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Whistle Tone Warm Up

Breath Attacks 
    Just as a string player’s bow starts a string vibrating, the air column initiates the sound on the flute. Ask these questions: Am I using my lips to start the note? My tongue? My throat? How long is my air column and where does it begin? Remember, air is the source of the sound. Keeping the air column long and a moving air stream helps flutists not overuse the lips, tongue and throat to make the sound. 
    Lie down on the floor with your flute. With the right arm off the floor, blow eight C5 notes using a breath attack. Concentrate on keeping the lips supple with a strong, moving air stream. Take time to recover after each attack. Continue downwards by half steps to low C. If your sound fails at any point, return to C5 and descend again. Eventually you should be able to bark out eight low Cs with minimal tension in the lips. 

Put A Cork In It

    The following is probably the most difficult of these exercises, but I find it the most effective. Find an old cork that will fit in the end of the footjoint of your flute. If necessary, trim the edges of the cork so it fits easily. Inserting the cork changes the physical acoustic of the flute to a closed ended instrument. With your cork in position, you can now play a low Bb4 in the bass clef. You goal is to finger low B natural to sound a Bb
a diminished octave below. This takes extreme control and relaxation. Again, if the sound does not come at first, it may take several days to find success. This will also work with a C foot flute as well. Slur chromatically down from D1. If you cannot get any sound your lips are too close together. 

    I suggest trying these three exercises in a different order each day until your students’ lips can find a new suppleness and relaxation. Sometimes I sit on stage after a taxing symphony and warm down with these exercises before putting the flute away. This especially helps if I have to perform the next morning on flute, so I do not wake up with a case of piccolo lips. 
    Although I did not win the Michi­gan Opera Theater orchestra job, the experience forced me to learn what I needed to do to maintain the flexibility of my embouchure in order to move from piccolo to flute easily. Hopefully what I discovered will help your students become comfortable making this switch. 

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    The notion that there are mistakes in individual instrument parts of orchestra or band music is indisputable to professional musicians, who are experienced in correcting mistakes through careful listening, help from scholarly sources such as The Orchestral Violinist’s Companion by Martin Wulfhorst, and knowledge of style and performance practice. Errors or omissions in music parts can occur in any element of the music and are usually corrected by comparing a part to the full score. The same could be said about music composed for student ensembles, except that the responsibility commonly falls on the teacher, particularly if students are not trained to listen to and scrutinize their part relative to the whole ensemble. 
    However, the idea that there could be pitches written that do not fit the harmony or make sense, considering the composer’s typical musical vocabulary, would be surprising to most musicians. The inferred reasons for an intentional wrong pitch could only be either to compensate for a shortcoming in the functioning of a particular instrument or to accommodate the limited abilities of student musicians. Timpanists, both professional and student, have been faced with parts in orchestra and band that have wrong pitches chosen by the composer. These compromise dissonances occur when the part calls for a timpanist to play a previously tuned pitch instead of retuning a new pitch to fit the harmony or bass line. The phenomenon spans two centuries.
    During the first half of the nineteenth century, chromaticism took hold as composers embraced the evolving Romanticism. Unfor­tu­nately, there was not yet a reliable means for quick and accurate retuning of timpani while the orchestra played. In addition, the use of more than two drums was rare until the second half of the nineteenth century. These factors limited the number of timpani pitches available in an orchestral work. In most cases, had the composer required three or four drums (actually, a second pair because the largest and smallest sizes common today were not in production yet), the problem of compromise dissonances would have been solved. The timpani fell short as composers took advantage of the chromatic potential of valves for brass instruments. The Classical Period practice of linking timpani with trumpet parts (e.g., music of Haydn) would soon result in gaps of silence where the timpanist could not tune the necessary pitches fast enough. Some early Romantic Period composers, such as Mendelssohn and Schumann, opted to use the timpani on wrong pitches, presumably because they favored the effect the timpani had in the ensemble, while ignoring any pitch disagreements.¹
    A sampling of some of the more salient wrong pitches from that period:

    Schumann’s Symphony #3, movement 2, two measures after letter B: the timpanist plays C in a B dominant seventh chord. In the next measure, G is played in an E major chord.
    Schumann’s Symphony #4, movement 1, four measures before letter E: the timpanist plays Db, making an F major harmony sound like an augmented triad.
    Mendelssohn’s Symphony #4, movement 1, 41 measures after letter F: the timpanist plays E in an E# diminished seventh chord.
    Verdi’s Requiem – Dies irae: in measure 34 the timpanist plays D in a Bb minor harmony, and in measure 136 the timpanist plays  Eb in a C# minor harmony.
    Schubert’s Unfinished Sym­pho­ny: there are numerous places where the addition of a third drum would have eliminated compromise dissonances. A particularly glaring example occurs two measures before rehearsal F, where the timpanist plays Bs against the C#s in the basses.

    Today, timpanists and conductors need to make decisions about wrong pitches in orchestral music from that period. Some are traditionalists, choosing to keep all notes as composed, no matter how disturbing a dissonance might be. Others choose to take advantage of the additional drums in a modern set of timpani, and the pedal tuning system, to eliminate compromise dissonances chosen by a composer.² The thinking is that if composers had access to modern timpani they would have chosen to avoid undesirable dissonances.
    Starting in the mid-twentieth century, some composers, including Hindemith, Nelhybel, and Persichetti, who were already successfully writing for professional orchestras and chamber ensembles, began writing for student symphonic bands and wind ensembles at the high school and college level, both through commissioned works and the Young Composer’s Project.³ By this time, a set of four timpani was the norm, with the occasional fifth drum (piccolo) being available. The harmonic language of the 1950s and 1960s was much more complex and diverse than that used at any time during the Romantic Period. However, just like one hundred years earlier, composers had to compromise, still due, at least in part, to limitations in the equipment. 
    Timpani parts were, and still are, frequently linked to the bass voices in the band, and the chromatic movement of the bass line could make retuning necessary many times during a piece. Two retuning situations that occur in this music require accurate tuning gauges. Silent tuning occurs when the timpanist is playing on other drums and has no chance to hear the new pitch before playing it. Instantaneous tuning occurs when the only time to retune a drum is at the instant it is played with a new pitch. The pedal must be moved quickly and precisely to the new pitch as the mallet strikes the head. Unfortunately, tuning gauges were not standard on student-model timpani (as late as 1980 the Ludwig Catalog listed tuning gauges as optional on all models of timpani), and that extra expense was sometimes avoided. Another reason people refused to buy gauges was an attitude that they are a crutch that prevents ear training in intervals. It should also be noted that professional Dresden-type timpani have a pedal system that makes it much easier to move the pedal to a new pitch quickly and precisely. These drums were, and remain, rare in high schools because of the extra expense.
    Just like the compromise dissonances that composers chose to include in the early Romantic Period, the band music of the mid-twentieth century has timpani parts with wrong pitches, for a similar reason – the belief that timpanists would not be able to keep up with rapid tuning changes, whether because of equipment limitations or level of training. This may well have been the case during the 1950s and 1960s, because band music up to this point had simpler timpani parts, typically using two or three drums with fewer pitch changes.⁴ As a result, composers occasionally opted to have student timpanists play on a previously tuned pitch, even if it resulted in a dissonance, just for the effect of the timpani in the ensemble.
    A sampling of some of the more salient wrong or omitted pitches from the band music of the 1950s, 1960s, and earlier:

      First Suite in Eb for Military Band by Gustav Holst, measures 9-14 after letter A: the timpanist plays Eb or Bb when the bass instruments plays in unison on other pitches (F, C, G). The timpanist could support the bass voices by playing this chaconne accurately with the use of four drums and a few retunings.
    American Over­ture for Band by Joseph Willcox Jen­kins (2003 re­vised e­di­tion): in measures 6 and 10 the timpanist plays G in a Bb major triad. In measure 33 the timpanist plays G in a Bb dominant seventh chord. In measure 48 the timpanist plays Eb in a Db major harmony.
    Rocky Point Holiday by Ron Nelson, two measures before rehearsal number 29: the timpanist plays D in an A major triad.
    Symphonic Movement by Vaclav Nelhybel: in measure 46 the timpanist plays C in an E minor chord. In measure 47 the timpanist plays G in a Db minor chord, and C in an Eb minor chord. The same wrong pitches continue in the next two measures.
    Symphony in B-flat by Paul Hindemith, movement 2, measure 87: evidence indicates that a resolution note is omitted because it was not previously tuned in the timpani (if using only three drums). The timpanist could play G to support the bass line. 
    Trittico for Symphonic Band by Vaclav Nelhybel, in movement 1, measure 83: the timpanist plays two Gs when the entire band plays G, then B. In measure 85 the timpanist plays C in an Eb major triad (this is probably a copying mistake, since an Eb is already tuned and should be played here). In measure 89 and 93 the timpanist plays C in a D minor triad. 

    Today tuning gauges are standard on all but the most inexpensive models of timpani. Modern timpani are capable of producing improved tone quality and pitch clarity, because of extended collars on heads, scientifically de­signed bowls,⁵ improved pedal mechanisms, and tuning gauge design. Starting approximately in the 1990s, composers of band music capitalized on the capabilities of modern timpani by using a two-octave range of pitches (D2-D4) available with five drums. Still, some have chosen to write compromise dissonances, reducing the amount of retuning required in order to keep their music more accessible to high school-level timpanists. For example, in the first movement of Give Us this Day by David Maslanka, starting in measure 62 the timpanist sustains G in unison with the bass voices. In measures 72 and 73 the basses play E but the timpanist stays on G. In measure 74 the basses play F#, but the timpanist still stays on G. I learned from corresponding with Maslanka that this was an effort to keep the part attainable to more high school timpanists. 
    Learning how to use timpani tuning gauges effectively takes finding a balance between the need to develop a student’s ear and the need for accurate tuning and retuning during a performance. Require timpanists to learn intervals and a sense of tonality by singing solfege syllable patterns. Have them tune the initial pitches for a piece using only one reference pitch. When time allows, they should retune during a piece using the ear to determine the interval from an existing pitch, but not necessarily the pitch on the drum needing retuning. Instead, use any pre-tuned pitch that provides a confident interval to the new pitch. Students can also learn to identify pitch cues played in the ensemble at an appropriate time that will help with their retuning.
    Realize that a reliance on tuning gauges is necessary when silent or instantaneous retuning must be done. Make it the student’s responsibility to set the gauges accurately just prior to a performance.
    Finding and fixing wrong pitches requires careful listening to the ensemble, particularly the line that the timpanist might be playing with other bass instruments. Discrepancies in pitch can then be examined in the score, the reason for the discrepancy can be deduced, and whether a change is appropriate and feasible can be decided. Any added retunings should be planned and practiced. These extra efforts by the timpanist will lead to improved pitch clarity in the ensemble’s bass voices, something every student ensemble should seek.    

Footnotes
¹ A Closer Look at the Timpani Parts in the Symphonic Music of the Early 19th Century by John E. Rack (Percussive Notes, vol. 28, no. 2, 1990, pages 51-54).
² Editing the Timpani Parts of the Orchestral Music of the 18th and 19th Centuries by Eric Remsen (Percussive Notes, vol. 21, no. 2, 1983, pages 50-59).
³ The Twentieth Century American Wind Band/Ensemble by Frank Bat­tisti (Meredith Music Publications, Fort Lauderdale, 1995, pages 65-77).
⁴ Battisti, pages 3-11.
⁵ The Well-Tempered Timpani by Richard K. Jones (, chapter 3).

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Diagnosing and Solving Common Problems

    Here are some of the most common problems and practical methods of diagnosing and solving them.

Bassists Are Out of Tune
    Diagnosing the roots of bass section pitch problems can be challenging, but there are some likely causes of any poor intonation.
    No tape. In the early stages of development, tapes are tremendously helpful for showing where fingers need to go and getting the bass section to coalesce around a given pitch. Young bassists playing without tapes are likely to be out of tune.
    Action too high. Bass string height should be at or near the following measurements:

    G string: 6 mm
    D string: 7 mm
    A string: 8 mm
    E string: 9 mm

    Measure these string heights, and if they differ greatly from the above numbers, schedule an appointment with a school music dealer or a local violin shop. It will transform the bass section.
    Fingers not fully depressing the string. If students land on the tapes and the pitch is still off, they are probably not depressing the string all the way down to the fingerboard. The primary cause of this is overly high action, but students might not be keeping their fingers curved enough. Flat fingers are squishier and come with a tendency not to get the string all the way down to the fingerboard.
    For notes played with the fourth finger, it is important to understand that all four fingers are used to play a fourth finger note, not the fourth finger alone. For bass players, the third and fourth fingers work as a unit, and both of those fingers are kept close together and used simultaneously.
    Poor left hand posture. The left hand should be squared on the bass, with the second finger perpendicular to the string, the first finger angled slightly backward, and the third and fourth fingers together as a unit and angling slightly forward. To get a squared left hand position, make sure that there’s a good space between the first and second fingers and that the second, third, and fourth fingers are kept together as a unit. The distance from the first and second fingers should be the same as the distance from second to fourth finger. 
    A good technique for developing this position is to put a Pop’s rosin container (or a Kolstein/Carlson rosin container for smaller hands) between the first and second fingers. The left hand cannot help but move into good alignment when using this technique, and it is a memorable physical re­min­der for the student.
    The bass is too big for the student. It is almost always better to err on the side of having a student on an instrument that is slightly too small rather than slightly too large. Playing on a string length that is too long will cause all sorts of bad habits in a student. 
    To see if a string length will work for students, have them put their hand in first position with their first finger on the first tape and their fourth finger on the second tape. If they cannot reach this interval without strain, they need to be on a shorter string length.
    Even if the string length is correct, the bass itself might be too big for them. To check for this, see if the student can play between the end of the fingerboard and the bridge without strain and also keep their left hand in first position. The first finger of their hand should be no higher than their chin.

Open Strings Are Out of Tune
    The pitch center of the open strings is difficult to hear on basses; even professional bassists struggle with tuning their open strings. A big part of the challenge is how low these pitches are. Magnify this problem with a room filled with other instruments tuning, and it is easy to see why bass players struggle so much with tuning their open strings. Although intermediate and ad­vanced bassists learn to tune with their third position harmonics, teaching this technique in a mixed-instrument classroom can be difficult, and learning how to listen and adjust with these harmonics can be overwhelming for the average bass student not taking private lessons. Trying to enforce this method of tuning can result in students giving up and settling for out-of-tune strings. It is dangerously easy for bass players to give up and stop paying close attention to the sounds coming out of their instrument, choosing instead to saw away on strings that are a whole step or more away from the correct pitch.
    The most effective tuning method for tuning basses in a school orchestra or band setting is using an electronic tuner that clips to the bridge. Using a smartphone tuning app can work in quiet situations, but the low pitches of bass strings can confuse tuning apps. Keep clip-on electronic tuners near the bass racks, and get students in the habit of using one at the beginning of class every day.

Crooked Bows
    It is common to see bass players using extremely crooked bow angles. This kind of bowing produces a poor-quality sound and makes it nearly impossible to do anything sophisticated with the bow. There are a whole host of factors that might can cause this unhelpful drifting. 
    Bow hold. For French bow players, it is easy for the frog to slip down toward the palm of the hand. This lazy sort of bow hold is difficult to correct once it is established, so keeping on top of student bow holds is especially important during the first few years of playing.
    To remedy a droopy French bow hold, have students keep their pinky on the dot on the frog. Students should also keep the right hand squared just like the left hand, with good spacing between first finger and second fingers, and second, third, and fourth fingers together as a unit.
    Switching to a German bow might help break bad habits in French bow players. However, because of the underhand grip and longer stick on a German bow, there is even more of a tendency for German bow players to struggle with a crooked bow. While switching to German bow can indeed serve as a hard reset for French bow players with problematic bow holds, the bassist might end up trading one problem for another.
    Endpin is too low. The endpin should be high enough for students to play with a straight bow from frog to tip on all four strings. For both standing and seated bassists, adjust the endpin height so that the bridge connects with the student’s right-hand fingers.
    Endpin is too high. While less common than low endpins, having the endpin too far out can cause all sorts of problems for both standing and seated bassists. Many students raise the endpin in a misguided attempt to bring the instrument closer to them. Having the endpin too far out changes the center of gravity of the instrument, puts more weight on the bassist, and causes bassists to use a hold that is too horizontal, which forces the bassist to reach back too far with the left hand and too far forward with the right hand.
    Not following through in the upper half of the bow. Most bass students can play with a straight bow in the lower half of the bow. However, they often struggle with continuing the bow stroke into the upper half of the bow. On the bass, down bows begin as a whole arm motion. Approximately halfway through, the forearm takes over and finishes the bow stroke. This process is reversed for up bow, with the forearm initiating the stroke and the entire arm completing the up bow. It can be helpful to physically guide a student’s bow to demonstrate this arm motion. For the bow to remain straight using all the bow, there’s really only one path that the arm can take. This arm motion is similar for both French and German bow; it is only the bow hold that varies between the two.
    Not engaging the back in the bow stroke. Although the forearm changes motion in the upper half of the bow, the whole bow stroke is controlled by the larger muscle groups in the upper arm and back. Thinking of bass bowing as a pendulum using the whole arm, with the motion coming from the back, is beneficial for developing bow technique. Use a mirror to show students the body mechanics required for the bow to travel in a straight path. 
    Bass is angled too wide. Finding the right angle for holding the bass can be tricky, and the sweet spot can vary greatly depending on the shape of the instrument and whether the student is standing or sitting. 
    When standing, the right rear edge of the instrument should connect with the pocket that’s formed where the left hip bone meets the abdominal cavity. The student should be able to balance the bass without it falling forward or backward. Both feet should remain flat on the floor, and the left leg should not be used to support the bass.
    When sitting, the left leg should be elevated, typically on a stool rung, but a guitar footstool or yoga block can also be used. The right leg should run alongside the right rib of the lower bout.
    It is common for bassists, either standing or sitting, to fall into a cello posture, with the instrument rotated out and pointed straight ahead. While this stance can work for more advanced players depending on their stance and on the shape and the size of their instrument, this makes playing with a straight bow challenging, and it can lead to physical strain.

Drooping Left Arms
    Focusing on a good, squared left hand shape greatly helps with drooping left arms. Keeping the forearm perpendicular to the neck is critical. This goes hand-in-hand with a squared left hand, and introducing both concepts at the same time can help to develop them both.
    As is the case with so many aspects of bass playing, having students observe themselves in a mirror is a great way for them to develop an awareness of how their left arm is working. Practicing a good left hand shape and left arm alignment away from the bass can help greatly to develop an ergonomic, well-aligned left arm and avoid that drooping left elbow.

Collapsing Fingers
    Left hand fingers collapse for many reasons. Some are directly related to instrument setup; these include the string action being too high, the nut being too high, fingerboard warping, an overly stiff brand of strings, the bass being too big for student, and strings that are too old. Other reasons are because of bad posture or alignment and include a misaligned left arm, not enough space between the neck and palm, the thumb not centered in the back of the neck, and a drooping left arm.
    Bad setup promotes bad technique, as students attempt to use whatever means possible to get the string fully depressed. Having a qualified luthier set your basses up with action as low as possible will work wonders. Be sure to also have the luthier confirm that the nut is not too high. Also, think about changing old strings out for lighter gauge strings. Good habits are much easier to cultivate with basses that are set up well and are easy to play. 

Dragging
    There are three main reasons why bass sections drag.
    The bass is slower to speak. Lower pitched, larger instruments take longer for the sound to get going. Bass sections are notorious for playing late, and the request that is frequently made is for them to anticipate, or to play on the front edge of the beat. While this is a valid request for a bass section, learning to play on the front edge of the beat is a more sophisticated concept, and asking this of younger students rarely helps. If anything, it makes them mistrust their own hearing.
    As with so many bass section problems, the answer lies in good setup. Check that the bass players have fresh rosin and that they are applying it at the beginning of rehearsal. Keep a washcloth or two on the bass rack and get students into the habit of wiping down the fingerboard, strings, and body to prevent rosin and finger grease from building up. Also be sure that the bass bows are getting annual rehairs and that strings are replaced every two years if possible.
    Distance from ensemble. Basses are, for good reason, put in the back of the ensemble. Keeping the basses as close to the rest of the ensemble as possible helps greatly with dragging. This can be difficult when sharing a room with multiple ensembles. These rooms are often set up for the largest ensemble (often not the orchestra). If not addressed, it is easy to find the other three string sections in a close formation, with 10-15 feet between them and the basses. This will not help with dragging.
    Fuzzy articulation. Even if the bass section is playing in time, they might sound late because of a lack of clarity in their articulations. Bass strings are quite thick – like bridge cables – and they take more weight to achieve a comparable  articulation. All the items outlined for remedying slower speaking basses will also help with fuzzy articulation.

Bow Strokes Do Not Match the Rest of the Strings
    Bassists can be slower to develop bow strokes. Some of this might be because teachers are uncomfortable with bass mechanics, but it can also be a result of subpar gear or some of the bow arm deficiencies previously described.
    Getting crisp articulation involves sinking enough weight into the string from the arm and back and pulling the string with the weight of the bow before releasing the string into its vibrating pattern. This weight application and release has parallels to an archer pulling back an arrow and releasing it, and also to a jazz bass pizzicato. Draw comparisons with an arco catch-and-release martelé stroke and using a bow and arrow can be a helpful visualization.
    After releasing the weight to get the note going, the student should ride the wave of the spinning string. It should feel like moving the arm underwater in a swimming pool. Have students pantomime this motion while visualizing how this resistance feels; it can help them develop this follow-through.

Bassists Do Not Cut Off with the Rest of the Ensemble
    There are three primary reasons why the bass section is not be cutting off with the rest of the ensemble.
    Distance. At their traditional spot in the back of the ensemble, bassists have a difficult time hearing the other sections. They are unlikely able to hear the exact cutoff point of the second violins, and they might not be able to see the cello section leader very well to watch this player for bow cutoffs.
    Bass strings ring longer. Bass strings are like elephants – slow to get going and slow to stop. Bassists need to learn to mute their strings with the left hand during rests.
    Not watching. It is easy to zone out back in the bass section. Keeping bassists engaged in the rehearsal will prevent wandering minds.

Simple Strategies for Better-Sounding Bass Sections

    The following nine tips will help bass sections sounding good and eliminate costly repairs down the road.

Have Fresh Rosin Available
    This is one of the cheapest and easiest ways to make bass sections sound better and to increase the quality of their bass playing experience.

Get the Basses as Close as Possible
    Make sure that there is no extra space between the bass section and the rest of the ensemble. Also, try putting the bass section in different areas from time to time. While most ensembles seat the basses behind the cellos, putting the bass section behind the first violins or even stretched across the back of the ensemble can have a dramatic effect on the cohesiveness of the ensemble and how the students listen across sections.
    Consider experimenting with arranging the basses into four small sections, with one all the way to the left, one all the way to the right, and the other two distributed along the back. This is an excellent way to get bassists to function with more independence. They also spread the bass sound across the entire ensemble and can help the group to play better.

Get Bass Stools
    Many bassists choose to stand when playing, but nearly every bassist appreciates having the option to sit down. Despite the best efforts of the director, there are inevitably going to be long stretches of inactivity for the bass section during rehearsal while directors need time to woodshed tricky first violin passages, and all bassists appreciate the opportunity to sit down while this is happening. In addition, many left-hand techniques are easier to execute while sitting, and giving the students the option to either stand or sit allows the student to find the option that works best for them.

Make Sure Endpins Work Properly
    Playing on a bass with an unreliable endpin is an annoying experience. Some endpin mechanisms slowly slip, so the student’s bass gets progressively lower to the ground. Older endpin mechanisms may suddenly let go, resulting in the bass dropping all the way to the floor. This is startling (especially during a performance), and it can result in damage to the instrument. Fixes are often inexpensive, such as replacing the endpin screw, so stay on top of failing endpin mechanisms and get them checked regularly to prevent startling disasters.

Give the Bassists Space to Bow
    Space can be at a premium in rehearsal rooms, and while the section should be near the other strings, avoid cramming the bassists too close together. This is dangerous for many reasons. First, students may end up bowing either the music stand or their neighbor. Many a hole has been poked in bass ribs because of this. Also, there is a danger of knocking over a stand with the bow and having it fall on a nearby instrument or student.
    Being too close together also makes it difficult for students to put down their bass during rehearsal. Going to the bathroom, getting a tuner, or grabbing a pencil becomes an acrobatic act, and the likelihood of stepping on a bass or knocking something over is much greater.
    Being crammed together also makes students feel claustrophobic and worried about using too much bow when playing. This decreases their enjoyment of playing. 

Have French and German Bows
    About half of all bassists play French bow, while the other half plays German bow. Even if a director currently has all French or all German bow students, this might change over the years. Switching students from French bow to German bow or vice versa can also help to fix some technical struggles.

Change Bass Strings
    Bass strings are expensive, and because they almost never break, it is easy to let years go by without changing strings. Even though they do not break, they start to sound bad, become difficult to play, and lose their pitch stability over time. Try to change bass strings every two years at a minimum.

Clear a Path
    Even if there is enough space for bassists to play, getting from the bass rack to the bass section is often a logistical challenge. Because the basses are in the back, it is easy to let stand racks, chair racks, amps, cymbal stands, and other rehearsal room gear pile up between the bass storage and the area in which they will be playing.
    Make sure that there is a clear path through the rehearsal room. If there isn’t, the bass section will clear a path themselves, but it might be by bulldozing through these obstacles with their basses!

Keep the Basses Humidified
    Maintaining a consistent level of humidity is crucial for string instruments. Ideally, storage and rehearsal spaces for string instruments should be kept between 40% and 60% humidity. Too dry, and cracks, open seams, and even sound posts breaching the top in extreme conditions are dangers. Too humid, and instruments start falling apart as the wood expands, glue loosens, and structures weaken.
    In addition to keeping instruments in a reasonable humidity range, avoid any sudden change in humidity. Communicate with facilities managers and keep an eye out for any scheduled heat or air conditioning shut offs. Cost-savings measures like that might not be a big deal in the rest of the school, but they can be disastrous for string instruments. Conveying the potential costs of thousands of dollars of damage to instruments can be a good way to illustrate the importance of this.

Schedule Regular Luthier Visits
    Directors often wait until problems become catastrophic before bringing in school instruments to local luthiers. At a minimum, have a qualified luthier look at basses every two years. Inevitably, fingerboards need minor dressing, bridges need adjustment, and seams and cracks are starting to open up. Being diligent about the health of the double basses is bound to save time, money, and headache in the long run.    

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Building a Community Network
    While we have both immersed ourselves with intergenerational music making, we learned early on that these experiences could directly lead to multiple benefits for our local school music programs. We continue to teach and perform with multiple generations because we enjoy it. However as former public school music teachers, we are keenly aware of the struggles to build financial support for a music program. Using music activities with participants of various ages can be fundamental to enriching educational opportunities for students. 
    Becoming an active and visible musician in your community is a terrific place to begin. You will find yourself performing next to musicians from all ages and professional backgrounds. These are opportunities to share your expertise as a musician and your excitement about the school music program. In turn, you will learn more about the community, local leaders, families with musical backgrounds and passions, and businesses that may be interested in sponsoring special events, scholarships, and even travel. 
    Creating musical events that will attract the community is also imperative for building support for school music programs. Intergenerational concerts tend to attract a wide spectrum of people and create indispensable connections with the public.

Getting Started
    Take an inventory of community music groups in your school district. You may be surprised. Your community need not be large to generate multiple music opportunities. Yellow Springs, Ohio (Shirley’s hometown), population 3680, supports a community band, chorus, chamber orchestra, Yellow Springs Strings, several chamber groups, Springs Chamber Players, World House Choir, and a Slovakian Women’s Chorus. The village also has a popular five-concert premier Chamber Music Series; a local business sponsors live music every Friday night for wine tasting events. On weekends, amateur musicians can often be found at local storefronts and restaurants. There may be plenty of adults with desire and talent to play in music groups. A trailblazer like you is all that is needed to help organize music ensembles in your area. 
    After identifying the various community ensembles, begin creating opportunities to connect. Some school music programs regularly invite community members to join daily rehearsals. Many retirees seek scheduled activities to stay active and engaged. In addition to rehearsing with school ensembles, many able volunteers might share their expertise and assistance through administrative work or even instruction.

Shirley Strohm Mullins Reflects
    At the Celebration of Life service for my late husband, Bill, our friend Gilah told this story. It was news to me and probably to most of the audience. Gilah noted that Bill played trumpet in high school and college and liked being in a band. If Bill could recruit enough players, the school band director said he would conduct them. Gilah was Bill’s first attempt, and he had no intention of failing. He cornered her in the village on a Saturday morning. The conversation went like this:
    “Hi Gilah. I heard that you used to play bass clarinet.”
    Gilah replied, “Oh, yeah. I used to play in the high school band years ago.” 
    Bill said, “Well, we’re forming a community band, and we really need a bass clarinet player. How about it? Still have your instrument?”
    “Yeah,” answered Gilah. “I have it somewhere – probably in a closet.”
    “Great! We’re meeting in the high school music room next Monday at 7:00pm. Thanks, see you there!” 
    Gilah responded, “But I— My reeds are—”
    By then Bill was down the street talking to an old buddy who used to play the baritone and was giving him the speech.
    Gilah continued, “I showed up Monday night and saw several friends who had played in our high school band. We all looked scared silly, but we did okay and it was fun. Now, our band is one of the great joys of my life, all because      Bill wouldn’t take no for an answer.”
    To honor his vision and persistence, Gilah asked some of the band members to show up early to Bill’s service so that they could play The Stars and Stripes Forever one more time, just for him.

    Concerts featuring several generations can be particularly memorable and rewarding for all involved. Start by surveying your students to discover family members who sing or play an instrument. Cre­at­ing a concert to feature a combined se­lection with family members will generate community support and increase your audience. If some family members no longer have their instruments, lo­cal music dealers are often willing to assist. One or two rehearsals before the concert should be enough; a perfect performance is not the goal. However, this enjoyable opportunity will have a lasting effect.

Finding Opportunities
    If you live near a college, this may open opportunities to share rehearsals or concerts. Again, one or two rehearsals can easily achieve the desired result. Some examples include performing the national anthem at a university sporting events, collaborating on a concert or halftime show, or inviting a university professor as a guest soloist or conductor.
    In 1991, a unique concept of music education was created with a focus on adults. Founded at the Eastman School of Music under Roy Ernst’s innovative leadership, there are now over 200 New Horizons Music programs in the country. These programs offer the opportunity for adults to join a band, orchestra, or choir with a focus on beginning-level or reentry-level music making. Unlike most established community music ensembles, the New Horizons Music repertoire often mirrors the level of school music programs with beginning, intermediate, and advanced levels, with the unique focus on instruction as well as social connections. Through joint events and relationships built over time, New Horizons Music programs can have an enormous effect with community support for your school music program. You can discover if there is a New Horizons program near you at . This website also provides information and support for starting a New Horizons Music program.
    For all events with a wide age range, we recommend developing seating arrangements and social events to encourage players to mingle. Con­ver­sa­tions that arise can be priceless and powerful, and they will likely enhance the musical and educational experience. Planning time for socializing is a key for all participants, including audience members. You may find that immediately following an exciting concert is a prime time to recruit new members and request support.

Shirley Strohm Mullins Reflects
    Our most recent concert included the adult orchestra and the children’s orchestra. We played together on some pieces, and the senior orchestra played two selections alone with a handful of advanced youngsters. It is important that the repertoire is well chosen; the adults often prefer quiet, melodic pieces while the younger players love loud and fast selections.
    The concert was limited to 45 minutes – short enough for the little ones in the audience and long enough for the musicians to show their stuff. The reception afterwards is another thing altogether, without a designated ending. The musicians visited with each other, discussing topics far removed from music. “Do you like arithmetic?” a student asks his stand partner. “Oh yes,” says the retired mathematics teacher, with a broad smile. “Love it! It’s so interesting.” Refreshments add to the overall joyous atmosphere. “We really sounded good, didn’t we?” a child asked his stand partner, a professor of physics at a nearby university. “I’ll say. We sounded magnificent,” was the response, while sharing high fives all around. “When is our next concert? This was so much fun. Will you be here next year? Can we sit together again?”
    This amazing concert was inexpensive to produce and involved families with publicity and printed programs, stage set-up and tear-down, refreshments, and many other tasks. We all know that when parents are enthusiastically engaged, students practice more and take pride in their accomplishments. The end result benefits everyone involved.

An intergenerational performance at the concert celebrating the 50th anniversary of the student orchestra program in Yellow Springs, Ohio.

Funding Sources
    Our profession relies heavily on the ability to raise funds for school music programs. Some music teachers are successful at motivating students to sell magazines, coupon books, candy, fruit, and calendars. However, there are alternative means to build support for school music programs that more closely relate to music education and the expertise of the music teacher. Creating a community of support is essential and can lead to sought-after as well as unexpected financial support.
    A quick look at the Inside Phi­lan­thropy website for K-12 funders reveals some encouraging news: “Historically, secondary and elementary education has been the second-most funded education cause, just after colleges and universities. . . . The bottom line: There are funders for just about every type of K-12 project.” () Although large grants for mu­sic and music education exist, they can be quite competitive. Smaller grants are generally easier to obtain.
    If your school district uses a grant writer, or if you can make time for grant writing, you may find great satisfaction in bringing new opportunities to your school district. Likely there is someone in your community with grant expertise who could work with you in exploring grant opportunities and take on the responsibilities of writing, submitting, and securing funding.
    Grants of all sizes can jumpstart initiatives, bringing new life and recognition to existing programs. Perhaps there are alumni from your program who could return to be featured with your ensemble. Commissioning a new work for an alumni soloist or composer could also be supported by a grant. Possibly a special piece of equipment could be purchased that would make it possible for program growth. A grant could fund a multi-generational event by providing the money to rent the local performing arts center, supply refreshments for a reception, or market the event. Whatever the goal, seeking grant opportunities has its rewards.
    An additional financial resource to explore is an endowment fund or foundation fund for recognition and sustainability. Your school or community may have guidelines on establishing an endowment or foundation. These funds can be seen as safe and secure investments to ensure specific expenditures, such as scholarships, or to supplement fiscal operating budgets. The larger the endowment, the more interest is generated. You might be surprised to know the number of community members willing to support your program and looking for tax deductions. Ad­di­tional­ly, legacy giving can be used to support endowments, which can be attractive to the older adult population.
    After building a culture of community interest, you will likely find parents, grandparents, local businesses, and other community members asking how they can help their local school music program. Grants and donations are generally used for special projects or events but might not provide ongoing support.       

Shirley Strohm Mullins Reflects
    On a day in mid-November, the mail arrived with its usual multitude request for donations. But there at the bottom of the pile was a handwritten envelope. In it was a note thanking the Yellow Springs Youth Orchestra for bringing music into their family’s lives. This note was accompanied by a check made out to the Yellow Springs Youth Orchestra – a 501(c)(3) organization. People do want to help us. We just need to show them how.   

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