Once upon a contest dreary, while I fretted weak and weary,
Over a fast and furious tempo in Holsinger’s score –
While I nodded, nearly napping, suddenly there came a rapping,
As of someone gently rapping, rapping at my bandroom door.
“Tis some parent,” I muttered, “Rapping at my bandroom door –
In 38 time and nothing more.”

Ah, distinctly I began to reason, t’was the middle of contest season;
And each passing separate note wrought its dangers from the score.
Slowly I began to waver at the sight of semiquavers
From my score of much disfavor – disfavor for the wretched score –
For the rare and varied meters that the composer penned before –
In 58 time and many more.

Presently my soul grew stronger, hesitating then no longer,
“Sir,” said I, “or Madam, truly your forgiveness I implore;
but the fact is I was napping, and so gently you came rapping,
And so faintly you came rapping, rapping at my bandroom door,
That I scarce was sure I heard you” – here I opened wide the door –
Darkness there and nothing more.

Back in the bandroom turning, all my soul within me burning,
Soon again I heard the rapping somewhat louder than before.
“Surely,” said I, “surely that is something at my bandroom window;
Let me see then, what should be there and this mystery explore –
Let my heart be still a moment and this mystery explore –
’Tis the wind and nothing more.”

Open here I flung the shutter, when, with many a flit and flutter,
In stepped Holsinger of the stately days of yore;
“Must you write pieces of motley meters,” I said, “art thou surely mad?
Blasted tempos fly like mustangs, losing every sophomore,
Fingers flapping, joints a-snapping, toes a-tapping, tapping till the toes are sore.”
Quoth the Maven, “Know the score.”

But the Maven, sitting lonely on my conductor’s chair spoke only
Those three words, as if his soul in those three words he did outpour.
Nothing further then did utter, not a baton then did he flick
Till I scarcely more than muttered, “78, 98, 118, more –
On the morrow my arm will die trying to tame the perilous score.”
Then the Man said, “Know the score.”

Startled at the stillness broken by reply so aptly spoken,
“Doubtless,” I said, “what he utters is pure madness
Inspired by some hyper children named Haven, Grayson, and Niles.
Whose hectic pace must possess the musical score –
Sending notes in flight that bring forth more.
Quoth the Maven, “Know the score.”

And the Maven, who is sitting, waves his arms and begins his spinning
On my conductor’s chair, frenetic spinning as I implore;
And his eyes have all the beaming of a demon’s that is dreaming,
And the lamp-light o’er my score casts shadows on the bandroom floor;
And my despair from out that shadow that flitters on the floor
Shall be lifted – nevermore.         

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2. Be aware of the time. Students have someplace to be after rehearsal, and there is an obligation to stick to the rehearsal schedule. Make sure there is a clock someplace where you can glance at it discreetly. Many conductors place a watch or a cell phone on their stand. The more confidence students have that you will manage time appropriately, the less need they will feel to watch the clock.

3. Never talk with the baton at the ready. When you raise your baton it is a signal that a downbeat is coming quickly. Instruments come up, and the ensemble focuses sharply on your hands. However, there is a limited amount of time for which students can maintain this focus. If a downbeat does not come within five seconds, the entrance will not be tight because the level of attention has diminished; it is impossible to maintain a position of anticipation for more than a few seconds.
    Doing this repeatedly will condition students not to pay attention because it isn’t worth their effort to focus. It takes quite a bit of retraining to get an ensemble at this point to come in crisply. However, a director who is consistent about always giving a downbeat immediately after raising the baton will have an ensemble that comes in together.

4. Never stop without giving a reason. If an ensemble is asked to repeat a section, they will want to know what they did wrong the first time. Students want to play well, but they can’t fix anything if they don’t know what’s wrong. Asking an ensemble to simply repeat a section over and over without any indication of what the problem is or what is expected is unhelpful.

5. Don’t make promises you don’t keep. Avoid saying, “We’re going to run this piece straight through” and then stopping the group once they’ve started. Likewise, don’t ask anybody to play a passage “one last time” and then make them do it again. Broken promises do not build trust. One way around this is to add vague words to such statements. Instead of “one last time,” say, “I hope this will be the last time”; instead of “Let’s run this straight through,” say, “Let’s try to run this straight through.”

6. Look up when you speak. People pay more attention to someone who is looking at them. If your face is buried in the score while you’re talking, it signals to the ensemble that what you are saying is of no concern to them. Also, in a large rehearsal room it is easier for players far from the podium to understand what you say when they can see your mouth.

7. No one joined to listen to you talk. Keep comments short and avoid repeating yourself. Although some joking is fine, pauses of more than 30 seconds should be rare. One common pitfall is a laundry list of instructions. Even if there are 12 important things to say, the ensemble will have forgotten the first point by the time you get to the last.
I once took a stopwatch to a community band rehearsal to time how much the group played in an hour. At this rehearsal the band played for 13 minutes and listened to the conductor for 47. It is difficult to believe that the band improved more than they would have if these numbers had been reversed.

8. Record your rehearsal and watch the entire tape. Many directors do this to check their conducting technique, but it is worth watching yourself give instructions to the ensemble as well. If the ensemble’s focus is wandering, it may be necessary to make some changes in the way instructions are given. The above guidelines should help.    

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Seek an advisor. Some colleges have mandatory advising, but most do not. It is up to students to make appointments with advisors – and then keep them. Each semester I hear from students who will not be graduating because they lack a particular requirement. Had they met with their advisor, this would not be a problem.

Master time management. Although many young musicians already have a firm grasp on time management because of numerous hours of practice, school, and other obligations, just as many do not. Each campus will have an office that provides help to students who need assistance in this area, and with the serious demands on a music major’s time, it is strongly recommended such students take advantage of this free service.

Discover campus services. In addition to time management assistance, each campus boasts a wide array of services designed to assist students with several matters. Students should spend some time finding out what these are and don’t hesitate to use them. One can find tutors, get help for a learning disability, develop better study habits, discuss study-abroad opportunities, and gain knowledge about career planning. These services will all be free of charge.

Make health a priority. One of the saddest parts of my job is to watch vibrant young musicians withdraw from the university for health reasons when this might have been avoided. Each semester I work with a few families who are struggling to help their student with health problems. In far too many of these cases, the student ignored or downplayed a health condition until it became a large enough problem to require withdrawal. Students should never hesitate to see a doctor at the first sign of trouble.

Learn to practice. Although this may seem contradictory to students who have already practiced for countless hours, all musicians can find methods to improve the quality of their practice sessions. There are several publications available to help with this, and other students and faculty can be an excellent source of ideas.

Sing. All music majors should sing as much as possible. The ability to produce pitches through singing will be useful throughout their career.

Don’t fall behind in classwork. Some music majors may be taking music theory for the first time and find it difficult. Others may have particularly demanding general education coursework. In all such cases, students should speak with the professor, work with a graduate assistant, or seek a tutor as soon as it becomes obvious that the course will be difficult. Some courses are only offered once a year, and failing a course can put a student far behind an expected graduation date.

Keep a good attitude. Bringing a positive outlook to everything will improve every experience and will also enable students to enjoy more success more frequently and make it easier to deal with the difficulties of school and life.

Get involved. All college, university, and conservatory campuses have student organizations. Students should find one that shares their interests and join. Studies have repeatedly shown that students who do this are happier and earn higher grades than those who don’t.

     As you assist your students with the decision of choosing a major in college, take the time to share these and other tips with them. They will thank you for the patience and caring you’ve shown them when they, too, experience the good years in college, and all of us will thank you when they ultimately become vibrant, productive adults after earning their music degree.

This article is based on Rich Holly’s book Majoring in Music: All the Stuff You Need to Know (Meredith Music Publications).

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Composing 101
    My beginning- and intermediate-band students compose three to four times each semester. Advanced band members, third-year players, compose two to three times in the first semester and once or twice in the second semester; they may also spend more time revising a piece. I typically devote ten minutes introducing each composition assignment during one class. Their final composition is a form of individual assessment, similar to taking a final exam. When students perform their compositions for the class it can typically take 20-30 minutes for a class of 45 students.
    I introduce composing by having students learn the first six notes of a scale: Concert B flat =1, C=2, D=3, E flat =4, F=5, G=6. Before class I write patterns with scale degrees on the chalk board to use as warmups. These will typically look something like: 123454321, 53135, or 1121123211234321123454321.
    Next, volunteers play any four notes – 1231, 2345, 5653, etc. – and everyone in band has to determine the pattern of these four pitches. The students get so excited even though it’s only a five-minute exercise. We talk about whether the notes have a pleasant, cohesive sound and if the group sounds like it has an ending, after which I introduce the concepts of tonic and dominant.
    It takes the first three weeks of beginning band for everyone to recognize the patterns.  Directors who are beginning composition lessons with older students can teach this as well or leave out the scale degrees completely. Eventually I move the tonic/root to different keys, and the students transfer the scale degree to other scales, which will help them transpose to different keys in later years. It could also work to use solfege.

A First Piece
    By the fourth week of class I pass out instructions for the students’ first official piece, the First Six-Note Composition, which I also include on the school’s website. The students are to compose an eight-measure piece with all six of the notes they know, using each pitch at least twice.
    The goal of composing should be to make music, not just explore different sounds. As a part of the composition, they answer two questions that show they are thinking about the music, such as “explain why your composition is creative and catches the audience’s attention.” I use the words “capture the audience’s attention” hoping they will compose and then revise the music to be sure a melody is present. The students’ reactions to the music will influence the final grade. This is a motivator for students to make sure they are prepared to perform.
    Students can work on their compositions as homework, in school, or in class in small groups, whenever it is convenient for the director. The frequency of assignments is also up to each director and will vary depending on the schedule and workload.
    I recommend giving students at least three weeks to compose but set a date during that time to review a draft of the pieces to be sure everyone has started writing. For the draft I check their work and ask them to play a few measures. This helps to catch students who are borrowing from Star Wars (they need to start over) and gives me an opportunity to discuss plagiarism in music.
    Students may ask for help creating an interesting  title. You can guide their decision by asking about the inspiration for the piece, whether they will dedicate the music to a special person, and what they think the title should be. Some students start a composition with a title in mind while others save it for last. For students who are working in Finale, the program begins by asking you to type in the name of the work. When students don’t know, I suggest they move ahead and simply pencil it in later.

Groovy Roller
    During beginning lessons I encourage students to invent notation using symbols, pictures, or letters instead of composing with a traditional staff so that people who are not musicians can read and play the piece. In class students perform each other’s compositions so they have a realistic experience as composers and I have time to assess their understanding of music. Further, it helps them avoid the temptation to randomly place notes using Finale.
    I have students go to the school’s website to see the composition Groovy Roller, which has sections marked MA and MB. When you listen to the piece, it is clear these sections repeat. The symbols in the piece are A, B, Key 2, Repeat, Scale, F ¼ (which means F is a quarter note), E ½ (E is a half note), in addition to other note names that are indicated in letters. It is a good first composition, especially considering the young composer did not use standard notation.

Notating Rhythms
    Most students have a difficult time writing rhythms correctly, so in the beginning I am lenient if their notated rhythms don’t match what they play or if a measure has too many or too few beats. However, if the goal of the composition is using correct rhythm, then I expect each measure to have the right number of beats with the rhythms notated correctly.
    Sometimes a composition assignment has only a few parameters while others have detailed, specific instructions. For a Challenge Composition students write a piece using difficult rhythms, varied dynamics, and musical elements that are geared to specific instruments or players, such as playing an octave or starting on a high note. Students rise to the occasion, and the results are quite impressive.
      If students lack creativity, I ask questions to help them expand the work and guide the direction of the piece.
    • Do you want the melody to go up or down?
    • What patterns exist?
    • How can you expand the pattern, continue the existing one, or change the pattern?

Another way to stimulate students’ imaginations is to have them think about the qualities of their band or orchestra literature.
    • What compositional techniques does the composer use?
    • How can you incorporate those techniques into your composition?
    • What is the architecture or form of the march we played today?
    • Would that form help your piece?
    • How does the rhythm change later in this measure?
    • What is the motive in the march? What is your motive?
    • How would it sound if the tuba played the clarinet part? How can you play it differently?

Other Composition Ideas
    For another composition I have one student develop guidelines and another student compose. The students then exchange their ideas, writing a composition based on one another’s requirements. They perform the piece in class and listen to comments – positive and constructive – about the assignment. As a teacher I gain new ideas from my students.
    Some students like the idea of creating tributes to great composers, so they study the musical elements of their works, such as the forms, sound, and rhythm, and use them in a new piece. Students also love to write music based on something going on in their lives, such as one young composer who created a jazz-style piece, showing  he was excited to be in the beginning stages of learning jazz rhythms and articulations. One student wrote a programmatic piece based on a book she loved, Jane Eyre.
    My students have worked together to compose duets, playing them with consonant and dissonant sounds. The students each write something, play
their efforts, and revise and revise. Others play short parts, revise the music, then write again. Finale comes in handy to expedite the process because it lets students hear their music at the desired tempo while they are still creating. One flutist went all out and wrote a Celtic-sounding piece for full band using the Finale software she had at home. She even printed music for everyone in class.
    My students downloaded Finale Notepad, which was free until this past year (now it is $9.95), and the computer lab at my school has Finale downloaded to each computer. Students can also write their compositions on staff paper, which is free by going to Google and typing the words: free music staff paper. At least once a year, I require that they notate music by hand, which is a good lesson is knowing how to write notes and compose in a different way.

Failures and Successes
    A student usually knows when a composition sounds like a flop. Lackluster results are due mostly to inexperience or when someone doesn’t put much effort into a project. Overall, young composers are respectful of one another, regardless of the level of the music. When students are truly impressed by a composition, their natural body language, smiles, and comments are worth a million words. They want hear the music again and curiously ask about what inspired the piece.
    A percussionist who was well advanced with technology made a video composition using animation software. He constructed a xylophone in flash software, then programmed it to play the composition, even assigning colors for each key. A favorite among students is the chance/die composition idea in the book Sound and Structure by British educator John Paynter. Students form two columns on a piece of paper, one for pitch and the other for rhythm. Next they assign each side of a die to a pitch and then to different rhythms. They roll once for the pitch and then a second time for the rhythmic value, until the composition is complete.
    A student percussionist once wrote a drum set composition that explained why a drummer comps. He demonstrated comping in the piece and also depicted the drummer who influenced the composition. Although I thought the music would be a disaster, it turned out to be one of the best played that day and highly educational.

Grading Student Compositions
    I include compositions as part of each student’s project grade, which is 20% of his entire grade. Any type of point system is up to each director, whether it is grading based on 100 points, .5 point, ABCDF grading, or using the words ad­vanced, proficient, partially proficient, or insufficient evidence. As part of the grade students answer questions about their work, which gives me insight into their musical knowledge, and they play in front of their peers.
    Sometimes they turn in either audio or video recordings, which I collect in a manila envelope instead of carrying around a stack of CDs, DVDs, and zip drives. I advise against sending compositions through e-mail because the files are big.

Parents’ Comments
    Each year a few parents tell me their child isn’t smart enough to compose. My response: Please call me again in two months if that is still the case. If students are reluctant because they haven’t composed before, I encourage them to make every effort to complete the piece because starting the process is the difficult part. Once they begin, their ideas usually continue to flow.
    Composing in band can be the start of creating music for composition competitions or commissions gained through grants, fundraising, and benefactors; grants are competitive but attainable. My school is fortunate in that it has a grant coordinator who sends grants through district e-mail. Certain businesses (Target, Best Buy) award grants; if you search for grants on the internet using Google, be sure to write down the criteria for each grant, keeping in mind specifically what each requires for an award because the details will differ. 
    Once students hear the performance their first piece, they will thank you for including composition as a part of band. Students grow in confidence and self-esteem, and they continue to compose. Creat­ing music improves musicianship and the band program in general. After teaching compositions for 11 years, I realize students simply love it.

Suggested Reading
Susan R. Farrell, Tools for Powerful Student Eval­uation (Meredith Music Publications)
Maud Hickey, Northwestern University, mhickey@northwestern.edu
John Paynter Sound and Structure (Cambridge Uni­versity Press)
Rena Upitis, Can I Play You My Song? (Heinemann)

The post Teaching Composition appeared first on The Instrumentalist.

Brass for Beginners
George Hayden: For fifth-grade students, playing a brass instrument begins with selecting either a trumpet or trombone. Even though this is an important process that takes time, no one ever showed RoAnn or me what to do. We simply learned on our own. The process starts by having students buzz their lips, which is easy for most prospective players because it is similar to the sound children make as they play with toy trucks and cars.
    We have them make the buzzing sound on a specific pitch, concert F. Next, they use a mouthpiece  and once again try to buzz concert F. All trumpet players begin with 5C mouthpieces, and trombone players use 6.5 ALs. For both trumpet and trombone, 50% of the mouthpiece should cover the upper portion of the lip and 50% should cover the lower proportion. Encourage students to play many pitches or pick a favorite song and try to buzz it. Everyone thinks this is fun. Here in Tennessee, most young boys and girls start buzzing “Rocky Top.” When the class plays together, however, we strive to play one pitch.
    Next, students try to play both a trumpet and a trombone, regardless of their initial interest or inclination, with the goal being to play a concert F. The director should keep the process simple by holding the instrument for the first few days. Between the two instruments, concert F seems to be a little easier for most beginners on trombone, which should help your low brass numbers.
    If a student wants to play trumpet but cannot hit concert F after multiple tries over several days, then we steer him towards trombone, a woodwind instrument, or percussion. Our goal for instrumentation is to have an approximate 50/50 ratio between trumpets and trombones, but the most important goal is to find out which instrument best suits each student.

RoAnn Romines: Once students make a selection, we ask parents to acquire a good-quality instrument from a reputable band instrument company using a rental or rent-to-own program; this gives the family more flexibility should their child need to change instruments. It may take several days for the process to unfold, meantime there is still plenty to do.

George: It is ideal to have every student acquire a trumpet or trombone before lessons begin so everyone learns basic skills – assembling, holding, and carrying the instrument – at the same time. If the last instrument arrives a few days late, we simply reteach the concepts.
    During the interim students spend a few days buzzing long tones and playing rhythms on flash cards using an assortment of extra brass mouthpieces stored in the band room. Sometimes we pass out percussion instruments and work on rhythm until the instruments arrive, and we also begin talking to families about the value of private instruction.

1st- and 2nd-Year Brass Curriculum
George: Once everyone has instruments, we start by telling students to never stop buzzing mouthpieces (it is especially helpful when discovering the tessitura of a new piece), and we stress singing from the first day of brass class. In addition to singing, humming is especially valuable for brass players because it more closely resembles mouthpiece buzzing than singing. Initially, lessons focus on posture, assembling the instrument, holding and carrying it correctly, and caring for it.
    Brass instruments are easy to assemble, just watch to be sure students handle the trombone slide from the ends, and try to keep all brass players from making a popping sound with the mouthpiece. The most important concept for a holding position for brass is that the left hand holds the instrument and the right hand plays it.
    To hold a trombone, the right hand grasps the slide brace at the bottom using the thumb and one or two fingers; warn students to never grab the slide with the fist or whole hand. As for trumpet, students place the right thumb between the first and second valve casings and play on the pads or tips of the fingers; the fingers of the right hand should move fluidly and comfortably, avoiding “paddle” fingers.
    The students and the director should perform their instrument aerobics daily, moving the instrument front and back, up and down, side to side, in counterclockwise circles and clockwise circles, with the instrument in both the up position and the down position with the left hand only. For the left hand on trombone, I tell students to imagine shaking hands with the trombone brace and then place three fingers in the box and placing the index finger along side the mouthpiece as close as they are able. The trumpeter’s left hand should grasp the valve casings. I recommend placing the pinkie below the third slide and the middle finger (it’s the longest) in the third slide ring. Be sure trumpet players use their third slide for low D and low C# from day one. Good playing position or horn carriage includes holding the instrument slightly downward with the neck and shoulders relaxed. Finally, before anyone plays a note, teach students about daily care, short-term care, and long-term care of their instruments.

RoAnn: The first-year curriculum for fifth-grade brass students begins with long tones. We teach students to use an audible breath, filling the lungs with air while pushing the stomach muscles outward. We play games and have contests to see who can sustain notes the longest with the goal of performing concert F for one to two minutes using a steady tone that has no deviation or fluctuation. Students may take a breath when they need it, but they have to maintain a correct embouchure.
    I have tried beginning brass on concert B flat and for months fought to get students up to concert F, and I have started them on concert D, which works fine. Beginning on concert F, however, easily paves the way for students to learn four more notes descending to concert B flat. This year every brass student could play concert F within four days of starting the instrument, and all 80 brass players could play four more notes one day later.

George: Students learn correct tonguing early in lessons so they don’t simply blow aimlessly or use a breath attack. Actually, we introduce tonguing on the first or second day when students begin mouthpiece buzzing, by using the tip of the tongue on a dah syllable formed exactly where the back of the teeth meet the roof of the mouth. During class individual students match pitches and play alone every day so that we can hear their work and remedy any problems. Next, we pair up two students whose tonguing matches, then we pair up sections whose tonguing matches followed by section leaders and then the band.
    The method book is of secondary importance in our classroom. We are more concerned that students acquire skills to play an instrument well. Playing should be fun and its own reward, even if it is just one note. Once students can sustain long tones and tongue, they want to perform familiar songs such as “Merrily We Roll Along,” which is usually first, after which we delve into “Jingle Bells,” “Ode to Joy,” and a few others as the momentum picks up.
    At this point, usually by October, students can play at least six notes; once the clarinets, flutes, and brass can go down the instrument, they are ready to begin the chromatic scale. We do not necessarily call it that or use the term partial because students do not understand that term; we say they are learning level 1. The brass students begin on low concert B flat and descend to concert E. We actually explain the physics of sound and point out the slides used for each fingering and position. Next, we present level 2, concert F descending to concert B, which they complete by November.
    By learning level 1 and level 2,  brass students can now play a concert F scale. As early as October and November, we want students exploring harmony parts, chord balance, and band arrangements. We are not ones to present the method book in order, from front cover to back cover, because most students want to sound grown up, and band arrangements address the ensemble skills to do that sooner rather than later.
George: In December some students are ready for level 3, concert B flat descending to concert F, thereby giving making the concert B flat scale possible.

Sixth-Grade Studies
Meanwhile, sixth-grade brass students have  completed level 4 and are working on or completing level 5, which goes up to high concert F. They learn that notes go beyond this, but they are not required to perform them, even though most are usually motivated to try. These students are also increasing their speed playing the chromatic scale.
    By sixth grade we have introduced the brass students to all 12 major scales and 36 minor scales. The tuba players are learning when to use their slides, trombones have studied the tendencies of all the notes in their newly expanded range, and horn players continue to develop their ears, knowing when and how to use their right hand. A holiday concert be­comes the focus of our teaching in December, when we also encourage students to play in churches and for family holiday reunions as well as continue with private lessons.

Learning Additional Scales
RoAnn: With the start of the new calendar year, fifth-grade brass students begin exploring level 3 lesson materials and some move on to level 4, playing concert D down to concert B flat. Goals for first-year brass students include putting the chromatic scale together, ascending and descending from their lowest note up to concert D as well as five major scales – concert F, B flat, A flat, C, and E flat.
    Students also should know rhythms that include whole, half, dotted-half, quarter, dotted-quarter, and eighth-note combinations and tongue them correctly; 16th notes are also included. The difficulty of the rhythms increases for sixth-grade students. We use the months of January, February, March, and April to increase their range and expand the chromatic scale as well as learn major scales, more complex rhythms, and additional band arrangements for the spring concert.

George: The first-year brass curriculum concludes with the possibility of switching instruments at the end of the fifth grade. Similar to the process of finding an instrument at the beginning of the school year, students try other brass instruments as we guide them to the best choices. Occasionally the flute or trumpet sections will yield a good tuba player or students interested in horn, and often a good baritone player comes from the trumpet and trombone sections. Good horn players also come from the trombone or even the flute sections. It’s best to let students explore the instruments as we or a specialist on the instrument provide guidance. We use a summer band camp to switch over to these new instruments.

Training Percussionists
George: On the first day of band class as students are trying the various instruments and mouthpieces, some new band members will spend some time with drumsticks. We watch closely to identify those who can keep a steady beat and get a multiple bounce or buzz. It’s also helpful to find out who has had piano lessons because these students most often become good percussionists.
    As each student learns how to hold the sticks, we  find out how teachable and cooperative he is, his ability to listen, and his skill performing single and double strokes while keeping a steady beat. We teach students to find the exact spot where the stick gets the best bounce. This is usually between 2⁄3 and 3⁄4 down the stick. Keeping a steady beat is important because we use the percussion students as the metronome for the band.
    There are usually so many students who want to play percussion that after several days of observing the group, we select only the best ones for the percussion section. To that extent you may need administrative support for controlling the ensemble’s instrumentation.
    During the first few weeks of school while you are working with 20 to 80 students to establish good embou-chures, it is helpful to have some theory fun sheets at hand for the percussion section. Because we introduce many rudiments early, we sometimes allow our percussion students to quietly play on the carpet as we teach the winds. 

RoAnn: As directors, we guide students to whichever instrument suits them the best, and most often they are happy because it is the one on which they have done the best. In the first year we emphasize note reading for mallet instruments, meaning percussionists play the same five major scales as the band, the chromatic scale, and all concert music. Percussionists are often asked to memorize their music when they play melody percussion. They should play all accessory instruments with the correct technique and know how to tune the timpani.
    We do not require a bell kit or snare drum (the school provides all the percussion instruments). Instead, we want students to have a fairly comprehensive stick bag, which in the first year includes: medium timpani mallets; cord, yarn, and rubber mallets; concert band snare sticks; a pitch pipe; a set of triangle beaters; and the stick bag. In sixth grade students get the same sticks but in harder strength.
In the sixth grade we place more emphasis on snare drum technique, expecting students to polish the single stroke, single-stroke roll, double-stroke open roll, closed long roll, a ruff or drag or 3-stroke roll, 5-stroke roll, 7-stroke roll, 9-stroke roll, 10-stroke up to 15-stroke roll, ratamacue, flam, flam tap, flam accent, and paradiddle. When teaching rolls, we want students to think more in terms of basic strokes than counting individual taps. If the double bounce is engrained and comfortable, then the rolls will flow more smoothly.

Some Final Thoughts
George: Directors have to teach fundamental skills from the beginning and at a professional level. If students learn to play correctly, they can achieve a mature sound and perform high-quality music very quickly. Withhold no information that will help the ensemble sound good today. It does not take years to develop a high-quality sound in an ensemble, and you do not have to wait until high school to have a great sounding band. Chances are, if you wait until high school, you won’t have a great sounding high school band.

RoAnn: My mentors were fine directors who knew conducting, music history, and had extensive knowledge of each instrument. I can recall one mentor, Ray Cramer, whose knowledge continues to surprise me. While he ranks high in stature in our profession, he never shies away from sitting beside young band students, helping them review the fundamentals of their instruments with a genuine smile and caring for their success.
    Music educators have to become private instructors on all the instruments. It is time to turn back the clock and return to the era when directors had the knowledge of professional players and teachers at their finger tips. Today many directors seldom play an instrument; many want to be only conductors and usually hire students to teach festival music.
    As I did years ago, some directors fear of approaching students and giving them precise instructions to develop as trained musicians. This has weakened our ability to teach. Bands seem to have excelled across the globe, and many have changed the perception of arts in the school; but in years to come without good pedagogy, there will be no one to perform in bands or orchestras. 

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Daily Warm-Up Procedures
Tom Shine (Duncanville, Texas)
    With several bands in our program, the warm-up period based is on time and ability. The top two bands meet for 85 minutes daily and warm up for 20-25 minutes on fundamentals, while the third and fourth bands meet for 55 minutes each and warm up for about 15 minutes. The students play a series of long-tone exercises based on F concert, for about 10-12 minutes a day, developed by Eddie Green at the University of Houston.
    The first exercise of each warm-up is an F scale in descending whole notes (F-E, E-D, etc.). We might try the exercise with the woodwinds and brass just playing normally, or the brass could buzz with the mouthpiece. Depending on my rehearsal plans, we might use mutes in the warm-up. The goal is to make students sound the same on every note with matching volume and timbre.
    I remind students that the acoustical properties of an instrument should not dictate the sound. I make comments along the way, telling students to listen to the interval and match color as they move from note to note.
    For another variation I divide students into two groups. I then ask one group to sustain an F concert pitch while the second group plays up the scale for an octave. They sustain the pitches in whole notes and then in half notes, tuning intervals against the pedal. Next, we will play a series of intervals (3rds, 4ths, and 5ths) going around the room from the lowest range instruments to the highest, maintaining the interval with the same volume and color. I ask students to think about whether the sound was brighter or their embouchures too tight, with the goal of getting them to think about sound production.

Alfred Watkins (Lassiter, Georgia)
      I take a private lesson approach to teaching full rehearsals, working on as many fundamental concepts as possible in a series of efficient exercises. Warming up can take as little as 10% of a rehearsal on one day, while on other days it may fill the entire period. Typically, the warm-up takes between 40% and 60% of the rehearsal. I divide our preparation for a major performance into three or four sections. Early in the cycle, rehearsals focus on fundamentals over literature in a 60/40 ratio. This changes to 50/50 in the next period and then 30/70. During the week of a performance I spend 90% of the time refining the literature.
    In daily rehearsals I assume that if we don’t cover a particular fundamental during our warm-ups, students will not cover it at all that day. It is necessary to address tone, blend, control, centered pitch, attacks, and precision every day. I continue to listen for these basics regardless of which band is rehearsing.
   The warm-up begins with breathing exercises that are not too difficult. Then, we play an F concert pitch four to six times for four to eight counts each. At this stage students just blow without comments from me. I have found it a nuisance to correct every sound they make, so I just let them blow first.
    Next, we play long tone exercises, such as the Remington studies, as well as long tones in scales, arpeggios, and interval studies. My goal is to play a lot of unison tones, so students focus on one concept at a time, in this case tone production and control. We continue with flexibility exercises, such as lip slurs for the brass and scale passages for the woodwinds and percussion. Octave exercises, overtones, or register slurs (interval of a 12th) for the clarinets may also be included.
    I only comment between exercises, not while students are playing, making quick corrections that will apply to the next attempt. Students may play a whole note tied to a quarter, and then rest for three counts. A metronome keeps the pulse during the exercises.
    The next area is lyrical playing ­– phrasing, sense of line, and pitch; I particularly focus on understanding the pitch tendencies of various instruments. After that we work on such techniques as articulation variations, lengths of tones, and balance and blend using chorales and chordal playing. These are always played molto tenuto or molto legato, and we work on just tuning (adjusting 3rds and 5ths of chords). Range extension exercises help students establish good intonation at extreme ranges by playing scales in various keys and expanding to multiple octaves when possible.
    Throughout these exercises we alternate frequently between singing and playing. In a unison or chordal exercise students may play the tones and then sing them, adjusting intervals according to just tuning, and then they play the exercise a second time. I am always seeking exercises that teach several different skills at once.

Chuck Campbell (North Hardin, Kentucky)
    A good warm-up starts with perfection in the rehearsal room. When students enter the classroom, I have everything written on the board, such as needed materials for the rehearsal and scheduled exercises. So there are no questions about what is to happen. I always have a yellow notepad on the podium, which keeps me engaged with students instead of looking back at the board.
    I step on the podium at the same time every day – two minutes after the bell has rung. Once the band is seated, students who are late have to wait until I give them permission to sit down. It is important for students to develop respect for rehearsal procedures and each other.
    As we begin warming up the focus is on developing a transparent ensemble sound. This stems from the influence of Robert Hawkins of Morehead State University, who was my musical father figure. The goal is that if you stand back and close your eyes, you can find each instrument, hear the different colors in the ensemble and the clarity.
    We also use exercises and method books to learn the major and minor scales, technique, articulation, rhythmic patterns, and basic musicianship. At least 20 minutes of an 80 minute rehearsal is for warming up, which ensure that students are mentally and physically ready to start. About a month before a festival, I add sightreading to the daily routine.

David Gorham (Owasso, Oklahoma)
    Warm-ups take more time early in the season and decrease as contest approaches. The younger bands meet daily for 55 minutes and use about 2/3 of that time to work on fundamentals. The older students require less time on the basics. We begin with breathing exercises every day, basically playing for four counts, pausing for twelve, then playing for four and stopping for eight. As students play they focus on maintaining steady even air. We usually work on breathing while standing so students can feel the movement of the rib cage with their hands. Next, we usually play an F concert scale, but sometimes this will change depending on which pieces we are rehearsing that day.
    A Bach chorale is next (usually #12 from 16 Bach Chorales). After the ensemble plays the first eight bars, we may take one voice at a time for to hear the various parts (SATB). This gives each player and section a chance to tune before putting the parts back together. We follow this approach religiously.

Phillip Geiger (Westfield, Texas)
    I have continued to refine my approach to warm-ups over the years. Now, I act if the warm-up starts the moment students walk through the door. Depending on the age of the students, I create exercises that help them focus on the physical aspects of playing. I generally spend about a quarter of an hour rehearsal on warm-ups, but the time varies depending on upcoming performances, the time of year, and the difficulties in the concert music. I could warm-up for as little as three minutes, but sometimes I use the entire class period for this.
    Many young directors simply copy exercises they have learned without thinking about what they intended to accomplish. For example, a breathing exercise includes work on moving the air and controlling the tone; it is much more than simply holding a note for 16 counts. I carefully match the exercises to what I want to teach. Once students sit down, they perform some type of breathing exercise to develop fundamental tone and put them in the frame of mind to rehearse.
    After the breathing exercise, students to play a bit on their own to make sure the instrument is working properly. I may stop them to ask if they are applying what they did in the breathing exercise to what they are playing. Depending on rehearsal time, we play a set of variations to cover the same musical goals from different perspectives. We might play a descending tone exercise starting on F major and moving chromatically or scales exercises. I give comments at the end of each exercise and ask frequent questions about what the students hear. The variations change from day to day, giving students different experiences.
    After working on breathing and tone, we may work on articulation, including the physical aspects of starting the note and the syllable used to start the sound. When I teach I like to get off the podium and move around. Hand signals and facial expressions encourage students to pay attention. Through frequent questioning I hope students discover that information that applies to a trumpet player may also apply to a flute player. The goal is for them to think this way as we rehearse our concert literature.

Preferred Warm-Up Materials
Tom Shine: We use few outside books, and students memorize most of the fundamental exercises. I like section 9 of the Fussell book (Exercises for Ensemble Drill, 1934) to develop sightreading skills and Clarke #3 (Characteristic Studies for Trumpet 1912) to develop finger dexterity. We occasionally play a page out of the Tipps for Band book (1959) to work at different speeds for technique and facility.

Alfred Watkins: We use the Curnow Tone Studies for Band (1995) in lieu of chorales and mostly play the unisons from there. This allows work on various sounds. When we play chorales, we use Three Bach Chorales (arr. Eller, 1963) and also the Claude Smith Symphonic Warmups for Band (1982) for chorales and technical exercises that improve sightreading. The William White Unisonal Scales and Chords and Rhythmic Studies (1921) help to build Warm-Ups, technique and the Grover Yaus 40 Rhythmical Studies (1958) for rhythmic development. Our younger bands also use Essential Elements series (1991) and 14 Weeks to a Better Band for sightreading development.

Chuck Campbell: We use the Fussell book daily. For improving sightreading skills, we use the Yaus 101 Rhythmical Rest Patterns (Alfred, 1953) and also Sixteen Bach Chorales arranged by Lake (Hal Leonard, 1934). We also use the Curnow Tone Studies for upper band and Tone Builders with developing groups. Eighty percent of the time I use both the Curnow and chorales. I don’t there is a day that goes by that I wouldn’t use at least one of them in some form. The Bach chorales have a completely different sound from Curnow’s tone exercises, which have more contemporary sound. I have also used the Tipps for Band book and the Claude Smith Symphonic Warmups (Hal Leonard, 1982) for learning scales and rhythmic reading.

David Gorham: I don’t use method books. The band generally plays about eight bars of a chorale from Sixteen Bach Chorales, then we sing the chorale and play it again. Several sightreading books that have been useful include the Charles Forque Harmonized Rhythms (1994), Jerry West’s The Sightreading Book (2006), and several march books such as the Bennett Band Book (1923). Lately I have students play by ear more frequently. I might have them play “Twinkle, Twinkle” while looking at scale degrees (1…1…5…5…6…6…5 etc.) Then we change to a different key and play it again. This then relates back to the chorale. Students think about which scale degree they are playing and transpose that to another key.

Phillip Geiger: I use just a couple of phrases from any chorale that allows us to focus on fundamentals. The chorale cannot have any large intervals or difficult keys. Then students are encouraged to reach what my ear hears and to develop their own ears.

The Aim of Warm-Ups
Tom Shine: Students focus on matching tones and producing a steady sound without any motion in the embouchure or musculature. We talk about maintaining a still embouchure, playing a brick-shaped note, and making sure that shape does not change from note to note. One key to that consistency is daily work on articulation exercises. We will address the basic subdivisions of the whole note: four connected quarter notes, then four separated, eight eighths with the same articulations, four groups of triplets both connected and separated, and four groups of 16ths.
    We’ll play these at about 95 beats per minute and end with a whole note. Students are not supposed to breathe between the subdivision or vary the tempo. If the literature we are preparing requires double tonguing, we will practice single-tonguing up to a tempo of 120 and double-tonguing to 165 with four 16ths and a quarter per pitch. All through our work, I talk about developing better listening skills and focus.

Alfred Watkins: I review as many musical concepts as possible in warm-ups – sound, articulation, rhythmic precision, balance, and blend. Chorales work well to teach various styles. Our playing might use a neoclassical style with the same sound from the beginning, middle, and end or each note. At other times we play with in a Romantic style and change timbre and tone or changing the instrumental weight on the tones. I try to stay in the middle of instrument range and dynamics and also spend time on inherent pitch problems with each instrument.
    To develop an extended range, we will play at a moderate tempo and allow performers to hear the changes in timbre. We talk about maintaining a centered tone in extreme registers. Once a week students sing a unison scale together and then have different groups sustain the root, 3rd, 5th, or 7th of the scale so they develop a strong sense of pitch and balance. These exercises are always played in easier keys so students aren’t fighting the instruments.

Chuck Campbell:: Every day we play some type of chorale for tone and a scale study for technique. These elements are essential, and every rehearsal is built on a long tone study and a scale study. I also use modeling frequently by having a strong student play a scale as a solo and then asking the class what they liked or disliked in what they hear. Then the entire groups tries to match what they have heard.
    We also play a memorized chord to work on balance and changing voicing. The ensemble plays the chord until it locks in and then we might move up or down by half step. I strongly believe in making students analyze the sound and make changes. Tone is a predominant concept in everything we do as musicians.

David Gorham: The concepts covered in warm-ups vary based on the music we are performing for the next concert. We may focus on a particular rhythmic pattern, style, scales, or rhythms found in our concert music. The warm-up is designed to instill confidence and often this is more important than mastering a particular skill. I frequently remind students “Don’t phone it in. There’s a purpose to this.” I want them to stay engaged and listening closely at all times.

Phillip Geiger: It is incredibly important that all students recognize that instructions given to one section apply to everyone in the room. I emphasize this in warm-ups and expect students to stay alert at all times in rehearsals. We may cover 100 different things in a 20-minute warm-up, but the goal is always to move the ensemble closer to the sound I have in my head. If the musical fundamentals sound bad and do not improve over time, the director is not helping the ensemble produce a better sound. We are always striving for a new level of musical expression, and this is true whether we are playing Grade 1 or Grade 5 music.

    There is much we can learn from studying the daily routines of these five exemplary band directors and their bands; however, good music education requires more than simply including the exercises of the routine as part of rehearsals and then expecting to hear a great outcome – after all, the music does not teach the band; the teacher teaches the band. A great band has a good musician on the podium, someone who has a mental concept of a good band sound, knowledge of the sound of each instrument’s characteristic tone, and a good concept of balance.
    It follows that the director is thoughtful, thorough, and persistent in the approach to rehearsals; and strongly believes in a daily routine that teaches music fundamentals at the highest possible level as a way to a better-sounding band. Music may be one of the most difficult subjects to teach, but it is also one of the most worthwhile, rewarding professions I know. It is through teaching that instructors learn more about themselves, the students they teach, and the great art of music-making

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