The type, size, ability, and maturity of the group as well as the severity of the problem determine how to solve this. Sometimes it is easy to pick out an out-of-tune section or individual based on what (and how many) people are playing at any given time. Sometimes simply pointing out the problem to certain individuals can make the entire ensemble more aware of individual and section intonation. Other times, you just have to resort to the age-old system of going down the row and having each student play, although doing too much of that during rehearsal should be avoided if possible.
   I often remind students that tuning is a lifelong process, and just because we have checked one note doesn’t guarantee that any player is in tune. I also constantly remind them of the importance of critical listening rather than casual listening, and being acutely aware of every sound in the room – theirs and others.
– Chris Harmon, Lake Central High School, St. John, Indiana

   The best thing teachers can do is to help students know when they are out of tune. Conductors find out-of-tune players by hearing waves in the sound or an uncentered pitch, but we try to put the responsibility for catching that back on the students.
   In the beginning of the year we spend more time on tuning to help freshmen get their bearings. We turn on a drone and go one by one down each row to help students hear whether they’re off and figure out how to fix it. We also play long tone exercises based on chords, so students are accustomed to hearing how they are supposed to sound when in tune. Sometimes students struggle with color tones like sevenths or ninths, but they become good at listening while they play.
   We try to demonstrate for students how it sounds to be out of tune by having two students play the same note or comparing one player’s sound against a drone. If the waves get faster they are going further out of tune, and even a student who cannot identify whether he is sharp or flat can listen for waves. We tell them that if the waves are getting faster they’re going the wrong way, but if the waves slow down they’re getting closer to the target.
   If a section is out of tune, we first make sure they are in balance. Sometimes a section may be out of balance, with some players playing too loudly. Separating a section to play a line will help students match dynamics and also reveal whether someone within the section is out of tune. Individuals in a section have to be in tune and in balance first before an entire ensemble can be in tune top to bottom. When we tune, we first fix horizontal intonation and balance within sections and then vertical balance from top to bottom of the band.
   Some people subscribe to the tuner-on-every-stand method, but I’m a big proponent of students using their ears. Depending too much on tuners strengthens the eyes rather than the ears.
– Alyson Keller, Liberty High School, Frisco, Texas

   In hunting down the strange noise in the fabric of the ensemble sound during the course of rehearsal, I would start by isolating the likely offenders. If it is a chord that fails to lock, I start by tuning the octaves and fifths before adding the third. For complex chords, I add the additional notes after the primary triad is established.
   Knowing your students’ pitch tendencies will speed up the process. If one student is consistently flat on a register while another student on the same instrument is consistently sharp, I know to watch out for problems and may even warn students beforehand. Sometimes intonation will take care of itself if the balance is addressed. For example, brass players playing too loudly may force woodwinds to feel they have to play even louder to be heard. Having students know their function at any given section of the music minimizes out-of-tune moments.
– Gabe Musella, Spring High School, Spring, Texas

   Identifying intonation discrepancies require both conductor and students to have fundamental listening skills. It is imperative that a pitch center be identified within both fundamental efforts and in musical context. This can be done with an amplified electronic tone or a student musician with a steady, characteristic tone and solid pitch center. A student musician who provides the pitch center should have access to an external reference to verify accuracy – even if he has perfect pitch.
   The conductor should help identify these references and offer students the opportunity to try to match pitch through various methods of isolation, such as playing unisons, octaves, and fifths, or individual and section performance. It may also be helpful to isolate all first chair players, then all second chairs and onward down the row to get students listening across the ensemble. Another trick is to have every other student play. Any method that draws students into listening and adjustment is more effective and efficient than having the conductor issue corrective information at every turn.
   Finally, conductors should be aware that the primary cause for intonation problems is rooted within the specific sound production pedagogy for each instrument, as well as the equipment itself. The conductor should make sure air flow, embouchure, and equipment are all satisfactory prior to having students adjust tuning slides.
– Amanda Drinkwater, Marcus High School, Flower Mound, Texas

   Over the past few years, our program has been focusing on sound matching within the ensemble. Students are guided to determine the characteristics of a good tone not just on their instrument but throughout the other sections of the ensemble as well.
   We have students determine which instrument or section is leading the way through a musical phrase or passage, then work on having students fit their sounds inside the leading instrument or section. When this leading sound has been identified, the students determine whether their sound fits. If it does not, students consider three questions in the following order:

1. Am I in Balance?
2. Am I in Blend?
3. Am I in Tune?

   Students are encouraged to take a chance and make an adjustment following this simple three point checklist. Most of the time, the students do a great job of adjusting correctly.
   In determining which student or section is out of tune, I gravitate to the sound that is most out of line with the leading instruments. Most of the time, this is the instrument or section that is also out of tune.
   We remind our students to play with a characteristic sound and have incorporated weekly listening assignments for which students listen to professional recordings of their instrument, chamber groups, and full ensembles. These are extremely helpful in improving our overall ensemble sound, intonation, and musicianship. Stu-dents must first hear these characteristic sounds either through performances or recordings before they can replicate them. We also remind them that a bad sound cannot be tuned.
– Todd Nichols, Roxbury High School, Succasunna, New Jersey

Have a question you would like to have answered by experts? Send an mail to editor@theinstrumentalist.com.

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  In 2009 Matthew Martz was a high school senior in northern Virginia when he decided to start an orchestra. With no background in conducting, Martz and a few friends began the Student Sym-phonic Orchestra of Fairfax. Today the group maintains a busy concert schedule and includes a diverse group of students from grade school on up.

How did you get started?
   After playing trombone in my high school band in Fairfax, Virginia, I became interested in music education and conducting. To see what this career would be like, I put together a student ensemble. When I began, I had only $600 to buy music and a group of twelve of my friends. Two years later, the Student Symphonic Orchestra of Fairfax now includes around 35 students. The youngest is eight years old, while the oldest, Taylor Gerber graduated from Vanderbilt University in 2009 with a bachelor’s in music and is now the assistant director.
   I never had the opportunity to conduct while I was in high school. One of my goals with this group was to give other students this opportunity and encourage them to stick with music past high school. Even if they do not major in music, it can still be a part of their lives.
   When we started out, it was just twelve of us from the same high school. Our first performance was for a local awards ceremony. We played for 30 minutes and earned $200. I opened a business bank account for the orchestra and realized that if we recruited more players, developed a larger repertoire, and started practicing regularly, we could make this into something big. That first job encouraged me to put in the time and effort to plan it all out.

How did you prepare for your first time on the podium?
   All I did beforehand was to watch videos and attend concerts with the National Symphony Orchestra. I started by teaching myself, buying scores and figuring out how they all worked and what elements of the music required particular attention. As I progressed, I realized that I needed help.
   We recently performed the first and fourth movements of Beethoven’s 5th Symphony and Mozart’s Requiem (movements 1-7) with a full choir. I knew I wanted help before conducting even the first beat of Beethoven’s 5th. I sent letters to the Fairfax Symphony conductor Christopher Zimmerman and the National Philharmonic conductor Piotr Gajewski. Another resource came from my internship at Wolf Trap last summer. The NSO performs there each summer, and Emil de Cou is the summer conductor. I met him there and developed a great friendship. He helps me out if I call him with a question about scores or how he addresses various musical issues. I have just asked these experienced conductors to meet with me for an hour or so and look over scores and talk about their careers.

What questions do you ask them?
   I ask what they look for when they watch young conductors. I also want to understand how they study a score and pick out parts of the piece that might normally be overlooked. Another area is how to interact with the orchestra and get a point across.

How did you pick repertoire when you first started?
   I knew the only way I could get students to keep playing with the group was to make it fun. So one of the first pieces I ever bought was the Video Games Live Suite. It was popular with the orchestra because it includes the theme songs of Halo and Kingdom of Hearts. The students thought it was fantastic. My goal was to pick repertoire that they wanted to play.

How do you encourage students to join the orchestra?
   Because there is no audition or participation fee, anyone can join. I try to make the experience fun and relaxed. Another benefit is that Taylor and I do all the work. Parents do not have to help other than dropping their students off. I wanted to build a nice calm environment that is appropriate for teenagers. I did not want to charge a fee because some of the local youth orchestra are extremely expensive – up to $800 – and they are very competitive. There are so many good players who do not get picked for these groups but are still looking for a place to play. My orchestra is a place where they can play some fun music, improve their skills, and perhaps make it into one of the other youth orchestras another year.

How does it work with so many age groups?
   Initially, the orchestra was only for high school students. The second season we started letting a few middle schoolers in and that worked out well. This year, I received emails from parents of elementary school students who wanted to play. We now have an eight-year-old who is playing second chair first violin. He is phenomenal and gives me a run for my money. That was a decision I had to think about because one of my main goals was to have a group that was comfortable for teenagers where they could talk freely with each other. Fortunately, it has worked well. The younger students practice more and get better each week, and this has encouraged the older students to put in more time. When you have an eight-year-old sitting next to you and playing from memory, it is a great incentive to practice more.

How often do you perform?
   Our first year we started with four performances and have grown since then. This year has been our biggest season yet. We have held six concerts already and have another one planned. There is also a good chance we will play for the Wolf Trap Foundation over the summer. We always have concerts that are free and also play for two retirement communities. We recently played at George Washington Univer-sity for an event with senior citizens and will play at a charity event for the Arts for Healing, an organization that helps provide surgery in third world countries. We try to give back to the community and provide an opportunity for people to hear the young students perform. For a while I did all of the planning myself, and one of the tough parts was finding places to play. Our first performances were in tiny venues, but I learned to take every gig we could get and found that information about the orchestra spread by word of mouth.

What do you do to pay for the costs of the orchestra.
   We are a non-profit organization and receive funds from donations. Last January we held a performance for 400 people and made $1,200 in that one evening. The attendance at our latest concert was almost 400 people, and we made $1,600. The money all goes into the bank account and helps pay for everything, especially the music.
 
As a brass player, how do you augment your skills to instruments in other sections?
   We bring in professionals for sectionals and to play with the students during rehearsals and performances. I often talk to my friends at school where I have studied music education for the past two years. At first I did not even know how much I had to learn. I thought bowing, for example, was automatic, and string players just knew how to do it. 
   I have taken a woodwind techniques class, which has given me a better woodwind background and have fiddled around with different brass instruments. Because I really have little background in string techniques, I try to place strong players throughout the sections. This puts a strong player next to a weaker one to get them up to speed. The section leaders take on an important leadership role and this ultimately will help their musical growth.  Too often music is very competitive, and I encourage the students to realize that we are all learning together, even me. I will admit to them when I make a mistake and need a second to figure out how something will work. I try to make it clear that there is no right or wrong answer with music, it is a natural, growing thing. I was a stubborn kid who thought he knew everything. Learning how to talk to others was an important step for me.

What are your plans to improve the orchestra?
   The biggest problem is the number of players. We currently have 35 students, which is really small for a full orchestra. We will have five students graduate this year, and they are all good players. We will keep the orchestra going as long as we have interested players. The goal is to have 50 students. That would really beef up the string section, and it would be great to have a bigger wind section. We could really expand the repertoire as well. A small group does limit the pieces you can play.

What is the best experience you have had with the orchestra?
   It has all been wonderful. It would not be one experience necessarily but how far we have come from playing the Video Games Live and selections from Phantom of the Opera to Beethoven’s 5th Symphony and Mozart’s Requiem. We are starting to click, and the group really wants to improve. This last concert was our biggest show yet, and we pulled it off. It seems like every time we perform the students are getting better and better. That is all I could have hoped for the group.

   Learn more about this orchestra at .

James M. Rohner is editor and advertising manager of The Instrumentalist. He earned degrees from Tulane University and Colgate University.

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Myth #1: The thumb Bb key is inferior to other Bb fingerings.
   In fact, there is no discernible sound difference among the three Bb fingerings. Each has its place. In general, use the thumb Bb in flat keys. Don’t slide with the thumb from Bb to Bn. When necessary, use the right-hand lever to avoid a slide with the left thumb or an awkward note connection with the one-and-one fingering (left-hand first finger and right-hand first finger) – such as the note combinations G-Bb or Ab-Bb-Cb.

Myth #2: Pull the headjoint out as much as necessary to bring the flute into tune.
   Pulling the headjoint out too much often makes matters worse instead of better. The flute is manufactured to produce the best pitch with the headjoint pulled out an 1/8" to 1/4". Pulling it out excessively distorts the scale. Many, perhaps most, young players play with the headjoint positioned too high on their lip, causing the air to go across the hole too much. This consequently raises the pitch level. The correction lies not in pulling the headjoint out further, but in bringing it down and perhaps rolling it in. For a standard flute sound with a nice core you should direct the air with what I call the 60/40 rule – 60% into the flute and 40% across the strike edge of the embouchure hole. This varies depending on volume and tone colors desired.

Myth #3A: Flute vibrato cannot be taught.
   Some flutists believe vibrato is a natural outgrowth of musical maturity and will occur naturally. Vibrato does indeed sometimes occur naturally, and it is almost always wrong when it does. Some students can produce a natural vibrato just by emulating fine players they hear, but these natural-occurring vibratos are often what could be described as nanny-goat vibratos. They do emanate from the throat but with a total lack of control. I frequently find myself with an uncontrollable urge to eat a tin can when I hear it.

Myth #3B: A proper vibrato is a diaphragm vibrato, and throat vibrato should be avoided at all costs.
   First, diaphragm vibrato is a misnomer; the diaphragm is an involuntary muscle. It is possible to produce vibrato with the abdominal muscles, but it has the disadvantages of being a lot of work, difficult to produce as fast as is often needed, and difficult to control the width of the vibrato. A controlled throat vibrato, on the other hand, produces the best results. Most of the great flute players use their throat (glottal muscle) to create a spinning vibrato.
   Try playing a loud note with a spinning vibrato in the upper register while putting your hand on the top part of your throat to see if it moves. You can feel some sympathetic movement in the abdomen. I think that this is where the confusion may lie. After all, if we have a balloon full of air and we pulse at the top of the balloon, there will be some pressure change in the balloon. 
   Try pulsing triplets using a throat staccato with the syllable ah. Now try it with the flute on four triplet groups on C and then on B with three triplets tied to a quarter note at about mm=80.

   As you go down chromatically, gradually increase the speed to about mm=96 and let the triplets run together without the throat staccato. Once you can control the glottal muscle in this manner, you need to use vibrato on a musical phrase. I use “Going Home” – the English horn solo from Dvorak’s New World Symphony.

Myth #4: Flute fingerings are sacred and no alteration is acceptable.
   The flute is a hunk of metal with holes in it. Whatever fingering combination produces the best pitch and tone quality in a given situation is the fingering of choice. There are several third-octave fingerings that have perfectly acceptable alternates, so rest easy. An alteration here and there for better intonation, more efficient fingering, or better response will not endanger your eternal salvation.

Myth #5: Never move the jaw.
   The most efficient way to decrease the size of the aperture is to bring the lower lip up or out, which necessitates a slight jaw movement. Galway backs me on this one. Yes, he moves his jaw!

Myth #6: In tonguing, the tongue should come between the teeth (as the French do it).
   For an occasional soft attack, this can work well, but it should not be done as a standard practice. The belief that French flutists tongue this way exclusively is erroneous. I discussed this with the famous flutist and good friend Jean-Pierre Rampal. I asked him if he always tongued between the lips and he said, “no, not always.” There is no way that he could have been the “King of detache,” as he is known, if he did this exclusively. Listen to his recording, The Flute of Sans-Souci or his recording of the Telemann Fantasies, to hear examples of his fantastic articulation.

Myth #7: Learning to take a proper breath requires years of study, effort, and meditation.
    The truth is, breathing is a perfectly natural function. The average person does it about 17,280 times a day. I suspect that flutists breathe a bit more than that. Simply take a full, deep breath using the muscles about three inches below your navel and use that air in the most efficient manner (in the case of the flute, with a small, focused aperture).
    When people talk, they are generally unaware that they take breaths. It should be the same while playing the flute. There should be no huge breaths that cause oral gymnastics or loud sounds. This simply is not normal during our everyday lives. I don’t want anyone to know that I am taking a breath. When you take a breath, try to keep the lips a bit more similar to the aperture when playing. This will also enable your embouchure to be ready faster for the next attack. You will start without cracking the note and also have a better, more focused sound at the beginning of the phrase.

Myth #8: Flutists must learn to live with a sharp 3rd-space C#.
    On most modern flutes, C# is much less of a problem than it is on older flutes without the improved scale. In any event, C# is easily played in tune when the player is properly set up with the 60-40 rule mentioned in Myth #2.

Myth #9: The low register is necessarily weak and there is nothing to be done about it.
    Not true. Listen to the pros. Many modern headjoints are cut to permit a much stronger low register. Players must pull the lip corners down, drop the jaw back, and blow more into the flute. (Low-register practice is also not a bad idea.) I ask students to see how loudly they can play Taffannel and Gaubert #1. Go ahead and let it sound gross and crack a bit. How do you know how loud you can play until you go too far?

The following questions are often asked by students.

Mystery #1: How can I make a finely tapered release without the pitch going flat or dropping an octave?
    Pull the lower lip and flute to the side slightly; this makes the aperture smaller, which in turn increases the air speed, thus helping to maintain the pitch. I pull to the right but many of my students pull to the left.

Mystery #2: How can I develop a more facile technique?
    There’s no real secret here. Daily scales and arpeggio practice throughout the range of the instrument is indispensable. The most important arpeggios are the majors, minors, dominant sevenths, and diminished sevenths.

Mystery #3: How can I develop a fast double- and triple-tongue?
    First, the choice of syllable is crucial. The most is efficient is Ti-Ki, Ti-Ki (short “i”), which positions the fore-tongue and the back-tongue closer together; thus it is faster and shorter. Making this syllable change from Too-Koo, Too-Koo can increase you tongue speed immediately by 30%. For triple tonguing, the most efficient method is a displaced double-tongue, as in Ti-Ki-Ti, Ki-Ti-Ki, which only has three Ts. (Ti-Ti-Ki Ti-Ti-Ki has four Ts and is therefore less efficient). Check out my 11-year-old student, Yibiao Wang on YouTube playing Donjon’s Le Tambour. () He practices my father’s tonguing exercise every day for about 45 minutes. The tongue has 16 different muscles. Give them a good workout every day.              

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   Michigan State University director of bands and chairman of conducting Kevin Sedatole made an appointment to work with personal trainer Jenn Averill simply to get in better shape. This meeting led to Averill working with conductors at the university and around the nation, including a presentation at the 2010 Midwest Clinic. Consult a physician before beginning any exercise routine, and visit a personal trainer to receive an assessment and instruction on correct technique.

Kevin Sedatole: I first scheduled an appointment to see a trainer because I was having trouble sleeping through the night and had gained some weight that I wanted to get rid of. Also, dowager’s hump, a condition caused when the cervical spine gets out of alignment is a family trait that I am trying to avoid. I knew that I needed to work with a trainer to try and strengthen my upper back.
   I was intimidated going into the first meeting with Jenn Averill, having never had a regular exercise routine before. She wanted to know about my eating habits, sleep patterns, and work schedule. Without knowing what I did for a living she immediately noticed that my posture was out of whack and I was extremely weak in my upper back and core muscles, which are the abdominal, lower back, and oblique muscles. She recommended focus on correct posture and strengthening my upper back muscles.

Jenn Averill: Kevin Sedatole came in with poor posture caused by his daily work position of being on the podium; years of bad habits had stressed his body. Because conductors work in a sagital plane motion, meaning in front of them, they typically have tightness in the front of the shoulders, causing them to hunch forward, a condition known as upper cross. They tend to have overstretched upper backs, which is caused by the tightness in the front. Because of these poor postures, back pain is common. If the spine is not in neutral and the thoracic curve is excessive, the body is imbalanced, and the muscles in the back will suffer because of it. Poor posture also makes it likely that arm movements are so prevalent out in front of the body that the risk for shoulder injuries such as tendonitis or impingement (when the space designed for a muscle or nerve is compromised from inflammation, injury, or poor posture) increases.

Correct Posture
Averill: Neutral spine is the term for the position the spine was designed to have. People naturally have three spinal curves: cervical, thoracic, and lumbar. Everybody has a different degree of curve, but there is a simple test to check whether posture is neutral. If you stand with your back against a wall and the feet four to six inches away from the wall, it should be possible to comfortably rest the head, shoulders, and buttocks against the wall. If the head cannot rest back and the shoulders do not touch the wall, then posture is not neutral. Someone who can get into this position but feels terribly awkward most likely does not usually stand in that position but has the flexibility to do so. Understanding how neutral spine feels is important because people need to know what they are building stamina to work toward.
   The most common way people deviate from neutral spine is a forward head, which comes from sitting at a computer, drawing the head toward the computer screen, and reaching forward toward the keyboard. Many people also allow gravity or ergonomics to draw their shoulders forward, producing a position known as kyphosis. Gravity tends to pull us down, and being sedentary is unhelpful.
   Strength and balance are the essence of good posture, which creates stability. I relate the spine to the construction of a skyscraper. To have a stable foundation, there must be equal balance on both sides of the spine, otherwise your foundation is at risk. In a building, the I-beams are the spine, and if they are out of alignment, the building is unstable. Correct posture is having an erect spine, with all the right curves, and the muscles balanced equally to protect the integrity of the spine. That is the essence of muscle balance.
   Someone who is tight on one side and weak on the other will have a spine pulled into an improper position by the tight muscles, causing breakdown in the body. To hold that muscle balance, the muscles should be strong enough to fight gravity and able to maintain the spinal position. Weak muscles will always fall prey to gravity’s force.

Muscle Imbalance
Averill: It is possible to tell whether muscles are imbalanced by looking at someone’s profile. If the ears, shoulders, hips, and knees are aligned with each other, that is a sign of good posture and muscle balance. Usually, either the head is forward, which will lead to dowager’s hump, or the shoulders are rounded, which contributes to upper cross. A deficit in movement is the most telling sign. A trained eye in posture can find it when they see someone move. While watching Kevin’s conducting symposium I was able to pick out, based on the movement patterns and alignment of 15 conductors, what deficits they have after just 10 minutes.
   The problems I see in conductors are caused primarily by either muscle weakness or muscle imbalance, both of which common because of the ergonomic set up of conducting. This is a common problem in the general public as well. The good news is these are easy to fix. Sometimes people only focus on strengthening the areas they want to build or tone muscle, but if the opposing muscles are not strengthened as well, there can be problems.
   With muscle imbalance, there are opposing muscle groups involved; one side is stretched and the other is tightened. Imbalance of the type seen in conductors can make it more difficult to strengthen the back because tightness in the chest must be overcome. If the opposing muscles are tight enough, the range of motion will be limited. Before strengthening a weak muscle group it is necessary to stretch a tight muscle group. Before starting a workout, I have my conductor clients do such stretching exercises as foam roller snow angels, which are good for stretching the front. This gives them the mobility to do the back work correctly. (Get a long foam roller and lay on your back on top of it so that your head rests on the roller, knees are bent, feet are flat on the ground, and arms are at your side, touching the floor. Reach up as far beyond your head as you can without liftiing your hands off the floor. This stretches tight chest muscles while putting the spine in a neutral position – as shown below.)

   In conductors I see stretched out rhomboid muscles, which are supposed to keep the shoulder blades pulled back in place toward the spine. Someone with extremely rounded shoulders has stretched out rhomboid muscles, and these, along with the latissimus dorsi, are going to need work. The latissimus dorsi keep us upright, so if we tend to keep forward, chances are these muscles will be tightened and weak, while the rhomboids are overstretched and also weak.

Fixing Poor Posture
Sedatole: I find that foam roller stretches work best, because being on the foam roller puts the spine in neutral. I start on the foam roller every day and then go to something else. Throughout the workout period I return to the foam roller to stay loose, which makes my upper back feel better. I have considered keeping a foam roller in my office to release tension in my back after a long rehearsal.
   My routine is about 75 minutes long, including stretching, cardio work on a treadmill, and several routines that hit all parts of the body, including leg work, arm work, and core work. I am supposed to work out four times a week, but it is sometimes difficult to make it.
   All workouts emphasize stretching, including foam roller and wall stretches. My workouts touch on everything: core muscles, legs, arms, and cardio. I have four different routines so I am never bored. The stretching feels great but is always a bit painful when I first start, especially if I just finished a weekend of heavy conducting. I am tight after a conducting engagement, and it takes time to loosen up.
Averill: When looking to fix a posture problem, the first thing to do is find the cause of the imbalance, which usually means figuring out which muscles are weak and need to be strengthened. Exercising weak muscles fixes the problem by eliminating the cause. If a problem stems from a specific weakness, you focus on strengthening. If it is caused by imbalance, you work to create muscle balance. Conductors generally need work on upper body posture, specifically the rhomboid muscles, rotator cuff, middle trapezius, and chest. These are the muscles most affected by conducting posture.
   Imbalance is easy to fix as long as you understand the problem. Once you know what is weak and what is tight, then you can stretch and strengthen the appropriate muscle groups, resulting in a more symmetrical, neutral spine. This promotes better blood flow and oxygen levels and will make you feel better and look better.
   Typically, any muscle that’s overstretched is going to be weak. Muscles that are tight are contracted and therefore shortened. Some body builders who walk with their arms forward and in front of them, looking somewhat ape-like, and this happens because they overwork their chests and underwork their backs. The chest muscles have gotten extremely tight and the back muscles have become weak. They typically do not have good posture either unless they’ve been taught to work the back the same amount as the front.

Conducting Changes
Sedatole: Jenn pointed out that my podium might be too high, causing me to lean forward. I lowered the stand height and noticed I stopped leaning in so much. Standing tall on the podium instead of leaning into the ensemble is one of the most difficult habits to break. Conductors want to go to the players to try and help them in some way, and this turns into bending at the waist, pushing the head forward, bending the knees. All these things compromise our stature on the podium, but it is difficult to break habits that have been formed over years of poor posture.
   I have less shoulder and back pain after conducting for long periods of time. My upper back is much stronger, and I also think more about standing tall on the podium rather than leaning into the ensemble. Keeping my shoulders down and back has helped improve the fluidity of my legato conducting. I also try to do more in less space.
   If I lean forward there will be pain in my lower back after a period of time. I work on bringing the group to me instead of going to them. I do this by pulling the ictus plane, the baton, and the extension of my arms closer to my upper torso and face. I conduct right in front of me by standing up straight instead of reaching out with a slight bend in my waist.
   Jenn also mentioned that wearing hard-soled shoes might contribute to back pain. I now use a more cushioned shoe when I am conducting for longer periods of time. It really did help with the back pain.
Averill: If you are aware of how correct posture looks, you can work within that in conducting. Kevin has made some significant changes in his posture and his ergonomic set up is conducive to maintaining that.
   Podium height is important. I know eight inches is standard. Conductors should be cautious that they do not reach towards their musicians. The type of shoe is important. In any profession it is important to have shoes that fit your arches appropriately, so you can keep your hips and knees in neutral, which will help keep the rest of you there as well.
Averill: There is no single test to evaluate fitness, but endurance is a good indicator. If someone is unable to hold a posture while doing an exercise or conducting, that can be a sign that things could be better. Also, I would say muscle pain in the lower back due to the force of gravity would be a clue. If you really want to know, have a personal trainer put you through an assessment.
   To stay healthy and pain-free, conductors should learn about posture, how neutral spine looks, and what exercises they can do to fix potential problems. It is important to be active and develop an exercise program consisting of foam rolling, stretching, and strengthening exercises.
Sedatole: The first thing I noticed after starting to work out was immediate improvement in my sleep. Exercise is surprisingly draining. I slept through the night right after I started working out. When I diligently follow my nutritional plan with consistent exercise I lose weight quickly. In the first two weeks I lost between nine pounds.
   My advice to all conductors is that it is not too late to start. Regular exercise, even just 20 minutes a day, will improve health. You’ll feel better. There are many exercises that will immediately relax much of tension that builds up in the upper back, no matter how old you are. Younger conductors can avoid many possible injuries to you back and shoulders by making changes today.

Nutrition and Metabolism
By Jenn Averill
   Many people have poor nutritional habits. What you eat is extremely important, so I usually ask about eating habits in the first session. It amazes me how many people think they eat well but don’t. Roughly 80% of clients come to the first session thinking they eat healthy, but their version of healthy is often skewed. They might think they are saving calories by skipping breakfast and and then having pasta for lunch, but they might not realize that a serving of pasta is only half a cup. Serving sizes are generally smaller than people think.
   Also, your metabolism doesn’t start working in the morning until you eat, so everyone should eat within 30 minutes of getting up. Metabolism is like a fire. Feed it a small log every few hours rather than two big logs twice a day. If you haven’t been eating well, it is akin to starting with a wet fire pit. The ideal way to rekindle a fire is to put in the best possible, driest wood, which, if you associate that with food, would be the cleanest, healthiest possible food. I have clients complain that they can’t eat like that forever, but when metabolism has hit rock bottom and someone is gaining weight even when not eating, then you have to start just drying the pit. That means not consuming any sugar. Do everything you can to promote the best cell growth possible, because that will fire up your metabolism. Tend the fire often, which means eating small meals every few hours.
   When the fire is going, and burning hot enough, and your metabolism is high, then it’s like having coal on the bottom of a fire. When you have a strong set of coals on a fire that you can go to bed and it will still be burning the next morning. Eventually that’s what happens to metabolism. I do not eat well 100% of the time. I have a sweet now and then or indulge in something not so healthy, but I don’t worry about it because I know my fire is burning incedibly strong, and no matter what I do, I’m not going to put that fire out by eating something unhealthy.
   One thing I do with people looking for nutrition help is to make sure they get the appropriate amount of healthy fats in their diet. People think they do not need any fat, but fats help metabolize fat and are important for recovery, brain focus, and cellular development. People also think they get enough water by drinking 30 ounces per day, but the ideal amount is to drink half your body weight in ounces, so 30 ounces isn’t enough unless you only weigh 60 pounds. Knowledge is key. People think they eat well because they might eat better than the standard American diet, but in seven years of training I have only had two or three clients who came to me eating like they should.

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   A marching band director is ultimately responsible for all the music performed by the group, including the drumline. Although a percussion instructor or drumline coach can be a great asset, the band director should make final decisions regarding the music performed on the field or in the street. This responsibility may require directors to increase their knowledge to teach drumline and front ensemble players. Based on my experience as a judge and clinician across the United States, here are the five most common areas of difficulty for drumlines.

Pulse Control
Control of the tempo or pulse is the most common problem in marching band. The drumline plays a key role in keeping time, but all musicians on the field have an obligation to play in time and maintain the tempo when performing. Many bands now use an amplified metronome as a regular part of their rehearsals. Metronome use can help when used strategically; abuse of the metronome occurs when it is used for every moment of a rehearsal.
   Find a balance between using the metronome to establish the pulse and build muscle memory of the correct tempo versus rehearsing without the metronome to verify that players have internalized the pulse. The ratio of metronome use will change during the season. At Northern Illinois University we generally use the metronome as much at 70% of the time when we are first learning music or drill. Once we are comfortable with the music or drill, we may use the metronome only 50% of the time. That number might drop to 20% as the performance approaches.
   As indicated on the field chart below the center of the pulse should generally come from the back and center of the field. Sound travels relatively slowly, so it is difficult for performers in the middle or back of the field to react to the echo of the players in front of them. Thus, players in front must listen back to the musicians behind them and align their sense of pulse accordingly. Because of this, if you use an amplified metronome on the field, it must be placed in the back of the field. It is even better to have someone carry the metronome and PA system around in the drill behind the drumline. This reminds the ensemble that the drumline almost always forms the center of the pulse on the field, not the field conductor, soloist, or anyone else. Train the conductor to watch the feet of the center snare or drum captain and to stay in time with what they see, not what they hear.

   Regularly rehearse your show music while standing still or marking time. If the band cannot play the music standing still, it will not improve while moving. Bret Kuhn, former caption head and percussion arranger for the World Champion Cavaliers Drum and Bugle Corps and drumline instructor at NIU, says “adding drill will not enhance your chances for music success.”

Front Ensemble
   Most front ensembles are placed on or near the front sideline, within a few feet of the drum major podium. The proximity to the conductor creates musical problems because light travels much faster than sound. To stay together with the battery players staged out on the field, they must listen back and delay their sounds to align with the musicians staged behind them. At the same time, they can look at the drum major to produce the illusion  of being visually engaged in the show while not actually following cues from the conductor. As with everyone else in the front third of the field, front ensemble players need to listen back.
   The director will need to listen to the band from a variety of vantage points to help the front ensemble determine how far behind the visual ictus of the conductor they will need to play to align the music properly by the time the sound reaches the audience. Invest a little time in your front ensemble during rehearsal by standing down among them while the band is playing. Even educated ears can have difficulty with the conflicting visual and aural stimulation that high school front ensemble players have to face daily. Use your musical experience and training to help students learn “how wrong the music has to sound in order to be right,” to quote Bret Kuhn. It takes a great deal of rehearsal time and musicianship to address these problems appropriately. Timing and pulse problems between the front ensemble and the rest of the band are among the most common problems at every marching show. Many of these issues could be resolved by teaching the front ensemble that they have a greater responsibility to listen than to watch the conductor.

Balance and Scoring
   Balance between the wind and percussion is also a common problem in marching shows. It is often necessary for the director to determine, restrict, or increase the volume level for any section of the band during a performance. The field percussion battery can easily overwhelm the winds, so the director must be willing to make adjustments to dynamics. Too many directors pass off responsibility for guiding the drumline to a percussion coach and are unwilling to ask for a needed change in volume. As the director, my job is to set volume for each section and produce a coherent sound.
   A full score, which includes all percussion parts, is critical in balancing the ensembles. If a director does not know what every musician is playing, then nobody knows. The various sound levels for the music should be established while the group is standing still. Determine whether the proper levels for melody, countermelody, bass line, any ostinato figures, and the rhythmic counterpoint are all represented in the appropriate proportion.
   Once the band sounds good standing still, focus some rehearsal time on maintaining this musical balance while in the context of the drill. Some sections may need to play louder or softer based on their staging on the field. At the next stand-still musical rehearsal, retain and review the dynamic changes made to the balance. You might say, “trombones at letter C in the opener, make sure you bring out your countermelody, due to your backfield location in the drill. Play that section a bit louder now than you would normally to remind yourself to bring that part of the music out in the drill.” As always, help students understand their music role in the ensemble. For instance, “bass drums, please play the running sixteenth-note figure at letter A much softer so we can hear the melody in the woodwinds. Your section becomes the focal point of the show four measures later, when you can play as strongly as you like.”
   Many balance problems can be corrected by changing mallets. Front ensemble players can use mallets that are harder or softer to make dramatic changes to their dynamic level and degree of projection. Be careful to avoid damaging the bars of an instrument by using mallets that are too hard. Likewise, battery layers can pick up brushes or smaller sticks or use softer bass or tenor mallets to help produce the appropriate balance. Members of the Northern Illinois University bass drum line each have a mallet rack mounted on their drum to allow them to make these changes quickly.
   Most balance problems between the drumline and winds can be solved by creating more musical percussion arrangements in the first place. Encourage your percussion arranger to think in terms of supporting the musical whole instead of merely focusing on the drumline. Depending on skill level, the percussion arranger should be able to transpose from a full band score to develop front ensemble parts.
    Directors should stay involved as the percussion arrangements are designed. It helps to attend percussion sectionals or rehearsals over the summer to understand how the performers handle the music and to identify lurking trouble spots. Evaluate the percussion arrangement and how it might unintentionally overwhelm the winds at times. This type of problem should be resolved before parts are distributed to students.
   There are musical elements common to any good band score, whether for the concert hall or the marching field. First, there should be moments of pure tone color. In marching band that could include moments of drumline alone, front ensemble alone, as well as moments for winds or brass alone. Second, look for obvious balance problems. A flute solo cannot be heard over fortissimo rim-shots. Either the solo or the rimshots should be cut. Third, look for contrasting texture between voices. If the winds are playing whole notes, it is appropriate for the percussion to be more active and vice versa. Finally, look for counterpoint in the front ensemble writing that complements and contrasts with what the winds and brass are playing.

Heads and Tuning
   Quite simply, better drum heads produce better sounds. However, even the best drum heads will not produce good sounds unless properly tuned. Better heads hold pitch better, last longer, and produce a more pleasant sound. In many ways, good heads are analogous to good reeds and are worth the money.
   Drum heads with large dents or that have been stretched out too far due to age and excess lug tension will not sound good regardless of who is playing. Different heads work best in different musical applications. Thick sailcloth heads sound great on a field snare but would produce the wrong tonal palette indoors on a concert snare. Select your heads to fit the type of music played and the type of sound desired. The websites for all the major head makers contain helpful information about the products available.
   Once good heads have been selected, the drums must be tuned correctly. The goal of tuning is to produce a full and resonant sound and a characteristic tone color. Most people apply tension too quickly to the lugs when turning a drum head. Jim Bailey, former percussion caption head of the Cavaliers, suggested only using a quarter to a half turn of a drum key per lug while tuning.

   Whenever I work with a band in a clinic, I look for a few basic items. If multiple bass drums are used, each drum should be turned to produce different pitches. Split bass drum parts do not make sense if three out of the five drums produce the same frequency. I also confirm that each snare produces the same pitch at both the top and bottom head, and that all the snares used on the field have been tuned to produce the same pitch. Snare drum rolls will not sound correct, even if played accurately, if the drums are not carefully tuned to match each other. Third, confirm that each size of tenor drum produces the same pitch from one set of drums to another. At all times, trust your ears. If something sounds wrong, get down on the field and check it out.

Instruments and Equipment
   High-quality instruments will produce better sounds, require fewer repairs, and last long. Craftmanship becomes increasingly important as instruments become more sophisticated. Whatever savings come from purchasing a truly inexpensive instrument will be lost in repair costs and frustration. It is also essential to invest in good cases to protect the investment.
   Train all percussionists and parent volunteers on the proper ways to move and store percussion instruments. A timpani can be quickly pulled out of tune by putting pressure on the head while moving it, rather than moving it by the legs. Xylophone or marimba bars can be damaged or destroyed by careless handling. Create a climate where proper care of percussion instruments becomes a way to show school pride.
   The key to a better drumline is to keep learning every year. There is a wealth of great clinics, instructional videos, and qualified percussion instructors who can help. If you learn a few new things each year, your marching band will continue to improve by leaps and bounds.              

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   William Penn is a large high school near Wilmington, Delaware. Six years ago a young director, just out of college, took over a waning band program that had accomplished little in recent years. As a colleague describes it, “Brian Endlein established a standard for the students – not just musically, but with leadership. He instituted a strong student leader training program, and once the students knew what was expected, they understood it was not acceptable to slack off. It is not by order and decree that Brian instilled this philosophy; he embodied it. If he asked his students to do something, he would do it as well. As a result, students now regularly get in trouble because they are at school too early and stay too late to be with their bandmates and get in extra practice.” Here is Brian Endlein’s story in his own words.

Developing a Program
    The program at William Penn was not huge, and they had been through several band directors in a short period of time. There were 38 students in the marching bands, and about 45 students in the two bands that met during the school day. I met with the school administration to introduce myself and then with the music boosters to present a five-year plan to improve the program and increase enrollment.
    Band does not always have a good image with teenagers. There were students with good musical potential, but they lacked focus and guidance. I wanted to develop an exciting program; something they felt was special. When I arrived, they were ashamed to wear their band jackets. Soon these same students were putting flyers up in the hallway and wearing their jackets proudly. From the beginning, I shared plans to increase our size and music skills.
    As any new teacher knows, the older students in the class often try to see how far they can push. I would like to say that all of the students believed in the new plans from the beginning, but that would be a lie. In the end they realized that while I did things differently from previous directors, ultimately it was going to be in the best interest of the program.

A Rough Start
    I graduated in December and started in January. Upon arrival I was informed that the bands were going to a Virginia Beach festival in three months. There was no literature picked, so they had not started rehearsing. That trip was a scramble to put together. I was fresh out of college and had to organize, pick and rehearse the music in such a short time. It was certainly a nerve-racking experience, but I found the music for Holst’s First Suite and other classics as well some contemporary works. We took two bands and both received excellent ratings. The students saw what we were able to accomplish in a short amount of time and realized that in the long term, the sky was the limit. I think that might have been a turning point that sparked interest in the program. Word of mouth traveled from older students to younger siblings who became excited about joining the band.
    While many programs are getting smaller, we have had slow but steady growth over the past five years. The original two bands now have 50 and 65 members, with one for freshman and the other for upperclassmen. The marching band went from 38 to 75 students. The program now includes a competitive jazz ensemble and an indoor drumline during the off-months of the marching band season. We also have two indoor colorguard programs. Between all of this and a 10-month-old son at home, it is quite the balancing act.

New Traditions
    The next step was to give the bands some new experiences playing in the community. The concert ensembles played for everything from welcome home ceremonies for troops returning from the war to music for a ship christening at the harbor in Wilmington.
    The school is heavily rooted in tradition, and many parents were former students of the program. They had strong feelings about how directors had taught in the past. I told them I wanted to keep the best traditions but create new ones for the future. Not all of the changes were large. For example, holding band camp away from school made participation in marching band too expensive, so now we hold it here. Others are such small events as taking the band boosters out for a pancake breakfast before a trip or inviting the seniors’ parents to come in the day before championships for marching bands to decorate the band hallway with posters. Little things make students feel part of the program.

Parents
    I think some of the parents were hesitant about me at first. In recent years there had been a high rate of turnover, and I was only 21 years old. One of my most influential band parents is a retired drill sergeant from Fort Benning. He helps even when none of his children are in the program. He told me later that when I walked into the first meeting wearing a purple shirt and paisley tie, he immediately thought I would never last. His initial opinion changed though, and he said, “I was so impressed that you came in with a plan and set measurable goals. When things did not work you adjusted until they did.” I was a young hard charger coming in, but I had a plan and knew Rome was not built in a day.

Marching Band
    An important part of the plan was improving the marching band. We set a goal to win a championship in five years and succeeded in three, which was very exciting for the students. After starting the indoor drumline and colorguard, the next step was gaining approval for overnight trips. This year four groups (jazz band, drumline, and two colorguards) traveled to Wildwood, New Jersey for the four-day Atlantic Coast championships for indoor groups. The band took its first trip to Disney World in December and participated in the Magic Music Day Parade. As students saw the program’s success in competitions and good ratings at festivals, the numbers grew. Students are now proud to be a part of the program and proudly wear marching band jackets and t-shirts.

Recruiting
    In Delaware eighth grade students can choose what high school to attend, and there are many options, including charter schools. There is even a performing arts charter school just up the road in Wilmington. It is not only the students I have to convince however. Some parents have already decided that their children should attend a different school.
    The district band day brings all the middle school students to perform at a football game in the fall with the high school marching band, and at the district band festival the concert bands perform for each other. I also take the high school students to the middle school concerts and set up information tables. We visit the middle schools in the spring to talk about the different opportunities at William Penn.
    The high school band members are the best recruiters for the program. Students do not want to hear an adult tell them how great the music program is; they want to hear from their peers that it is a good experience and will lead to success after high school. They sell the program better than any adult could. It is a real pleasure to watch them become leaders in the development of the program.

Rehearsals
    The school has a regular seven-period schedule, and the bands meet every day for 45 minutes. There are no extra sectionals, just rehearsals during the school day. Other activities like color guard, drumline, brass quintet, and marching band are extracurricular and meet in the afternoon or evening. Freshman band starts the day at 7:30 in the morning, which is an interesting experience.
    During the 45-minute period, the group starts with warmups followed by technical exercises from a method book or such exercises as lip slurs for the brass players, or technique for woodwinds. Without sectionals this is the only time students will work on technique. All students are required to learn scales, particularly the percussionists, and there is a different scale each week. The assignments work around the circle of 5ths but will also include scales from the pieces the band is playing. After the scales there are additional technical exercises while the percussionists set up for the pieces. This allows the band to start out together, and then break apart so I can work with the winds while the percussion gets ready. I also select one or two students from the percussion section to work on rudiments each week. This usually takes the first half of class with the remainder a rehearsal of concert literature.
    The general rule for directors is to stop conducting only when you have something to say. I found initially that I was talking too frequently in rehearsals. Students want to play and improve, and this will not happen if the director spends most of the class talking about how to play this note or that dynamic. Figuring out how to be effective and efficient with words, so the band can return to playing was a big challenge.

Finding Balance
    I have an incredibly supportive wife, but in addition to my family and teaching responsibilities, I am also a member of the Army Reserve. It is taxing to keep a balance, but I hope that by being good in one area, it helps the others. Being a good parent helps me be a good teacher; being a good teacher helps me be a good soldier. I just hope that with a good work ethic, I will succeed. A Google calendar makes sure I don’t miss anything.
    The discipline and commitment of the military exemplifies everything that makes a band great. As a soldier in the 78th Army Band, I also continue to perform at a high level. Some of the nation’s best and most talented wind musicians play in those bands. The variety of musical experiences helps my teaching as well. In one day, I might rehearse or conduct the army concert band play in a Dixieland band, perform at a VA hospital with the jazz group, and then counsel soldiers on what to do for their next promotion. It really mirrors much of what I do as a teacher.

Future Plans
    In upcoming years the goal is to build upon the program’s successes and improve areas that have not yet reached the levels we want. Maintaining numbers will require continued effort and strong recruitment. Perhaps the most important goal, however, is for students to understand that anything important is worth working towards, and it is not going to come easily or immediately. Today, if people want to know something, the internet offers thousands of answers in less than a tenth of a second, but there is no shortcut to playing the saxophone. There is no substitute for the discipline, commitment to the craft, and relationships students develop as part of a team. These are the things that will continue to make them successful after high school.                       

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