that initial bow drop. Then try starting two to three inches above the string to see how many bounces come out from that altitude. Players will quickly discover how high to start above the string and how much bow to use for a two-note, three-note, or four-note ricochet. Ricochet sounds best right in the middle of the bow with very flat bow hair (no bow tilt), and the bow parallel to the bridge.
Practicing each of these bow strokes with open strings is useful and important, but it is a lot more fun to practice bowings with scales or etudes. Since string students learn the keys of D, G, A, and C first, prioritize scales in flat keys. Many young players have not learned a chromatic or whole tone scale, so working on these new scales with a variety of bowings is a great way to multi-task left-arm and right-arm practice. Whatever pitches you choose, daily right-arm practice develops a better tone, creates a wider tonal palette, and opens the door to a plethora of different articulations and expressive tools.

The post String Clinic, How to Practice Eight Essential Bow Strokes appeared first on The Instrumentalist.

The Teacher’s Studio: Note-Grouping in the Classroom

theinstrumenta — Fri, 10 Jun 2022 23:08:59 +0000

Note-grouping is a phrasing technique in which the performer groups or clusters several notes together to express or enhance a musical idea or gesture. Note-grouping was first taught at the Curtis Institute of Music by professors William Kincaid (1895-1967) and Marcel Tabuteau (1887-1966). My first exposure to note-grouping came from flute professor Frances Blaisdell at the National Music Camp (now Interlochen Arts Camp) She was primarily a student of Georges Barrère, but had additional training with William Kincaid. In one of my first lessons, she asked me to play by memory a two-octave scale, with four sixteenth notes per pulse, slurred. Like most band-trained students, I accented the first note of each of the four sixteenth notes staying exactly in time with the metronome. My scale sounded plodding at best.
After I played, she sang a two-octave scale with these words: “I, am going home, to take a bath, to wash the car, to eat some food, to watch T-V, to feed the bird, to walk the dog.” Then she had me play the scale while she sang these words. We continued this duet until we had circled through all of the major scales using this note-grouping concept. Of course, when singing, she made octave adjustments here and there so the notes of the scale fit the range of her lovely voice.
Next, Blaisdell wrote out a two-octave scale on a piece of manuscript paper. She told me that the first note was called a solitaire, and the next notes were played in the grouping of 2,3,4,1. Above these notes she wrote a small bracket. She said these brackets were think marks and did not affect the articulation or rhythms of the printed music. These groups were more energy marks. I later learned that oboe professor A.M.R. Barret expressed very similar ideas in his writing “On Expression” in his Oboe Method. He refers to the groupings as playing with nuance.

To help me master note-grouping, she played the solitaire note and then I played the 2341, and we continued alternating throughout the scale with her playing one group of 2341 and me playing the following 2341 ping-pong style. She encouraged me to be as sing-songy as possible in order to learn to feel the notes leading into the 1.
When teaching this in a band setting, use a 9-note scale (F, G A Bb C, D E F G, F E D C, Bb A G F). Play slurred. The first note should be played with resonance remembering that the strongest part of a note is at the beginning. Then there is a silence to be sure all students are in the same place. Begin softly on the G making a slight crescendo or a slight bit of energy with the air stream into the next notes. Place a small silence again between each group of notes. Repeat on the D E F G group, the F E D C, and finally the Bb A G F group. Repeat this several times. As the term progresses, a good goal is to be able to play this grouping on all 12 major scales. Once mastered, play without the silences.
When teaching this, I found that saying 1, 2341, 2341 was cumbersome and looked for a name for this concept. I let the students vote, and we decided to call this phrasing grouping “forward flow” because the notes flow into 1. This term seems to be sticking as at conferences I now hear the words “forward flow.”

Two Gestures
In music there are two gestures: forward flow (see above) and down/up (strong/weak). The down/up gesture comes from the Renaissance (1450-1600) when composers of madrigals used the concept of text painting. In text painting the music echoes the dynamic of the words. For example: Sing-ing (loud, soft), Lov-ing, Dy-ing, May-ing. Baroque and Classic composers used this gesture frequently in their music. In the 1700s the Stamitz family of composers referred to these two-note gestures as a Mannheim sigh because they lived and worked in Mannheim.
The A.M.R. Barret melody on the following page from The Flute Top Octave by Patricia George, published by Theodore Presser, illustrates this idea of two-note slurs or the two-note (down/up) phrasing gesture. See measures 2, 4, 5, 6, 9, 10, 11, 12, 13 (three two-note slurs), (repeated in 15 and 16), 18, 20, and 22 for two-note gestures. Have students play just these measures with the second note softer than the first. My students are always amazed that once they find the two-note slurs, they have a phrasing plan for 15 measures of a 24-measure melody.

A.M.R. Barret melody

A good activity is to have students place an asterisk over each two-note slur in one of their band pieces and to practice those two-note slurs until they can always make the gesture strong/
weak or loud/soft. The duration of either note may flucuate. Sometimes the down/up gesture will be two sixteenths, two eights, or a half-note and a quarter. The important thing to notice is the slur placement and play the second note softer than the first note of the slur.
When teaching the down/up gesture in a band setting, use a 9-note scale (F, G A Bb C, D E F G, F E D C, Bb A G F). Play F, G, A, Bb pause, C D E F pause, G F E D pause, C Bb A G pause, F. Each group of four is slurred. The strongest note is the first of the group, and the following notes are played with a small diminuendo or decay. Repeat this several times.
As the term progresses, a good goal is to be able to play this grouping on all 12 major scales. Once mastered, play without the silences. Then alternate between the forward flow scales and the down/up scales. My students find that thinking of either going to 1 or coming from 1 is concise and helpful.

Another Way to Understand
Note-Grouping
My flute professor at the Eastman School of Music was Joseph Mariano (1911-2007) who was also a Kincaid student. Mariano added to the grouping concept and said that wind players should play as if the music was bowed (as in string technique). He told me that when playing in orchestra, I should pay attention to the concertmaster and follow the bowings. I realized that I knew little about string bowing, so I enrolled in a year-long MusEd violin methods class taught by David van Hoesen, an author of several string method books. I learned that the bow moves in two ways – down bow and up bow. A down bow starts with the right hand close to the player’s nose, and the up bow starts at the tip with the right hand away from the player. Generally, notes to be taken down bow start on the beat, and notes to be taken up bow start off the beat. Due to the construction of the modern bow, down bow notes naturally become softer as the right hand moves farther away from the player, and up bow notes naturally become louder as the player’s right hand comes closer to the player.

After taking this course and discussing my findings with Mariano, I began to mark my music with the down and up bow icons. From my violin studies, I realized that I could take many notes on a down or up bow, not just 2341 as in the example above. See the example below for forward flow and down/up groupings. When there are many forward flow groupings, I suggest students move about a ½ inch forward (VF) and then back (VB). For oboe and clarinet, moving slightly from side to side is a good way to practice this gesture.

24 Progressive Studies for the Flute by Joachim Andersen, Op. 33

The Gustav Holst First Suite for Military Band, Op. 28, No. 1 provides some clear-cut exercises for note-grouping. The first movement begins with a chaconne that is repeated throughout the movement. I have marked the note-groupings using the scallops. I find using the scallops keeps the air stream moving more than the brackets. You can experiment with your students to find which method is most effective for you. One of the grouping rules is that notes of shorter value lead to notes of longer value.

In this next example at letter A, the notes of shorter value lead to notes of longer value. There is a crescendo until the third bar, and at that point the strength of the beat rule should prevail. That is, the first beat is the loudest, the second beat less strong, and the third beat the weakest. Often in the passage, a group will play beat 3 stronger than the opening beat of the measure.

In the following example, the rule of the strength of the beats comes from the rhythmic modes of the 1300s. The first measure implies a half note followed by a quarter (with figuration) or a long, short in poetry scanning. The player should show this inflection.

Letter B

Intermezzo, Movement 2

This is an excellent example of forward flow beginning with the opening 2, 3, 4, 1.

Tempo di Marcia, Movement 3
This is an excellent example of dancing or marching music. The down/up gesture is present. The strength of the beat should be followed.

As you work with these ideas personally or with your students, remember two wonderful quotations from cellist Pablo Casals, “the art of interpretation is not to play what is written” and “the heart of the melody can never be put down on paper.”

The post The Teacher’s Studio: Note-Grouping in the Classroom appeared first on The Instrumentalist.

Conductors Clinic,The Misunderstood Left Hand

theinstrumenta — Fri, 10 Jun 2022 22:58:21 +0000

The left hand can be mysterious and confounding, especially to young and inexperienced conductors. Many wonder how to use the left hand effectively and where to place it when it is not active. Students are often taught not to mirror the right hand with the left hand too frequently. Its primary purposes, instead, are cuing and dynamics. Mirroring serves too narrow a purpose and shows an interdependence between the hands that will not serve a conductor well. This article offers suggestions about using the left hand as an effective tool for all conductors. The first step is understanding left-hand cuing and dynamics.

Cuing
The most common left-hand cue is the point, where a conductor uses the index finger or the hand in a downward motion to indicate an entrance. It is often done above the beat plane to emphasize the gesture and primarily when signaling soloists or small groups. This can be a personal and affecting gesture, but can also lead to traffic cop conducting, where the conductor is a facilitator for the players. A conductor can become a tool for the players instead of being a collaborator. In the same vein, I sometimes remind players that I am not their metronome; the tempo and time are carried within the group by each performer.
Conductors are artistic conveyors of musical intent and cuing should be approached in that spirit. Use functional gestures only when needed by the ensemble and not as a habit for all entrances. An effective cue creates an indelible bond between the conductor and player and serves as more than a rote reminder of a particular musical moment.
Cues are most effective when coupled with two complementary gestures: eye contact and breathing. Cues utilizing these two gestures create powerful and sympathetic connections with performers, regardless of the participation of the left hand. Players – especially soloists – seek reassurance of their counting and confidence in their entrances, something eye contact provides. Breathing heightens the connection between conductor and players, similar to preparatory gestures. In addition, the baton hand can be used to cue with a pattern by employing a sharp wrist gesture, elevating the hand above a normal rebound, and exposing the palm of the hand then utilizing a downbeat appropriate to the style of the music. For example, if a conductor wishes to give a solo cue on beat one of a measure, an effective procedure is:
1.    Make eye contact with the player at least one measure before the cue, depending on the tempo, time signature, and importance of the entrance.
2.    Convey style and anticipation through facial expression as the entrance nears.
3.    Inhale a stylistically appropriate preparatory breath; at the same time, bring the wrist up beyond the normal pattern, exposing the hands and wrist to the ensemble in order to elevate the baton.
4.    Expel air and relax the facial expression once the player has entered and is successfully performing.
5.    Bring the pattern back down to the beat plane.

The left hand, in this case, can be used to reinforce the process, or not at all.

Using the Left Hand in Cuing
Left-hand cues are best used with broader entrances, within the pattern, and in conjunction with the right hand. An example of this is the brass sections’ entrance following the trumpet solo in the “Promenade” to Mussorgsky’s Pictures at an Exhibition, arranged by Maurice Ravel. The trumpet solo in the first two measures should be conducted with the right hand only and with a small pattern (because, as I tell my students, one player does not need a conductor). Once the soloist begins, eye contact should be established with the brass sections, the left hand raises in anticipation of their entrance, and both hands are engaged on the preparatory gesture going into measure 3. The left hand effectively doubles the size of the pattern, corresponding with the expansion of the sound from a single player to an entire instrumental choir. The left hand disengages at the re-entrance of the trumpet solo as the conductor anticipates the next brass choir entrance and subsequent use of the left hand.

An example for younger players occurs in The Red Balloon by Anne McGinty, shown below. Measures 15 and 16 feature a woodwind and percussion crescendo that starts at p and culminates at measure 17 where the tutti ensemble enters at mf. It is tempting to use the left hand to indicate the crescendo; however, it may be more effective at measure 17 followed by mirroring the more expansive right hand. Its purpose here is to give a visual interpretation of the broadened style of the music. The left hand mirrors outside of the torso as the right hand functions normally, and the distance between the hands represents the breadth of the section. The left hand may disengage at the trumpet solo at measure 25 or show the sustained alto and bass lines by keeping it raised, hand in a relaxed position, no longer mirroring.

Another effective application is cuing the back rows of the ensemble. I often use my left hand to bypass the woodwinds for a brass or percussion cue. This is done when the back row players enter while the woodwinds are already playing. An example of this kind of cue happens in Festivo by Edward Gregson. In the coda of the work, the high woodwinds and percussion play overlapping ostinatos, and the saxophones and brass enter in the third measure. In this instance, the left hand is raised above the right hand in an open position to emphasize the entering half notes. Again, the cue begins with eye contact to the entering instruments.

Dynamics
Dynamics are often approached with a hand ascending to show an increase in volume, descending a decrease. In fact, another approach to dynamics is preferable, as will be described later. The palm should face upward when conducting in a stationary position only and not moving. It is challenging to create tension without discomfort when the palm is up. (Having the palm up and fully rotated causes tension in the elbow and forearm.) The palm-up gesture is better used to indicate sustain.

To use the left hand appropriately for dynamics, picture a Christmas tree: the quiet dynamics are at the top of the tree and inward, with the hands expanding down and out as the volume increases. The left hand can aid in this expansion. For example, at the quietest dynamics, the left hand can be idle at one’s side or used as a stationary indication of the subdued volume, resting in a relaxed position (palm forward) next to the right hand. In addition to indicating quiet, it also restricts the size of the right hand pattern. When intensifying the volume, the right hand descends and the beat pattern widens. The left hand then may become more active, initially turning inward and then mirroring the right hand.

The left hand can also prove effective for illustrating sudden dynamic changes. A subito accent becomes more powerful with a downward striking gesture, regardless of where in the pattern the accent falls. While I do not recommend an up and down gesture for dynamic contrast, the left hand smoothly descending (palm to the side, moving toward the body as it descends) can help diminish the intensity of the music. Note that the palm does not face down during this gesture.

Musical Style
The left hand can also indicate style. A stationary left hand in a specific shape can convey a mood or dynamic. Two examples are the gently cupped hand and the Italian O. A hand that is cupped naturally and raised slightly above the beat plane indicates a gentler, more relaxed style (e.g., the trumpet solo in movement 2 of Lincolnshire Posy). The Italian O is created by the touching the thumb and middle finger (or forefinger) of the left hand, creating a focal point at the connection point and a circle with the fingers. This gesture signifies precision, and the entrance is emphasized with a release of the connection between the fingers. It was taught to me by Anthony Maiello at George Mason University, who had a painting in his office of Arturo Toscanini executing that gesture.

Final Thought
There are myriad other uses for the left hand that convey musical style and meaning, and each conductor can identify the gestures that augment their approach to rehearsal and performance. It is fine to offer a cue or dynamics with the left hand, so long as that is not its sole function. Conductors collaborate with performers at every level, and they guide a journey of artistic discovery. The left hand can facilitate such interactions far merely signaling entrances and dynamic changes.

The post Conductors Clinic,The Misunderstood Left Hand appeared first on The Instrumentalist.

Essentially Ellington, And Why It’s Essential

theinstrumenta — Fri, 10 Jun 2022 20:13:14 +0000

About twenty years ago, I taught at a school where budget constraints made it a big deal to purchase music. Our jazz library was stale, and my students and I were hungry for some new tunes but without the budget to do it. I had heard of a program that Wynton Marsalis and the team at Jazz at Lincoln Center was putting on called Essentially Ellington, but only knew that it was one of the biggest jazz competitions in America. Friends told me the program also offered free music.

Each year, Jazz at Lincoln Center releases six to eight free charts available to anyone who signs up for the program, which is paid for by grants and donors. The charts are available instantly by free download. Until recently, the program only released Ellington tunes, although composers like Benny Carter, Mary Lou Williams, and Count Basie have been added in the last several years.
These charts are not arrangements but exact transcriptions of the originals, meaning students play the same notes and rhythms as Johnny Hodges, Harry Carney, and the other historic greats who passed through Duke’s bands. The charts range from fairly easy blues heads up to college-level literature, so almost any program can find something to play. Furthermore, when you sign up, you have access to the entire library of past years’ tunes, making it easier to find music featuring any instrument or section, at any difficulty you need. It is impossible to play these charts without feeling like you are a piece of jazz history yourself. Each score comes with pages of information, including teaching tips and original personnel. The fabulous website also has links for the original audio, an updated Lincoln Center Jazz Orchestra version, rehearsal videos, and other resources.
Starting each year in February you can submit your band’s recordings to get some incredible feedback. If your band is really doing well, you can submit it to the competition, and even if you are not one of the 15 bands nationally that get to go to New York, you get pages of comments from the top ears in the game. Any band can submit recordings for comments only, and you can submit as little as one song. These comments are not the scribbles you might get from a local festival; they are thoughtful and specific, with not only things they heard and wanted to hear, but ways for your band to get better. In the first year at my current school, we submitted for the competition, and while we did not make it, we got four pages, typed and single-spaced, of comments that we implemented right away. That year, the extra composer was Benny Goodman, and we submitted one of his tunes. One of the listeners was the last living bass player to play in Benny’s band, so we received comments on Benny’s music from Benny’s bass player. For free, you will get better feedback than you would from any competition or festival.
If you are lucky enough to have a band selected to go to New York for the competition, you and your students are in for a life-changing experience. Although our band has never been selected, I talked to several directors across the country who had. Here is what they had to say.

John Currey
Champaign Central High School (Illinois)

John Currey is Director of Instrumental Music at Champaign Central High School, where he has taught since 1998. He studied at the University of Illinois and the University of Massachusetts. His groups have been finalists at Essentially Ellington six times, most recently in 2021.

One day when I was teaching in Munster, Indiana, a box of music came from Essentially Ellington. I saw In a Mellow Tone in there and wanted to try it, but it was too hard for my band. A year later, I moved to Champaign and another box arrived. I told my band we should apply to the competition, and we recorded I Let a Song Go Out of My Heart. The recording was a bit ragged, but we received helpful comments back after our submission and learned from the experience.
The next year, my boosters paid to send me to the first Band Director Academy. In my first session, Wynton Marsalis stood about 15 feet away from me, and I was awestruck. That trip changed everything about how I ran the band. I used to hope that a lead alto or trumpet player would move in when I didn’t have one. I realized that it was up to me to develop those players and put those sounds in the heads of my students. The next year our band just missed receiving an invitation to compete, but I attended the Band Director Academy with my middle school director, and this experience fueled our program for the next few years.

The Weekend in New York
Nothing beats going to Lincoln Center and seeing so many great student groups. Usually at a jazz festival there might be one or two impressive bands, but there every band is amazing. The cheer tunnel makes you feel like a million bucks right from the start. Every single person in the Jazz at Lincoln Center band is there to help students. They are so positive and generous with their time. I know it is a competition, but I have never thought of it that way. You win just by going.

Building Our Program
When I arrived at Champaign Central, the program had a history of great jazz bands from the 1960s through the 1980s but was in a rebuilding mode. Early on, I spent a fair amount of our budget on music. Finding music for our younger and less experienced kids was key to our students’ development and building confidence. Good arrangements and extensive listening to recordings was essential. I try to have students listen to many recordings of the tunes in their folder so they can learn the concepts and fundamentals of a good jazz sound. Reading and listening is a big part of our approach. Even in my third band, we typically play 50-80 charts in a year; I don’t concentrate on three or four tunes and call it a day. I think the kids should learn skills and concepts that allow them to apply what they know from one chart to another. Besides, I would get bored easily playing the same few charts over and over.
I also emphasize student articulations, asking players to sing the music the way we want it to sound. Periodic sectionals allow us to clarify that sound we are seeking. The more detailed you get, the better.
In college, I was a classical saxophone player who also played in a jazz band. I have never been a great improviser and have attended clinics and brought in excellent guest artists to help me with my deficiencies. More than anything, I have been a good facilitator, getting students set up with good private teachers and the right mouthpieces and equipment. Starting combos at our school helped with the last piece of the puzzle; it has helped with what we needed to improve. Concentrating on improvisation with the combos took our groups to another level.

Bethany Robinson
Noblesville High School (Indiana)

Bethany Robinson is director of the jazz program, assistant band director, and assistant orchestra director at Noblesville High School in Indiana. She has taught at Noblesville Schools since 2005 and earned degrees from Olivet Nazarene University, where she studied music education and string bass. Her band was an Essentially Ellington finalist in 2021 and 2022.

In 2011, I received a teacher creativity grant and spent my summer in New Orleans and New York City learning everything I could about jazz. I only had one jazz band at the time and wanted to grow my program but hadn’t learned about jazz pedagogy in college. I was an assistant director for concert bands at my school, but the jazz band belonged to me, so I put everything into it.
I found information online about the Band Director Academy scheduled for July of 2011, and I used part of the grant to attend. It changed my life to learn from teachers like Reggie Thomas, Terrell Stafford, and Ron Carter. I had never thought about incorporating a lot of singing or dancing into my rehearsals, and I had never heard of Essentially Ellington.
One night I started talking to other directors who were the veterans in the room. It was cool to be in that culture and start uncovering this whole world of jazz that I didn’t know. When I returned home I started implementing some of the ideas I learned into my classroom. We began dancing every day to Count Basie just to get class started. I then had enough students for two bands, and the following year, we opened a freshman campus so I could justify a third, freshman-only band. The program kept growing.
Eventually we went back to having grades 9-12 in one building, and we have five jazz bands that meet during the school day. About five years ago, we started recording for the Ellington competition. After five years of attending band director academy, I finally felt my students were ready to attempt Duke Ellington music. Although we were nowhere close to earning an invitation, we applied and received great feedback from the comments. We kept trying and learning with the help of some great jazz professors and professionals who came in to work with our kids. We finally made the festival in 2021.

The Application Process
The band started recording from the beginning using a zoom recorder and continued the entire way. As the application date approached, I sent new recordings out to students every day. Those daily recordings were invaluable. When you play, you think the music sounds one way, but the recording gives a much clearer picture. I regularly send recordings even to my younger students who are not working on Duke Ellington music. Kids love listening to themselves. They are so invested in the music and want to play it for their family. It is a good motivator to have a recording device that easily uploads to your computer and sends out files to your students weekly.

Playing During a Pandemic
We spent considerable time in our auditorium spread six feet apart. We could only meet before school because our kids were all on a hybrid schedule, with half of the band present for each half of the week. The lead players never played with the rhythm section, and the second and third players never played with the lead players or rhythm section. It was pretty crazy but also motivating because students really wanted to come in before school so that they could meet as a full band to get to know each other and build the band that way. Meeting outside of school regularly really paid off when we made the Essentially Ellington Festival for the very first time, and one of the many highlights of that virtual experience was a one-hour rehearsal with saxophonist Sherman Irby from the Jazz at Lincoln Center Orchestra. He gave us such great feedback.
The organizers really tried to make the virtual festival as exciting and connected as possible. We had a Q&A session with Wynton Marsalis one evening about social justice and a piece he had written after the death of George Floyd. That was meaningful for our students because they had witnessed that piece of history and needed to process it. There were moments like that that really affected the students’ lives.
During the festival performances, there was an hour break between the two sets of the festival, and we invited our entire community to our auditorium to hear us perform. Our mayor came and declared it Noblesville Jazz Day. We made it as close to a festival atmosphere as possible.

Finding a Higher Level
In 2011, when I discovered the program, I realized the high caliber of the bands invited to Essentially Ellington. Even though we were nowhere near that level at the time, I decided we needed to start somewhere. Simply incorporating some of the Ellington charts was a first step. Listening to the original recordings and trying to work on some of the more accessible charts was a good beginning. A few years later, I started submitting the recordings for feedback. The recording process was such a great learning experience for students, and the feedback sent by the festival offers great ideas to guide you to the next level.
There is nothing to lose from working on incredible music, gaining recording experience, and receiving incredible comments from adjudicators. The process becomes more comfortable each year as students and directors grow and learn more about the music.

Chris Behrens
Beloit Memorial High School

Chris Behrens directs the jazz band, concert band, and wind ensemble, among others, at Beloit Memorial High School in Wisconsin. He earned degrees from the University of Illinois and VanderCook College of Music. Beloit Memorial has appeared as finalists at Essentially Ellington ten times, including 2022.

I first began the Essentially Ellington process after encouragement from fellow directors Steve Sveum at Sun Prairie and Bruce Hering at Eau Claire Memorial, who heard my bands back in the early 2000s. I’d heard of the festival but was a little shy about programming Ellington’s music because we didn’t really play it in college. It has clarinet, really high trombone parts, and strange keys, that might make a beginning director stick with more familiar music.
I discovered that Ellington’s music is the real thing. It is so diverse. He wrote for some amazing players. When you put those parts in front of your kids, they are playing music written for some of the greatest jazz musicians in the world. I realized that if you give students the resources, recordings, and a little bit of faith and motivation, they will learn this music. The sound of Ellington’s music is so inspiring and motivational. It keeps calling you back.

Recording
Our recording process begins as early as we can possibly set up microphones. By listening to your playing as early as possible, you start making it better. Every time we record, we sit down the next day and make a list of things to improve. This approach is sometimes repeated multiple times a week. That is how you get to the level that we have been fortunate to reach several times.

The Months After the Invitation
After receiving the invitation, our performance changes to a whole other level of scrutiny. I rely on students who have been there before to help younger students understand that up on that stage, you have 17 minutes and one shot to play your best and have fun. You want to improve from the recording and also try to make the music say something unique and personal.

In New York
The experience is unlike anything I’ve ever experienced musically. It is amazing to be in a room of students and educators who appreciate that music at such a high level. It is a competition, but there is so much love, everybody wants you perform well and you feel that support and appreciation. Being around those directors and students from around the country led to making friends I talk to all the time. Students also make life-long connections. They return fired up and ready to continue playing.

Advice
The Essentially Ellington program has provided a wealth of great literature and resources for my ensembles. There are charts for all levels, but don’t be afraid to modify the range or instrumentation with younger groups. The important point is programming authentic swing music from some of the greatest composers this music has to offer. This leads to discussions of the history, the musicians in the band, and of course listening to the original recordings.
Listening is such a key factor in playing this music. I tell my students that you need to have a hero to listen to, someone who inspires you to practice and has a sound you want to imitate. I encourage them to make a playlist on their favorite streaming service and listen to one artist for a few months. Listen for ideas to transcribe and imitate. Assimilating someone’s style is a great way to start your journey into learning this music.

Bill Leather
Mount Si High School Snoqualmie, WA

Bill Leather directs bands at Mount Si High School in Snoqualmie, Washington. The band program includes more than 200 students in eight ensembles. He received a Bachelor of Music degree from Indiana University after studying music education and percussion. Groups from Mount Si have been invited to Essentially Ellington seven times, including 2022.

As a student, I played in the 2001 Essentially Ellington festival and competition with the Youth Jazz Ensemble of DuPage (Illinois). That was such a formative experience right before college, and it solidified some things that I wanted to do in my teaching career down the road, including taking a band to New York for the festival. I feel so fortunate to have participated in Essentially Ellington for such a long time and play some of the greatest music ever written.

Recordings
Our recording process begins with a conversation with the ensemble. Whenever applying to an important event like this, the entire band must be on board and invested. It takes sacrifice and dedication. This means not just learning the charts but really studying the recordings and having extra sectionals. I try to instill in students that regardless of the outcome, it is so important to approach the opportunity with gratitude. We have no control over what happens after we submit our recording. We put everything we have in it with no regrets. At the end, we feel good about how we honored the music.

Before New York
The clinicians sent out to work with us by Essentially Ellington provide a chance to take the music to an even higher level. There is always more that you can draw out from a tune. An important element is finding tunes that fit the band and drawing out those extra layers in the music.
I involve students in music selection more and more. Sometimes we disagree, but it is important to hear their thoughts. Players bring up ideas about how to play a certain phrase or solo section that never would have occurred to me.

The Weekend
The experience is world-class from beginning to end. The community of musicians from different bands is so supportive. Performing for that energized crowd and seeing Wynton in the audience listening is hard to describe. Our community is small and really supports us. The local movie theater in North Bend, livestreams the festival for the community to hear.

Advice
I believe in singing just as much as we play. Even if it is a struggle at first, incorporating singing into every rehearsal will help any band achieve a greater sense of time, unity of articulation, style, and so much more. If you can’t sing it, you can’t play it.
Next, I love to work with my band on coordination with their singing. Especially in the early part of the year, we sing pages of Ted Reed’s drumming book Syncopation while moving our heels on the quarter note, and patting hands on our legs on 2 and 4. This trains students to independently feel syncopated swing rhythms and drastically improves their time.
Lastly, I think it is important to learn something by ear daily, even if it is just a simple scale patterns that can be transposed into a few keys, or even all twelve. This engages the ears in every rehearsal. This works especially well when applied to a set of changes for tunes being worked on for performance.

The post Essentially Ellington, And Why It’s Essential appeared first on The Instrumentalist.

Finding Community in Charlottesville, A Conversation with Stephen Layman

theinstrumenta — Fri, 10 Jun 2022 19:54:16 +0000

Stephen Layman came to Charlottesville after earning degrees from the University of Kentucky and Ohio Northern University. His teaching career has included stints directing at the middle school, high school, and collegiate levels, including 22 years at Western Albemarle High School. For more information, visit .

photos by Greg Harris

After two years of missed concerts and infrequent rehearsals, the members of the Charlottesville Band in Virginia can’t wait for their 100th anniversary celebration. Steve Layman, music director for the group since 2008, hopes for a full concert schedule in 2022 beginning with a spring concert, six 90-minute summer concerts, fall and holiday performances, and several special events. (One possible joint concert might happen with the U.S. Army Band, also celebrating a century of music-making.)
Layman has heard from several local residents who have picked up their instruments again during the pandemic and want to reconnect with music by joining the band. The band membership typically includes 90 people with ages ranging from high school to players in their early 80s. The current group includes five current or retired band directors, former members of military bands in DC, teachers, doctors, lawyers, and many others. Layman recently discussed the band’s enduring legacy of bringing people together.

What are the commissions you will perform in honor of the band’s anniversary?
We promoted a contest that invited folks to submit a one-minute fanfare. We have four excellent fanfares that we will unveil over the summer concert schedule. Composer Paul Murtha has also written The Cville Centennial, a work that we are excited about. We play a fair number of his pieces because he just writes so well for symphonic band. When the band members voted on who we should ask to write a piece for us, Paul was the answer.

What is the typical balance of musical styles for your concerts?
We probably play about 25% patriotic music and marches; 25% pop, rock, and jazz; 25% music originally written for concert band; and the rest transcriptions. In 2021, we had so little rehearsal time before our summer season that we backed off transcriptions and symphonic band literature to focus on light classical and popular music. This year we want to get back to our standard mix of repertoire.

How do you view the band’s role in entertaining and educating the public and the musicians?
The band was formed in 1922 after the President of the University of Virginia traveled to Richmond to lobby to keep the medical school in Charlottesville instead of moving it to Richmond. When he returned, local business leaders were standing on the bridge above the railroad station bemoaning the lack of a decent band for celebrations. Although that was our initial role, we eventually moved to a concert band format.
I see us as a group to entertain. We love the summer concerts where families come out with a blanket and listen to the music while the little kids play. We perform music that a variety of ages will enjoy. I also like to do some education. Sometimes as we present a piece, I may talk about the form or the why of what they are going to hear. The high school director in me wants to cover as many bases as possible.

How are high school students added to the band?
I used to pull kids from my high school band all the time because the Tuesday night rehearsals were a great way for them to gain experience. Now, so many high school students are taking four or five AP classes that they don’t have 90 minutes to spare on a weeknight. Some of those kids are up until midnight working on homework.
In April, I contact all of the local high school directors and ask for recommendations of juniors and seniors, particularly those who are thinking about going into music in some professional way, who might be interested. We perform about 90 pieces a year, which is great experience for students considering a career in music.
We bring them in during May so they get at least four rehearsals under their belt before our summer season. I have been excited this year because when we came back for our winter holiday concert, four of our summer high school players wanted to play, which usually isn’t the case. They do not often have time, but because of the limits on high school bands during the pandemic, they really wanted to take advantage of the opportunity.

What is the greatest non-musical challenge in leading the group?
The most important thing is just keeping everybody wanting to come back the next week. In a group where everyone is a volunteer, if they are not happy, they won’t return. I try to challenge people, keep the rehearsals fun and light, and give them the opportunity to excel and share their music with the public.

Who were some of the most memorable players that you have had over the years?
There are so many, but one who stands out from the 1980s was Louis Greenspan, who at one time was the first clarinetist in the U.S. Army Band. He played under William Revelli when he was still teaching high school in Indiana. Louis had so many stories and was also a master musician. He would take just about anybody under his wing and help them become a better player.
It is also gratifying that we have a number of published composers in the band, including Gary Fagan, Charles Torian, and Fred O’Bryant who I consider really great composers. They love to write for the group because they get to hear their music before it goes to the publisher.

Did anyone inspire your career in music?
My high school band director played in Gene Krupa’s band as a sax player. I went to a Catholic high school and switched from horn to trumpet when I began playing in jazz band. He started us out with a jazz format, which I really enjoyed. I don’t think I played a Sousa march until I was in college. If I wanted to take home a saxophone or a flute for the weekend, my director never objected.
By my junior year, we had a seven-piece big band, and he helped us get weekend gigs at VFW halls and other venues. That band provided us with great experience along with money to pay for gas and car expenses. I always thought I wanted to be an engineer but advanced math tripped me up. My high school guidance counselor suggested that I reconsider engineering and go into something I felt really comfortable with. That was music.
When I attended graduate school at the University of Kentucky, I became the graduate assistant for Rex Connor, a well-known tuba player in the 1970s, for a couple of years. He was nearing the end of his career and wanted someone to take over his studio one year so that he could go on sabbatical, and then the other year I got to work with him. When I graduated from Kentucky, I had various options to consider. My wife had gone to school in Virginia and suggested that I take a look there.
There was an opening in Charlottesville, and the music supervisor there was Jim Simmons, who was also the assistant director of what was then called the Municipal Band. He mentioned that if I came to teach there I was welcome to play in what was considered a good town band.

How is the band funded?
Until 2014 we were incorporated as a city band and funded completely by the city. In 2014, the city changed its approach to arts funding, and they basically reduced the funding to zero. After pondering various fundraising options, an angel donor made a $500,000 matching grant. In less than a year, members of the community matched the donation, and we now have a $1 million endowment that I hope will fund us far past my lifetime or the lifetime of anyone in the band.

Having taught and conducted over so many years, what are you still trying to improve?
There is so much new music, but also old music that I love. I have to be careful to pull some new music into my repertoire each year. It is easy to stick to the old war-horses. Some of the newer works are way out there, and others represent the next step in the development of the symphonic band. I want our players to hear and perform this exciting music.

Aside from the high school players in your group, are there other ways that the band supports local music education?
We have an annual scholarship where students audition for a chance to play a solo with a band at the spring concert and receive a $1,000 scholarship, although we have discussed raising it to $2,000. We need to spend a bit of our endowment each year and have decided to put that into private lessons for middle school students because they often get stuck at that level and never continue into high school band. We have had meetings about supporting around 25 players with private lessons for a semester. I hope that we will be able to take this group of students and have them play a grade 2 number at the end of a concert with the full 90-piece band. Perhaps some will be so excited by this experience that they will come back and join the band in high school.

* * *

So many groups like ours never even make it to the ten-year mark. I am proud to represent the Charlottesville community, and I think they have greatly supported us over the years in concert attendance and every other way.

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