The Lowest Depths
   The only two truly impossible saxophone trills or tremolos are at the bottom of the range. The low Bb/A# to B trill and the low C to Eb tremolo cannot be performed effectively. However, some pieces may call for quick transitions between these pitches, especially in the tenor and baritone parts.
   The inability of many students to quickly and effectively navigate the pinky keys may be a result of poor instrument set-up. If a student is struggling to move quickly between low notes, check that all of the pinky keys and rollers on the instrument are level, with no gaps. Mistreatment by the student or ineffectual service by a careless repair technician can greatly increase the difficulty level of execution in this register.
   If all is well mechanically and students need to transition between the above pitches quickly, it will help to place a tiny dot of key-oil on the pinkies. This will lessen the friction, and insure smoother sliding of the pinky across the rollers.
   Another transition that should be mentioned is the trill between low C# and D. There is no need to release both pinkies, and not only is it difficult to move both pinkies precisely in time, this is likely to produce considerable key noise. Leave the left pinky depressed. This would be highly undesirable for a tone and intonation on a sustained D, but it works fine for trills. The fast motion between notes will hide any adverse side effects.

Eb to E
   Notes that require students to trill both the third and fourth fingers can be problematic, as the natural inclinations of the fingers and mechanical attributes of the saxophone might result in keys coming up or down at different rates. For Eb to E, leave the pinky down and trill only the third finger. This fingering works in either octave but should only be used for trills.

   Independence of the third finger is the key to success for this fingering, as well as the G# to A alternate found below. There are several exercises to aid in this, but one of the best is quite simple and can be done virtually anywhere. First, lay both hands palms-down on a flat surface with the fingers outstretched and relaxed. Move each pair of fingers up and then back to the flat surface, beating slow eight-notes for four counts. Start with the thumbs, then the index, middle, ring, and finally pinky fingers. Move the fingers as far off of the surface as possible without moving any other fingers or any other portion of the hand. Start slowly, building range of motion first, and then speed. This exercise will eventually yield far greater independence for all fingers, put especially the ring finger/pinkie pair, which will aid in many aspects of technical facility on the saxophone – or any other woodwind.

F to F#
   It is impossible to switch between the standard F fingering and standard F# fingering without alternating between the first and second fingers of the right hand, and even the finest saxophonist will find it nearly impossible to eliminate the noise that results. Instead, it is advisable in any trill to use the F# trill key, which is played with the third finger of the right hand. Unlike many of the fingerings discussed in this article, this alternate F# should sound quite similar to the normal fingering and should be used in any chromatic ascending passage (resort to the traditional F# fingering for any chromatically descending passage, however).

G# to A
   As noted above, if it is possible, avoid moving the third and fourth fingers at the same time. The G# to A trill can be particularly noisy, so once students have achieved some level of finger independence, they should leave the G# key down while trilling to the A. This trill fingering should never be used if the A is to be held out for any length of time.

A to Bb
This fingering is known to most band directors and students, but it bears repeating that the side key trill is by far the most effective option for a trill between these notes.

A# to B
   The A# to B trill is seemingly easy. Many saxophone students around the country learn the one-and-one fingering, using the first fingers of each hand to produce Bb/A#, as on flute. How­ever, this fingering has a host of tonal and intonation deficiencies, and even at the quick clip of a trill, the pitch will sag noticeably and tremendously. Instead, this alternative is far easier and more accurate, even if it does look a bit odd at first. Only use this fingering for B in trills.

B to C
   This is a well-known fingering. However, the side C should only be used for trills or very fast passages with C as their highest pitch. Otherwise, flipping to the traditional C5/C6 fingering yields far better timbral results.

   This C fingering is ineffective when trilling from Bb to C, even when using the bis Bb, as the pitch of the side C is unacceptable in this scenario. Instead, the following is far more effective when trilling from Bb to C. Again, never depress the side Bb key when holding the C for any length of time.

Across the Octave Break
   Perhaps the most commonly encountered trill is that from C5 to D5, across the saxophone’s octave break. If using standard fingerings for this action, it is nearly impossible to play this trill in a controlled manner. There will always be some level of inaccuracy when calling upon that many fingers to act in absolute coordination that quickly. Instead, use the Eb palm key, which will sound D in this trill. This same fingering for D works when trilling from C#5 to D5 and for tremolos from B4, Bb4, or A4 to D5.

   It is worth noting that there is a far superior fingering for C#5. The standard fingering can be insubstantial in timbre and low in pitch. This alternate covered C#5 works in all but the most technical passages and greatly improves and softens transitions across the octave. This covered C# can also be used in conjunction with the D trill fingering.

   Great trill/tremolo fingerings also exist for moving to D#/Eb5 and E5. The tremolo fingering between C5 and Eb5 uses the high F palm key. This fingering also work for tremolos from B4 and Bb4.

   If a saxophonist has an instrument with a high F# key, the player can tremolo from C5 to E5 by fingering C5 and trilling with the high F# key. This also works for B4 and Bb4.
   All of the above fingerings work well for trills and quick passages that only briefly ascend above the octave break. Passages that descend to a C#5 but otherwise reside mainly above the break are made much simpler with alternate forms of the covered fingering for C#. For instance, quick motion between C# and D that must then continue upwards can be executed more effectively with the following:

This same concept can be used for motion between C# and notes higher than D5.

The Articulated G# Mechanism
   An F# to G# trill may seem daunting, requiring the right-hand middle finger to be lowered while the left pinkie is raised. However, unlike many other woodwinds, the saxophone possesses an articulated G# mechanism that automatically closes the open G# tone hole whenever any finger of the right hand is depressed. The saxophonist can hold down the G# fingering in the left hand while depressing and releasing the F# key in the right hand with no adverse consequences.

   Similarly, the articulated G# mechanism allows any of the left-hand pinkie keys to produce the G# when no right-hand keys are depressed. A leap or a tremolo from C# to G# becomes much easier when this is taken into consideration. The adjustment screws for the articulated G# mechanism are often the cause of small mechanical problems after a saxophone is dropped.

Conclusion
   Although it possesses one of the most elegantly-designed keyworks of any woodwind, there are still secrets that lurk. When you demystify the few seeming impossibilities of saxophone technique your students will achieve better, easier, and more satisfying performance results.   

The post Saxophone Trill Fingerings appeared first on The Instrumentalist.

Investigation and Discovery
   The three parts of studying a score are acquiring background information about the composition and its composer, determining the compositional architecture of the music, and identifying and troubleshooting conducting concerns. Concerning the composer’s background, it is important to know birth and death dates, their musical training, primary instruments, important jobs, and significant compositions. All this can greatly inform performance practices, including style, articulation, and vibrato. It will also come in handy when writing program notes and can be shared with the ensemble during rehearsal. Although it may seem obvious, it is important to acquire as much information about the composition as possible. Factors to consider are orchestration, the number of sections or movements, when the piece was written, when it was first performed, how it was initially received, and how it is viewed today.
   Be aware of digital and hard copy resources that even the most experienced conductors come back to time and again. The Teaching Music through Performance series is incredibly valuable for band, choir, and orchestra teachers alike. In addition to chapters on various pedagogical subjects, there are countless entries on compositions of all grades, with information about the composer, composition, historical context, form and structure, and technical and musical factors.
   Going to publisher websites can also be beneficial, especially for perusing sample pages of the score, listening to excerpts of the piece, and learning more about the overall level of difficulty. For music by living composers, information is often included in the preface to the score, and even more can be learned by going to the composer’s website and social media sites.

Compositional Architecture
   For this stage, a number two pencil, a red pencil, a blue pencil, and a ruler are needed. I highly recommend listening to recordings early in the score study process, so you might want headphones as well.
   Think of the score as a present you are opening for the first time, and take the opportunity to marvel at this shiny new toy and its myriad pieces. As you listen, ideally from a wide variety of ensembles at varying levels, turn the pages, look for moments that catch your eyes and ears, even if you do not yet know why that moment in the music is noteworthy. All these will be possible clues about the overall compositional architecture.
   After that first listen, use the red pencil and ruler to mark divisions between the systems on each page of the score. Band conductors probably have many lines of instruments per page and no systems to separate, but choral conductors might have multiple systems of music on a page. It is terrifying to realize an ensemble you are conducting is not playing where you thought they were, especially if this happens during a concert. Clear red lines separating each system direct your eyes where to look.
   One way to think about the architecture of a piece is as a big picture that is comprised of smaller pictures that have still smaller pictures within pictures that can all be put back together to form one big picture. Browse the score, keeping tabs of places that catch your eye and focusing this time on changes in dynamics, instrumentation, and articulation. These moments will help you break the big picture into slightly smaller pieces, such as units of 32 measures, the A section, or the Theme One area.
   Then start to look for phrases and cadences. I encourage students to look for the usual suspects of eight-measure phrases, most of which break down into two four-measure subphrases. With the blue pencil and ruler, draw a line from the top of the page to the bottom of the system. I indicate lengths of phrases at the top and then circle the number. Below the circled phrase length, I indicate the length of the subphrase. Some conductors use a solid blue line to indicate phrases and a series of blue dashes to indicate subphrases. I have also seen a system that uses a dark blue for phrases and a lighter blue for subphrases. Pick one system that is meaningful to you and be consistent.

Useful markings include red lines between systems and blue lines between phrases.

   Once a large section of the music has been identified and you have labeled a few phrases, it is time to study the events taking place in each section of the music. Determine which instruments or sections of the ensemble will need cues from you and who has important melodic material. With a pencil, I mark the name of the instrument next to the part in question. Use abbreviations that make sense to you at a glance. Some conductors like to use Italian abbreviations for cues.
   I use the red pencil for dynamics and articulations. If the entire ensemble or a large section within the ensemble has the same dynamic, I write one general dynamic marking in the score near the section in question. Some conductors write the dynamic near every instrument in the score, but this makes the score look cluttered and difficult to read. When there are symbols for crescendo or diminuendo, I trace over these symbols with my red pencil so that these changes in dynamics pop out of the score. I do the same for fortepianos, sforzandos, and accents. Some conductors indicate softer dynamics and diminuendo with blue pencil and then louder dynamics and crescendo with red pencil. If this hot versus cold, getting colder versus getting warmer, makes more sense to you, then go for it. Consistency is key.
   Once you have completed these initial steps for for all sections of the piece, look for patterns and trends throughout the composition. For example, if you are studying the first movement of a symphony, compare the first theme in the exposition against the first theme in the recapitulation, taking note of similarities and differences. It is also helpful to compare tonal areas throughout the composition. Being aware of these patterns and trends will greatly influence your rehearsal lesson plans.
The next step is mostly housekeeping. Take notice of measure numbers, rehearsal letters, and foreign terms, and then compare your score to the parts you will distribute to students. Make sure that both score and parts use the same measure numbers and rehearsal markings.
If there is a large number of measures between printed rehearsal marks, add new ones to split the difference. I find it helpful to add measure numbers at the beginning of each system of my score and at the start of each phrase. Also, in rehearsal, I will refer to a spot in the music as “eight measures before Rehearsal A or measure 24 – whichever is easier to find.” Once the students notice that you refer to this passage repeatedly in rehearsal, they will realize that this is an important place in the music.
   At this point it is time create tentative rehearsal plans based on the difficult passages you have studied, whether the challenge stems from technique, balance and blend, or intonation. Being aware of these places, knowing for whom or what section it will be difficult and why, and preparing advice in advance will make for productive rehearsals.
   This is also a great time to determine goal tempos for the performance and the rehearsals, based on your initial listening to recordings and the insights gained from score study. Keep track of these tempos in your lesson plans and score. I encourage teachers to share goal tempos with their ensembles and to let them know what your rehearsal tempos will be. This helps students practice more efficiently and know how close they are to the performance tempo.
   Time the entire piece as well as individual movements or sections. This way you can plan the timing of ending rehearsal with a full run-through and still have time to offer some assessments to students before they are dismissed.

Conducting
   Until you know the score – how all the pieces of the puzzle come together – your hands are essentially useless. While conducting through each smaller section, sing each line. If you have a competent keyboard background, play each line at the piano separately, and then play multiple lines. Practice conducting at your desk first, then in front of a mirror. Remember that gestures that we think are clear might be difficult for the ensemble to read. If the piece is fast or rhythmically complicated, practice conducting to a metronome at various speeds, as opposed to conducting along with the recording.
   By this point in the process, you should have a relatively firm understanding of the music. You will also have made preliminary rehearsal plans based on score study up to this point. When it comes time to rehearse, teach the music in small pieces and then put smaller pieces together. This has the added benefit of informing students how each chunk fits into the larger context. If the music has material that returns later in the piece, encourage your students to transfer knowledge to help save time in rehearsal. This is also an excellent way to teach your students about performance practice so that the next time you perform a piece by the same composer, the students will understand the composer’s style or time period.

Final Thoughts
   Ultimately, what matters most is that you use a system that is purposeful, means something to you, and can be used on any piece. When returning to a piece you have already studied, the markings in the score will remind you of everything.   

The post Steps to Score Study appeared first on The Instrumentalist.

   By its nature, studying scores to realize the composer’s intent comes with a degree of allusivity that can be simultaneously full of wonderment and frustration. For many works, it is impossible to ask the composer probing questions. However, when preparing the works of living composers, we ought to make every attempt to get in touch with them and extend this connection to our ensemble members.
   Doubt, insecurity, trepidation at the unknown, and a perceived barrier due to logistics or finances might seem like obstacles, but in this digital age, we have the opportunity to connect with others with such simplicity that even my eight-year-old niece can offer me tutorials on the latest video conferencing platforms. Bringing composers into our rehearsals need not be intimidating, difficult, nor expensive. All it takes is some advance planning, modest equipment, and a desire to make meaningful connections.

Planning
   When choosing a composer to contact, think carefully about the possibilities that each piece would open up to the ensemble. Any interaction be­tween your students and a composer will be beneficial, but there may be a best choice, depending on the needs of your group.
   Consider the sort of interaction that you think will be most beneficial for your players. One option is the composer giving feedback on the ensemble’s performance and interpretation of the piece. Another is a biographical session, in which the composer shares background, ap­proach to writing music, and the context for the piece at hand.
   You might also plan a student question-and-answer session. It helps to prepare at least some of the questions in advance by having students submit potential questions to you ahead of time. You should determine the order of the questions students ask.

Timing
   There are benefits to bringing in a composer at almost every point in the rehearsal cycle. At the beginning of rehearsing a piece, composers can share their concept of the music with the players before they have gotten deep in to the process. There is potentially less to undo, and it can make for a well-informed and meaningful rehearsal cycle. In the middle of the process, ensembles are prepared enough to perform for the composer and receive critical feedback, with enough time to incorporate any changes. Bringing in a composer near the end of the rehearsal cycle can serve as motivation for the players. It gives them something to look forward to and can make the final preparations for the concert feel really special. The downside is that any changes from the composer will have to be tempered because the performance is so near.

Logistics
   In addition to the normal setup of chairs and stands, the room where the session takes place will need to have room for audio/video equipment. Plan how you will position the ensemble so students can see the composer on the screen, hear the speakers, be seen by the composer, and be heard through your microphones.
   The ideal microphone scenario is a two-channel stereo set up (two mics- left and right- run through a simple mixer and then in to your computer). You should also project your computer’s audio output through external speakers so your ensemble can hear the composer.
   If you can set up an external camera, this will be useful for the composer. Even a simple webcam offers great flexibility with positioning. The alternative is positioning your laptop so its camera captures as much of the ensemble as possible (or having an assistant pan the ensemble with the laptop). Do not be afraid to reach out to your school’s media support staff about audio/video concerns; they tend to be creative problem solvers.
   Determine the platform you will use to connect. A few reliable video conferencing options include Zoom, Skype, BlueJeans, and FaceTime. Check with your media specialist to see which platform is supported in your school. You may need to get around a few firewalls if the school has them installed. In my experience, Zoom is quite reliable, and the sound quality is acceptable, but if you use this platform, turn on Original Sound, or the application might interpret your music as a voice and distort it.

Reach Out
   I have yet to meet any composers disappointed to hear from conductors or performers who are preparing their music. Most living composers have a website that includes contact information or a web-based form. Send a message to inquire whether the composer has interest in setting up a virtual session with your ensemble.  
   Agree upon a date and time for the session, keeping in mind that you’ll want to bring your ensemble in shortly before bringing in the composer. Talk through the plan for the session. Send necessary links or digital invitations to the composer. Exchange cell phone numbers in case a glitch occurs on the day of the session.
   It is customary to offer any guest an honorarium for taking time to work with the group. Agree upon the honorarium amount up front. It is unwise to procrastinate on this part of the conversation. If you feel awkward, keep in mind that the composer has likely done numerous sessions like these and will be able to guide the conversation. Some composers are forthright with fees, while others do not set a figure. It is helpful to talk to colleagues or mentors who may have worked with the composer before, but it is also reasonable to ask composers what they feel would be an appropriate amount. Be aware of your budget, and if the request exceeds it, put the experience on hold. Although I cannot provide hard numbers, past experience shows me that these sorts of sessions are not budget breakers, and the experience is invaluable.

A Few Days Before the Session
   With the equipment you will use for the session, make a test call with a colleague to make sure everything works and you know how to run the program. Familiarity with the program should include knowing how to mute the ensemble while the composer is speaking and vice versa. This is also the time to walk through the session with your students so they know what to expect.

The Day of the Session
   Technology tends to fail at the most inopportune moments, so it is critical to allow plenty of time before the session to test everything multiple times and ensure that any glitches have been worked out. Do another test call in the morning before the session.
   Be sure that the session is slated to begin a bit after the start of the rehearsal. This gives time to get the ensemble settled and to walk the players through the plan of action again one more time.

During the Session
   Smile, relax, and enjoy the experience. Be prepared to lead the conversation, but also be ready to let the composer take charge. Everyone has different styles, and the goal is to be able to facilitate a meaningful back-and-forth between composer and ensemble. Remember that there is often a slight lag, so always pause before speaking after you play, and try not to talk while the composer is talking. With everyone’s permission, it is also a great idea to document the experience.

Follow Up
   As with every professional interaction, be sure to follow up on the experience with a thank-you call or email. Make sure to share concert details, especially if there is an option to watch and listen online. Also take the time to follow up with your players. They always have beautiful insights to share. Above all, remember your ultimate goal – to bring composer and player together for a meaningful and musically enriching experience. Relax, be confident, and have fun.   

The post Video Conferences With Composers appeared first on The Instrumentalist.

    Clapping is certainly a good aid to teaching rhythm, but it does not show duration, which is essential as students encounter different note values. Remembering Paul Creston’s definition of rhythm, I now asked students to sing as we observed both the internal pulse moving forward and the duration of notes within that pulse. I had sing the rhythm on concert F, using the syllable tu, which is the syllable I would later use in teaching tonguing techniques. Again, I would have part of the band sing the patterns while the other students marked the notation with vertical lines, alternating so that all students participate in both singing and marking.
    We next expanded our markings from just vertical lines for the pulse to also using a horizontal line over notes to show duration over notes to show duration in anticipation of the following step, counting rhythm.. I would have the students use the following graphics in marking the music:

    Eighth notes drive much of the middle school band literature forward. On the and of beat four I drew a horizontal arrow that show that the music is still moving forward to the next measure and is not static. Having students draw in this horizontal arrow at the end of special places in later music to be learned encourages players to keep going and is a good cure for the barline paralysis.



    For those students who remain deficient in rhythmic counting, I suggest using words to define specific rhythmic figurers. These aids are called mnemonic aids and use words that fit the rhythmic figures represented.

    It is recommended that mnemonic aids be used only as a crutch for a short time and then discarded after serving their purpose, which is for students to understand how to count the rhythm correctly and feel the rhythm internally.
    After singing, I introduce a drill of foot tapping. I usually tap with the right foot but some directors prefer to use the left, so that foot tapping does not jar the instrument while playing. It is important that each foot tap remains steady with the bass drum and evenly divided. There should not be a fast rebound of the foot; the duration of moving down and up should be equal. The foot is down and up in equal measure, not held down and jerked up, or suspended up and suddenly tapped down. I found the following visual for representative division of weight helpful:

    Band directors may have different ways of counting, but it is essential that teacher and students be consistent and are able to enunciate the counting clearly and correctly. I find it helpful to remind myself and my students that music is either a song or a dance. If it is a song, like a ballad, the counting should be in a smooth connected style and all the notes seem to touch. If it is a dance, like a march, the counting should be in a marcato, separated style.

    Another of my musical objectives for students to understand different rhythms was to teach them the basic conducting patterns for 4/4, then 3/4 and 2/4 using familiar Christmas and folk songs. This would also teach them to take their heads out from the stands and watch me as I conduct.
    To simplify the directions for teaching the 4/4 patter, I would use classroom geography, saying, “Make your first beat point to the floor, the second beat left to the door, the third beat right to the window, and fourth beat to the ceiling. We practiced this pattern to the rhythms of Joy to the World and Deck the Halls. Students caught on quickly to the floor-door-window-ceiling pattern and felt important conducting music.
    From there, I showed students the similarity of the patterns by eliminating the door for 3/4 and then the window for 2/4. We conducted to Silent Night and We Three Kings in 3/4, and for 2/4 we used Yankee Doodle and Camptown Races. This was a good chance to reinforce rhythms, including dotted quarters and eights, dotted eights and sixteenths, and syncopation.
    Teaching students how the conducting patterns relate to the basic rhythm patterns accelerated learning and was an invaluable aid to sightreading. In addition, students fell in love with learning how to conduct to the point that I had two student conductors each on the spring concert from the elementary, middle, and high school bands.
    A greater challenge for the students was understanding 6/8. Using the known-to-unknown technique I started with a slow 6/8. We reviewed Silent Night in 3/4, then I rewrote it in 3/8, having students conduct a three-beat pattern while singing the rhythm. Then, I told students to erase the barline between 3/8 measures, because two measures of 3/8 made one measure of 6/8.

I taught students this six-beat conducting pattern, emphasizing that it was mostly horizontal, and the music should flow the same way.

   Most beginning method books introduce 6/8 by comparing a fast 6/8 to 2/4.

This approach is too vertically focused. I never realized this until I read Percy Grainger’s explanation of 6/8 on the first page of the Lisbon movement from Lincolnshire Posy: “Brisk with plenty of lilt, which means beats one and four are much heavier than beats three and six.” A graphic representation of Grainger’s suggestions would look like

and is best counted 1-la-le 2-la-le. To further highlight the horizontal nature of a good 6/8, I changed the conducting pattern to a sideways figure eight,

which worked well with the count­ing system to give lilt to the 6/8.
   A musical tone has three parts: starting tone on time, sustaining the tone in time, and releasing the tone at the right time. Before starting the tone again, the music must have a chance to breathe, which the composer accomplishes by inserting rests. As Mozart said, “The music is not in the notes, but the silence in between.”
   During the silence between notes, students should concentrate on the rhythmic and expressive subdivision for an appropriate interpretation of the mu­sic. To focus on rests as a dramatic and expressive element in music, I would play Tos­ca­nini’s recordings of the begin­ning of Beethoven’s Fifth Symphony and a melody from the first movement of Tchaikovsky’s Sixth Symphony so students can learn how professional musicians handle rests. With the Beet­hoven, telling students to think about the subdivision one measure before the entrance will produce a precise attack.

   In a work like the Tchaikovsky, students should think of legato eighth notes before the entrance.

   A general rule to follow with music starting after the count is to prepare the entrance with the appropriate subdivision. If the music has a 16th-note melody, think of a 16th-note subdivision. One good example of this is the oboe and clarinet 16th notes in Holst’s First Suite. This entrance is usually rushed, but if students are thinking about the 16th-note subdivision one measure before the entrance, it will be played correctly. Drawing a vertical line over the first beat of their entrance also helps.

   Playing after-beats without dragging the tempo also proves problematic for middle school students. Have the students verbalize the rhythm without the rests and use the bass drum and snare to reinforce the muscle memory. Then have the bass drum provide the pulse and snare the staccato 8th notes, and when the students enter on the after-beats have them play no longer than the snare staccato eighth notes. Marking the beats with a vertical line also helps.
   The next fall I started teaching these rhythm concepts to my fifth grade students during the two-week wait for their instruments to arrive from the music store. I gave each student a percussion instrument on which to learn the basic rhythms on the rhythm cards. By incorporating clapping, foot tapping, singing, counting, and conducting, they received a firm foundation and understanding of rhythm and were able to progress rapidly, which allowed me more time to concentrate on teaching the other basic fundamentals of tone production, fingerings, embouchure, and hand position.   

* * *

Common Rhythm Problems

    Sixteenth notes counted with 1-e-&-a are usually rushed by students. To slow them down, have students count them 4-3-2-1 or anchor them to eighth notes.

  

   The dotted eighth-16th rhythm is often played as a triplet. Have students subdivide. 

or

   Triplets are often played as two 16ths followed by an eighth because when students count them using the word triplet, they say it too fast, rushing the first two syllables. Have them pronounce it as trip-o-let.
   This is the most misplayed rhythm in 3/4 time:

Have students think of the dot as beat two and draw a vertical line over it. Another option with foot tapping is to have them step count two on the dot (beat two) and then move up on the eighth note (the and). Remind students that this troublesome rhythm is the one we know so well from ‘Tis of Thee and Silent Night.

Vertical lines

Tapping

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What steps are involved in becoming a school board member in Arkansas?
   The first step is to notify the school superintendent that you are running for a position in your local school district. The central office will then typically do most of the work for you by notifying the county clerk’s office and making sure you know what to expect. You must be a resident in the district in which you are running. You must also make sure you are eligible. For example, if school board members are elected from specific zones, you must live in that zone. Zone representation typically only happens in a larger city or under other special circumstances such as certain percentages of minority populations.

How did the election process work?
   I had to get signatures of 20 registered voters from my district turned in by a certain date, then wait for the end of the filing period to see if anyone else was running as well. If you are uncontested like I was, you have nothing else to do except wait on the election. You must have at least one vote. Ironically, my wife didn’t vote for me. She thought she didn’t have to since I was unopposed. If someone else is running, it is then up to you to decide if you will campaign by putting up yard signs, buying ads in the paper, or speaking to civic groups.
   If you win the election, the county judge will swear you in at your first meeting. Also, there is a financial history document you have to fill out to make sure you haven’t violated any election laws and that you are legal in your financial dealings.

Are you provided with any training?
   A new school board member must receive nine training hours by the end of the calendar year following their initial election. Every year after that, school board members must obtain six training hours. The Arkansas School Board Association hosts most of the in-service opportunities in Arkansas. There are other opportunities on a regional and national level to get your hours. If you fail to get the required hours, you will be notified that you have six months to resolve the problem. If you fail to do that then you will, by law, be removed from the school board.

What made you decide to run for a school board position?
   I invested almost all of my 34-year teaching career in my current school district. I saw the band program grow from just over 200 students when I started to almost 900 when I retired. My primary motivation, to be honest, was to protect what I spent my life building. However, now that I am entering the third year of my five-year term, I realize being on the school board is so much more. There are many opportunities to help teachers, students, and district employees. My heart has always been about helping my students, and now every student in the district is mine. I also have a unique perspective as a 34-year classroom teacher to help make sure teachers are supported and given the resources they need to be able to teach successfully.

What were some of the reactions you received when you informed family, friends, and colleagues that you were running for a position on the school board?
   Actually, the craziest reaction came from me. When a friend first suggested the idea, the thought of running for the school board had never entered my mind as something to do after I retired. I only decided to run after much deliberation and discussion with my wife. Everyone I told thought I was crazy, but they also thought that it was a good idea. I received much encouragement from my teacher friends and others in the education arena.

Did your former teaching colleagues treat you differently after your election?
   In all honesty, yes. All educators have, for whatever reason, a little bit of built-in fear of school board members and upper administration. So the first big difference I noticed was how a few of my fellow teachers would interact with me until they realized that nothing had really changed except my title and my role. I have worked hard to keep myself available to teachers and employees of the district because I already knew so many of them and the role they play in our district. After a few months, most of my relationships returned to normal, but there is still an undercurrent of “you know, he’s on the board now.”

What is the most enjoyable aspect of being a school board member?
   The most enjoyable aspect of being a school board member is seeing the success of our district, students, and staff. I serve in an outstanding school district and see improvement in almost all aspects of our district. We start almost every board meeting during the school year with some sort of student/teacher recognition. From spelling bee winners to National Merit Finalists to Backpacks for Kids, there are many successes to celebrate. Obviously, time does not allow for every program to be recognized, but it amazes me how much the board members know about what is happening in our district. Our superintendent does an incredible job of keeping us informed of the good and bad things that happen on almost a daily basis.

What is the most unpleasant aspect of being a school board member?
   There are a couple of things that are unpleasant. The first is having to deal with personnel concerns, especially when the employee involved has done something that violates a district policy. You must be careful when dealing with such matters because of the Fair Dismissal Act for teachers. Thankfully, this doesn’t happen often.
   I don’t enjoy it when a student discipline issue makes it to the board. By the time it reaches the board, it has become very serious and many times involves expulsion or placement in alternative programs. Some of those decisions are difficult. One of the things I’m most proud of is the fact our board takes these things seriously and is truly concerned about the students involved and how our decisions will impact them. Many times, school policy dictates what must happen, but that doesn’t make it any easier.

Explain the basic dynamic between a school board and the superintendent. How can understanding this help band directors?
   The local school board has the right to hire or fire a superintendent. This really shapes the dynamic because ultimately, the school board is sort of the boss to the superintendent. However, the board places a lot of trust in the superintendent since that person oversees the entire district. Everything from overseeing personnel, finance, upholding local, state and federal policies, buildings and grounds, and buses and bus routes fall under the job description of the superintendent. In most districts, there are multiple levels of administrators who take care of those issues, but it is ultimately the superintendent’s responsibility.
   One of the best things a band director can do is develop the strongest program, so it, the school, and the district look good. Developing good community relationships, handling financial and disciplinary matters well, and keeping your administration informed about what is going on can really help you stay on the good side of your superintendent. Also, developing an open line of communication with your parents will help. Unfortunately, when things are not clear or not going well, many parents just go straight to the superintendent without checking with the director first. While you cannot prevent that, you can help if you keep parents informed.
   A well-informed board receives a large volume of information. The superintendent is the key to this important line of communication. The more information this person shares with the board, the easier it is to make the correct decision. By keeping your superintendent informed about your program, the board has a better chance of being informed as well. In many districts, there are board members who don’t understand what the purpose of a music program is. If they see events supported by musical groups, they assume everything is fine. They rarely comprehend the amount of money it takes to properly fund a music program or the amount of time and personnel that must be allotted to have a successful program.
   Ironically, band directors assume many duties similar to a superintendent. Obviously, band directors don’t hire other teachers, but from an organizational and financial perspective, you do a lot of the same things on a much smaller scale. Once you start realizing that, it can give you a better perspective of how difficult a superintendent’s job really is.

What misguided beliefs did you have about school boards before you be­came a member?
   For some reason, I was always nervous about making presentations to the board. I thought if I didn’t present myself well, they wouldn’t support my program. In my district, nothing could be further from the truth. The board members I serve with are truly interested in making sure every program and every student has the opportunity to reach maximum potential.
   I also wrongly believed the school board could just vote to fire someone. When it comes to firing teachers, state law dictates how that must be done, and band directors are teachers. There are several items that must be completed in this process, then the superintendent must make a termination recommendation, and the board will vote to approve or deny the recommendation.

What can band directors do to have a positive effect on school board members and their decisions that affect the band?
   Again, it all starts with the superintendent. I would suggest presenting a state-of-the-band document to the superintendent each year, or maybe even twice a year. This could be done in a one-on-one visit or maybe even by email. Make sure to list successes, include number of students participating, and how facilities and your budget affect your program. If presented in a positive light, most superintendents will at least become more aware of your program. There will always be a few who say they don’t want that information. If that is your district, maybe it is time to find somewhere else to work.
   Once your superintendent is aware of your program, this person should start reporting what they know to the board. If you know one of the board members really well, you might share this information with them as well. When a board member brings up something to the superintendent, that subject suddenly becomes more of a priority to the superintendent.
   I also caution you not to contact your board anytime things don’t go the way you think they should. You don’t want to cry wolf. Board members are bombarded by district patrons who are unhappy with things going on, so use that sort of contact carefully. Ob­viously, if there is something serious that they need to be aware of, let them know, but using the board to get something you want is a dangerous game to play. The board can put a lot of pressure on the superintendent to make things happen, but that ploy can change your relationship with the superintendent, which might come back to bite you at some point in the future. In my 34-year career, I only had to contact board members one time and it concerned significant schedule changes that would have decimated my program. After visiting with several board members and sharing data that showed how the program would be negatively affected, the issue was defeated.

Is there a division of labor on the school board? Are any members paid?
   There is not really a division of labor, but there must be a president, vice president, and secretary. All board members are assigned to multiple committees dealing with such topics as curriculum, building and grounds, or transportation. Committees bring information to the full board when needed. We are also assigned to several of the campuses in the district and encouraged to visit them as much as possible during the school year. None of the positions are paid.

What do you see as important qualities for a school board member to have?
   The most important quality is a passion for students and teachers to be the best they can be. This passion drives everything we do. Board members must also be willing to make themselves available. You have to be ready for discussions in the aisle at Walmart and for the phone calls that you will receive. However, it is not the board’s job to micromanage the district or its employees. One of the things I admire most about our superintendent is that if we hear from a shareholder with a concern or problem, he wants to be notified as soon as possible, and then he reaches out to that person to see if he can help resolve the matter.

What seems to be the biggest challenge school districts (and school boards) face each year?
   There are many critical issues in school districts. Funding is almost always a primary concern. There is not, unfortunately, an unlimited source of funds for education. Un­funded or underfunded state and federal mandates make things difficult. Our state does a lot of good things for education, but often a mandate is passed without the funding to put it in place. Then it must become a priority of the local district to figure out where that money is going to come from.
   Each year an increasing number of students comes to school with serious needs that often have nothing to do with education. We must do all we can to meet those needs so we can educate them. Our board voted this year to provide free breakfast to all students regardless of income level, so at least we know students are not hungry to start the day.
   Finding great teachers and employees is another difficulty. To find great teachers and staff, you must be willing to support them. That involves such factors as salary, equipment, and building support. Trying to provide a safe learning and work environment is one of the critical areas that we focus on as a school board.

Do you plan on running for a school board position again? Why or why not?
   I have not made up my mind about running again. In the first year of my term, the answer would have been no,  but now I see how the board, with the leadership of a strong superintendent, can do much good for district students and staff.   

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    This past March, and seemingly overnight, the COVID-19 pandemic swept through our world, leaving us isolated at home and plagued with fear and uncertainty about the future. Jobs lost, businesses shuttered, classrooms moved to online formats – our entire way of life changed in ways that shocked us to our core. For music lovers, an unthinkable thing happened: live music stopped.
    In early April, still adjusting to a new normal, I received a call from my dear friend Allan McMurray, Director of Bands Emeritus at the University of Colorado. After an exchange of pleasantries, our conversation turned to the pandemic and its potential impact on school music programs. Allan pointed out the possibility that schools would be mandated to limit the number of students in a rehearsal room to eight or ten students, perhaps even fewer if wind playing or singing were involved. Allan said,

“If the teachers don’t have music that adapts to this kind of situation, how will they keep their students engaged? Kids might become disillusioned or bored – and drop music. Programs could be decimated, and it could take years for some to recover. Some may never recover! What are you going to do to help?”

   These were strong words from someone I have known and respected for decades. I took Allan’s call to action seriously and pondered his question for days, unsure of how I could help. As the gravity of the situation began to sink in, I came to a solution to Allan’s challenge: to begin making arrangements of my music playable by ensembles of any size or makeup. I enlisted conductor Robert Ambrose, who I knew was a strong advocate of both composers and school band programs, and we began calling composer friends around the country to ask if they would join us in this mission. No arm-twisting was required to enlist allies. The ten composers we called jumped on board immediately, offering their time and talents without understanding fully what they were getting themselves into. They just wanted to help.
    This was the birth of Creative Repertoire Initiative (CRI): a collective of eleven composers and a conductor committed to the creation and promotion of adaptable music to meet the serious challenges facing music educators in the coming academic year and beyond. After a series of brainstorming sessions, we settled on a two-fold mission to create adaptable pieces – either arrangements of current works or new compositions – that could be performed in virtually any situation, and to inspire, empower, guide, and amplify the voices of other composers who wished to do the same.
    Over time we came to understand adaptable as an umbrella term encompassing a variety of compositions intended for ensembles faced with limited, fluctuating, or unpredictable personnel. We discussed a wide variety of compositional techniques, including works that use electro-acoustics, found instruments, and elements of chance. Although we recognize that there are countless types of adaptable music, the pieces that CRI composers have come to create fall into four categories, which are detailed below.

Flex
    Instruments are assigned to specific parts based on range. Flex pieces have been in existence for many years. They are ideal for smaller bands in which certain instruments are not represented; however, they do require that a minimum of one musician be available for each part to be fully realized. So, for instance, if there is no bass range player in the room, then the bass part isn’t performed. Flex pieces are abundant and include those published by Hal Leonard in their FlexBand series, as well as Bravo Music and its Japanese parent company, Brain Music. Examples of recent flex pieces include John Mackey’s Let Me Be Frank With You and Michael Daugherty’s setting of Woody Guthrie’s This Land is Your Land for young players, entitled, Made for You and Me: Inspired by Woody Guthrie, Julie Giroux’s arrangement of her Hymn to the Innocent, and Eric Whitacre’s arrangement of Sing Gently.

Full-Flex
    Any voice is playable by any instrument, making a fully realized performance possible with any combination of four or more instruments. These pieces are useful in situations where, for example, only flutes are present for rehearsal on one day, trombones on another day, and a mix of instruments on still another day. The conductor can also experiment with part assignments, for example, giving a tuba player Part 1 and a flute player Part 4, thus placing the melody in the tuba. This might prove to be a fun experiment; the tuba player might enjoy being able to play the melody virtually the entire time. The full-flex approach was created in direct response to the need for radically adaptable pieces in the wake of the COVID-19 pandemic. Recent examples include my arrangement of Simple Gifts: Four Shaker Songs, Brian Balmages’s Colliding Visions, Steven Bryant’s arrangement of Dusk, and Pete Meechan’s Taking the Fifth.

Modular/Cellular
    These pieces rely on motivic cells in which one cell may be repeated at will before going on to another cell. A groundbreaking example of this type of music is Terry Riley’s In C. Composed in 1964, Riley’s piece may be played by ensembles of virtually any size and makeup. Performers are empowered to choose dynamic levels, the order in which individual cells are played, the number of times they are repeated, etc. Recent modular/cellular pieces include Jennifer Jolley’s Sounds from the Gray Goo Sars-CoV-2, Alex Shapiro’s electroacoustic Passages, and my In C Dorian (inspired by Terry Riley’s piece and dedicated to him).

Improvisatory
    This could entail jazz chords, verbal directions, alternative notation, and any number of additional ways to provide a framework for an improvisation-based adaptable work. Omar Thomas’s piece for young musicians, Sharp 9, a 12-bar blues that serves as an introduction to improvisation while also introducing young ears to rich jazz harmony, is a recent example.
    Crises such as the current pandemic can serve as wake-up calls, firing the imaginations of composers, conductors, and performers alike to find new ways to engage in music-making. As we move forward, we hope to learn from others about new ways to enrich this repertoire.
    As outlined in our mission statement above, CRI is committed to encouraging, guiding, and advocating for other composers who wish to create adaptable music. We have done so in myriad ways:

• Our website, , has a composer resource section that contains tutorials, score templates, and sample score excerpts for others to use or modify to suit their needs.
• Our Facebook group, , is a place for composers to highlight their adaptable music and for directors to learn about these works.
• We hosted two adaptable music forums as part of Robert Ambrose’s The Digital Director’s Lounge Zoom show. These forums provided a platform for composers to present their adaptable music to a room of hundreds of educators from around the globe. These invigorating sessions provided hope, inspiration, and joy to many. It was particularly heartening to learn about the vast number of composers who devoted these past summer months to creating adaptable music.

    Adaptable music is available from the usual places one would expect to obtain their music: distributors, publishers, and self-published composers or their representatives. Scores and parts for adaptable music are most often made available as PDF files, although some publishers may also provide sheet music. Although there is no centralized location where one can obtain adaptable pieces, The Wind Repertory Project () added Adaptable Instrumentation and Flexible Instrumen­tation categories to their website, and has created yet another, titled Initiatives: Creative Repertoire Initiative, in which adaptable works are listed alphabetically by composer name.
    The COVID-19 pandemic served as the catalyst for the immediate creation of adaptable music, but we recognize that the same music may well serve a vital purpose long after the pandemic has passed. Small instrumental music programs, college and university conducting classes, and anyone looking for ways to supplement mainstream large ensemble music may find adaptable music a welcome resource.
    To all music education professionals, please know: you are not alone. As you face the unprecedented challenges that lie ahead, there is a huge network of professionals who are thinking of you and supporting your work. This includes the many composers who are excited to expand this greatly needed repertoire artfully. We hope the growing number of adaptable pieces being created offers a path forward in the year to come and beyond.   

Creative Repertoire Institute Members
Robert Ambrose
Brian Balmages
Steven Bryant
Michael Daugherty
Julie Giroux
John Mackey
Peter Meechan
Jennifer Jolley
Alex Shapiro
Omar Thomas
Frank Ticheli
Eric Whitacre

    To share this article with the widest audience, multiple publications have agreed to publish it.

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   The director of the small band is continually trying to reach for an instrumentation which he rarely achieves. It is a most discouraging situation for the serious bandsman. The small band deserves a special instrumentation which is designed to fit. A professional band sounds fine with a small number of players, even though there may be only one player to a part or one player to an instrument. With student band this is not practical. The number of parts and different instruments must often be limited.
Traugott Rohner, 1952

   You can get through a traditional piece without knowing anything about how a composer composes, but to play something reasonable in an aleatoric piece, a student has to listen differently, not to hear if he’s in tune but to know if what he plays relates to the rest of the composition. Involving students in avant-garde music makes them aware of a musical composition in ways that performing traditional pieces does not.
Frank Battisti, 1990

   To be a good band director, first of all you have to like people, be able to see the best in them, and know how to bring it out. I don’t care if you have memorized every score ever written, and can analyze every technical detail. A tremendous wealth of knowledge and musicianship is important; but there are lesser musicians lacking in that knowledge who do a great job just because they have the ability to inspire others.
Col. Arnald Gabriel, 1981

   Another option as students enter the class is solfege practice. Beginning teachers often do not do this and are uncomfortable singing in front of a group. I did not figure out how valuable it is until I had been teaching for a long time. Find a groove CD with a rhythm and a pitch, and as students enter practice with call and response. The director sings, and students sing it back. Once everybody is in their seats, the teacher plays a line, and students play it back. The director could also sing, and they respond on their instruments. From the moment students come into the room, they are involved.
Mary Land, 2012

   From the earliest days I can remember I was interested in music. No one ever forced me, it was just a part of what was good in life….We never had a lot of money…but there was always money for music.
John Paynter, 1979

   Musical rehearsals must be fun. When I was a young director, John Paynter told me that students come to us with different perceptions of fun. He said some students enjoy reading War and Peace, and some enjoy a walk in the park. He said it was our job as conductors to help students perceive fun the way we perceive it.  
Alfred Watkins, 2017

   Why should you want to be a composer? You have to want to write music, that is all. There is no assurance that you will write wonderful stuff or earn a living.
Vincent Persichetti, 1985

   Don’t believe that there are rules when they contradict your best imagination…. Studying books can be useful if you know when to throw the book away.
Erich Leinsdorf, 1985

   I always teach rhythm with drumsticks in my hands. My clarinet teacher at Juilliard said that every minute you practice without a metronome is a minute wasted, and that has stuck with me for 30 years. Pulse holds the group together, so I constantly keep tempo and pulse in their minds. I use drumsticks because I’ve broken so many batons by banging them on the stand. After a while, the students settle into the rhythm and make that their responsibility. Rarely do the groups here lose tempo.
Bruce Dinkins, May 2011

   When I face the score paper, I light up. I know immediately what to do. However, before I get to the composing act itself, I spend a tremendous amount of time planning the smallest details of the composition in my mind. I sweat. I woodshed things. I agonize.
Morton Gould, 1978

   It’s a great joy to finally do a concert conducting a piece of one’s own. It’s as close as you can come to doing it the way you want it. I don’t mean to say Leonard Bernstein can’t do a work better than I can; however, he still adds his little bit.
Aaron Copland, 1979

   You know, every instrument is in a sense an attempt by man to imitate the human voice in some way – and basically that’s the ultimate goal that everybody should have in mind when they play an instrument. When you play some of the very disjointed things, especially in some of the avant-garde pieces, it’s rather hard to think in terms of vocal lyricism. But nevertheless, it still helps your playing…more phrase-wise, with a better sound, a better projection of the idea – grotesque as it might be. I think that every instrumentalist can benefit greatly from listening to fine singers, especially opera or lieder where they are telling a story. And you can learn a lot listening to a great pop singer like Frank Sinatra. The guy really puts across the lyrics of a tune.
Bud Herseth, 1977

   I’m not sure that anybody within our brass section consciously says, “Aha, there is a Chicago sound and that’s what I must match.” I like to think that there are many different Chicago Symphony brass sounds, depending on what we’re playing, who the conductor is, and what they ask for. I certainly don’t play with one sound. I know you don’t mean one sound but a generalized kind of sound that is instantly recognizable as the Chicago Symphony. If I had to say in one word why it is that way, it would be Herseth. That’s the long and short of it right there.
Dale Clevenger, 1990

   When I first started teaching I learned so much from Raymond Sutherland. Every afternoon after school we went someplace to talk, and these conversations were probably the best education I had. When I studied composition with Jared Spears and as I pulled weeds in his yard, he stood and talked about the music business. At these times, I learned more than I ever did while he looked over a composition I had written.
Quincy Hilliard, 2005

   Everybody has some kind of problem in his life, and I think to be unkind to people only causes negative results. We have to work for as many positive results as we can because in music we are dealing with human emotions. Musicians first get wrapped up in music because it is so emotional, but some directors become so demanding that they forget they are dealing with human beings.
Claude T. Smith, 1987

   People don’t win auditions or land jobs because of their weaknesses; they are hired for their strengths. Everyone has a closet full of weaknesses, to be opened when no one else is around, and each should take the time to turn them into strengths. I don’t want students to become artistic robots, but human beings who are aware of their own strengths, weaknesses, and the needs of others.
Harvey Phillips, 1991

   I believe the band room should be the safest, happiest room in the school, a place where bad things don’t happen…. I believe the band director should set an example by being a positive, happy person who changes the way students feel about themselves, school, and the band program. I want there to be a feeling of community, that the band members take care of and watch out for each other.
Freddy Martin, 2008

   Never play favorites, and as much as possible, avoid directing attention to any one person or group on the field. Consistency of methods and demands will let members know exactly where they stand and will avoid the embarrassment of special cases.
John Paynter, 1959

   To say that Sousa was a master showman would be an understatement. He learned the value of showmanship to stage performers as a youth while playing violin in Washington and Philadelphia theater orchestras. There he made keen observations about the music which the general public enjoyed. From that time on, he made it his business to play music to which the masses would respond, and he was eminently successful. He discovered that bands, which were relatively unhampered by tradition, had the potential for reaching more people than orchestras.
Paul Bierley, 1973

   Always be open minded, withhold judgments, and remember that someone else may have a better idea. Seek as much knowledge and information as possible…. The process of gaining knowledge should not end with college. All of us have to read, go to concerts, ask questions, and listen for the rest of our lives if we want to be successful.
Garwood Whaley, 2000

   I try to compose every day I am at home, even when I don’t feel like it, because it is important to be diligent. As Picasso said, “inspiration exists, but it has to find us working.”
Jennifer Higdon, 2018

   Dynamics are the secret. A band that plays loud from beginning to end with electric sounds blaring just doesn’t make it. Listen to Basie and not just my arrangements. Basie whispers, and then when he plays loud, he explodes. If you play my music with an attention to dynamics, it will sound better.
Sammy Nestico, 1979

   Tempo and dynamics are the first two elements that a conductor must deal with in his approach to any composition. This, then, is the very general answer that I would give when asked how my music should be performed: choose the tempo in which the players are able to execute all the notes with all expressive markings; if the chosen tempo is either slower or faster than indicated in the score, compensate with dynamics by overemphasizing all expressive markings in fast movements, and deemphasizing slightly in slow movements. Whatever the situation, a logical relation between tempo and dynamics must be maintained.
Vaclav Nelhybel, 1974

   I always practice. The least I do is an hour a day somehow or other. Of course you must remember that you need a certain amount of endurance to play the clarinet, and I don’t have as much now as when I was 35. The first time I played a classical concert I played both the Mozart Concerto and the Debussy Rhapsody – both works on a single concert. And I used to practice the Bartok Contrasts in between five shows a day at the Paramount. Well I can’t do that now, let alone play five shows.
Benny Goodman, 1979

   Become completely immersed in the musical and aesthetic atmosphere created by other conductors; it can be more beneficial than being able to list ten new specific rehearsal techniques picked up from them.
H. Robert Reynolds 1980

   For me sound is always first. If the sound is not characteristic of the instrument, it does not matter how fast your fingers can move or how high you can play, because nobody is going to want to listen. This is a daily concern and can be improved with long tones, interval studies, and exercises to match registers. It is what we are taught when we are young, and it is the same stuff you hear members of a symphony doing when they are preparing to play. They are listening to intervals, they are matching, and they are thinking about sound and air. Arnold Jacobs did it with brass players, but it is just as important for woodwind players.
Eugene Migliaro Corporon, 2014

   Conducting cannot be taught. My suggestion would be to learn by observing conductors and see how they work, and then pave your own way. For conductors, it’s all about understanding the dynamic of creating an interpretation with others. It is not about the gesture; it’s about inspiring and connecting with the orchestra.
   I am growing every day with every composition I conduct. Conducting is a journey, not an endpoint. Every time I conduct a piece I have conducted before I learn something new and different about the piece and myself. I used to say, “How do I conduct that piece?” Now I say, “Why do I conduct it?”
Gustavo Dudamel, 2019

   Teach students to know that this is their country and to love it, that the musical life of it is their responsibility as well as yours: help them to know that music has always led a struggling existence but that it survives in spite of everything. Lead them out of the silent valleys of statistics into the hills of great sound wherein the love, character, and talent of musical educators in the millennium before them have erected for all the world the incredibly beautiful temple of the art of music.
Frederick Fennell, 1957

   Use the next to last rehearsal before a concert to videotape your podium technique. This way small faults can be observed, corrected, and practiced with the group before the concert. Don’t attempt this on the final rehearsal because a change of conducting technique at the concert itself may confuse performers.
Frank Wickes, 1978

   Some students would never get through school if it had not been for band. Band was their safe place. Band was their home. Band made everything else tolerable. I look at my current band, and I know there are students in it who succeeded in academics because band got them through the tough times.
Heidi Sarver, 2013

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James M. Rohner, Publisher
Ann Rohner Callis, Publisher­

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