With the exception of military marches almost all the music we hear played by wind bands (military bands) was originally composed for other mediums (for orchestra, for piano, for chorus, as songs for voice and piano) and afterwards arranged for wind band – and as good as never by the composer. Notable exceptions are Wagner’s Huldigungsmarsch, Henry Cowell’s Celtic Set, R. Vaughan Williams’s Folksong Suite and Toccata Marziale, Gustav Holst’s two Suites for Band and Hammersmith, Hindemith’s Concert Music for Wind Band, Ernst Toch’s Spiel, Florent Schmitt’s Dionysiaques, Respighi’s Hunting-Tower Ballad, and several compositions by Leo Sowerby.³
    With the exception of Leo Sowerby, none of the composers cited by Grainger are American.
    Most American band directors in the 1930s and 40s felt no compulsion to expand or improve band repertoire. The existing literature provided bands with the kinds of music needed to entertain audiences and embellish civic functions and celebrations. Fortunately, there were a few band directors who felt differently. One was Edwin Franko Goldman, who was painfully aware of the lack of original high-quality music for bands as well as the almost total absence of works by great composers, most of whom considered the band to be a non-artistic, functional, and entertainment vehicle. In 1920, Goldman organized the first American competition for serious new band works in an effort to stimulate composers to write for band. Victor Herbert and Percy Grainger judged the competition and awarded the winning prize of $500 to Carl Busch for his Chant of the Great Plains.
    Nine years later Goldman organized the American Bandmasters Association. He believed that an organization consisting of the best American band directors could provide the leadership needed to raise the artistic standards of bands and band music and induce prominent composers to write works, especially those in larger forms, for band. The association’s 1932 convention concert programs reflected Goldman’s passion for elevating and expanding the band’s literature. Included among the new pieces performed at the convention were premiere performances of two works by prominent world composers: Hammersmith by Gustav Holst and Huntingtower Ballad by Ottorino Respighi, which was commissioned by Goldman and the ABA.
    In 1936, Goldman initiated the Goldman Band’s summer concerts on The Mall in New York’s Central Park as well as at Brooklyn’s Prospect Park. On July 21, 1942, he conducted a complete concert of original works with the band. The program included works by American composers Leo Sowerby, Morton Gould, Paul Creston, William Schuman, and Henry Cowell. The League of Composers organized a concert on January 3, 1948 to honor Goldman on his seventieth birthday. For this occasion Walter Hendl and Percy Grainger conducted the Goldman Band in a program of all original works written by distinguished American and international composers, including George Auric, Henry Cowell, Ralph Vaughan Williams, Percy Grainger, Arnold Schoenberg, Arthur Honegger, Albert Roussel, and Nicholai Miaskovsky. In sponsoring the concert the League hoped to motivate other bands to perform more original music. Richard Franko Goldman, Edwin’s son and later conductor of the Goldman Band, described the concert as a turning point in concerts presented by bands in America. Henry Cowell, in a 1948 article, praised Goldman’s contribution to music:

Goldman has made …[a]… significant contribution to music as a result of his determination to improve the quality of music available to the symphonic band…. That it is now possible to offer a program of fine art music of great variety and interest, all written expressly for the band by famous living composers, is very largely due to the efforts, influence and persuasiveness of  Goldman…. Goldman began many years ago to urge the best known composers of Europe and America to contribute to the repertory of good music for band by writing with wind instruments in mind. His success in this undertaking has made it unnecessary for bandmasters to depend any longer on the artistically deplorable arrangements, for winds, of music conceived for strings.⁴

    William D. Revelli, director of the University of Michigan Band, was another band conductor who recognized the need to advance the professional development of bands, band music and band directors – specifically those directing university and college bands. In 1941 Revelli founded the College Band Directors National Association, originally called the University and College Band Conductors Conference. The mission of the Association was to advance “the college band as a serious and distinctive medium of musical expression.” During its 72-year history, CBDNA has played a major role in the development of band literature through commissions and performances of new works by important American composers. It has also helped elevate the artistic standards of band and wind ensemble conducting through its conferences and workshops.
    Revelli was also editor of G. Schirmer’s University of Michigan Band Series from 1940 to 1945. This editorship position gave him an opportunity to make a frontal attack on the problem of band repertoire. The series contained both original works and transcriptions and were “…scored with the flexibility to conform to the broad limitations of school band instrumentation…”5 All pieces were published with sets of parts for full and symphonic band instrumentation. The following were among the eleven original works in the series:

Ye Banks and Braes O’ Bonnie Doon by Percy Grainger (1949).
Theme and Variations, Op. 43a by Arnold Schoenberg (1949
Zanoni, Op. 40 by Paul Creston (1949)
A Solemn Music by Virgil Thomson (1949)
Three Street-Corner Sketches by George Frederick Whitney (1949)
River Jordan: Fantasy on Negro Spirituals by Maurice C. Whitney (1950)
George Washington Bridge by William Schuman (1951)

The series also included six transcriptions:

Piano Concerto in A Minor, First Movement, by Edvard Grieg, transcribed by D. F. Bain
In the Cathedral by Irving Cheyette, a transcription of À l’église for piano, Op. 3 by Gabriel Pierné (1947)
Military March Number Three by Felix Greissle, a transcription of march number three from Three Marches Militaires for piano four hands, D. 733, by Franz Schubert (1947)
Fugue No. IV by C. K. Wellington, a transcription of “Fuga 4” from the Well-Tempered Clavier, Book I, BWV 849, by J.S. Bach (1948)
Symphony in D Minor, First Movement by César Franck, arranged by Vernon Malone (1950)
Pavane by Irving Cheyette, a transcription of the “Pavane” from the opera Étienne Marcel by Camille Saint-Saëns [©1950]

    As conductor of the University of Michigan Symphony Band Revelli, especially in his later years, championed contemporary American composers and their music by commissioning, programming and performing their works. As a master conductor-teacher, Revelli also exerted substantial influence on the teaching of instrumental music in public schools and higher education.
    The foundation for modern American concert bands and wind ensembles can be traced back to the pioneering work done by Edwin Franko Goldman and William D. Revelli in the 1930s and 40s. Through their dedicated work a momentum was created that resulted in the transformation of American wind bands into an expressive musical medium with a rich and expanding original literature. Prior to 1940 there were few important works available for performance by American bands, and most of what was available was written by non-American composers. By comparison, today numerous major American and international composers create works for the medium that are premiered and performed by professional and exceptional college and university bands, wind ensembles, and orchestras in major venues throughout the United States and world.  

End Notes
¹The Swing Era – The Development of Jazz, 1930 – 1945 by Gunther Schuller (Oxford University Press, 1989, p. 5).
²Ibid.
³Score for Lincolnshire Posy by Percy Grainger (Schott & Company, Ltd., 1940, p. 2).
⁴The Wind Band, as cited in Edwin Franko Goldman (Allyn and Bacon, Inc., 1962), pp. 85-86.
⁵Evolution of Contemporary College Wind Band Repertoire and Programming in the United States: 1800-2010, doctoral dissertation by Kenneth G. Bodiford (University of Alabama, 2012, 27).

The post Goldman, Revelli, and the Modern American Concert Band appeared first on The Instrumentalist.

Overtone Series Discrepancies
    The overtone series, also known as the harmonic series, can best be defined as the various frequencies, from lowest to highest, that may be generated in a given length of tubing. The overtone series for euphonium displays the characteristic pattern of intervals that is common to all the other brasses: the octave, perfect 5th, perfect 4th, major 3rd, minor 3rd, minor 3rd, and major 2nd, etc.

    The first note or partial is the fundamental and is also referred to as a pedal tone. The second note is the second partial as well as the first overtone. Because the notes of an overtone series are derived from laws of physics, various frequencies do not agree exactly with our man-made system of equal temperament, the division of the octave into twelve equal parts. When compared with equal temperament, the following results are obtained: Partials 1, 2, 4, and 8 are in tune with each other and coincide with equal temperament (all Bbs). Partials 3, 6, 9, and 12 are sharp to varying degrees (F’s and high C). Partials 5, 7, 10, and 11 are flat to varying degrees (Ds, Ab, and E).
    Because the bulk of the euphonium’s standard playing range falls between partials 1 and 8, a performer can simplify and condense this information: Partials 1, 2, 4, and 8 (all Bbs) are in tune. Partials 3 and 6 (Fs) are sharp. Partials 5 and 7 (D and Ab) are flat. Of these, partial 3 is so slightly sharp it can be corrected easily by the embouchure, while partial 7 is too flat to be used. This leaves only partial 5 (moderately flat) and partial 6 (noticeably sharp) that are of concern.
    It is helpful to remember that the partials are out of tune to a degree that corresponds to their numerical order: partial 3 is the least out of tune, followed in order by partials 5, 6, and finally 7.

Harmonic Modes
    Another term needs to be defined in order to grasp the implications of the out-of-tune partials. A harmonic mode results from the lowering of any open tone chromatically through the normal descending chromatic valve sequence.
    Each note of the harmonic mode is the respective 4th partial of that valve setting’s overtone series. For example, the G is the 4th partial of the 1-2 overtone series. Each note in a given harmonic mode assumes the same intonation characteristic as the open valve note because they are all derived from the same respective partial.

Valve Combination Discrepancies
    The second major area of inherent tuning problems on the euphonium is that of valve combination discrepancies. Manufacturers of valved instruments have long wrestled with the problem of compromise tuning. They know that they can make the separate valve slides the correct length to lower each valve an exact amount. The second valve slide lowers the open tone one-half step, the first valve slide lowers a whole step, and the third valve slide lowers the open horn one and one-half steps. It is not until the valves are used in combination that serious intonation problems begin to surface – problems of proportionate tubing length. If one starts with a longer piece of tubing than the open horn (perhaps with the second valve already down) it will obviously take a longer length of tubing to lower the pitch a given amount (perhaps another whole step). If it takes four percent of the total tube length to lower the pitch a whole step, four percent of a longer tube (with the second valve down) is more than four percent of a shorter one (the open instrument). Therefore, we continually come up short of tubing when using the valves in combination. The upper table (from Earle L. Kent’s The Inside Story of Brass Instruments, Conn, 1956) shows valve slide length examples chosen to give correct intonation when used individually.
    The sharpness of all the combinations is readily evident: 1-3 is almost a third of a semitone sharp and 1-2-3 is slightly more than a quarter step sharp. Faced with this physics problem, instrument manufacturers resort to the idea of compromise tuning as a partial solution. This tuning is accomplished by purposely making the various valve slides longer than they need to be. Depending on the manufacturer the first and second valve slides may be lengthened slightly, while the third valve slide is always made longer. Because this valve is seldom used by itself, it can be made purposely quite flat in an effort to lower the sharp 1-3 and 1-2-3 combinations. The lower table, also from The Inside Story of Brass Instruments, shows valve slide length examples chosen to give slide compromise intonation.
    The compromise tuning should be evident. Each of the individual slides are tuned lower (an almost negligible amount in the case of the first and second valves) to take some but not all of the sharpness out of 1-2, 1-3, and 1-2-3, but in doing this 2-3 becomes flat. No matter how each manufacturer goes about designing a three-valved instrument, he must still deal with this basic and inherent problem.

Cumulative Effect
    In some cases the natural tendencies of valve combination discrepancies and harmonic mode discrepancies may be opposite and therefore offset each other. This phenomenon is illustrated in the cumulative effect shown in the 3rd and 5th harmonic modes.

    Assuming that degree is merely a relative term of measurement, the third harmonic mode (example 5) could be described as a one-half degree sharp harmonic mode. We can assume a negligible first valve, second valve, and 1-2 combination valve slide length error; a one-half degree flat 2-3 fingering combination error; a one-half degree sharp 1-3 fingering combination error; and a two degree sharp 1-2-3 combination error. The resultant numbers display the negating or compounding effect of the two inherent intonation variables. In example 6 assume a one-degree flat harmonic mode with the same valve error factors as above.
    Although these inherent tuning problems are of prime concern, there are obviously several other factors that influence intonation. Mechanical tuning devices, the addition of a fourth valve, compensating valve systems, environmental temperature, mouthpiece and instrument design, and various physical considerations relating to lips, teeth, tongue, and air speed all have their effect on intonation.

An Added Fourth Valve
    Through the years a number of attempts have been made to design adjustable kickslides for the three-valved baritone or euphonium similar to those found on the cornet and trumpet. Such devices were usually attached to the main tuning slide and were often spring-loaded in some manner. None have been widely accepted, perhaps because they proved too awkward to use. Because a truly successful system was never adopted, there are countless three-valved baritones in use in the public schools today that are impossible to play in tune. C3 and B2 are two of the most common intonation problems on these three-valved instruments. The notes are extremely sharp and players can either lip them down, manually pull the third valve slide, or do both. Because pulling the slide while playing is difficult to accomplish (if not impossible on the typical school instrument), players are left with little choice other than to lip down as best as possible.
    Fortunately, adding a fourth valve to the instrument is another solution to this particular problem. This valve lowers the open instrument a fourth, making it an interchangeable fingering for 1-3. Because it is independent of the other three valves, the fourth valve slide can be set to sufficient length to play C3 in tune. Similarly, the B2 may be played 2-4 rather than 1-2-3. Extending the lower register is another benefit of the additional valve. Because the fourth valve lowers the fundamental a fourth to F2, a new overtone series is created along with a new set of harmonic modes. The following example shows the harmonic mode that bridges the gap chromatically from E2 to the pedal Bb1.

    Here again there are problems with the proportionate tubing length rationale — the notes become sharper as the player proceeds downward through the fingerings. By the time a euphoniumist reaches the D2 on a non-compensating four-valved instrument, he will likely have had to try three fingerings, each flatter than the preceding one, before the pitch is lowered enough for correct intonation. The Db2 usually requires a 1-3-4 fingering and the C2 a 1-2-3-4 fingering, leaving no additional tubing for the B1.

Compensating Valve System
    The compensating valve system available on some euphoniums offers a practical solution to the intonation problem by adding small knuckles of tubing to each of the valves. This extra tubing comes into play only when valves are used in combination, lowering the pitch when needed and enabling the player to use the normal descending chromatic valve sequence down through B1.

Temperature
    The effect of temperature on the pitch of the euphonium needs little explanation to those who have marched at halftime on a Friday night in November or sat on the concert stage under blazing lights in April. All brass instruments sharpen as the temperature rises, and flatten as it cools. This phenomenon occurs because sound waves travel faster through warmer, less dense air. They strike the ear at a faster rate, and the listener perceives them as a higher frequency. Students sometimes attempt to explain the sharping phenomenon by arguing that the rise in temperature causes the molecules of the instrument to agitate, resulting in an expansion of the instrument’s metal. A little logical thought should convince students that an expanded (larger) instrument would produce a lower sound, not a higher one.

Mouthpiece and Instrument Design
    Mouthpiece and instrument design also influence intonation. In mouthpieces, cup volume is the most important consideration – the greater the volume, the flatter the pitch. The size of the throat opening and the size and shape of the backbore also interact to influence intonation. In designing an instrument, the manufacturer may raise the flat fifth partial or lower the sharp sixth partial, but the inherent proportionate difference must remain the same. Another manufacturer may flatten individual valves more than another, but the relationship between individual valves and valves used in combination remains the same. In either situation the inevitable reality is compromise. The maker of fine instruments will have achieved as careful and controlled balance when making compromises for good intonation.

Physical Considerations
    Various physical considerations also influence the tuning, though usually to only a moderate degree. All euphonium players must lip up or down, and they soon learn that it is generally easier to lip down than up. Obviously one can lip only so far before the tone quality is adversely affected, making this technique best suited for small pitch adjustments. Larger pitch adjustments should be approached first through carefully tuning the main tuning slide and/or using alternate fingerings. Other factors which may be used to make small adjustments in pitch include opening the teeth or dropping the jaw (the more open, the more tendency to lower the pitch), changing the tongue position (arching more into an ee syllable tends to raise the pitch slightly), and varying the air speed (the euphonium overblows sharp and undersupports flat).

Vibrato and Mutes
    Vibrato and mutes also affect tuning. The most commonly used and (in my opinion) the only satisfactory method of producing vibrato on the euphonium is the lip-jaw vibrato. The slight and controlled up and down motion of the jaw and lower lip (ya-ya-ya-ya) as the tone is sustained will alternately lower and raise the pitch from center to slightly below center and back to center (or perhaps even slightly above center).  Done in moderation and with regard to stylistic appropriateness, this pleasant bending of the tone enhances and warms the instrument’s sound.
    More and more contemporary solo and large ensemble literature calls for the use of a straight mute for the euphonium. Players should be aware that these mutes generally tend to sharpen the pitch.

Improving Intonation
    In the beginning stages of a student’s training, encourage the buzzing of various interval patterns on the mouthpiece alone. Let young players buzz familiar tunes, scales, or other patterns that encourage selectivity and accuracy of pitch from the very start. When they attempt to reproduce pitches on the instrument, they should find it easier to center the pitch more accurately.
    There is no substitute for teaching fundamentals in the first months of a student’s experience with the euphonium. Young players must develop concepts of correct embouchure and proper breath (tonal) support. If there are no major problems with embouchure and the use of the air stream, students and teachers can expect the euphonium to react predictably with regard to intonation.
    In later stages of development, the teacher should stress listening and matching pitches on a regular basis. One of the best opportunities to encourage this careful listening on a consistent day-to-day basis is in the warmup period, either in a group or individually. Directors of large ensembles should devote 10-15 minutes of each rehearsal (if time allows) to let students warm up on long tones, lip slurs, scales, unison studies, or chorales for the express purpose of balancing, blending, and matching pitch. The private teacher should encourage a similar warm up and occasionally play along with the student to provide a pitch standard and encourage more discriminate listening.
    Directors should also devote an occasional section rehearsal to a lecture-demonstration on intonation to let the euphoniumists hear beats and make necessary corrections. This is the ideal time to sort out and correct intonation problems within the immediate section.
    Once the player has achieved some maturity and stability in tonal production, he should be encouraged to spend some time in front of an electronic tuner and make out an intonation tendency chart. The procedure consists of writing out the chromatic scale for the basic range of the euphonium and then notating whether each tone tends to be sharp or flat. An arrow pointing up or down over the note could indicate sharpness or flatness and the length or size of the arrow could indicate the degree of the tuning problem. If this procedure is repeated several times with a degree of consistency, the student should see clearly emerging tendencies in playing certain notes out of tune, with his personal set of variables (embouchure, air usage, mouthpiece, instrument, etc.). Once the student understands and identifies the problem, the correction process becomes much easier.

Summary
    Clearly a discussion of intonation problems in any depth is destined to be lengthy. The many factors that influence tuning are complexly interrelated, yet most can be distilled into a few easily remembered facts once the concepts are understood:

• There are a handful of notes that are out of tune because they belong to an out of tune 5th or 6th partial
• There are a handful of notes that are habitually out of tune because they are played with valve combinations that are predictably sharp or flat
• There is a cumulative effect resulting from the interaction of the out-of-tune partials and the out-of-tune fingering combinations
• The fourth valve eliminates a major tuning problem in that it can substitute for the quite sharp 1-3 combination
• The compensating valve system on a four-valved instrument allows the notes from E2 down to pedal Bb to be played with the normal fingerings
• Temperature, various physical considerations, even vibrato and the use of mutes affect pitch moderately and in a generally predictable manner.

    If a student hears pitch reasonably well, conscientiously tries to play in tune, produces the tone correctly, and has a reasonably well-made instrument that is in tune with itself, there are only a few notes that usually cause a large percentage of the tuning problems on the euphonium.
    G3 is often sharp in 1-2 and can be lowered by substituting third valve. D3, C3, and B2 are habitually sharp. The use of the third valve substituting for 1-2 on D3, the fourth valve for C3, and 2-4 for B2 usually corrects these troublesome notes. The next three tones (D4, C#4, and C4) are usually flat because they are all 5th partial notes. Similarly, F4, E4, and Eb4 are always sharp because they are all 6th partial notes. Alternate fingerings should be tried on all these notes until the best intonation is obtained. The F4, E4, and Eb4 can be lowered on some four-valved compensating system euphoniums by adding the fourth valve. The final five upper register notes may be fingered as marked if they are too flat in their normal fingerings.

    Musicians will never eliminate intonation problems from their playing. However, an effort to understand the reasons tor basic tuning problems can lead to marked improvement. No player or teacher should be ignorant about how to achieve good intonation. There are solutions to the problems; we need only understand, listen, and apply what we know.  

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Pulse
    Perhaps the most common detour from alternating sticking is right-hand or left-hand lead. The example below shows right-hand lead sticking. The right hand plays all of the main divisions of the beat, while the left hand fills in any subdivision notes. Left-hand lead sticking is exactly the same, except that the pattern is reversed. In either case, maintaining consistent divisions of the beat on one hand helps to maintain pulse integrity and consistency. The lead hand is able to establish a constant repetitive pattern, while the other hand executes the changing subdivisions, creating a physical pivot point for the player.

    Note that playing this passage with purely alternating sticking would cause the pulse to shift back and forth between the hands, due to even or odd groupings of notes. This shifting can cause a student’s internal pulse, and resultant sound, to waver.
    Instructors can coach development of lead-sticking technique by having students play constant eighth notes in one hand, while varying the subdivisions at will in the other hand. The instructor and students can play the eighth notes together, and take turns supplying improvised sixteenth note patterns. Instructors should create the subdivision variations at first while students copy, and then students can begin to create their own. This approach builds confidence in the technique, and helps to solidify rhythm and sticking vocabulary without the complication of notation. Once students are confident with the technique, they can be coached through notated rhythmic passages, to choose appropriate places to apply it.

Rhythmic Phrasing
    Besides strengthening a sense of pulse, one-hand lead can help to create confident and comfortable rhythmic phrasing. Students will be less likely to trip over shifting stickings, thus helping them to maintain focus on shaping the rhythmic phrase as they intend it. Other variations of stickings can also be helpful for rhythmic phrasing, each depending on specific musical situations.
   Slow tempos, for example, can be especially troublesome for percussionists. In addition to standard methods of maintaining slower tempos, such as working with a metronome, counting subdivisions, or focusing on the offbeat, percussionists may benefit from exploring sticking possibilities as well.

   The phrase above moves rather slowly, and the usual tendency would be to push the eighth notes, especially if using alternating stickings. If a student plays all the notes with one hand instead, that hand moves twice as fast as it would with alternating sticking, essentially cutting in half the tendency to accelerate. Equally as important as the improved tempo control, the student will likely be able to manage the gradual dynamic curve more effectively.
    Rhythmic phrasing should not be defined simply as producing an acceptable pulse, placement, and shape, but also in terms of creating just the right nuance for a given passage. Below, two sticking possibilities are provided. Each of these would create different nuance within the phrase. Students should consider how to group notes and relate them to the larger phrase; choice of sticking can be a great way to project these decisions.

Melodic Phrasing
    Melodic phrasing on any instrument requires fusing internal sound concept and technical facility. Each instrument carries its own set of idiomatic technical challenges. For example, clarinetists must be able to play smoothly over the break, and violinists must be able to shift positions seamlessly. In the percussion family, the layout of mallet keyboard instruments requires players to consider how to move fluidly around the keys. Stickings are a key approach to phrasing well.
    All sticking options discussed so far generally apply to mallet keyboard playing as well. Alternating as the default; one-hand lead for consistency; and various combinations of singles, doubles, triples, or more can all be used to produce the desired phrasing. Keyboard instruments also require players to consider sticking options for facility of lateral movement in otherwise standard situations.

   This example is probably suited to alternate sticking, beginning with the left hand.

    However, this passage, because of the pattern shift, would create an awkward physical motion with alternating sticking. Therefore, the sticking shown might be more beneficial. Experimenting with multiple possibilities will help instructors and students find the smoothest path to the desired musical result.

    Keeping the mallets out of each other’s way, as shown in the above sticking suggestion, is an extremely important technical strategy in keyboard percussion phrasing. This can be helpful when playing notes in the top and bottom of the range as well, to avoid crossing one arm unnecessarily over another. Keyboard percussionists can also vary stickings when playing a linear phrase, to smooth potentially disjointed playing between the natural keys and the sharp/flat keys.

    Given the key signature, alternating sticking would introduce excess lateral motion in this passage on the xylophone. At a quick tempo, economy of motion is a priority; the suggested sticking is one way to produce it.

Fluidity on Multiple Drums
    Strategies for lateral movement across the keyboard instruments are equally important for phrasing on timpani, drumset, marching tenors, and any multiple percussion setup. Regardless of complexity, producing rhythms across multiple surfaces requires the player to consider and reconsider how best to progress from one drum to the next and achieve the desired musical result.
    In this simple rhythmic passage the difficulty comes from making the groups of notes sound smooth and connected between the drums.

    Alternating sticking would require students to cross one hand over the other, or shift one hand quickly out of the way of the other, likely producing an unwanted accent. To overcome this challenge, a student can introduce a double into each group of 16th notes (RLRR-LRLL, or RRLR-LLRL) to give the switching hand a bit of extra time and space. This makes it easier to switch drums and improves musicality.
    On the drumset, similar considerations apply. For example, in any style incorporating swung eighth notes (jazz, country and western, boogie-woogie, blues), the underlying beat divisions are groups of three. To move comfortably around the kit while playing a fill in these styles, creative stickings can improve technical facility and musical phrasing. In the example below, alternating sticking would create physical confusion as the arms attempt to get out of each other’s way. However, using a RLL sticking throughout makes the passage a strikingly easy task and also contributes to the natural lilt of three-based rhythms.

Concluding Thoughts
    Helping students develop confidence and consistency with alternating sticking is an important aspect of percussion instruction. However, students should learn and practice a variety of sticking possibilities as well. Helping percussion students develop a repertoire of stickings and a solid understanding of when to use them will go a long way in improving their interpretative abilities and resultant sound. 

The post Percussion Stickings appeared first on The Instrumentalist.

    One of the greatest rewards of being a music teacher comes when a student declares a desire to study music in college and possibly follow in our footsteps. After much time spent working with these talented students, we are proud to see them ready to head out to the next phase of education and life. Ideally, students will make this decision during their junior year of high school so as to allow adequate time to research schools and prepare for auditions. During this process there are many ways teachers can assist students in making as smooth and successful a transition into higher education as possible.

Many Career Paths
    The first task with which music teachers can assist students expressing interest in becoming music majors is to talk with them about the opportunities available and requirements to succeed.  Most students know about careers in performance and education, but they may not realize there are also opportunities in music therapy, music business, music technology, and instrument repair. To help, there are several resources available. An informative brochure entitled “Careers in Music” is available on the National Association for Music Education website (). In addition, there are a couple of good resource books available including Opportunities in Music Careers, by Robert Gerardi (VGM Career Books) and Great Jobs for Music Majors by Jan Goldberg (McGraw-Hill Company).

Understanding the Requirements
    Many first-year music majors become discouraged because requirements of the degree are not what they expected. Students entering the university as music majors are usually unaware of the multi-year course requirements for at least music theory, history, and piano. In addition, those pursuing an education degree will likely find many additional courses and clinical experiences needed to fulfill the state teaching licensure requirements. To assist the students and families to better understand the requirements of being music major, encourage them to examine degree requirements in university catalogs and on music department webpages. Also, when visiting universities, be sure to speak with academic advisors as well as the applied faculty, conductors, and other teaching faculty in the department.

School Choice
    A student’s musical ability, interests, academic success, location, and family finances will all factor into the difficult but exciting decision of which school to attend. This is an area in which the music teacher’s expertise is extremely valuable, and advice should be offered, even if students do not think to ask. However, music teachers should be cautious of only recommending their alma mater; it may not be the best fit for every student.
     One of the easiest and fastest ways for students to research a college or university is by visiting the school websites. Most of which will be well-developed and informative. After a short list of possible good choices has been developed, students should try to visit the campus prior to applying. Many college applications have lengthy forms to fill out, essays to write, and application fees that must be paid, so students should not apply to a school in which they are not genuinely interested.
    While visiting the campus, students should set up a brief private lesson with the potential studio teacher to gauge rapport and teaching style. If a lesson cannot be scheduled, it is important to at least meet with the studio teacher; when audition day occurs, it is beneficial if the studio teacher already knows the potential student. Only a certain number of auditionees can be accepted each year and this can help your student be one of them. It is also a good idea to try to set up a meeting with someone from the admissions office and an academic advisor if possible. Let students know that is also beneficial and informative to visit ensemble rehearsals and sit in on music classes as available.
    Remind the students and families that no school is perfect and full scholarships are rare. Encourage them to find the school, teacher, and environment that feels like the best fit, make a commitment, work out the finances (keep in mind that college is an investment in your future), and most importantly, have fun and get the most from the opportunity.

The Audition
    Good colleges are competitive and have limited openings each year. Encourage students to audition at a minimum of three schools. Students should schedule auditions early; some schools have limited audition slots available. Find audition requirements online or contact each school ahead of time to ask if there is a prescribed set of materials required for the audition. If there are not specific guidelines, here are some practical suggestions for preparing auditions.
    Prepare at least two contrasting pieces. One should demonstrate technique and the other lyrical, musical performance. This can usually be accomplished with a technical study or etude combined with a solo work. Many students select music that is too difficult and perform poorly; help them choose music that shows off their strengths and can be played well consistently. It is generally more impressive to play an easier piece well than a harder piece poorly. Then the audition committee can rate musicality, rhythm, intonation, and breath support or bow control rather than listening to a piece in which the player is struggling just to get the notes. In addition, students should be prepared to play major and minor scales and arpeggios, and they should also practice sightreading prior to the audition.
    Audition preparation can be a great opportunity for mentoring and collaboration with an advanced high school student. If possible, set up a mock audition committee for students in which you can simulate the experience and offer feedback.
    In addition to preparing the musical part of the audition, also talk to the student about the non-musical aspects. Preparing a set of questions to ask at an audition can show the committee a sincere interest in pursuing this field and can also help in making a final school choice. Here are some possible questions:

   Could you describe the goals of your program?
   What opportunities for performing, conducting, or teaching will I have?
   What are the graduates of your program doing now?

It is okay to ask about scholarship money, but students should understand that they will learn few satisfactory answers at the audition.
    Let students know that the audition begins the moment they walk into the room, so they should be well dressed, friendly, respectful, and confident. Auditioning students could also benefit from a reminder to relax and smile. Remind students that mistakes will happen and that they not stop playing. It is also extremely common for the committee to cut someone off before the end of the piece, but this is not a signal of a bad audition. At the end of the audition, students should be gracious and thank the committee.

Being Prepared
    While they are still in high school, encourage students to begin expanding their musical skills and knowledge. The suggestions were offered by current freshman and sophomore music majors when asked what they wish they would have known.
    Taking private lessons as early as possible is important to developing strong skills on the instrument. Participating in school ensembles will not provide the same level of preparation as individual attention and study, and experience in ensembles is insufficient to prepare a student for a college entrance audition.
    In addition to taking private lessons, students should learn to use practice time efficiently and productively. Practice is not playing the same passage repeatedly and mindlessly, but includes goal setting, time management, problem identification and solving, and detail work on technique and repertoire.
    Practice time should not just be spent on solo works and etudes. The fundamentals of playing are extremely important. It is often difficult for a student to understand the level of technical proficiency that is needed to be a successful musician. They must learn to practice long tones, scales, articulation, intervals, lip slurs, and all the other applicable technical exercises. They need to understand that these skills will enable the performance of great music in the future. Two other important components of practice are sightreading and listening to great performers and the important repertoire for their instrument.
   Encourage any potential music majors to take piano lessons as early and as long as possible. Keyboard skills will be useful regardless of which musical path is pursued and can be helpful in studying scores, visualizing music theory, learning music, and playing basic accompaniments. All university music majors should be able to play medium-level piano literature, sight-read basic accompaniments and open scores, and harmonize simple songs in various styles. Students often do not realize until after they leave the university how valuable these skills are, and by then there is rarely time to develop the needed skills.
    All students, including instrumentalists, will have to sing in college. Some colleges require choir participation or voice class for instrumental majors, and the schools without these requirements will still expect students to sing in aural skills classes, applied study, music education courses, conducting class, and rehearsal skill development. If possible, a prospective music major should join a school choir or take voice lessons. It is also beneficial to learn to use solfege fluently. Some skills that students are often required to demonstrate are pitch matching, singing major and minor scales, triads, and arpeggios and sightsinging simple melodies.
    Learning basic music theory is another good way to get a head start. Students should take a high school theory class if possible, or find a music teacher willing to provide some individual tutoring. Ideally, students should be able to read treble and bass clefs, know rhythmic values of notes and rests, identify simple and compound meter signatures and major and minor key signatures. In addition, the ability to both identify and write intervals, triads, and major and minor scales is important.
    Some students are blessed with natural abilities in aural skills, but for everyone else, this can be a long and difficult path to skill development. In college, students will need to be able to identify scale degrees, interval size and quality, types of triads, and chord progressions by ear. Students will also need to be able to write dictated rhythms, melodies, and harmonies.
    While in high school, students should be encouraged to participate in as many large and chamber ensembles as possible, both instrumental and vocal. If there are community organizations such as youth orchestras, bands, or choirs or community ensembles or theater organizations. Performing at local churches is another good option for both instrumentalists and vocalists. Another way to find performance opportunities and get a strong head start on college is to become familiar some of the music technology and software that is available, especially music writing and sound mixing software and equipment.
    One of the most common complaints heard from freshman music majors at any school is that they feel overwhelmed with all that is expected of them. Most college students, but especially music majors, struggle with time management and study skills when first arriving on campus. In addition to the newfound freedom and responsibility that comes with living on their own, music majors also have heavy course loads, requirements for individual practice, and many hours of ensemble rehearsals and performance. Time management skills are imperative. Encourage students to start organizing their lives while still in high school, make sure they know how to use a calendar to track short- and long-term obligations, and work with them on developing daily schedules to include sufficient homework and practice time.
    Study skills take time to develop, but few students learn these skills well, and then they struggle in college. One of the keys to developing good study skills is to be organized. Students must learn to keep track of assignments, due dates, and exams; it is also essential to take notes during lectures, read with comprehension, meet deadlines, and effectively study for exams, especially comprehensive semester exams. Often the best way to teach this is by setting a good example and modeling these traits.

Course Credit
     Once a college has been chosen, one of the most helpful things to do is check the general education requirements of the university to determine if any credits can be transferred in or courses waived due to completed credits in high school. For example, many universities have a foreign language requirement, commonly for two semesters, unless a student took three years of a single foreign language in high school, in which case the requirement is waived. Discuss general education requirements in depth with an advisor as early as possible. Any credits waived or transferred into the university will save time and money on the path toward graduation.

A First Taste
    If a student is thinking of majoring in music education, provide opportunities for them to spend some time examining the profession from your perspective. Students often choose to become music teachers because they enjoy playing or singing in school music ensembles, and they do not fully realize that life as a teacher is quite different. One way teachers can assist students in deciding whether to pursue a career in education is by letting them shadow you in your job. Seeing a band or orchestra director’s daily routine and schedule can be extremely eye opening. It would also benefit the student to shadow other teachers in the district. Also, encourage students to become more involved in the behind-the-scenes work such as organizing the music library, making concert programs, choosing literature, or moving and setting up equipment. Set up opportunities for prospective teachers to work with younger students in the district. This will allow a potential music major opportunities to consider whether teaching is enjoyable and can also be beneficial to younger students receiving additional help on their instrument.
    The decision to become a music educator is an exciting one, however, it is not the profession for everyone and the decision should be an informed one. Overall, the best advice music educators can offer to a student interested in majoring in music is to set goals, work hard, and remember that the love of music is why we do what we do.   

Free Online Music Theory Sites
Music Theory

Ricci Adams’ musictheory.net

eMusicTheory

teoria – Music Theory Web

G Major Music Theory

Music Theory Flash Cards

Online Music Theory Game

Music Theory Minute

Music Theory Help Site

LCS Productions

Free Ear Training Sites
Ear Toner

Ear Training Online

GNU solfege

Functional Ear Trainer

Free Online Ear Trainer

Tete Ear Training

Good Ear – Free Online Ear Training

Earplane

Ear Beater

The post Helping Students Prepare for Music School appeared first on The Instrumentalist.

The first time you were invited to guest conduct, how was the invitation made?

Linda R. Moorhouse: My first invitation came in the form of a phone call for a district honor band. I was to conduct the grades 9-10 high school band, and Howard Dunn was to conduct the 11-12 high school band. I was nervous to be working an event with him and will never forget the kind and reassuring words he said to me after watching me at the end of one of my rehearsals that weekend. Not only was he an excellent musician, he was an exceptional teacher and mentor. I also remember having to teach a lot of slide positions and valve combinations during the rehearsal, in part because I chose music recommended by another colleague. The choices included some difficult keys.

T. André Feagin: My first guest conducting invitation came in 2001 with the Victoria College Wind Ensemble in Victoria, Texas. I was living in Victoria at the time, and the idea of connecting with the local community college was appealing. I remember having dinner with the jazz band and wind ensemble director when he asked if I would be interested in conducting a concert with the wind ensemble. Thrilled, I eagerly accepted and we met a few times over the next several weeks to discuss the various details on programming and performance dates.

Bill Thomas: I was teaching in a large 6A high school in western Kansas. One of the band directors at a smaller school in the area asked if I would be interested in conducting a league honor band for some of the small schools also in western Kansas. It was a fairly informal discussion at a District Band event. I asked about how many students are normally in the band, what conductors they had in recent years, what music had been performed, how many hours of rehearsal were scheduled, and how long of a concert was expected. After I agreed, he then called me a few weeks later to discuss specifics and nail down more details.

Scott Hanna: I cannot remember my first invitation, but I do remember thinking how much my first teaching job did to prepare me for a guest artist invitation. That job gave me the opportunity to work on three campuses spanning a wide range of student experience and ability, which honed my sense of how important it is to be mindful of the differing circumstances of each ensemble. It also taught me that people of all levels of experience and ability love music when they are led by someone who loves music.

Caroline Beatty: I don’t recall the first one, but the initial communication is similar from time to time in that I get an email or phone call simply asking if I am available to conduct a band on a particular date.

What questions should a guest conductor ask first?

Beatty: Find out whether you are supposed to make the travel and housing arrangements or if that is being handled through the organizers. The rehearsal schedule is important; sometimes even two-day events have vastly different amounts of rehearsal time depending upon the concert time. I also ask for programs from the last several concerts.

Moorhouse: Some initial questions include how much music they want for the concert and whether there is a budget for newer pieces or rental works. It is good to find out whether students have any other obligations during the event. I have been a guest conductor during music school auditions hosted at a university, ACT/SAT testing weekend, student performances with their bands at all-state events, and sporting events. For a couple of events I was asked to provide copies of the music, which is not something a host should ask the conductor to do.

Feagin: Confirm dates right away. Some opportunities are seasonal, and a guest conductor will most certainly want to know the exact dates and times of the event for scheduling purposes, especially if that guest conductor has full time employment elsewhere. My next few questions are about the structure of the event. I want to know how members are selected for the ensemble; it could be by audition or director recommendation or open to anyone. I also ask how long has this event has existed, what geographical areas are typically involved, the age or grade of the students who participate, what the performance and rehearsal spaces are, and whether there is more than one band at this event. It is also important to find out how much rehearsal time is available and whether extended instrumentation (such as contrabassoon, contrabass clarinet, vocalist, or pianist) is available.

Hanna: In addition to time, date, and place, I ask how far in advance I am expected to arrive, where I will be staying, and when I am expected to depart. I also like to know if I will have any assistance, such as an organizer or a percussion instructor.

Thomas: I ask whether students come already knowing the pieces or have to work everything up that day. I also ask if there is time for sectionals and whether staff and space are available for sectionals. It is important to find out who chooses the music, who the concert is for, and whether there is a concert; sometimes the invitation is for a clinic.

Many guest conductors ask for a repertoire list for the past few years of the ensemble they are guest conducting. What are some of the advantages and disadvantages of this?

Feagin: Past repertoire lists can be a good resource for evaluating what has been done and whether there is a repertoire trend. It also allows the guest conductor to see who else has conducted the ensemble in recent years. I have often checked a repertoire list not for what music was being performed but to learn who was conducting. The music world is small, and being able to pick up the phone or email a former conductor to ask about the experience is a great early step in making yours work as well. The disadvantage is that the past repertoire list can also be a trap. It is better to branch out and explore than to plug into a system that might not work for you. Guest conductors should factor in their knowledge and experience to make their program work. Consider whether there is time to teach a piece intently and efficiently and if a selection will provide a meaningful musical experience to participants. These are all key factors in repertoire selection.

Thomas: Previous programs only give the general level at which students have been playing. Just because an ensemble played a piece last year does not mean they played it well or that they can play it this year. Maybe the students and directors hated it, and this might be something to ask about. It is advantageous to know some of the music that has been played recently so you do not choose the same piece.

Hanna: The past programs provide a great deal of information, but it is also important to ask the people who run the event about the relative success of prior years. The repertoire on the program may have been too difficult or too easy.

Moorhouse: You do not want to repeat something the students have done before in a similar setting. Even more helpful than old programs are previous recordings, where you can judge if the repertoire was programmed well. I also like to see what guest conductors are programming around the country.

If the organizers say that the concert should include 20 minutes of music, how do you prepare your literature selection?

Thomas: The first rule is to avoid going over time. I always look for a chorale, a march, an overture, a novelty piece, a war-horse or transcription, and something new. From that, now I can prioritize what I definitely want to play and then as I begin to read with them, determine what can we play well and then narrow down the list as the day goes.

Beatty: I usually try to find the right big piece and work around that with other appropriate repertoire that provides a nice variety of sounds. I try to see that each section will have a good amount to do. Depending on the level of the group, this can be difficult, especially for low brass and percussion.

Feagin: Twenty minutes of music is typical for some guest conducting opportunities. Before looking at the time frame I typically pull a list together of works that I am interested in performing with the group; my best programs come when I am thinking of the quality of the literature first and the time frame second. This may require sometimes that I perform two pieces instead of the typical three and in some extreme cases, just one. What matters most to me is that I select literature that provides for a variety of musical expression. The time frame normally works itself out.

Moorhouse: I like to program a three to five pieces, from quick-paced tutti works to something slow and lyrical to teach expression and maturity to some type of high-quality standard work in the band literature. I start with the standard work and build the program around it.

Hanna: I select repertoire that will permit five minutes of speaking about the works, introductions, and acknowledgements between pieces.

Knowing the rehearsal schedule ahead of time is an asset and will affect your selection of literature. In what ways do you use the schedule to assist in pacing your rehearsal?

Hanna: The first rehearsal is about you and the musicians getting to know one another musically, understanding how you will work, and establishing expectations for performance in both rehearsals and the concert. I like to begin with a piece that is fairly easy on the first reading to gather as much of this information as possible and start our time together by doing something well.

Feagin: Having time to teach intently and efficiently is key to making your program a success. Some works require more time than others, and I am often conscious of the amount of time available versus the amount of time I think I need to teach the work. If a program is heavy in a specific piece and lighter in others, this will allow you to adjust scheduling accordingly. At the University of Texas at El Paso, I often evaluate the number of total minutes in a rehearsal cycle to the number of minutes I believe it will take to accomplish my musical goals.

Thomas: I determine what the students are capable of both by sightreading as well as how they rehearse. During that initial time, I will work on ensemble tone as well as rehearsal expectations and help them get acquainted to my conducting style and nuances. We will begin working on the pieces that will definitely be programmed. At the first break, I think through what to add or remove that we will begin working on next. Before major breaks, I like to have a run-through of the pieces to tie up loose ends and see where they are so that when we return everybody know what work is left to be completed prior to the concert. Breaks are a time for some sort of closure and wrap-up of that teaching segment.

Moorhouse: If I have a good amount of rehearsal time, I will send the percussion out of the room to sort out their parts with another director or a rehearsal assistant, and then work with the winds on a slow piece to set a standard for tone, intonation, phrasing, and expression. This sets a benchmark of expectations for the weekend. If I have limited rehearsal time, I will try to read through everything in the first rehearsal. After the first rehearsal, I have an idea of what our strengths and weaknesses are and will build the schedule around them. I reserve mornings for those rehearsals that need extra energy and concentration.

Beatty: I break each rehearsal block into time segments for each piece that I want to rehearse and I set goals for each of those segments. This allows me to see on paper that I am getting to each piece sufficiently throughout the entire process.

The first time you take the podium, what do you say to the ensemble?

Hanna: “Hello, I’m Scott Hanna, and I am so happy to be here with you to make music. We are going to have great fun together.” Then I have the oboist give tuning pitches, and we begin.

Beatty: I welcome the students and congratulate them for being in the ensemble (assuming this is an honor group). I briefly say something that lets them know how much I am looking forward to the experience and hope they are, too. Then, I get to playing as soon as possible, because that is what they are there to do. I leave other general announcements for later in the rehearsal, so as not to put everything at the start of rehearsal. One of these is a statement about how professional they need to be in regard to self-correction and replication of what goes right. Telling students you have no doubt they will do that allows them to rise to the occasion.

Moorhouse: I introduce myself and then do everything in my power to create a trusting atmosphere. I will take time at the end of every rehearsal to have the students ask a question of me (actually, they get three questions). By the end of the weekend, the students have a much better glimpse of who that lady is in front of them, and we are a stronger ensemble for it. I credit one of my mentors for giving me this advice many years ago.

Thomas: I give a brief introduction of myself and why I was chosen to be in front of them, then express my desire to make great music and have fun together. I share something about one or two of the pieces we will be working on, and tell them I hope they have something of value to take back to their ensembles when this event is complete.

Feagin: The first thing I say to the ensemble is thank you. I think that it is most important that the students, directors and those responsible for you being there understand that it is truly an honor for you to stand on the podium with those young people. I then give a little background of myself, keeping if brief because understand these students did not come to this event to talk about me. I give an overview of what literature we will be exploring and why I selected that literature. I then ask if everyone has all the correct parts, and away we go.

What are some tips for starting honor band rehearsals?

Feagin: Starting is extremely important; how you begin is critical to how the experience ends. The first thing I do with the group is to try and set the sound of the ensemble. What elevates any ensemble in performance is its time together. Guest conducting does not offer this time so you must be creative and efficient in making this work. I typically will spend a good amount of time in technical exercises allowing me to hear what the group is capable of from a tone quality standpoint. After this technical check I typically read each piece without stopping. After that reading I go into my first phase of rehearsal on that work. It is small, but enough for us to highlight some detail before having to move forward. I do this for every piece until we have successfully moved through all the literature. Later on when I am back in the hotel room I spend a good amount of time and thought reflecting on the initial rehearsal. This allows me to make an educated decision as to what is going to be on the program and commit to that before returning to the next rehearsal.

Thomas: In starting the warmup, it is important to have something either easy to teach by rote or have it written out and on their stand. Otherwise, time is wasted. I’m not a big proponent of using time to sightread multiple pieces to determine the program. That wastes valuable rehearsal time. Sometimes I gauge an ensemble’s ability incorrectly, in which case I put that particularly difficult piece aside to move on to another one.

Beatty: I start with a short warmup emphasizing balance, tuning, and tone and while setting the expectation level. I often begin the repertoire reading with a lyrical piece to continue the emphasis from the warmup without students having to concentrate too much on technique. Then, I might move onto what I think will be a moderately difficult piece for the timeframe and ability. This will tell me a lot about whether to attempt a more difficult work, if there is one. During this time, I do not strictly sightread through the pieces. I will have a schedule of how much time to spend on each piece and will be in a big-picture mode. During the next rehearsal segment, I will focus more on specific problems while still giving opportunities for bigger picture moments of playing. I try to stay cognizant of how much students are not playing, because they are there to make music. It is important to keep students involved even when I am working with another section and get everyone back to playing as soon as possible. If the schedule encompasses a typical Friday/Saturday event, the Saturday morning rehearsal is key to the refinement of each piece. During the afternoon rehearsal, I try to be sure the students are ready for playing things straight through. Endurance can be a problem, so I often have students sing and finger the music, or I sing while they use their air, finger pitches, and articulate.

Moorhouse: At the end of each rehearsal, I tell the students what I thought we did well, and what needs more work; there is always something we can strive to improve. I then tell them what we will be working on at the next rehearsal. I start every rehearsal with a very short warm-up while the percussion set up. This is generally some type of pitch matching, chord building, or Remington exercise. This gets everyone back on task without me having to say a word. Breaks are generally built into the main schedule. If I need to rehearse the woodwinds alone, I may let the brasses go to break early, or vice versa. I’ll make sure the percussion are in at least one woodwind or brass mini-sectional.

Hanna: I do my best to avoid the “program to be selected from the following” scenario, and prefer to do as much homework as is required to set a program in advance. It requires quite a bit of communication with the host, as well as others who have experience with this situation, but I have great success with this approach 95% of the time.

Do you think having the students select the program is a good idea? If so, how do you control the process to preserve a balanced program?

Hanna: No matter how smart and talented they may be, students are not professionals trained to make such choices. Guest artist invitations provide a wonderful opportunity to expand students’ musical perceptions, and I try hard to do so every time I can.

Feagin: Although I do think about the students when selecting repertoire, I have never taken this approach. There may be pieces that the students would be familiar with and excited about, but it is the responsibility of the conductor to provide a deeper understanding of the literature provided. It is a goal of mine to introduce students to great gems that they may have never heard of.

Moorhouse: I have at times brought more music than what I need, especially when I am unsure how talented the band truly is. If I ask students to choose from two similar-type pieces, they invariably choose the more difficult of the two. It is amazing how much their work ethic ramps up when they are a part of the decision.

Beatty: It can be a good idea if you have choices in the folder that will go together well and it can engage the students in an interesting way. Because of time constraints and the fact that the conductor understands difficulties in the pieces that the students may not, limiting the options would be necessary. For example, if there are two lyrical pieces, have the ensemble read them and decide between the two as opposed to having them select the program wholesale.

Thomas: I do not advocate for students choosing the program. As professionals, we have the expertise in choosing music that is varied and appropriate for the ensemble and audience. I have no problem allowing them to choose between two pieces when I have to cut down a program and do not care which one goes, but I choose which two they get to decide between.

What factors during the experience have prevented you from achieving your initial musical goals?

Moorhouse: Because of snow, over the last decade I have given three concerts with just one rehearsal. That is pressure. I also remember an experience at which it was traditional for the host university’s music education students to warm up and tune my band. I will never do that again. My principal flute player’s head joint was pulled out almost two inches, which became apparent when she began to play a very thinly orchestrated opening with solo oboe and piccolo. Early in my career I remember arriving for a district honor band event, and there were no chairs, stands, or percussion equipment in the auditorium. The finger-pointing the directors were doing was quite something. Unfortunately for the students, the rehearsal began two hours late.

Feagin: The only thing that has prevented me from accomplishing my musical goals at guest conducting events is time. This is why it is so important that conductors are organized and energized before they arrive. Eight hours of rehearsal is a small amount of time for any organization to put on a performance. The more work that is done on the front end with programming and rehearsal pace, the better the overall performance and experience will be for students.

Hanna: Occasionally there will be initial lack of success with or even resistance to some of what I ask students to do. This is usually because of inexperience on the part of the musicians. Some ensembles may have uneven levels of ability from section to section or player to player.

Thomas: Great music making can always happen with music that may be a little too easy technically but is rarely possible when students lack possess the technique to play the music. When I have overestimated the ability of the group, it has been a struggle. Easier music can always be played up with such tricks as adding intensity, stretching phrases, or changing the tempo.

Beatty: This usually is caused by over-programming. The program may be too long or the music too difficult.

What practical advice would you offer a first-time guest conductor?

Thomas: Under promise and overachieve. Choose music that should be easily attainable. Ask colleagues, local music stores, and specialists what music they might recommend for the group. You do not have weeks to rehearse the group, you have hours. Know the score. Get recordings to listen to and prepare with. You might even take recordings to play for the students to help them quickly grasp a certain concept or sound.

Feagin: I have a great mentor who would often say it takes energy to produce energy. I am not sure that first-time guest conductors are aware of the energy and the sustainment of that energy that is required for these events. A good rest and a focused mind go a long way when participating in these types of engagements. Always make the musical experience for the students the top priority; it should be considered in every decision that you make. Strive to provide an experience that the students as well as you will be speak well of for years.

Beatty: If you have blocks of rehearsal time, map out how much time you will spend on each piece for each block and plan what you want to achieve on each piece. If I have two Friday blocks, I map out both but revisit my second block plan during the break to see if it needs adjusting. Friday night, I will plan and map the times for the Saturday blocks. Saturday I don’t start with the lyrical piece. The students are usually tired, so I wake them up with one of the energetic pieces.
At times, it will be necessary to work with specific sections, but be aware of how much time you spend on only them and get everyone playing as soon as possible. If there is a section that needs substantial attention, see if another director is available to pull those students out and work with them while you rehearse everyone else.

Moorhouse: Select pieces that you know very well. If you are guest conducting an ensemble that plays many grade levels below what you normally conduct, ask someone who teaches at that grade level for repertoire suggestions. Try your best to learn the students’ names, at least those of the principal players.
    If you have soloists, teach them how to bow or how to be acknowledged by the audience. Never dismiss your ensemble earlier than the scheduled time, unless you have permission to do so. Do not be afraid to change the seating chart if you feel it will help make your ensemble stronger. Be flexible. Be prepared for anything.

Hanna: Be gracious to every person with whom you interact. If people think well of you, the will be willing to try almost anything. Know your music. Talk less, and make music more. Musicians are more interested in making music than listening to you.   

* * * *

Caroline Beatty is director of bands at Texas State University-San Marcos, where she also teaches conducting.

T. André Feagin is assistant professor of music, associate director of bands and director of athletic bands at the University of Texas at El Paso.

Scott Hanna is assistant director of bands at The University of Texas, where he directs the Symphony Band and Chamber Winds and is associate director of the Longhorn Band.

Linda R. Moorhouse is interim director of bands at the University of Illinois, where she also teaches courses in instrumental conducting and wind literature.

Bill Thomas is director of bands at Shawnee Mission West High School in Overland Park, Kansas.

The post Keys to Great Guest Conducting appeared first on The Instrumentalist.

What are the keys to building a strong music program?
    At first building a strong program meant having to swallow my pride. It is important to get students out performing, even if the quality isn’t what you’d like. With just freshmen and sophomores from different schools and with differing skills, we did not compete our first marching season. I bought a stock show, figuring we could learn and perform it at the two junior varsity football games scheduled. In the entire season, we only made it through the first movement of that show, but the parents and administration thought it was wonderful, because it was something new. Marching band is by far the most visible ensemble at most schools; more people will see the marching band than are likely to see the concert or jazz groups. If we do produce an excellent marching product, it is something the principal can use to promote the school and students and parents can be proud of.
    A high school program improves by investing in the junior high. Merely being at the junior high can sometimes help recruiting, but high school and junior high teachers should find ways to work collaboratively so students see it as a seamless transition. It shouldn’t be “Am I going to continue band in high school?” but “Of course, I’m going to stay in band. That’s what you do.” Our district is a junior high/high school-only district, and everything is dependent on each school to do as they wish. We have determined that the best approach is to collaborate closely. One tradition we have established is for all of our students to participate in the solo and ensemble festival, so when they get to high school, they will have had that experience. We also co-host a number of events that permit our students to interact with each other, including the district band and orchestra festival. In addition, we make a point to speak highly of each other’s programs. Aligning our mentalities with each other helps ensure consistency with students, and they see the good working relationship we have.
    There is a new junior high director this year, and we have worked on curriculum to make sure that all students know the same skills by the time they get to high school. Ideally, students should come in to high school knowing all twelve major scales. They do not have to be played in multiple octaves, but being fluent in eight and knowing all twelve would be ideal. From there I can build range and move to the minors. Musically, students should be able to play in all keys from C to Db; we definitely want to avoid only playing in Bb. Students should know how to transpose on their instruments. If I ask for a concert F, all students should know what note that is for them. In junior high, students should have an introduction to compound meter so they know what 68 time is. The same goes for cut time. None of this is too difficult. Students can do anything, as long as you teach them how. If you want to play a piece in Db, teach students the Db major scale. Then give students some technical exercises in Db. After that, students should be able to handle music in that key, even in junior high. Students can be given the skills necessary to do well.

When building a program from scratch, what pieces are the most important ones to have in place?
    West Ranch High School is the second high school I have opened. I started my teaching career at a new high school in San Jose. Teaching high school right out of college and getting to open a school seemed like a great opportunity, and I learned quite a bit going through that, which helped me at West Ranch. The essential first step is to develop a vision for the program. I modeled much of what I wanted to do at West Ranch on my experiences in high school. Our town only had 7,000 people in it, but we qualified for the state band contest twice while I was in high school. Only 20 bands in the state were invited each year. My director also made a point of introducing students to good music. The primary difference between my high school experience and what I wanted for West Ranch was marching band. We did not march in high school. Looking at things now, I have no idea how my high school director would have had the resources or staff to run a marching band – to say nothing of the fall weather in rural Oregon.
    The next step is putting all the little pieces in place. At a brand new school there are no support organizations, so boosters have to be established. This entails such tasks as filling out tax forms, opening a bank account, and writing bylaws. Further, no forms have been created and no policies for checking out instruments or music exist. All this must be produced.
    Ordering equipment is a daunting task. Administrative support for music was strong, and I received about $300,000 when the program started. It didn’t buy everything I thought we should have, but it was an excellent start. I wanted the foundations of a strong music library and spent $20,000 on music. This was not the newest works, but the classics that I knew would work and were good. I bought this music knowing that we would not play all of it right away, and there is much that we have yet to pass out. Over the years, I’ve added newer music, but I felt it was important to establish a music library with the tried and true band works. If nothing else, we had some charts we could sightread to prepare for festivals.
    After that, I wanted to get good instruments. I got professional models for the most temperamental instruments: double reeds, horns, and tubas. I don’t want oboes that will permanently play out of tune. The instrument is difficult enough regardless. It is important that these players have access to excellent instruments. Also, I can tell oboists that they are using a $3,000 professional model instrument, and they should treat it like one. I bought intermediate models of the large saxophones and clarinets. Getting the opportunity to do this twice in my career definitely changed some of my instrument choices. There were instruments I learned not to bother with. I bought no contrabass woodwinds this time. These were extremely expensive, unreliable for what I could afford, and much of the music published today lacks these parts. I feel like I wasted $30,000 buying those instruments the first time.
    The biggest lesson I learned was in buying marching tubas. Right out of college, I was excited about marching and bought contras. Then I saw my students trying to march with them and realized I had made a horrible decision, so this time I bought sousaphones. We have a high school marching band, not a drum corps, and I don’t have the build of students to make marching tubas worth it.
    Fielding a marching band also means such purchases as uniforms, a sound system, front ensemble instruments, uniform racks, and a trailer to haul everything. The list of things needed to outfit a music program is extremely long.

What is the best way to get rehearsals off to a good start?
    A controlled environment is essential for instrumental music, otherwise it is difficult to get anything accomplished. Routines help keep order in the classroom and on the marching field. Students who know what to expect every day will do what is asked of them. For band and orchestra rehearsals, students come in and set up, and at three minutes after the bell rings they are to be in their seats and ready to go. Whether I am on the podium at that precise moment is irrelevant; they should be ready to play. Many directors are shocked when they watch my marching band, because the students automatically start themselves at six o’clock. I teach the students to rehearse from day one, and we call it the West Ranch Way. Establishing these routines helps keep everything else in order.
    At six o’clock on the dot, the drum majors call students to attention. Every rehearsal starts with a callisthenics block, which includes stretching, strength building, and conditioning. Marching band is an athletic activity, and it behooves us to build strength and stamina because students have to get through an eight-minute show while playing their instruments. With the fast tempos in our shows, we cannot have students tiring out, so we train them with 15-20 minutes of daily callisthenics. After that we move to a marching fundamentals block for 20-45 minutes. This happens throughout the season at every rehearsal. After that, we start rehearsing the show. We have two three-hour blocks per week, plus a weekly one-hour sectional.

What advice would you offer to a new band director?
    Be organized. Communicate frequently with staff in a professional manner. I email a schedule that lists exactly what we will be doing in advance of every marching rehearsal. At the end of rehearsal we meet to discuss what the next step is. Also communicate with uniform, equipment, and food parents to make sure that everything they are supposed to handle is getting done.
    As a tournament host, I see disorganized bands often. They do not turn in all their paperwork or pay, or even submit an application. They arrive and do not know where to park because they did not read the packet. They do not know when to be at the gates, and then they are angry because they are late getting to their performance. Such teachers put their students through much unneeded stress. They rush around and are poorly prepared because they did not plan rehearsals properly. It all stems from being disorganized, and I do not know many unorganized directors with strong programs. A lot goes into making a program excel, but simple things like organization make a huge difference.

How do you teach style?
    Last year, the wind ensemble struggled with style. We were rehearsing a piece by Thom Ritter George called First Suite in F, a very programmatic work in the style of a British folk song suite. It was a bear for us, and students really struggled with the styles necessary to play the piece, especially the articulation. With it being such a rough area last year, I wanted to address it this year. When considering good works to teach style, the first one that came to mind was Robert Russell Bennett’s Suite of Old American Dances. The wind ensemble rehearses all year, but our first concert isn’t until December, which gives me the time to work out some of these difficulties without a fast-approaching deadline.
    Part of teaching style is getting students in the right mindset about the purpose of the music. These are dances, and with that should come knowledge of how the dances are performed, so we watched examples of each and discussed how the music represented them. I had to teach the difference between staccatos and marcatos. It helps to try playing it multiple ways. First I might have students slur everything. Then we will try it all staccato or marcato, and finally I tell them to play as written, and everything clicks and students realize how much better it sounds when played the right way. The key is that all students have to play the same articulation. If only half of them articulate correctly, the effect is lost. When students do it incorrectly on purpose and then make it right, it is easy for them to see the comparison.

How did you overcome your lack of experience with string instruments?
    As preparations were being made for the opening of the high school, the principal knew he wanted a big music program. A parent who was going to have a student at the school was a headhunter, so the two of them worked together to come up with the most wonderful-sounding job post that I have ever read for a high school band. Anybody with any desire to teach music at all who saw this would have jumped at the opportunity, but nowhere in the post did it say anything about orchestra. In my interview, the principal asked, “Oh, by the way, can you teach orchestra?” I told him I had never done it before but was pretty sure I could figure it out.
    It was clear early on that I was really bad at teaching strings, and that was not okay with me. As a saxophonist, this was a gap in my knowledge. Luckily, my ability matched that of the group early on, and we helped each other get through it that first year. After that I started doing research and found a book called Orchestral Bowing: Style and Function by James Kjelland. I still have sticky notes in it. My biggest disadvantage was that I’d never played a string instrument. I had to learn quickly how to produce a good sound on the string and how to use the bow to create dynamics and good tone. I started going to string sessions at conferences; I do not remember the last time I attended a band session. I was lucky enough as well to have a student in the orchestra whose mother played in the Los Angeles Philharmonic. She came early on and would help when she could. I watched everything she did, and she gave me feedback on my teaching.
    I remember an early struggle to get students to play piano with a good sound. It seems like a simple thing, but there were getting a scratchy, broken tone. We learned that you still have to have decent bow pressure but can move the bow closer to the fingerboard or move higher up on the bow or use less of the hair to get a good piano. There were different things to try, and suddenly, they could play quietly and the sound was good. That was one of my first a-ha moments and the point where I started to understand the instruments enough to make that change. It made the orchestra sound much better.
    By year three, I started to get some talented students into the orchestra program, and I used them to demonstrate technique, something I still do. I learn from my students every day; many of the top students have been studying privately for many years. Students tend to morph toward the center of the bow on their spiccatos, but it is difficult to play spiccato on the middle or upper third of the bow. For stylistic bowings like spiccato or col legno, I will defer to my concertmaster. Students also help with writing in bowings. My first-chair players make choices and give them to the entire section, although sometimes we make changes. Bowing affects the music and should be adjusted to phrase better or sound more powerful or be easier for the students.
    Now it is to the point where I feel competent in getting students to play high-quality music and have it sound good. This year the orchestra had to be split into two classes; there were roughly 30 students who were excelling at a much higher level than the other students. They needed more difficult repertoire than the rest of the string players were ready for. The younger orchestra needs more guidance; there is a lower percentage of students taking lessons, and they haven’t played as long.

What are the biggest difficulties in teaching high school string orchestra?
    Full orchestra is difficult to put together. We only perform one or two full orchestra pieces per year, and to pull this off we have to rehearse after school, during lunch, and during breaks. The block schedule here does not lend itself to full orchestra. I cannot double block students, and there are not enough musicians to pillage the wind ensemble of the best talent and put them in the full orchestra, so we have to be creative about it. It is difficult to put together. This limits me to strings-only literature, and there is not much of it past grade 4. Some of the greatest pieces ever written are for full orchestra, but it is difficult to find high-level music for strings only Last year we played the full version of Sinfonia 9 by Mendelssohn. I had never heard of it, but it was wonderful. I get lists from repertoire sessions and order much of what is on them. I have found some string-only suites, such as the St. Paul Suite and the Holberg Suite, that are great string pieces. Sadly, there are few composers today writing at that level for just strings. I am unsure why that is; my hunch is that orchestras just are not as big as they used to be. In southern California, there are only a handful of string programs. I am glad that in a time when that has dwindled we have been able to bring it back.    

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