Self-Esteem
    I was working with a young clarinet player a few years ago who was extremely talented but didn’t seem to realize it. “You do know that you’re talented, right?” I asked her. “Yes,” she responded. “Then why don’t you work really hard at it and be a great clarinet player?” I asked. “I don’t know,” she replied. “I guess it’s because I have low self-esteem.” The answer surprised me because up until that time I always thought of low self-esteem as a quasi-hidden condition that teachers recognized in their students and tried to improve, not as a condition that a kid could actually self-diagnose and use as an excuse.
    Whatever the case, when thinking of self-esteem, the trick is making sure that students do not think their basic self-worth is tied to their success or failure. We can help with this by making sure we compliment them on long-standing qualities rather than solely on their often-fluctuating levels of musical achievement. Additionally, when they do fail (and they will), we should make sure they understand that although they have failed at a task, they themselves are not a failure.

Trust
    In Winning Management: Six Fail-Safe Strategies for Building High-Performance Organizations, Wolf J. Rinke writes, “If you mistrust your employees, you will be right three percent of the time. If you trust people until they give you a reason not to, you will be right 97 percent of the time.”
    One thing that has irritated me over the years is when administrators make an off-handed comment implying that my students are untrustworthy and will attempt to get away with whatever they can when adults are not hovering over them; the offending comment usually pertains to travel. In such situations, when I express the trust I have in my students I get incredulous looks that imply I am completely out-of-touch and naïve to place any kind of trust whatsoever in my students. I am not sure what the problem is; maybe they spend too much time with the bad students in their office, meting out discipline.
    Don’t get me wrong, I think it’s important to have clear guidelines and appropriate safeguards in place, but they should be presented to students as an exception that could ruin it for everyone else, not as something you believe they are all likely to try and get away with, but an exception that could ruin it for everyone else.

Urgency
    One of the most difficult tasks directors face is instilling a sense of urgency in their students. I am always amazed how little of this some students demonstrate, whether through not practicing, lack of diligence in rehearsal, or some other musical failing. Directors must be consistent in maintaining this sense of urgency through their own example. Having a sense of urgency doesn’t equate with a sense of panic. It’s vital to stress to students that it is important to work hard even when things seem to be ahead of schedule because of all the unforeseen factors that can throw a schedule off, such as inclement weather; illness to key players; and local, state, or national testing. The urgency should be presented in a business-like way. Too many chewing-out sessions and tantrums and the students will turn you off. The school year certainly has a distinct ebb and flow, but there should never be an it’s-time-to-get-serious mode that is significantly different from any other day.

Visualization
    Jim Valvano, late coach of the North Carolina State Wolfpack basketball team, was a great motivator. He was quite the storyteller, and his most famous story is probably about cutting down the nets, a tradition for the team that wins the NCAA tournament. Victorious players and coaches climb a ladder and cut one of the strings on the net to celebrate.
    Valvano would actually have his team practice cutting down the nets before they had even won the NCAA tournament. It certainly didn’t help with strategy, the fundamentals of play, or the conditioning required to make it through the tournament, but he believed in painting a picture for his team. He wanted them to see themselves as a team that could win it all, and he wanted them to believe in that dream. In Valvano’s case, it was time well spent. They won a dramatic 1983 finals victory over Houston.
    I’m not suggesting that we literally have our students hoist trophies and imagine winning a contest before loading the bus for a marching contest. What I am suggesting is that we help our students, both individually and collectively, visualize success in their lives in any way that we can. It may be as simple as predicting a bright future for them because of fine qualities that they have: “Your work ethic is so strong you’re going to be a success at whatever you chose to do.” It could also mean focusing on a talent they have: “You have the conducting talent to be a fine director some day.”

Willpower
    Students would practice more if they just had more willpower. However, it’s hard for me to be too critical at their aversion to practicing when I have a hard time getting around to doing things I know that I should. The book Willpower by Roy Baumeister and John Tierney has helpful suggestions on developing willpower. Baumeister and Tierney have found that willpower is limited; as we make more decisions, it empties like a gas tank.
    With this in mind, it is important to build our lives around habits. The more things that can be turned into habits, the less that willpower has to be used. It then becomes a matter of building habits. One way to do this is to manipulate the environment around you in a way that makes what you should do easy and what you shouldn’t do difficult. To encourage some more practice on my guitar, I leave the guitar at home downstairs where I see it every day when I get home from work rather than upstairs in my office. (You have to have an understanding spouse for this one.) To discourage over-eating, I buy lots of vegetables and have few sweets around the house.

X-Factor
    The X-factor refers to the unknown, an indescribable quality, something about a person that you cannot quite put your finger on. Despite its illusiveness, I believe we should see every child as having some type of X-factor within them waiting for us to discover and unleash. The cultivation of the X-factor can strengthen the role of each kid in our band, and by extension, have a significant effect on the band itself.
    It is understandable that we give a lot of credit to those with a lot of musical talent, but we have students from all types of backgrounds and ability levels with less obvious talents that are also vital to success. The X-factor may be any number of things, such as leadership, a great work ethic, an attractive personality, people skills, or a sense of humor – all of which we should identify and encourage so our band itself has a collective X-factor.

Yes People
    I cannot stand suck-ups. I believe in straight talk rather than always telling my superiors only what I think they want to hear. This is easy when dealing with a boss who believes and respects straight talk as well. The difficulty arises when it is obvious the boss gravitates toward those who agree with everything he or she says, and you are painted as someone who is not a team player. At the same time, I have learned to pick my battles; I do not feel like I have to win every argument. Losing some battles can help win others that are more important to me.
    To always say yes doesn’t mean you respect your bosses, it means you fear them, and fear is not good when what you ultimately want is what is best for students. Yes people end up as frustrated employees because they have no personal opinion they are willing to fight for. Others, whether it be band parents or administrators, will be driving your program, not you.
    You could also ultimately lose your self-respect. I have had some administrators over the years who were so overly concerned with doing what they thought their higher-ups wanted rather than supporting what they knew was really the right thing for the band program. In two cases, they chose to become yes-men, and in both cases they ultimately met dire ends after years of sucking-up. You may not always get what you want when you don’t play the yes man, but you have the satisfaction of knowing that you stayed true to yourself.

Zeal
    Classes have different personalities. Some of our wildest young bands can drive us crazy but often turn out to be the best ones that we have because of the zeal they bring to the table. I have had beginners come up who drove their elementary teachers bonkers but were wonderful in band because it is that very enthusiasm and energy that can be channeled into exciting music-making. We need to recognize zeal when we see it, embrace it, and use it to our advantage.  

The post Cutting Down the Nets appeared first on The Instrumentalist.

    As part of our 70th anniversary celebration, we will be revisiting a few classics from our archives. This article first ran in the November 1986 issue.

    Nothing is as essential to a jazz performance – whether by a combo, a vocalist, or a big band – as the ability to play “in the groove.” This steady sense of pulse eludes many ensembles. In fact, as a jazz festival adjudicator, the question I most often hear among my colleagues is “where’s the groove?”
    Maintaining a good jazz groove calls, first of all, for attention to the beat or pulse. Different tempos and styles can alter the sense of what’s happening to the pulse. Paying attention to these changes is what produces a good groove.
    For students, developing a focused approach to listening is the first step toward understanding how to play in the groove. Because a jazz chart provides only a rough blueprint for the player, an appreciation of the techniques and subtleties that characterize the rhythmic essence of jazz can be gained only through careful, systematic listening.
    Recordings of Count Basie’s rhythm section provide a solid example of a group that stayed together, kept steady time, and generally contributed to the body of music known as jazz. Dozens of Basie’s big-band and combo recordings are available today. You could pick up practically any one of them and gain insight. You may want to select one album to demonstrate the big-band setting and another to show the combo; for the most part, though, you will observe the same phenomenon regardless of the ensemble. If you’re eager to select a single album, I would recommend the exceptional Warm Breeze recording.
    The first time you listen with your students, you should focus almost exclusively on the rhythm section. First, point out that Basie’s rhythm section never gets in the way of the rest of the group. Often their performance is so understated and simplified that you have to listen intently to know they are playing; yet all the while they provide a consistent, solid foundation that puts the band at ease. The rhythm section truly illustrates the principle that less is more.
    As you listen to Basie’s rhythm section play at different tempos in various performances, you should notice that the players’ reactions depend on the specific conditions. When Basie plays a slow tempo, the rhythm section seems to delay the beat ever so slightly. This laid-back, behind-the-beat style should not be confused with dragging the tempo. The tempo remains constant, but the beat seems to be pulled between the band and the rhythm section, each playing on slightly different parts of the beat (the band more on the beat, and the rhythm section slightly behind). This helps create a sense of tension for a tempo that otherwise would seem listless and perhaps even uninteresting.
    When young bands perform Basie’s charts or other pieces at a slow, relaxed tempo, they often fail to match the light, unhurried sound of the Count’s band. Achieving the subtle dualism of the beat characteristic of Basie’s group is undoubtedly demanding; but the alternative is to give a slow, boring performance that loses the audience. Some groups that try to replicate the delayed feeling of Basie’s rhythm section only end up playing progressively slower throughout the piece. This unmusical approach results in the band sounding (and indeed often feeling) tired.
    At a moderate tempo (q = 120-180) the Basie rhythm section aligns itself more with the beat, along with the rest of the ensemble. Here again, there is always a strong sense of the rhythm section performing as a unit to obtain a solid groove. Most of this sense of solidarity results from each member of the rhythm section being concerned with complementing what the other members of the section are playing. The rest is achieved through a sensitivity to the metric sense and overall mood of the music. Although Basie’s rhythm section may move the feel of where the beat is, according to the tempo, concern for playing as a unit and an ever-present sensitivity to time is what ultimately characterizes Basie’s playing as being in the groove.
    In up-tempo pieces, Basie’s rhythm section functions in a manner almost opposite from the way it approaches a slower tempo. At the faster tempo the pulse appears to be slightly ahead of the actual beat, giving the music drive and intensity, yet the actual tempo is always solid and I never feels rushed. In brighter tempos they play lightly, never hammering away at the beat. Even at blistering tempos, the rhythm section never I intrudes, exhibiting a sense of restraint. When the drummer, pianist, bassist, or guitarist is even momentarily prominent, it is to complement and spotlight the other players. Overall, the rhythm I section is responsible for maintaining control and reserve, providing the wind players a secure foundation from which they can perform at their peak. Basie’s soloists also carry on a solid sense of pulse that is especially prominent in the solo break, a favorite device of Basie’s. During this event the entire band, including the rhythm section, stops while the soloist plays two, four, or more measures alone. When such a break occurs, the sense of time is always particularly strong, and the soloist sustains this sense so that when the rhythm section (or the entire band) comes back in, it does so solidly, helping to produce a strong sensation of rhythm in the listener.

    Now that your students have heard how crucial the rhythm section is to obtaining a solid groove, you can begin teaching traditional techniques and precepts of jazz comping. Rhythmically speaking, everything begins with the drummer. To help your drummer develop a good swing groove, have him begin by keeping time with the hi-hat cymbal only on the second and fourth beats of the measure. Each time the cymbal closes there should be a clear, distinctive “chick” sound. Once the player can maintain this pattern he should add the ride cymbal in a typical swing pattern that, when combined with the hi-hat, would look like this:

    Only after your drummer can play this pattern securely should he gradually add the entire drumset, using the left hand and bass pedal. This is usually the time that young drummers create problems that interfere with setting a groove. Encourage the player to restrain the left hand, making sure that it doesn’t interfere with the swing feel. In addition, the bass pedal should be kept light, providing a delicate sense of pulse.
    The bass player may well have the most critical role of any single member of the group. He has the responsibility for providing the harmonic foundation while scrupulously maintaining a sense of time. The difficulty of the role is compounded by the need for the bassist to play with taste and mature musicianship. It’s little wonder that many young bands have problems keeping a groove when a single player is so vital to the ensemble.
    To help your bassist achieve a solid groove technique, have him first concentrate on keeping time with a legato sound. He should strive for a relaxed approach, using a fluid articulation and avoiding a ragged quality. Even a young player can learn to observe the difference between major and minor qualities in chords. This is a big problem for young, inexperienced bassists, and it can really work against the effectiveness of an ensemble. Bass lines should, as a rule, use the root or fifth of the chord on the first and third beats of the measure. The second and fourth beats may use passing tones, but repeated tones should be avoided.
    At the same time the bassist should be sensitive to the pulse of the music. An inexperienced bass player should work hard to maintain a metronomically even beat. Once that is secure, have him begin to emphasize the second and fourth beats when playing swing figures. Once he can provide a walking bass that maintains strict rhythm, using the proper notes within the harmonic structure and making the appropriate changes, he has mastered the basics. Now encourage him to add chromatic tones a half-step above or below a new chord change on the fourth beat of the preceding measure, using the new chord to help accent the progression.
    I’d like to add an admittedly biased view about jazz basses. In some circumstances the use of the electric bass guitar is appropriate and even desirable. In school jazz programs, though, this instrument has been used in situations beyond these acceptable settings. The rationale for this, of course, is always that student interest does not go beyond learning the electric bass guitar. This is no justification for failing to encourage students to master the acoustic bass as well. The process is no more dramatic or demanding than the common transition from clarinet to saxophone.
    Today’s professional acoustic jazz bassists perform music that would have been considered impossible for the instrument just a few years ago. A student bass player needs to have as comprehensive an understanding of all facets of bass playing as possible. In addition, jazz performance requires the appropriate use of the right instrument under the right circumstances to satisfy the aesthetic demands of the music. Certainly in the case of traditional swinging jazz the acoustic bass contributes significantly to the overall groove feel. Everyone in the group will benefit if you can convince your bass students how important it is to master the acoustic bass.
    Once you are satisfied that the drummer and the bassist can work together as a unit that maintains a solid beat, you are ready to bring your pianist into the picture. Student pianists often are confused when they first perform jazz. This usually stems from a general lack of formal preparation and a disparity between the music they have studied and what is expected of them in the jazz ensemble. Having the pianist proceed slowly in a system that gradually builds technique in a logical sequence of levels will enable the player to develop skill and confidence and allow him to perform with the ensemble at all stages of progress.
    The first step of jazz comping is to develop facility at playing simple two-measure rhythmic patterns in octaves. Unquestionably, the key word here is “simple,” and you should make certain from the outset that your pianist avoids playing too busily. The pianist should strive to leave open spaces in the voicing in the same manner as Count Basie. This way, piano lines will not interfere with the melodic lines played by the soloist.
    The following rhythm patterns are recommended to help guide your pianist through the initial stages. Remember, at the beginning the pianist should only use octaves with these patterns.

Piano Comping Rhythms


    After your pianist is able to use these rhythm patterns naturally and creatively within the context of the music, have him harmonize them in block-chord voicings. The following sequence represents one possible approach.

• Start with root position chords, playing only these until progressions are smooth and comfortable.
• Progress to inversions.
• Begin using common-tone chord progressions. The pianist should be concerned about repeating common tones between chords in the progression. Be sure that chord changes fall on the first beat of the measure whenever appropriate.•
• Now begin using open voicings in the left hand (with fifths, fourths, sevenths, or octaves) and closed voicings in the right hand (seconds, ninths, thirds, and so on). Avoid playing roots.

    Other approaches to piano voicing are available, most notably Jimmy Amadie’s Harmonic Foundation for Jazz & Popular Music.
    In traditional jazz settings, the guitar is optional. Of course, if your group performs many jazz-rock or funk tunes, the guitar becomes more important. No matter what the style considerations, it is vital that the guitar not interfere with the piano. The entire rhythm section should always listen carefully to ensure that this never happens. If you do use a guitar, make sure that the rest of the rhythm section is already performing in a tight groove before making these suggestions to the guitarist.
    First, have the guitarist set the amplifier volume level on low so that it resembles an acoustic guitar. (This may be the most difficult task you encounter.) The guitarist should avoid using barré chords (which use open strings and an all-six-string strum). Two-note voicings are particularly effective when they make use of the third, sixth, or seventh in the chord. Finally, in swing charts, your guitarist should comp on all four beats, playing quarter notes with light accents on the second and fourth beats (thus providing an extra emphasis to what the bass and hi-hat are performing).

    If you can persuade everyone in your rhythm section to listen to models of individuals and rhythm sections to better understand his own function within the ensemble, you will have taken a big step towards helping your group play in a jazz groove. Furthermore, if you can get your rhythm section to concentrate on the basics outlined here, you will find that achieving a groove performance is that much easier.
    Every member of your ensemble should listen to each other so the group plays together as a unit. The first step is for each player to assume that he is wrong and adjust to the rest of the group. Each player should compromise rhythmically and melodically to conform with the others in the ensemble. This means, of course, that members recognize and agree upon the musical objective for each piece. Impress upon them that they need to continue to listen and adjust throughout the performance.
    Adjusting to others calls for good communication, whether through eye contact or body movement. The following example demonstrates how this process evolves from the first reading to a performance before an audience.
    Assume that you have selected a new swing chart for your jazz group. First, the group should read through the chart and work mainly on perfecting the technical details, simultaneously listening carefully to gain an overall feel for the composition. When your ensemble can accurately play all the rhythm patterns, accidentals, and key changes, along with the indicated articulations and dynamics, you can progress to the next challenge.
    Identify the elements of the performance that contribute most significantly toward providing a jazz feel. These might include a shout chorus, a tempo change, a saxophone or trumpet feature, or a specific mood change. Anything that gives the music a distinctive character should help you in your decision, and your main objective should be to exploit this special character.
   This is the logical time to bring a recording to your rehearsal to demonstrate your rhythmic objectives. Rather than having your group mimic a famous recording of the work you are rehearsing, have them listen to a recording of another composition that demonstrates the same feeling of a groove. This way, students can learn general concepts and apply them to the chart you are rehearsing.
    During the same period, the rhythm section should play at a low volume level. When this doesn’t happen, the result is rhythm players who don’t play logically or with any comprehension of the piece. If the rhythm section doesn’t take the time to listen to how the piece is constructed and how they should consequently interact, their playing may be inappropriate to the piece, neither complementing the band nor supporting the groove. When that happens, it is difficult to obtain a good groove feel within the ensemble. Only after the rhythm section fully understands how the piece is constructed with respect to form, contour, and general feel, can they begin to expand their parts. At any time, a rhythm player should be able to justify what he is playing based upon the construction of the chart.
    The next step in the procedure is probably the most dramatic for many conductors because it departs so drastically from traditional conducting strategies. You should now experiment with the various elements of the piece so that you highlight your ensemble’s strengths. This may mean changing the form, adding or subtracting a chorus, altering dynamic levels, or taking a different tempo. Each ensemble has its own personality; any director who inflexibly forces a group to play a chart as written when the group naturally expresses the work differently is working outside the jazz tradition and creating unnecessary problems for the group. What’s more, the piece probably will never work well in performance. Part of setting a groove involves an emotional, expressive element. Balancing emotion with technique is a matter of taste, but both must go into the performance. It is this balance that makes jazz distinctive and appealing to contemporary audiences.
    Once the technical problems have been solved and the director has adjusted the chart to suit his players, the rhythm players should open up their performance. Always concentrating on the groove, these players should have more freedom in their role as the section most responsible for the groove. As the core of the jazz ensemble, the rhythm section will dictate the overall impact that the ensemble makes.
    There is no guarantee that an ensemble will win additional trophies at jazz festivals if you follow these procedures, but they will receive more compliments from audiences and develop higher self-esteem about their playing. Playing in the groove cannot magically solve all problems, but it is fundamental to creating an authentic performance. By following Count Basie’s example, your students can learn to listen and play together as a unit that shows taste and style and – most important – that stays in the groove.    

Author’s note: The following are useful jazz references:
Jazz Lexicon: An A-Z Dictionary of Jazz Terms in the Vivid Idiom of America’s Most Successful Non-Conformist Minority by Robert S. Gold (New York: Knopf, 1964).
Jazz Styles by Mark C. Gridley (Englewood Cliffs, New Jersey: Prentice-Hall, second edition, 1985).
Harmonic Foundation for Jazz & Popular Music by Jimmy Amadie (Bala Cynwyd, Pennsylvania: Thorton Publications, 1979).

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    Anshel Brusilow has had a long and varied career first as a violinist with the Cleveland and then Philadelphia Orchestras. He left his position as concertmaster in Philadelphia to conduct full time, starting a chamber orchestra and later taking the conductor position with the Dallas Symphony Orchestra. After his departure from Dallas, Brusilow led the orchestra programs at the University of North Texas and Southern Methodist University.
    He recalls an early revelation from his career in Philadelphia. “Not every player will have the skill of Jascha Heifetz. I remember very well when I came to the Philadelphia Orchestra and met with Eugene Ormandy. He said, ‘Feel free to change any bowings that you like, but remember, you’re changing the bowings for the people who cannot do the same bowings you can. Not all the violinists have your bow arm, so take that into consideration.’ In Philadelphia I thought this was rather strange. It was a great orchestra and still is, but I took it into consideration. However, every once in a while I would have fun with my colleagues and say something like, ‘In this passage, everybody have an upbow staccato here.’ I would show them what I meant and they asked, ‘What are you doing?’ I would respond, ‘Well, you’re the Philadelphia Orchestra, you can do that.’ Of course, they just laughed at me. It was my way of livening up rehearsals, and usually it worked.”

What were the most important lessons about music you learned from your parents?
    My parents had a great influence over me, and there is no way I could have had any kind of career without their assistance. They taught me to take music seriously and how to practice correctly. My mother guided my practice every day for 81⁄2 years. Parental involvement is essential for young musicians, and it was from my parents that I learned what I was supposed to do.

What did you learn from your early teachers?
    I was fortunate with my first teacher, William F. Happich, in that his teaching created a marvelous, solid foundation, and for a young musician that is important. My approach to the violin was slow – slower than most young people today. Maybe I didn’t have the greatest of talent at the beginning, and maybe I needed to go slowly; I am unsure. I always appreciated that I did not have the Tchaikovsky Violin Concerto when I was nine or Paganini when I was ten. That would have been deadly. Those all came much later. I played music that was fitting for me and progressed slowly. He helped bring the sound of the violin together from one bow to another, making long phrases rather than broken ones. He also taught me how the bow went from the tip to the frog without that breakage. These are extremely important skills to learn.
    I also had a class with him in harmony and counterpoint. He would present me with melodic lines and assign me to write the counterpoint for the next lesson. This was tremendously important for me in ways I never knew until I started conducting.
I was accepted to the Curtis Institute of Music at age 11. At that time, Efrem Zimbalist, who took me as a student, was still playing concerts quite a bit, so I had few lessons with him and studied mostly with his assistant, Frederick Vogelgesang, who did as much for me as was possible. At Curtis, I also learned solfege, and had lessons in a class with Madame Mekel who picked on me to bring the violin and transpose. Most violinists cannot transpose. I don’t know why it is so difficult, but I learned to do it, and it became important later on in life for reading scores with horn parts in various keys and hear them correctly.
    After Curtis, I studied with a man named Jani Szanto, who taught me how to have something to say in music and was a tremendous influence on me. I give him great credit. If he knew that I was unhappy trying to play all the Paganini Caprices, he gave me the Paganini Concerto. I was delighted to learn to play that.

What was the key to the sound of the Philadelphia Orchestra under Leopold Stokowski?
    Leopold Stokowski’s sound came in part from his chutzpah for the music and the musicians. He made composition changes that always made the music better, and when you heard the Philadelphia Orchestra, you were hearing Stokowski’s inscription. When you employ an orchestra of 95 players, including full woodwind, brass, and percussion sections, you have to play them. You’re paying them, so you cannot have concerts without them. Stokowski added the players, and when you add the extra wind players it gives you a fantastic sound. People say “that’s the Philadelphia Orchestra,” and it was, but it was because of Stokowski. Ormandy did the same thing, and I did likewise at the University of North Texas. The orchestra was never just two flutes, two oboes, and two clarinets; I shifted and doubled lines and wrote out parts so students knew what to play. It gave more players the experience to play these tremendous compositions. Unfortunately, this is unheard of today.

What were to most important lessons you learned about conducting and how did you pick them up?
    I do not believe conducting can be taught, but someone can learn by watching excellent conductors. From Szell and Ormandy I learned how to rehearse, how to find the pitfalls in the score, how to balance the orchestra, how to find the right themes and project them, what to bring forth, and what to hold back. It is even possible to learn from poor conductors; you learn what not to do.

What is the most common conducting mistake you see?
    The most common conducting mistake is not knowing the score. Conducting is the most misunderstood of all the orchestral positions. There are some conductors who think that the better the orchestra, the less you have to know, but that is not entirely true. You have to learn where the mistakes are going to be and try to explain this in advance, and few conductors can.

What are the most common comments you found yourself making from the podium in rehearsals?
    Almost all orchestras make the same mistake in the same place, so that’s what you look for, and nine out of ten times, you will be right. If you are incorrect in your guess and the orchestra plays well, compliment them. Compliment as much as possible.
    A good conductor also has to learn to say, “I’m sorry. That was my fault.” It is important for conductors to acknowledge that they are humans who make mistakes, and the ability to be able to say that to an orchestra is important.
    Never stop the orchestra without giving a reason why you stopped. Do not just say, “Let’s go back.” Tell them why you stopped. Some conductors will repeat a section just to make up time or to make the orchestra do it again. That is ridiculous, but some conductors get distracted by their work, then look at the clock, see that they have finished half an hour early, and conclude that they need to find something else to do. If you have accomplished what you want, a professional conductor can dismiss early. I used to resent when conductors took the entire amount of time, to the minute, instead of simply getting their work done.

How does tempo relate to knowledge of the instruments?
    Tempos require knowing what the instruments can do at a certain tempo and then never exceeding that, because if you exceed it, musicians will be unable to play it. Always go a shade under what they are supposed to do. This is why an orchestra conductor has to know something about the stringed instruments. A conductor who lacks expertise in strings should emulate George Szell by studying every possible book about string instruments. A fine concertmaster and principals can be of assistance, but most conductors without a string instrument background are going to struggle knowing what the strings can and cannot do. This is especially important for tempos; if you know the violin and know how fast violinists can tremolo a passage, that will tell you how fast, at maximum, the conductor should take it, because the string players can only play it so fast. If a conductor goes too fast, it won’t work.
    Even if a composer gives you a tempo marking, this is just what he thinks he would like to have played. It is entirely up to the conductor to find what he wants to recreate. Tempos fluctuate and are up to the individual. I am terribly annoyed by some critics who criticize conductors’ tempos by saying it is not what the composer wanted. This is beside the point. They ought to listen to one of the old recordings of Mengelberg’s, Furtwangler’s, or Nikisch’s version of Beethoven’s Fifth Symphony. When you went to a concert, and Mengelberg was conducting Beethoven’s Fifth, you were hearing Mengelberg’s Fifth. That was what Beethoven would have heard.

What was your approach to teaching concert programming?
    When I taught at the university, I made it simple. Programming should be 80-85 minutes of music at maximum. You program loud, soft, loud, intermission, soft, loud. This is programming simplified, and I learned it from Alex Hilsberg, concertmaster of the Philadelphia Orchestra from 1935-51. Programming is comparable to making a dinner. There are certain herbs that work with certain meats. Find the right herbs, and don’t overdo it.
    Also, avoid two works in the same key together. You will put your audience to sleep. Furthermore, if you start with D major, don’t end with it. It makes the concert seem boring.

What differences are there in working with professional musicians versus college students?
    There is no difference except professional musicians can play the major works because they already know them. Students are capable of playing the same works, but if they have never played them before, they do not know them. That’s the difference. With that in mind, it is worth noting that if you treat the students like professionals, you will achieve something very special.   

    Anshel Brusilow’s memoir (co-written with Robin Underdahl) is Shoot the Conductor: Too Close to Monteux, Szell, and Ormandy (University of North Texas Press).

The post A Conductor Reflects, An Interview with Anshel Brusilow appeared first on The Instrumentalist.

Choosing Bass Clarinetists
    The player must love the instrument and playing its part. John Bruce Yeh, who at 19 became the solo bass clarinetist with the Chicago Symphony Orchestra said, “It is very much a matter of being in psychological agreement with the instrument. It has any number of moods: happy, melancholy, playful, funny. I love its dark rich, fundamental color – the way it can sit at the bottom of a chord and really anchor everything.” It does take a certain personality to take to the bass clarinet; the best players want to contribute but are not into solos. They like to play contrapuntal melodies. They prefer to be a protagonist. They like to hide but are always there ready to contribute to the sound.
    The clarinet measures almost 27" long; the low Eb bass clarinet is over 41" tall (without the floor peg) The volume of the bass clarinet body (without considering the neck or bell) is four times greater that the volume of the body of the clarinet. It takes more air to get the distinctive sound from a bass clarinet, so it is best to have a person who can deal with a large, heavy instrument and who has good lungs.
    Some directors put an unaccomplished clarinet player on the bass clarinet. That is a mistake, as the bass clarinet is at times an exposed instrument requiring a confident player.

Assembly
    When you start teaching an instrument, you have students take it out of the case and then show them how to hold it while putting it together. Beginners need to learn both what to do and what not to do, and you will likely have to go over that multiple times. It is a matter of treating the instrument like the beautiful thing it is, but this same care isn’t always taken when students switch to a larger version of an instrument.
    Although the bass clarinet looks sturdy, it is fairly easily damaged. In addition, it is extremely unforgiving for even a minor leak. Studies have found that the pad directly below the left-hand third finger leaks in more than half of the bass clarinets. In addition, the lower long levers and pivots can be damaged if care is not taken when assembling the instrument. If the instrument is a five-piece bass clarinet, the bridge/lever at the middle joint also frequently goes out of proper alignment, especially on school-owned instruments.
    The best way to put a bass clarinet together is by placing the hand used to hold the instrument on the keys while arching the hand to avoid pressing on the side keys while doing that. Keep an eye on students with small hands, who are more likely to struggle to avoid touching these side keys while assembling the instrument. Some people will use the left hand to hold the keys on both the upper and lower joints, and keeping the hand arched into a C shape is especially important when holding the bottom joint with the left hand. Students should never touch the long pivot rods for any reason.

How to Sit
    Consistent body placement is extremely important for bass clarinetists. When students play, their hands should always have the exact same relationship to the horn. The instrument’s peg can be adjusted, but the whole body must still be taken into account. With young bass clarinetists, it can sometimes be difficult to tell whether a struggle is from the physical placement of the body or just a weak embouchure. Students may not know they are readjusting themselves, but if the chair is an inch taller, arm position will be slightly different. However, all that bass clarinetists may notice is that they suddenly keep brushing the wrong key or have to stretch more to play pinky keys.
    The best thing to do for bass clarinetists is always let them have the same chair. If a high school band room has different chairs from what is in the auditorium, bass clarinetists should use the chair in which they spend the most time, even if it doesn’t match what the rest of the band uses. Ideally, a bass clarinetist should also have a similar chair at home for practice.
    Bass clarinet players should not share a stand as the crooked neck is right in front of their eyes and can block seeing the music. It may be necessary to obtain more than one copy of the bass clarinet part – most arrangements come with one or two.

Where to Sit
    I was chatting with a bass clarinet player from one of the nation’s premiere military bands, and he mentioned that the director often tells him he is playing too loudly, but that he has to play loudly to have any chance of hearing himself. The bass clarinet’s sound will never be as noticeable as a trumpet or piccolo, but there are reasons a bass clarinet might be difficult to hear. The distance between the bass clarinetist’s ear and where the sound comes out is greater than for any other instrument; the bass clarinet’s sound is almost at floor level. Additionally, bass clarinets are most often surrounded by much louder instruments. To make sure the bass clarinet is heard, place the bass clarinets on the outside edge of a row behind the third clarinets or in the front row between the first clarinets and some flutes, in the spot where oboists are often seated.

Tuning Tips
    The bass clarinet typically has more difficulty being in tune on every note than does the clarinet. Part of it has to do with the size, but bass clarinets are also more prone to developing leaks,  which can affect tuning. If tuning seems like it is getting worse, have the instrument checked for leaks.
    It is also worth noting that while a clarinet player may tune an out-of-tune note by using a split fingering. Because the bass clarinet has plateau keys rather than open finger holes, this technique cannot be used on the bass.
    Any tuning adjustment should be made where the neck goes into the body of the instrument. It should not be made by pulling out the mouthpiece, because this makes the mouthpiece less stable, which can lead to more pitch fluctuations as the bass clarinetist plays. Students should avoid trying to adjust pitch by tightening the jaw; this produces squeaking.

Limitations
    The longest pivoting rod near the end of the Bb clarinet is 5", while the longest one on a low Eb bass clarinet is 91⁄4" The diameter of the inside rod of that cylinder on the bass clarinet is at least twice that of the clarinet, making the friction created on the bass clarinet mechanism four times greater. This means that the pinky keys are more difficult to play on bass clarinet; it is mechanically impossible for a bass clarinetist to play on the pinky keys as quickly as a Bb clarinetist can play, affecting runs and chromatic passages.
    Staccato can also be difficult for a bass clarinet player because of the distance the air has to travel and the necessity for a softer reed and looser embouchure; the tonguing is the same, but the mechanics of the instrument slow things down slightly. It is comparable to the trumpet and the tuba. A student can work very hard, but compared to the Bb clarinet there are limits. Harry Sparnaay writes in The bass clarinet – a personal history, “Do not prescribe notes in a tempo of quarter notes in 140 also on top of that asking for staccato jumping from one register to the other, because the bass clarinetists will cease his attempts and jump after his bass clarinet is thrown out of the window.”

Bass Clarinet Parts
    Transcriptions of classical and operatic music can be minefields for bass clarinets. Cellists do not have to breathe to produce sound, so if the bass clarinet part is the cello part, there may not be enough opportunities to take a breath. In the original score of Verdi’s La Forza del Destino, the bass clarinet is used only in the final scene. The same work transcribed by Mark Rogers taxes even the most agile bass clarinet player throughout the entire work. Other quite difficult bass clarinet parts include L.P. Laurendau’s arrangement of Wagner’s The Flying Dutchman and Leonard Bernstein’s Four Dances From West Side Story. The bass clarinet part in the latter includes a number of staccato octave jumps and rapid 16th-note passages.
If the bass clarinet part is missing, the first instinct may be to give the bass clarinetist a tenor sax part, but use caution. I was once given the tenor sax part for Jerry Brubaker’s Mancini Magic, and had to go back and forth over the break repeatedly from measure 78 to the end. Only later did I obtain the actual bass clarinet part, which was scored an octave lower and much easier to play.
In band compositions, the bass clarinet part might contain anything from a duet with a solo flute to unison playing with the tubas. When planning sectionals, check the bass clarinet part; it may be more useful to have bass clarinet players with the brass at times.

How Many Bass Clarinets?
    As is true with any instrument, having just one bass clarinet will give a clearer sound than a large section; when more than one instrument plays the same note the sound waves will not be congruent as the players will rarely start the note at exactly the same split second, making the sound a bit more muffled. Some writers compared having only one or two bass clarinets in a concert band to having a symphony orchestra with only one or two violas or cellos. Because the bass clarinet does not have a piercing tone, it will take numbers to be heard in a band. I recommend having a number of bass clarinets equal to 25% of the number of clarinets.

In Conclusion
    The sound of the bass clarinet is pleasing and should be heard by your band’s audiences. Find players who love the sound and the variety found in bass clarinet parts. Then move the bass clarinets to a position where they can hear and be heard.  

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The Bass Clarinet’s Distinctive Sound
    The bass clarinet’s sound has been described as sonorous, mellow, dark, somber, melancholy, solemn, foreboding, haunting, and resonate. It has jokingly been called the Bass-Goblin. In What to Listen to in Music, Aaron Copland wrote, “In its bottom register, it has a ghostlike quality which is not easily forgotten.” It does produce a sound unlike any other instrument in the concert band. In the Treatise on Instrumentation by Hector Berlioz, enlarged and revised by Richard Strauss in 1948, Strauss writes, “As the low tones of the bassoon are still devoid of any flexibility, the bass clarinet is the finest and softest bass for the woodwind instruments.” It is capable of the widest dynamics of all woodwinds, from almost inaudible up to the loudest fff without any wobble in the tone.
    Early use of the bass clarinet was in opera, foretelling death and otherworldliness or a calm hope for a peaceful afterlife. “The bass clarinet [has a] fluency at soft dynamic levels [with] its warm, non-penetrating tone wrote Thomas Carr Abner in his doctoral dissertation on the history of the bass clarinet and repertoire. He adds that the bass clarinet cannot express joy.
    The bass clarinet’s sinister tone is heard in The Twilight Zone. It is featured in some of the jazzy segments of the score for the television series Twin Peaks and is often heard in the music for 30 Rock as well. It is also used in video games such as Dragon Age: Origins. The instrument is used prominently in television commercials; in fact, usage seems to have increased greatly in the past year.

Noteworthy Bass Clarinet Parts
The Stars and Stripes Forever by John Philip Sousa. Bars 5-12 contain rarely heard grace notes in the bass clarinet part.
On the Mall by Edwin Franko Goldman has three marked bass clarinet solos.
Concerto No. 2 in D for Horn and Wind Ensemble by Joseph Haydn, arr. by Michel Rondeau. The bass clarinet part is extremely beautiful and delicate.
Precious Lord, Take My Hand arranged by Robert W. Smith.
A Disney Spectacular arranged by John Moss.
Colonel Bogey March by Kenneth J. Alford. The bass clarinet does at some points play with the mid-bass line.
Hebrides Suite by Clare Grundman, who does a great job of writing for the bass clarinet.

The post Understanding Bass Clarinet appeared first on The Instrumentalist.

    All of this is easy to do, with the added benefit of expanding students’ tonal language. The disconnect between concert band and jazz tonal vocabulary has long been troubling. Good players go from concert band to jazz with little applicable vocabulary. The music literacy of every band member can be increased this way. I reinforce this by having students play seventh chords as a full ensemble after we change the scale. Basses play the root and everyone else chooses a number from one through four, corresponding to root, third, fifth, and seventh (with the basses on the root). Then they play the seventh chords as a full ensemble. It is a great thing to reach the penultimate chord in a piece and be able to say: “Hear the dominant seventh chord, which in many cases resolves to one.” In the future, students will play those resolutions with greater understanding. You can easily expand it to ii-V-I, lingua franca for jazz musicians. You can also teach arpeggios from this material. At one point we were playing the Charles Carter’s Overture for Band and reached a dorian section. Faces lit up when students realized that the sound they were playing was the sound we introduced in warmup. There was context and greater understanding.
    We also introduced major and minor pentatonics and whole tone scales. I have tried going to these scales from the major scale, but it works best simply to introduce these scales separately. We start on Bb, and I have someone play up a whole step, and we just walk through the whole tone scale that way. Later, we can show students how these scales differ from major. For contemporary pieces you could also introduce clusters, so that when you reach extended harmonics, students have ears for that type of dissonance and can appreciate it rather than be fearful of it.

Scales by Number
     John Cooper’s Linear Transitions is written primarily as a jazz book but is also a wonderful tool for improving concert band warmups. Cooper uses a number system to teach patterns as well as the Circle of Fifths. One option is to have students play 1-2-1 in Bb, then Eb, then Ab, and work through the circle that way. We haven’t made it all the way around yet, but we’re getting there. After that, the next step is 1-2-3-2-1 around the circle, then 1-2-3-4-3-2-1, and so on. This is a great way to learn all the scales without being hung up about what’s on the written page.

    Modes can be added to these patterns when running through circle of fifths. The ideal pattern to use is 1-2-3-2-1-7-1. In the key of C this would be C-D-E-D-C-B-C. Change the B to Bb and for a mixolydian/dominant pattern, then lower the third and it becomes a dorian pattern.

    It is also possible to go the other direction through the circle of fifths by playing a straight major pattern and then raising the fourth scale degree to create lydian mode. Lydian opens up the world of altered dominants, and the tritone gives students ears for the  flattened fifth, which is the characteristic interval in diminished chords and bebop language.

    The number concept of learning patterns is also great for teaching scales. I will walk into the rehearsal, pick up my trumpet and say, “Find my note.” When everyone has found my note, I play 1-2-1 up the major scale and have them repeat it. When everyone has done that, we try 1-2-3-2-1, 1-2-3-4-3-2-1, and all the way up through the scale. The first time I tried this, I chose to play Db, and students learned the entire scale painlessly. The patterns create muscle memory, keeping students’ focus on the scale sound, not the fingering or reading.
    I catch the occasional self-conscious freshman brass player cheating by watching my fingerings instead of trying to figure it out by ear; I have to tell them not to watch me. An exercise like this gives students freedom to fail, which is something they are unaccustomed to. I give hints to students who might only be a half-step away and frequently remind them not to worry because there won’t be a test. Once students get the hang of it, they pick everything up quickly.

Tunes by Number
    Using numbers to teach tunes can also create greater musical literacy. Learning tunes by ear is great fun for the band members and also recalls an almost lost aural tradition. Start with the known, with pieces such as “Twinkle, Twinkle,” “Happy Birthday,” “Old MacDonald,” and “When the Saints Go Marchin’ In.” Just as with the scales, I start these by having students find my note and imitate me. I give students a short melodic phrase, which they play back.
    In the early stages, this is easy because the first tunes have only a limited amount of notes. Once melodies start to get a bit more complex, it helps to include the numbers on the board. Some students are great at picking things up strictly by ear, and others need the mathematical aspect of it, while still others use a combination of the two. No matter which students use, we still always start with having them find my note.
    The next place to go is blues heads, which have dominant patterns. These tunes are short and generally compressed in tessitura. The perfect place to start is Sonny Rollins’s “Sonnymoon for Two,” which is a four measure pattern played three times.

    Other easy tunes to learn by ear are “Blues by Five,” “Blues in the Closet,” “Shepherd’s Hey,” Grainger’s “Spoon River,” “All of Me,” “I Got Rhythm,” “Satin Doll,” “Ol’ Man River,” “Bye, Bye Blackbird,” “There Will Never Be Another You,” “Freddy Freeloader,” “Goldfinger,” “Summertime,” “St. Thomas,” “Satin Doll,” and “Blue Room.” The last of these can be difficult because of the expanding arc of the melodic line but is perfect for using the number system. Another piece we learned with the numbers/ear combination was “I Got Rhythm.” We started with the tune strictly by ear because it starts simple and diatonic. The bridge gets trickier because of the raised fourth, so that’s when I went to numbers.

    With a freshman/sophomore group, teaching this entire tune took less than 10 minutes and did wonders for interval awareness. There is a new vitality and sense of accomplishment when the group learns expanded scale vocabulary and another piece by ear. One of my great recent moments in teaching came at a jazz festival when a clinician asked one of my musicians what mode the piece was in. “Dorian,” she responded, and I smiled, because that was language she learned in concert band.    

The post A New Look at Band Warmups appeared first on The Instrumentalist.

    There are a number of aspects of musicianship and being a good ensemble member that students who are new to playing in band or orchestra may not know. Here are some tips to share with your students.

The Music
    Let students know that music is expensive and should be handled with care. Remind them to follow the directions carefully. Usually directors ask students to place music in a folder. While some music folders are overly-large and do not fit conveniently in a backpack, students should still use the folder so the music stays clean and undamaged.

Where to Sit
    Students have a tendency to sit where the chairs are placed. If the chairs are not properly placed, encourage students to move their chairs and stands so the can see the conductor. In an orchestra, when the conductor looks straight ahead, the principal flute is on the left and principal oboe is on the right in the first row. The second row should have the principal clarinet and the bassoon, and usually the principal horn and principal trumpet are in the third row. This arrangement allows the conductor to communicate directly with the principal wind players.
    Flute, bassoon, horn, and trombone and players should turn their chairs 45 degrees to the right because their instruments are played off to the side. There should be a reasonable amount of distance between each chair, with perhaps a bit more for flutists.
    For good sound production and healthy body alignment, there should be a separate music stand for each player. The music stand should be placed 30 inches away from the musicians’ heads, and players should learn to perform with the music stand as low as possible. A stand set too high may cause neck pain and interfere with projection. Flutists should take care to place the stands so there is empty space between each stand. If there is no space between the stands, the flutist will have to work harder to be heard as the stand will reflect his sound to the back of the stage.

Feet
    When playing in ensembles, many students cross their feet at the ankles. A sectional with fewer students than the full ensemble is a good place to identify this problem. Tell students to place their feet firmly on the floor. This will improve their posture, avoid pain, and help with breathing. Crossed ankles puts undo stress on the base of the spine. A good test to see if feet are properly placed is to ask students to sit as usual and then try to stand up. If they have to move their feet to stand, then they are in the wrong place.

The Conductor
    When playing in orchestra or band, the conductor is responsible for total shaping and pacing of each composition. Respect his leadership and try to accommodate his wishes. After playing in an ensemble for many years, you will experience a wide range of ideas presented from the podium. Some will be good; others strange. It is your job to follow the conductor’s suggestions at all times.
    Conductors like musicians who follow them. In rehearsals and especially concerts, look at the conductor every measure or so. Always look up for changes in tempo, at railroad tracks, and at the end and beginning of sections. When a conductor makes a suggestion, pick up your pencil and mark your part. Keep your handwritten instructions to a minimum. One-step directions are the best. If you write long descriptions, you will be bogged down reading the message when performing.
    Before asking a question, section members should ask their section leader the question. If the section leader does not know the answer, then it is the principal player that talks with the conductor.

Playing Together
    To play together, someone has to give a cue. The old adage “Those who breathe together, play together” is a good thing to remember. Usually it is the principal player who initiates the cueing breath. The principal player may also make a slight movement of his instrument showing where the entrance is to be placed.
    Learning to cue clearly is a goal of every chamber and orchestral performer. Most players cue downbeats well, but are unsure what to do when cueing an upbeat. This topic is best discussed in private lessons and practiced by playing duets with a colleague.
 
Principal Player
    The principal player makes the choices of timbre, note-grouping, phrasing, dynamic, amount and type of vibrato, and how to interpret articulation marks and note length for the section. Section players follow his lead. However, if the second player is playing at an interval of a fourth or more, the lower part is played slightly louder for balance control.

Dynamics
    In the score, if a part is marked forte for the flute section, this does not mean that each flutist plays forte. It means the section plays forte; each player should play softer that forte so the sum total of all the players will be forte. The best players in the world have a wide range of dynamics and use them; however, students tend to default to forte and fortissimo.

Counting Measures of Rest
    Each performer should count measures of rest. Generally the first measure is counted by slightly tapping the left pinky finger on his lap. Measure two would be his ring finger; measure three the middle finger, measure four the index finger and measure five the thumb. When the player approaches a rehearsal mark, he slightly lifts his entire left hand a small bit to signal to the rest of the section the location in the music. This lifting of the hand insures that the entire section makes the next entrance accurately. If a player gets lost, then he can look at other member’s left hand to see the count.

Soli or Solo
    If a part is marked soli, then it is a section solo. If the part is marked solo, then one player performs the solo.

Turning Pages
    If there are two players sharing one piece of music, the inside player turns the page. Be sure to turn early enough so no notes will be omitted. When turning a page after a long rest, write the number of measures rest at the top of the new page.

Guide to Notation
In 1983 Frank Bencriscutto and Hal Freese published Total Musicianship: A Comprehensive Approach to the Development of Today’s Musician (Kjos). This 48-page book offers an abundance of good advice for the performer.
    Bencriscutto writes “Be conscious of the three parts to every sound: beginning, core, release . . . Some find it helpful to think of a cylinder where the end of the sound has as much air power behind it as the beginning.” Today we teach this as using fast air at the beginning of a note to prevent football-shaped notes. The goal is to have the strongest part of the note at the beginning of the note unless the composer indicates something else. This means that the vibrato starts at the beginning of the note too.
    Bencriscutto also suggests in Baroque, Classic, Contemporary music, and in marches (except for melodic expressive lines) notes are played shorter than written. This ungluing of the notes was first suggested by J.J. Quantz in 1752 in his treatise On Playing the Flute. This use of the articulatory silence is also useful in dance movements of the Romantic era. Since music notation is not a precise art, there are several discrepancies concerning what a rhythm looks like and how it is performed.

    In articulated passages, the dot after a note-head is performed as a rest or silence.

    This statement is true when the dot is replaced by a tie. Many conductors actually say, “Never play the tie. Cross it out. The tie becomes a rest. If you play the tie, you will be late for the next note.” In a string of dotted eighth and sixteenth note patterns, having the group count by saying day to day to day to day is a useful tool.
    When students begin instruction on the piano, strings, or percussion, it is possible to count aloud. However, wind players cannot do this, and it leads many wind players to think they are counting when they are only feeling the pulse. Counting is counting, and it is imperative that each player knows what beat he is playing so he can follow the hierarchy of the beat rule.
    To help wind players learn to count numbers in their heads, use a metronome with a voice feature. This auditory reminder offers surprisingly excellent results.

Basic Musicianship Ideas
    Be sure the first attack of the phrase is clean and the end of the last note is planned. Generally notes should not be stopped with the tongue. Practice tapering note ends, so you have the skills to end notes tastefully.
    Follow the melodic contour of the notes. You may select whether you wish to become louder or softer at the high or low point of the phrase. The main objective is to become aware of where you are in the melody.
    Melody is played louder than the accompaniment. Be sure you always know who has the melody.
    An accent has two definitions; it can mean to put stress on a note or it can mean a little diminuendo (thus the shape). Do not forget the second definition.
    When playing two slurred notes, the second note is played softer than the first.
    Follow the composer’s directions. If there is a word you are unfamiliar with, look it up.
    When entering after a rest, begin subdividing your counting so you enter at the correct speed. During the rest look ahead and place your fingers on the keys for the next note. 
    Always subdivide. Learning to subdivide takes practice and patience, but it is a worthy goal for everyone including the conductor.

Bowing
    At the end of a piece, the conductor may ask a soloist or section to stand. Pay attention so if the conductor signals you to stand, you can do so quickly. When bowing as a large ensemble, it is now in vogue for every player to face the audience, so if you are facing the wings of the stage, you will need to turn and face the audience. The conductor will bow for the group.

Focus
    A musician friend told me the first time he played in a professional orchestra he was playing second clarinet. The principal clarinetist told him to place five dimes on his stand. Each time the conductor stopped, he should ask himself “What is he going to say?” If he got the answer correctly, he could move one of the dimes to the other side of the stand. Once he knew what the conductor was going to say every time he stopped, he would be truly engaged in the rehearsal.

Concert Behavior
Before the Tuning Note
    Major warming up and tuning should occur in a practice room, not on the concert hall stage. When playing on stage before a concert, play longs tones and/or scales. Do not play major solos or tutti passages from the repertoire the audience is going to hear during the concert. Playing difficult or worrisome parts repeatedly will make your audience lose confidence in your abilities. Do not noodle on concertos or solos that other ensemble members will play later in the concert. For this concert that is their repertoire and theirs alone.
    Keep your warmup dynamic in the mf range. Loud piccolo or trumpet fanfares should be saved for the climax of the pieces on the concert program. Most performers should only take a cleaning cloth on stage with them. Single and double reed players may bring reed-making equipment for on the spot touchups and brass players may bring mutes and valve or slide oil.

Giving and Taking the A
    The first sound the audience hears is the tuning A. Whoever gives the A (most likely the oboe) should pay critical attention to the attack of the note. Since most oboists will be using a tuner to give the A, wait to tune until the oboist lifts his eyes from the tuner signaling that the A is now ready to be taken. Tune quickly so others will be able to hear the A clearly. Tune with the type of tone and dynamic that you expect to play the first note of the piece with. Many oboists are giving the tuning A with vibrato as they have found that players tune more correctly when they do so.    

* * *

Hierarchy of the Beat

• In 2/4 or 6/8: The first beat is the strongest and the second beat is weaker.

• In 3/4 or 9/8: The first beat is strong, the second beat is weak and the third beat is weakest.

• In 4/4 or 12/8 : The first beat is strong, the second weak, the third less strong than the first, and the fourth is weaker.

The post Teaching Musicianship appeared first on The Instrumentalist.

A New Composition
    Regarding the collaboration of the piece, we all agreed that the music had to have some significant connection to Pizitz and the Vestavia community and agreed that one way to do this was to pay tribute to former Pizitz principal David Miles, who was, and continues to be, a major advocate for music education in the public schools. As the Pizitz principal for more than twenty years, he made sure that the bands had everything they needed to be successful. He was always willing to provide encouraging words, volunteer as a chaperone for their trips, and provide the financial means necessary for the students to achieve high levels of success. Because of his years of contribution, we felt that the opening work should pay tribute to his desire to see students soar to new heights.

On Composing
    My advice would be simply to start; the best way to learn is to jump right in. Begin with small melodies, then expand your work from there; the only way to perfect your craft is through trial and error. Most importantly, have fun as you learn; do not stress about getting your music played or getting published right away. Develop your voice first.

    Tyler S. Grant began composing at age 10 shortly after he started playing euphonium in band. His first work was published when he was 13.

The post Meet the Composer, Tyler S. Grant appeared first on The Instrumentalist.

    When director Kim Bain received the email inviting the Pizitz Middle School Symphonic Band to perform at the 2015 Midwest Clinic, she did not believe it at first. “I figured it was a rejection but quickly discovered that it was an invitation. I read it three times and asked Leah Seng, the assistant director, to make sure I was seeing it correctly.” The happy directors broke the news to the band three days later with the principal and school in attendance at the celebration. The band, located near Birmingham, Alabama, has earned a string of prestigious performances, including appearances at the NBA/CBDNA Southern Division Conference and the Music for All National Concert Band Festival. The group has also been the Southeastern United States Middle School Honor Band Guest Ensemble, and the University of Alabama Middle School Honor Band Guest Ensemble. Now, they are the first Alabama middle school band ever to perform at the Midwest. Bain could not be more proud.

How have performance preparations gone?
    It was a great summer. I have felt really encouraged by the students’ attitude and work ethic. We held three well attended music-reading sessions in June and a pre-camp for four days in July. We had a morning session each day of the pre-camp from 8:00 to noon. We wanted to introduce some of our music selections during these sessions. We broke into sectionals ­– I’d take the brass and percussion, and Leah took the woodwinds. We accomplished quite a bit, and the sessions built enthusiasm for the actual camp in August.
    For the full camp we spent Monday through Wednesday at school, with band rehearsals and sectionals each day. Then, we took a field trip on Thursday to the University of Alabama, where Carl Hancock and the faculty set up an incredible day for us on campus. We rode cheese wagons down to Tuscaloosa, and the faculty there rolled out the red carpet. Graduate teaching assistants and faculty led sectionals in the morning, and in the afternoon, they held a masterclass for everyone by section. We also had a 90-minute full rehearsal during the day. Students enjoyed the chance to play in the large Moody Performing Hall. The day at the University of Alabama made students excited about the music and also brought them together as a family.

What fundraising will your group do to raise money for the trip?
    We have quite a bit of fundraising planned for this year. I am so excited that the board of education has agreed to provide some financial support for the trip. We have a tremendously supportive school system, not just the administration, but also the parents who support various activities. We are going to hold four fundraisers this fall before departing for Chicago. We take a spring trip every year, so the community knows our fundraising efforts, but Midwest is a special challenge because it takes place so early in the year. We need all of the money by early November. We kicked off our first fundraiser before school even started by selling tumblers that represent the various colleges in the SEC. Some of our other fundraisers include selling fruit and a cookie dough and cheesecake fundraiser. We have had lot of success with that one.

Are you working with any composers on special works for the Midwest performance?
    is composing a fanfare to open our concert entitled Miles in the Sky, dedicated to our principal, David Miles, who recently retired. He was an integral part of helping the fine arts department at Pizitz become what it is today.

What collaboration did you have with the composer?
    We have had a couple of meetings, and he came in with some ideas. We talked about David Miles, the type of man he is and how much he has meant to the band program. Tyler took that information, developed some ideas, and played some demos for us. I am mostly leaving it in his hands because he is such a talented young composer. He will be a sophomore at the University of Alabama, but has already published many works with FJH and through his own publishing company. He is all of 20, but when you talk to him he sounds mature like a 45-year-old man. He is way beyond his years in so many ways.
    I am also collaborating with Dean Sorenson, director of jazz at the University of Minnesota. He is an old friend of mine; we played together way back in the Disney All-American College Band. We became reacquainted when he came to Alabama to director our all-state jazz honor band last year. I asked him to write a closer for our concert, something fun that would feature soloists.

Are there composers you particularly like to program for your students?
    My big three are Brian Balmages, Richard Saucedo, and Robert Sheldon. I have had a lot of success with their compositions.

How would you describe Vestavia Hills?
    We could be called a suburb of Birmingham. We are a little south of the city. Our school system in Vestavia Hills has one high school, two middle schools, and five elementary schools. We are named for Louis Pizitz, founder of Pizitz Department Stores, and we have 1,100 students. The fine arts program has close to 500 students with about 220 in band.

How did you come to teach at Pizitz?
    I taught for 17 years before I came here. Suzanne Winter lifted this program to a really high level, and I interned with her when I was a student. Years later, I came on board as an assistant for one year, and inherited the program the next year in 2006 when she retired. Her husband was my high school band director. Prior to coming to Pizitz, I taught in Hoover, Alabama at R.F. Bumpus Middle School. I started that band program when the school opened in 1999.
    Our ensembles include the symphonic band that will perform at Midwest, an intermediate concert band, a jazz band, and two beginning band classes that all meet daily for 52 minutes.

How do you structure your rehearsals with your top group?
    I feel spoiled because of the extra summer rehearsals for Midwest. We had huge chunks of time to work on fundamentals and breathing. When school started, I lost that time. It has been fun to focus more than usual on warmups In a 52-minute rehearsal I spend as much as 15 minutes for fundamentals and warmups at the start of the year. As we get closer to Midwest, the balance will change as we work more on the concert music. Our warmups often begin with breathing exercises. I like to get students moving some air with different counts along the lines of the Breathing Gym. Then, I use long-tone exercises with the brass buzzing while the woodwinds and percussion play. We also use the Remington warmups, including some singing by different parts of the band. We try to use lip slurs. I like Larry Clark’s book Connections, which has a daily warmups page that is gold. Then work from Foundations for a Superior Performance, which we call the blue book. Those are our daily musical vegetables.
    Next, we take a short break, because research shows that the adolescent brain can only pay attention for about ten minutes before shutting down a bit. I work hard to understand how the adolescent brain works. You cannot expect students to stay seated in their chair and remain focused for 52 minutes. It is not going to happen. You have to build in breaks so they can have a fresh learning cycle when you return to the podium. That is reality. There was a time when I taught without stopping for breaks, and it scares me to imagine what my rehearsals were like. Along the way, I have learned that you can be much more effective with time management in rehearsals when you allow those breaks.
    As rehearsals progress, I try to go from known to unknown and back to known. That is the shape of the rehearsal. I start with something they feel confident about before introducing new ideas and material. To close out rehearsal, we play something they feel more comfortable with to leave on a solid note.

What techniques have you learned over the years to keep rehearsals on track?
    I try use humor to keep students interested and engaged. At the same time, for rehearsals to be productive, it has to be my show. The danger about humor is that sometimes students want to jump in there with you.

How have middle school students changed over the years?
    I think kids stay the same, but technology sure has changed. If I put a piece of paper in a student’s hand, the chances of having it making it home are slim. I think that is due to social media and having phones. The day of the hard copy is pretty much gone. Emailing to parents is the way to go. This may do a disservice to students by taking responsibility away from them, but I am willing to forgo that so that their focus is on the music.

How do you use technology with students?
    We are switching to Google Classroom this year, and students will report their practice logs that way. As the technology expands, so many things that were difficult in the past become easier for students and parents.
    We have had a Promethian Board for the past four years. I thought I would never use it, but instead have become so dependent it. If we lose the bulb on the projector, I feel like I can hardly teach. I put up our lineup for the rehearsal, sometimes a tuner, and we discuss the shape of the sound wave as a student plays.

How do you approach beginning band classes?
    We have instrument selection in August with the help of local band directors and give students a chance to try everything. Then we have conferences with students and parents to pick the right instrument. On the first two days of class, I bring in specialists for each instrument, and kids get two lessons with a specialist on opening the case, assembling the instrument, holding it correctly, putting the fingers on the instrument, and using the air and embouchure. Many programs in the area have summer camps for beginners, but we have had success starting with this two-day mini-camp at the beginning of the school year.
    We give a mini-concert and serve refreshments in the band room for the beginning students and their parents at the end of October. The parents love it. This is important because parents have made a huge investment in an instrument and may wonder, “what have I done?” This is especially true if they do not have a background in music. If you can give a performance to show the fruit of their labor, that is good.

Has your approach to instrument selection changed over the years?
    The older I get, the more I am willing to stick to my convictions. If I think a child will not be successful on an instrument, I try to keep them from being miserable later because they cannot make the sounds they hear around them. If I do not educate parents during the selection process, I am not doing my job as a professional. Leah Seng, the assistant here, and I have looked back at our retention rate, which is quite good. The kids that we lose almost always are the ones who did not follow our advice during instrument selection, and then did not have the success they wanted. After one year, they want to try a different elective. I am willing to stand my ground as much as I possibly can, particularly with the need for balanced instrumentation. In the end, you can only do so much to persuade a parent, and it is their call. Nine times out of ten, I can help them see why one instrument might be a better choice.

How have you learned to deal with parents?
    If you are having problems with students, it serves you better to make contact with the parents and develop a positive relationship as quickly as possible. Don’t wait for a crisis. If you postpone contact, it will come back to bite you later. I get emails and an occasional phone call from a parent, and I think it is part of our job to return all emails within a day.

What is your relationship with the high school director?
    I have a great relationship with Jerell Horton, the band director at Vestavia High School. He took over the program at the high school the same year I took over at Pizitz. We have grown these programs together, and it has been fun to watch. He is great about coming here to help whenever he can. It is tougher for him to get away in the fall with the demands of march-ing band. It is always awesome when he comes second semester to help out with low brass when we are getting ready for a performance. He also does a great job letting middle school students know what they have to look forward to at the high school.

Talk about your work with Alabama Winds.
I am so excited about this group, a community band of directors from across Alabama and professional musicians. We are just starting our third year, and have members who drive a long way to attend rehearsals. Our director is Randall Coleman, the associate director of bands at the University of Alabama. I am a co-chair and help out behind the scenes organizing and coordinating. This group has been so rewarding. It is fun to get together with you peers and friends and make music without being on the podium. We usually give two or three concerts.

When did you realize that you wanted to be a band director?
    I always knew. I almost feel like it chose me. I cannot remember a time when I did not want to go into music in some way. I never really had an interest in doing anything else.   

* * *

    Kim Bain is in her 10th year as director of bands at Pizitz Middle School in Vestavia Hills, Alabama, and her 25th year of teaching. She was named the 2012 teacher of the year for Vestavia Hills City Schools. She earned a Bachelor’s of Science in Music Education, a Master of Arts in Music Education, and an Education Specialist degree from the University of Alabama. She also earned a Master of Music degree in saxophone performance from Bowling Green State University.

James M. Rohner is publisher of The Instrumental-ist. He earned degrees from Colgate University and Tulane University.

The post The Pride of Pizitz, An Interview with Kim Bain appeared first on The Instrumentalist.

    The directors who generously contributed to this article have a combined 270+ years of successful band teaching. I have compiled their responses in this article in hopes that new band directors (or even experienced band directors) can steal a few rehearsal technique gems to get their groups playing more musically. These teachers are identified by their initials as follows:

Michael Allen (MA), Boynton MS, NY
Bob Ambrose (BA), retired, Andover HS, MI
Drew Benware (DB), Saranac Lake HS, NY
Colleen Conway (CC), University of Michigan
Rodney Dorsey (RD), University of Oregon
Caroline Fitzgerald (CF), Mitchell Elem, MI
Kate Fitzpatrick (KF), University of Michigan
Lisa Furman (LF), Olivet College, MI
Eric Hummel (EH), Lansing HS, NY
Lindsey Micheel-Mays (LM-M), Mich Ctr. Schools
Barry Peters (BP), Ithaca College
Greg Rudgers (GR), Ithaca College
Jim Shouldice (JS), Johnson & Highland Elem, MI

Tone
Quality and Clarity
    Play a chord, then sing it, and then play it again having students concentrate on open throat, matching pitch, balance, tone, control, and focus. (MA)
    Play many long tones, emphasizing breathing deeply and producing wind, not air. (EH)
    Have students play as they would normally; then have them do it again using more support. (BP)
    Have a student who has a vibrant tone model something for the entire band and have the rest of the band try to imitate that tone. (BP)
    Tell students that what they are striving for is a warm, dark sound similar to a pipe organ. (BP)
    Have students listen to recordings of ensembles as well as solo instruments and chamber music to really understand characteristic sound. (CC)

Control
    Have everyone play at the same volume so students can hear that every part is important. (MA)
    Increase the dynamic until it is just under the “blasting level” (edge to the sound). Then play just loud enough to get a vibration, and hold it. (EH)
    Have students blow cold air on their hands, then blow warm air on their hands. Then ask them to use the warm air to play. (GR)
    Have the band play long tones with a crescendo for 8 slow counts and a decrescendo for 8 counts with as much control as possible. Emphasize a clear, soft attack at the beginning and tail off to nothing at the end. (BP)

Blend
    Practice long tones on scales with the instruction to make the band sound like one person while doing so. (EH)
    Make a bulletin board with pictures of individual fruits surrounding a smoothie in a blender. Discuss what makes a great smoothie. The students usually agree that smoothies are best when all the fruit flavors blend together and no flavors stick out or dominate the drink. Next, have students choose fruits to represent their instruments. Have them create “sound smoothies” ranging from chunky (non-blended) concoctions to smooth (well-blended) drinks. (LM-M)
    Have students play everything at least one dynamic level softer than written while focusing on blend. Then ask the band to add more volume while keeping the same blend. Finally, add volume until they lose the nice blend and tone quality. That will be the volume limit until they gain more control of individual tone quality. (BP)

Intonation
Full Ensemble
    Have students sing pitches and then match those pitches on the instruments. (MA)
    Remind students that intonation is greatly improved by good blend and balance first. (EH)
    Know pitch tendencies. You can then anticipate problems during score study. (BA)
    Tune the band to Bb, A, F, and Bb in descending order. High brasses focus on Bb and F. Woodwinds focus on A and F. Low brass focus on low Bb. (GR)
    Make sure that the tubas are in tune and then tune the rest of the band to them, adding instruments from the lowest to the highest. Then, have the band play a chord based on the tuning note, asking students to listen and relate their pitch to the rest of the band. (BP)
    Have the band play a chord and ask students to go up or down by half steps. They have to adjust their pitch to the rest of the band and also hear the next chord before they play it. (BP)
    Have one trombone play an F, while another plays an E and slowly slides up to an F. (DB)
    If a chord is out of tune, build it from the bottom up. Once it is in tune, do not move on. Put it back in context starting a few measures before and playing until a few measures after. (KF)
    Remind students to listen down for pitch; have them sing their parts while listening this way as well. (KF)
    Have students pick a player across the room from them to listen for while a troublesome section is rehearsed. (KF)

Melodic Line
    Have one player “drone” the tonic pitch while another plays the melodic line. (EH)
    Emphasize the importance of hearing the next note before playing it. (BP)
    Sing often. Record the melody and have kids talk with each other about what they hear. (CC)

Soloist/Individual
    Clarity of parts is critical. Everyone must always know who has the melody and be able to hear it clearly. (MA)
    Have students play scales slowly and listen for intonation. (BP)
    Students must be able to internalize pitch before they can recognize pitch problems on their instruments. Have them consistently sing and then compare their internalized pitch to the one coming out of their instruments. (KF)

Sections
    Intonation is a losing battle if students cannot audiate. Have students sing melodies, chords, and partner songs while audiating the resting tone. Electronic tuners are unhelpful in this regard. There should be a tuner burning party somewhere. (JS)
    Have a first chair player match a given pitch and then add one player down the line at a time and wait until each player matches with the rest (GR)
    Ask the woodwinds to play an arpeggio slowly. While they hold the last note, ask the brass to play a member of that chord so the entire band is playing the chord. Then ask the woodwinds to do the same thing up a half step and have the brass play that chord. Repeat the process until range becomes a real problem. While doing this, make sure the tone quality in the upper notes matches the tone quality in the lowest notes. (BP)

Balance
Full Ensemble
    Remind students that if they cannot hear the section leaders and the tuba then they are playing too loudly. (CF)
Move your hands up and down as if moving treble and bass sliders on a large soundboard, with the low voices following the left hand and the high voices follow the right hand. Then adjust the “stereo” and let students hear different balances eventually settling on a dark, warm, beefy sound with a low brass and low woodwind foundation. (JS)
    Make a bulletin board with a pyramid divided into three sections. Next, explain that each instrument belongs to one of the sections on the pyramid. Then have students create sound pyramids with different shapes. Continue trying new balance combinations until they achieve the correct pyramid of sound. (LM-M)
    Rehearse middle and lower voices alone for richness and fullness; they are the chocolate cake. Then add the soprano voices and let that be a thin coating of icing. (GR)
Have a student or two stand in front of the band to listen for balance problems. They are usually amazed at what they hear since the sound is so different than what they perceive when sitting in the band. (BP)
    Tell the band that the lowest players should be the loudest and the upper players should be the softest. If they can’t hear the low brass and reeds, they have to play softer. (BP)
    Change seating so students sit in different places and hear different things. Sit is a circle. Stand around the room. (CC)

Individual Sections
    Double the lower parts to help balance in sections. (MA)
    Tell students to “get inside their stand partner’s sound.” (EH)
    Tell students, “If you can hear yourself, you are either too loud or out of tune.” (BA)

Soloist with Full Ensemble
    Have the soloists read up one dynamic and the accompaniment read down one dynamic. (MA)

Technique
Facility
    Remind students to keep dexterity of fingers, clarity of tongue, and delivery of air independent of one another; do not relax or reduce the wind simply because a finger or tongue is moving. (EH)
    Do daily technique drills as part of the warm-up routine. This can include technique books, scales, scales in thirds, and chromatic scale exercises. (LF)
    Go slowly. Add a note from the beginning. Add a note from the end. Change the rhythms; eighth notes can become dotted eighth-sixteenth or sixteenth-dotted eighth. (GR)
    Technical problems almost always arise form lack of understanding of the phrase. Remind students that with the proper inflection and direction, technique should take care of itself. (GR)
    Give students one minute of group-individual practice time to work out tricky passages. (KF)
    Take it note by note, then piece it together. This is especially good for discovering who is having problems. (KF)
    Have students memorize especially tricky passages and then turn their music over. This forces them to internalize. (KF)
    Change around the rhythm (short-long becomes long-short) until students have the fingerings and melodic contour under control. (KF)

Posture
    First, have students stand with good posture (instrument position, head position, hands and arms). Then, have them sit with the understanding that the only difference between standing posture and sitting posture is that your knees are bent when sitting. (MA)
    After telling the students to sit up, tell them to grow an additional 3 inches. (CF)
    Have students move music stands forward and out of the way. (EH)

Accuracy/Execution
Accuracy of Notes
    Have the student play a fast technical passage with a metronome at less than half tempo. As you coach them on musical aspects of the passage, slowly increase the metronomic setting one click at a time without them knowing it. (EH)
    Teach students that home practice is where they learn their part. Band rehearsal is where they learn everyone else’s parts. (MA)

Attacks and Releases
    Concentrate more on endings than beginnings. Have students sustain to the rests. (MA)
Teach students that wind creates the articulation, not the tongue. The tongue merely releases the wind. Then, think of slightly inhaling on the releases. This gives a nice lift at the end, especially from a fermata. (EH)
    Draw a series of pictures at the top of the board for students to reference throughout the year. When students use incorrect articulations or attack notes poorly, point to the picture that you hear to highlight the problem for students to correct. (LM-M)

Articulation
    Use good role models. Many conductors have students play alone when they are playing incorrectly, why not have them play alone when they are playing correctly? You can then have others match what they hear. (RD)
    With passages that include accents or mixed articulations, ask the students to play only the notes with one kind of articulation, such as accents or staccatos. (LF)
    Explain the proper tongue position and procedure for starting a note. After the explanation, play a series of half notes listening for a proper beginning to the note. If, particularly in brass players, you hear an S sound, you know that the student is not using the proper portion of the tongue to start the note. (BP)
    Create an articulation solfège system for chanting articulation just like we chant rhythm and sing solfège. (CC)
    Create a bulletin board with a variety of images to illustrate the various articulations. Each image is accompanied by the vocabulary word and a series of four quarter notes on a music staff with the corresponding articulation mark. (LM-M)

Unity of Ensemble
    Play unison scales, gradually increasing the tempo as the band gets better. (BP)
    Play the rhythms on a single pitch. Then add the pitches. (BP)
    Have the band play without you conducting. They will have to depend more upon their own ability to count. (BP)
    Have students play the line staccato to align all parts and really hear the moving gestures. Then play everything as written. (DB)
    Mix up the ensemble seating to have students sit next to someone who does not play their part. Alternatively, mix up seating within sections only, having the back of each section sitting where the first chair player sits. (KF)
    Get off the podium and have students talk to each other about how to improve. (CC)

Rhythm
Steadiness of Pulse
    Practice scales and arpeggios and etudes with a metronome. (MA)
    Have every other player play straight eighth notes instead of the melodic or harmonic line. This teaches subdivision very effectively. (EH)
    When isolating rhythms, have the band count aloud while working with a particular section (e.g., the brasses count eighths while the woodwinds play). Ask percussionists to play eighths on the snare while the ensemble plays the line. (LF)
    Physical movement is a good way to improve pulse and rhythm. Tapping a foot, having the band sway to the beat, and clapping a pulse or a rhythm are all things that may improve rhythmic accuracy, stop rushing, and provide a stronger pulse. (BP)
    There is a warm-up game where the band counts bars of 4 aloud when your palms are up, silently when down. You can also expand to counts of 8 or more and only have them speak certain counts. This helps them internalize steady time. (DB)
    Let the band play without a conductor. It puts the responsibility of pulse in the hands of the students and really makes them listen to each other. (RD)

Accuracy of Rhythm
    Have students complete a Rhythm of the Day as soon as they enter each rehearsal. Notate the rhythm on students’ weekly practice log and leave space for students to write the counts directly below each note in the rhythm as well as the note values on the lines directly below the counts. Check the answers together once rehearsal begins. Then have students count silently while moving to the macro and micro beats. Next have students chant the counts out loud while continuing to move. Then have students hiss the rhythm while audiating the counts and continuing to move. Finally, have students play the rhythm while audiating the counts. (LM-M)
    Have the students use rhythmic solfège syllables when figuring out rhythms. It gives them a sense of where the beats should be placed. (BP)

Interpretation
Dynamics
    Teach students that dynamics, unless they are exaggerated, will probably not be conveyed to the audience. (BP)
    Exaggerate louds and softs. Fortissimo means as loud as you can play with a good sound; pianissimo means as softly as you can play, not so softly that you cannot play. (EH)
    Introduce each dynamic using a number as well as a name and create a visual. For instance, piano is a three on a scale of one to ten, whereas forte is an eight. Experiment with various dynamic levels by pointing to the visual then using the chosen dynamic to play a familiar melody. Once students are comfortable with the dynamics and their numbers, show the numbers on your fingers during rehearsals to silently remind students what dynamic levels to use. (LM-M)
    When in doubt, crescendo. (BA)
    Crescendo means start softer. (BA)
    Have students crescendo ties over a bar line, especially in the middle of a phrase. (BA)

Style
    Have students sing their parts and ask them to pay particular attention to the syllables they sing and how they will transfer to the instrument when playing a particular style. (LF)
    For legato, play slurred, then add the tongue. I tell students to just touch the notes with the tongue as they go by. (EH)
    Talk to the students about how spoken language is similar to the dynamics, style, phrasing, and expression in music. Loud and aggressive may be Mom telling you for the third and final time, “You need to get off the phone now!” and softer and smooth styles are similar to trying to soothe and calm a younger sibling who is upset. Talk about what the music is trying to say and how it should be said. (LF)
    Have students play longer notes louder and shorter notes softer. (BA)
    Have students sing on different vowels to reflect the different tone qualities you want. (DB)
    Visualizations, such as playing a particular emotion or color, can be helpful. (DB)

Tempo
    Tempo is related to excitement and relaxation. Quick tempos usually provide more excitement, as long as the band can play the technical passages with confidence. Slower tempos are sometimes more difficult to play. To keep the tempo from rushing, subdivide all beats as you conduct and have the students do the same. (BP)

Phrasing
    Discuss as a group the shape and direction (whether the phrase is going or coming) of the musical line. Have students sing the dynamics and style and then try to match what they sang while playing. (LF)
    Recite poetry monotone and then with inflection to then show how musical lines also have inflection. (GR)
    Aim for the high point of the phrase, and avoid arriving there too soon. (BA)
    Any time a phrase has repeated notes or repeated rhythms have students add some dynamic variance to keep it interesting. (BP)
    Phrasing can be related to sentence construction. Teach students to take breaths where commas and periods would normally be placed. (BP)

Expression
    Have students play with purpose; if all we do is play the notes on the page we are not saying anything. Every note is either going to or coming from somewhere; find out where and play with conviction. (EH)
    Teach students that any note longer than a beat must go somewhere. (BA)
    Crescendo the repeated notes. (BA)
    Accent the accidentals. (BA)
    Expression is something that can be related to telling a story. Have a student recite a sentence such as “The barn on the hill is red.” Then go back and have him accent various words to show that the same sentence can have different impact points and also different meanings. Then relate this to musical phrasing in that each phrase of music must also have some meaning. (BP)
    Provide students with mental imagery or ask them to come up with some of their own. (KF)

Influencing Factors
Discipline/Appearance
    Never cancel band rehearsals for any reason. Rehearsal time is sacred. (MA)
    The silence at the end of a phrase or the end of the piece is an important part of the music. Have students freeze at the end until the conductor lowers his hands. Within the piece, raise and lower instruments in such a way that it does not attract attention. Do not squirm during the piece. (EH)
    Discuss rehearsal etiquette with beginning band students early on. Talk about table etiquette as the way we behave when eating a meal and rehearsal etiquette as the way we behave when practicing music. Explain that all musicians adhere to the same standards of rehearsal etiquette. Remind students that you expect your beginning band to run like the Chicago Symphony, which means they are professionals who must act accordingly. (LM-M)
    Talk to your students regularly about issues of respect, discipline, and others’ perceptions. Students need and thrive on structure and high expectations. They may resist and push back initially, but eventually they see and hear the results. (LF)
    All rehearsals should be formal and instructive. Do not allow rehearsals to become recreational. (GR)
    Discipline will be improved by setting up the room prior to rehearsal. You have to be organized and have a plan for the rehearsal. You have to be an example for students to follow and never ask them to do anything that you would not do yourself. (BP)
    Adjudicators have an idea how the band will perform by the way students enter the stage and how they are dressed. Students should be taught that there is a mature way to act as a musician. That maturity will carry over to their performance. (BP)
    Record video of students and let them see themselves. (CC)

Appropriate Choice of Music
    There is a enormous amount of literature available; have students read through 25-30 selections each year. (MA)
    This is not always a logical decision. Even if a piece is within the technical or musical grasp of a group, if they don’t understand it or buy into it, they will never make music with it.  Sometimes a great piece is just not the right piece for a particular group. (EH)
    The appropriate choice of music is essential and will probably have as much influence on the accuracy and musicality of the performance as anything you do in rehearsals. Pick music that will challenge the band but is also attainable. Make sure the music you choose is educationally worthwhile. Pick music that will improve the skills of the band, that will be enjoyable, and that will be pleasing to your audience. (BP)

Conclusion
    Although my journey began with a search for rehearsal techniques aimed at getting superior ratings at festival, I know that the contributors to this article will agree with a piece of advice given to me by the adjudicators I confronted 15 years ago: Teach your group to play musically and the ratings will take care of themselves. 

The post Tricks of the Trade appeared first on The Instrumentalist.