Me: “Remember to take the timbales to the band clinic.”
Siri: “Remember to take tamales to the band clinic.”

Me: “Remember to take the timbales to the band clinic.”
Siri: “Remember to symbologies to the band clinic.”
Me: “Remember to take the timbales to the band clinic.”
Siri: “Remember to take Tim volleys to the band clinic.”

Me: “Don’t forget to put the contrabassoon in the repair shop.”
Siri: “I found fifteen auto repair shops close to you.”
Me: “Put the claves back in the cabinet.”
Siri: “Put the clubface back in the cabinet.”

Me: “Put the claves back in the percussion cabinet.”
Siri: “Put the cloudbase back in the percussion Kevin.”

Me: “Remind me to order reeds for the saxophones.”
Siri: “Werder Reedsford alto saxophone.”

Me: “Remind me to tune the timpani.”
Siri: “Turn the Tempany.”

Me: “Remind me to order the crotales tomorrow.”
Siri: “Order the fillets tomorrow.”

Me: “Remind me to order the scores for La Fiesta Mexicana.”
Siri: “Order the scores for the luckiest the Mexicana.”

Me: “Order the scores for Sousa’s Nobles of the Mystic Shrine.”
Siri: “Washington was defeated by Los Angeles yesterday; the final score was 75-57.

Me: “Siri, you know nothing about music.”
Siri: “I know a lot about many things, Trey.”

Me: “Siri, were you ever in band?”
Siri: “I don’t know what that means. If you like, I can search the web.”

Because this column is about her, I thought I would solicit her help in concluding it.

Me: “Can you help me write the end of this article about you that will be in The Instrumentalist?”
Siri: “I don’t see magazine article in your address book. Should I look for businesses by that name?”

Strike one.

Me: “Say goodnight, Siri.”
Siri: “I can only get hourly forecasts for the next twelve hours.”

Strike two.

Me: “Say goodbye, Siri.”
Siri: “I don’t know what you mean by say goodbye Siri.”

Strike three.

Me: “Strike three, you’re out.”
Siri: “You are certainly entitled to that opinion.”

    I think I need a new personal assistant, but since I can’t afford a human one (and they’re too heavy too carry everywhere) I’ll just have to live with Siri and her many foibles. At the very least, she’s entertaining.    l

The post Are You Sirius appeared first on The Instrumentalist.

Full article available .

September 24: I am beginning to dread seeing certain kids every day. I am also tired of hearing about how the old band director did things. If something he did worked well, I would be willing to try it, but for the most part I have to find my own way of doing things.

October 5: I passed out an arrangement of Batman to the symphonic band. They loved it, but I feel that I sold out. I guess it’s O.K. to play something fun, as long as there is some musical content, but I feel guilty because I did it as a bribe. We will only play the piece as long as they behave.

October 23: Today I took the horn over for that kid’s first lesson. The smile on his face made my entire year so far.

December 18: My first band concert went fairly well, but I felt like a temporary conductor filling in for the regular one. I worried that parents measured me against the former director and wondered how I got the job.

December 21: I made it to winter break. I can’t wait to have time off to see my family. You would think we could relax a little after our concert, but the district band festival and Band-O-Rama are only four weeks after vacation.

February 16: Many kids have not signed up for seating auditions yet. I told them that it’s part of their grade, but some students are still dragging their heels.

February 22: The ninth graders were almost unanimously shocked that a seventh grader had outplaced a ninth grader for alto saxophone. I tried to be positive during today’s rehearsal, but the morale was visibly low.

March 19: Rehearsals are going better. I think symphonic band is going to play well at the contest. I would love to get a first place rating, but I’m afraid to get my hopes up.

April 5: We received ratings of 1, 2, and 2 for an overall contest rating of 2. At first I was disappointed. The students had rushed sometimes and didn’t make as much dynamic contrast as  they could have, but overall I thought they performed well.

April 20: I have never seen them work so hard or so quietly. I think it’s partly better teaching, but they are letting me teach instead of fighting it.

May 19: I finally feel a sense of ownership of the program. I am looking forward to next year when I can start out with the feeling that the bands and students are really mine.

May 27: The principal came into symphonic band to observe me for the third time. The class was attentive during the rehearsal and sounded good, too. Afterwards he just said, “I think they like the music they are playing.”

June 4: I think the kids going into symphonic band next year are really excited. I’m looking forward to having a good group and already have some ideas about the music we will play. I learned more this year than in my entire four years of college, but I’m glad I don’t have to go through it again.

The post “Today was the first day of school; I am so scared. I don’t know if I can do this.” appeared first on The Instrumentalist.

Mirroring
    When the left hand mirrors what the right hand is doing, it diminishes the left hand’s ability to give cues, show dynamic changes, and indicate musical nuance. Band members can become desensitized to the left hand, much the same way that reading text in all capital letters desensitizes readers to points of emphasis in a written passage. There are times where mirrored conducting is appropriate, but it should be used sparingly for strong full ensemble passages or to emphasize rhythm or pulse in a given section of the music. It should never be someone’s default conducting style.

A Floating Ictus
    The point of the ictus – the bounce of the baton where the beat occurs – should be fairly consistent. When ictus placement is all over the place, it is difficult for players to follow what is going on. What a conductor may believe is expressive conducting is perceived by students as a mess.
    Two snare drum players practice side by side for 30 minutes, going through a regimen of rudiments and rolls. If one percussionist leaves stick marks all over the drum head while the other leaves markings only in a circular area slightly smaller in diameter than the size of a dime, it is easy to figure out which player is more consistent. In many ways, the clarity of one’s conducting works in a similar fashion. The smaller the diameter of the target area one strikes, the clearer the beat becomes.

An Expanding Pattern
When a conductor perceives ensemble timing problems or feels that the members are not watching, the first impulse is usually to make the conducting pattern larger, perhaps with more force behind the motion. However, by increasing the size of the pattern, the conductor has actually made it easier for ensemble members to keep their eyes buried in the music. The better approach is to minimize the size of the pattern and gestures. This draws ensemble members in and forces them to look up. An excessively large conducting pattern is akin to shouting. I knew I was in trouble if one of my parents yelled at me, but they really got my attention when they talked to me with the intense whisper that all parents do so well.

Conducting at the Ensemble
    Some directors conduct on more of a horizontal plane than a vertical one, with the ictus and pattern moving toward the band instead of up and down. Horizontal conducting is incredibly difficult for students to read, especially those in the front rows who see the conductor at an angle of 20° or greater. The conductor should visualize the point of the baton bouncing off of a table, not the wall.

Too Many Preparatory Beats
    The more prep beats one gives, the greater the chance that someone will play early or the ensemble will play imprecisely because of students already looking at their music before the first beat. It can be argued that a full measure of conducting helps a young group establish tempo and breathe together, but even beginners can be trained quickly to breathe together and play in time with only a one-beat prep. A band trained this way is also usually better able to handle tempo changes.

Out-of-Tempo Preparatory Beat
    Giving a preparatory beat in a different tempo than the director intends for the piece is a recipe for disaster. Moving early on the prep, moving too abruptly, or allowing the baton to dip slightly as the preparatory motion is made are common problems. To make sure that the prep is in tempo, the conductor should count a full measure mentally, moving immediately after the beat that precedes the first note of the piece. It is better to think of giving a prep as joining the tempo than initiating it.
    A good way for the conductor to test whether the preparatory beat is clear enough for students to pick up the tempo is to give just a prep beat and instruct ensemble members to count the subdivision in the tempo given. This exercise can be done in different tempos, and, if the prep is clear, band members will catch the intended tempo every time.

Too Much Information
    A conductor only has two arms and cannot show everything, but some try to do so anyway. At times, a conductor can be trying to show so much that the important information is lost in the clutter. When my band has trouble following or is not responding to a gesture, I find I am much more likely to get the desired result by simplifying the gesture and eliminating extraneous motion. In other words, filter out the noise.

Trying to Hold It All Together
    Many directors have experienced the soreness that accompanies trying to get an ensemble to stop dragging. It is easy to feel that we can, by sheer physical effort, pull the band back to the desired tempo. Unfortunately, once the ensemble starts, the director has little control of the tempo. The best way to make sure that a steady tempo will be maintained is to put the responsibility for keeping it back on ensemble members.
    To improve students’ awareness of tempo, start the group and then stop conducting and step off of the podium. The first time I tried this was eye-opening. Students held the tempo and listened to each other much better than they did when I conducted. It told me that I was working too hard, trying to take on too much of the load. Having the band play without a conductor forces the musicians to internalize the tempo. Then when the conductor is added back to the mix, there is more freedom to show style, make gestures to correct balance, and give cues, rather than be a human metronome.
    As the tempo gets faster, students become tense and work too hard. This tension works against the ability to maintain the speed and usually leads to heavy articulations and playing style. Another problem at faster tempos is that students who tap their foot can become fatigued and slow down. Try having students play the passage in question without tapping.

Conducting Too High
    An ictus plane that is too high limits what a conductor can show in terms of style, nuance, and dynamics. My college band director and conducting teacher, Gary Garner, is fond of saying, “Low is where the power is.” Not only does the conductor have a larger expressive palette to paint from when the conducting is lower, it is also possible to put more impulse of will behind gestures, including the all-important preparatory beat.

Ignorance Is Not Musical Bliss
    A conductor’s skill is irrelevant if players have not been taught both to look up and to respond to what they see. Young band students do not inherently look up; it is a skill that must be addressed just like any other fundamental of playing. A good game to encourage students to watch is to hold up a number of fingers for no more than a few measures and then ask a random band member what number was shown. I like to play another game with students where I will look at a band member, and if he looks up within the measure, we keep going and I move to someone else. We stop when a player fails to look up at me within a measure of music.
    Hand in hand with looking up is the expectation that students will respond to what they see. The more the director can hold students’ feet to the fire about this early in the year, the more responsive a young group will be when it come time to perform.   

The post Ten Common Conducting Problems appeared first on The Instrumentalist.

When to Teach Vibrato
    Beginning saxophonists should not be introduced to vibrato immediately. It is better to give them time to develop basic playing skills. Vibrato ought to be just an ornament to an already firmly-established, well-supported sound, and students should be a year or two into the study of the instrument with foundational knowledge of proper embouchure, hand position, breath support, and a good sound before venturing into this area.

Use Jaw Vibrato
    Saxophonists produce vibrato by using the jaw as a hinge to make very small up and down motions in the front of the embouchure. This type of vibrato produces an extremely slight dip in pitch caused by the miniscule downward motion of the lower jaw. The best way to help students visualize this is to have them imagine a tiny piece of chewing gum between the front teeth. Their goal is to chew the chewing gum so subtly that no one else notices, which is similar to the physical motion required for a jaw vibrato.
    All too often, when left to their own devices or given insufficient guidance, saxophone students will teach themselves to produce vibrato incorrectly. Many, after hearing someone else play vibrato, will arrive at something resembling a diaphragm vibrato. This method works quite well on the flute but not the saxophone. Vibrato produced in this manner is wild, rough, and uncontrollable. If a student’s vibrato is uneven or varied in dynamics (sounding huh-huh-huh), it may be this type. Check the student’s embouchre for movement. There should be a tiny bit of motion, but if there is none, the student is probably attempting to produce vibrato from the abdomen.
    Another technique to avoid is hand vibrato, as used by some brass players, in which the instrument is very slightly moved back and forth with the fingers. Many trumpet players use this method, but on the saxophone it produces a wild vibrato in which young players can lose embouchure control and potentially injure themselves. The jaw vibrato is most easily controllable by saxophonists and is universally considered, in this day and time, to be the only appropriate method.

Exaggerate Vibrato at First
    Young saxophonists may find some physical resistance to the introduction of vibrato from their embouchure, as the motion will be unfamiliar after a year or two of learning to play without jaw movement. This can most easily be overcome by exaggerating the movement. When the technique is first introduced, students should hold a written G4, then pull the lower jaw away from the bottom of the reed while keeping everything else in place and retaining a proper, sealed embouchure. This should result in a noticeable flattening of the pitch.
    Then have students play the same note at its normal pitch, lower it substantially, and then return to the original pitch, using the same jaw motion, while keeping the embouchure set. Any deforming of the embouchure indicates too much movement, even at this exaggerated stage. Be sure students are not biting the mouthpiece after the return to pitch; tension can creep into the embouchure while moving the jaw. After students can successfully lower the pitch and come back up, see if they can do it in time, making four exaggerated yaw-sound cycles of pitch-dip and return, each on a beat at q = 60.

Work Slowly with a Metronome
    When students have command of this basic, overexaggerated physical ability, the slow, deliberate process of refining it into a usable skill begins. After they can do one yaw per beat, challenge students to get through two per beat at a slower metronome marking). Eighth notes at q = 45 may be a good starting point. From there, slowly increase the tempo. Once saxophonists can yaw eighth-notes at about 80 beats per minute, turn the metronome back down and have them perform sixteenth-note yaws starting the metronome at 40, trying to peak around four pulses per beat at 72. It will take several weeks, if not months, to get to this point.
    Slowly, as saxophonists speed up, the rough edge of the yaws will start to turn into something substantially smoother and more pleasing. Encourage this by dissuading students from playing the rough yaw after sixteenths are introduced, aiming instead for a smooth ya-ya-ya-ya sound. Also, the amount of pitch dip should lessen greatly as the tempo speeds up; in the final product, the vibrato should never actually be perceived as a flattening of the note, but, rather, as a warm, spinning addition to the basic sound. The extremes are merely necessary for the initial development of the technique.

Experiment with Different Tempos
    Students should be encouraged to play with many different tempos and subdivisions of the beat. Although anything more than sixteenths at a tempo of 76 beats per minute would be approaching too fast of a vibrato speed for what is currently in style, students should be able to take slower or faster and wider or shallower approaches to the technique. In addition, to further develop flexibility, after the technique is initially well-learned, students should experiment with different subdivisions (staying within the same frequency parameters). For instance, if a student is looking for a maximum speed of sixteenths at 72-76 beats per minute, he could also practice triplets up to 96-102 beats per minute. Other subdivisions, such as quintuplets, should also be practiced at appropriate tempos.
    Vibrato should sound regular and well-controlled, but not metronomic. Producing four vibrations per beat at slower tempos is a fine goal for students just becoming comfortable with the technique, however, for truly beautiful, pleasing use by older students, variety and flexibility are the keys. An always-constant vibrato at one tempo can quickly take a technique meant to add life and variety to the saxophone’s sound and turn it into an extraordinarily boring thing.

When to Use Vibrato
    Vibrato should not be used at all times and in all places. In band pieces it should be at the band director’s discretion. In solo playing, a good rule of thumb is to use it for note durations of a quarter note or longer, but different pieces will dictate different styles, speed, and intensity. Discretion and forethought are important in any musical situation.
    Vibrato should considered the icing on the cake; it can add an extra layer of musicality and expression to a beautiful saxophone sound but will do nothing for a poor tone. Listening to master players of the instrument, such as Donald Sinta, Clifford Leaman, Timothy McAllister, Joseph Lulloff, Taimur Sullivan, or Otis Murphy, is necessary for any young saxophonist to understand not just vibrato, but all of the foundations of an excellent sound and technique. 

The post Teaching Saxophone Vibrato appeared first on The Instrumentalist.

Music Evaluation
    Before beginning, determine your criteria for music selection. Whether choosing music for contest or looking for lighter music to fill a concert, the standards for high-quality music should be applied to both. Also take time to evaluate your listening habits. In addition to knowing contemporary literature it is important to be familiar with all style periods, from Medieval and Renaissance pieces to the most modern works.

Form
    When listening, pay attention to form. It is natural to expect an identifiable form, even if it is as simple as verse and a chorus. In addition there is an innate desire for variety within a piece, often produced by moving between similarity (repetition) and contrast. Programmatic music, in addition to describing a non-musical idea, may be through-composed, but still held together by motivic ideas that provide a sense of unity to the music. Even minimalism draws listeners from the constant repetition of the same idea to the subtle changes in melody, rhythm, and timbre that gradually evolve over time. Be wary of pieces with a descriptive title that are little more than a series of flashy sounds cobbled together. Also assess the smoothness of transitions from one section to the next.

Melody
    A melody should be engaging. Identify who has the melody at various points in the piece, a well as who has the countermelody if there is one. Ideally all sections of the ensemble should have an interesting line at some point in the music; this is especially true for lower wind and string parts in grades 1, 2, and 3. If these students are going to progress, they must play challenging parts. If a melody and countermelody are used simultaneously, rate the effectiveness. As an example, the two melodies at the conclusion of the third movement of Holst’s Suite in Eb play off each other exceptionally well.

Rhythm
    Good literature will avoid overusing ostinato patterns. Look for opportunities to explore mixed and asymmetric meters. This potentially raises the interest level and opens doors to a wide range folk music that uses such meters. Once students learn that the quarter note doesn’t always get the beat and become familiar with how groups of two and three eighth notes can play off each other, many wonderful musical opportunities become available.

Orchestration
    Take time to consider whether students will grow as musicians from having rehearsed and performed a piece. Evaluate the effectiveness of scoring for individual parts. There should be consistency in the overall difficulty of each part in the music, and each part should reflect the particular strengths of each instrument. Percussion parts should be creative and intelligent, especially considering the vast array of tonal colors available. They should complement the winds and strings but not be overused.
    The scoring between different sections of the ensemble should also be studied. Individual lines and exposed parts provide good contrast from tutti sections, as well as giving players an opportunity to grow in maturity. Conversely, be aware of how much doubling of parts occurs, because when done to excess the music can sound overly dense. This is not to say that doubling is always bad. If an ensemble has limited instrumentation, doubled parts can be a godsend. Also, doubled parts, particularly in marches, provide the opportunity to teach players to listen across the ensemble and work toward better balance, intonation, and consistency in style.

Instinct
    In the end, you have to trust your gut feeling about whether a piece works. The music should be more than just a series of neat compositional techniques; look for a quality in the music that suggests there will be something new to find each time you approach the music. Try to identify something compelling in the piece. Some pieces may not seem noteworthy on an initial perusal, but repeated hearings can win you over. Sometimes these are the pieces with the most substance.
    Finally, evaluate whether the piece is too difficult for your players. There can be a fine line between a piece that helps students grow musically and one that is beyond their current ability. However, do not automatically dismiss a piece if the first run-through is somewhat rocky. Often when students find a piece particularly engaging they will be motivated to rise to the occasion.

External Factors
    Be cognizant of how much you allow external factors to influence the choice of repertoire. While considering what students and audience prefer, remember the importance of educating both groups on the merits of listening and performing good music. This should primarily happen in rehearsals. For example, providing insight into the music of the Baroque Period, as well as the life of J.S. Bach, will help students understand a Bach transcription. Do not try to sell students on a piece in which you do not believe, but if you feel strongly about a composition, then students will likely come to appreciate it as well.

Becoming an Expert
    It is paramount that conductors take the time to become an expert on the repertoire for their bands or orchestras. The following suggestions will help.
    Commit time every year to staying current. The search for high-quality literature is not only a rewarding part of your job, but also indispensible to a teacher’s success. Become familiar with as many publishers as you can, and do not neglect international music publishers. Most publishers provide online recordings of their publications, and some also provide online scores for perusal. If no recording is available on the publisher’s site, then check on the internet; there may be a decent recording on YouTube.
    Rather than ignoring older music in favor of the new flavor of the day, familiarize yourself with the literature from past decades by studying one composer at a time. Such study will make it easy to find good music from all periods at the appropriate difficulty level. This is especially important for bands because a greater percentage of band literature is more contemporary than that of the orchestra. The string orchestra music of Corelli is worth pursuing; his work during the Baroque period influenced the development of the string section of the Classical orchestra. As another example, Clifton Williams’s compositions were extremely important to school ensembles during the 1950s and 1960s and are still relevant today. With this in mind, take note when publishers advertise a piece that they have recently put back in print.
    Search online for various state music lists and look into any unfamiliar pieces. Also seek the expertise of nearby veteran teachers. They will know which pieces work well for a particular age group and which don’t, as well as why.

    Digging through the wealth of available literature is time consuming, but finding high-quality pieces provides students with better learning opportunities, which in turn equips them with a more discerning taste as they progress as musicians. Eventually they will leave your ensemble, and it is ideal for them to become performers and consumers of good music throughout their lives.
Enjoy the hunt.

Neglected Great Band Works

    There are many older pieces that are less familiar than they once were but certainly worth revisiting or getting to know. Here are a few I would recommend:

Komm, Süsser Tod (Come Sweet Death) by Johann Sebastian Bach, transcribed by Eric Leidzén (1936, Carl Fischer)
    This beautiful melody provides the opportunity to experience one of the classic chorales written by J.S. Bach. Leidzén penned many wonderful transcriptions during the early to middle 20th century, and this one, simple in scope but well crafted, certainly does not disappoint. The chorale, played twice, features a dynamic contrast and expressive interplay between voices that creates a profound musical statement. It appears to be out of print, but copies undoubtedly can be found in older libraries.

The Earle of Oxford’s March by William Byrd, transcribed by Gordon Jacob (1924, Boosey and Hawkes)
    The early 20th century was a period of renewed interest in Great Britain for music of the Elizabethan Era (1558–1603), including that of
William Byrd. Taken from his Fitzwilliam Virginal Book, the “Earle of Oxford’s Marche” is the first of six movements found in Gordon Jacob’s William Byrd Suite. Jacob’s rendition, which begins quietly and gradually builds to a glorious ending, captures a noble yet martial sound while maintaining the integrity of the original keyboard piece.

Fantasies on a Theme by Haydn by Norman Dello Joio (1968, Edward B. Marks Music Corporation, Hal Leonard)
    Inspired by a simple keyboard piece written by Franz Joseph Haydn, Norman Dello Joio took the opportunity to transform a melody from the Classical Era into the musical language of the 20th century. The outer fantasies are whimsical in nature, and their bubbly rendition is in direct contrast to the emotional and lyrical style of the middle. The entire piece – theme and three fantasies – is a wonderful exercise in motivic development that will be evident to both performers and listeners alike.

Ye Banks And Braes O’Bonnie Doon by Percy Grainger (1936, Schott & Co., G. Schirmer, Inc., Hal Leonard)
    It is difficult to mention Percy Grainger’s name without thinking of folk songs. For those who lack the forces to play Lincolnshire Posy, this selection provides the opportunity to experience Grainger’s scoring with a simple Scottish folk song. The meter is a slow 68 that adds to the charm. Also, Grainger’s very specific musical notes aid in replicating the expressive nuance of a folk singer.

Pageant by Vincent Persichetti (1953, 1954, Carl Fischer, Inc.)
    One of the standards of the band repertoire composed during the 1950s, Pageant is an engaging exercise in motivic development. In the opening section the motive is introduced by the solo horn before transforming into an expressive interplay of all the wind sections, beginning with the clarinets. A drum cadence opens the second parade-style section prior to introducing the original motive in inversion. That motive plus another are tossed around through the various sections of the ensemble in a lively manner creating a compelling interplay between the various tone colors of the band.

Kaddish by W. Francis McBeth (1977, Southern Music Co.)
    McBeth’s Kaddish (a Jewish prayer for the dead) is a powerful and emotionally moving piece. Dedicated to Howard Dunn and the Richardson (Texas) High School Band, it was also a memorial and tribute to Clifton Williams, a beloved mentor and teacher of McBeth. Perhaps the most compelling element of this work is the heartbeat, a rhythmic quote from Williams’s Caccia and Chorale, played by the timpani and bass drum.

Medieval Suite by Ron Nelson (1983, Boosey & Hawkes)
    Nelson is quite adept at scoring for band, and the suite does not disappoint as it features a large menagerie of percussion color as well as compelling groupings of winds. These are not transcriptions, but rather attempts to draw from some of the stylistic characteristics of music from that time, including repetitive rhythmic patterns or modes, modules of sound, use of octaves, fourths and fifths, syncopation, and pedal points. Each of the suite’s three movements (“Homage to Leonin,” “Homage to Perotin,” and “Homage to Machaut”) can be played separately as a stand-alone piece.

Elegy for a Young American by Ronald Lo Presti (1967, Theodore Presser)
    This work was written in 1964 and dedicated to the memory of John F. Kennedy. As the piece progresses, the music reflects a wide range of human emotions, not unlike those felt across American society following the Kennedy’s assassination. The piece does not appear to be too difficult at first glance, but careful work with balance and intonation will be necessary for a successful performance.

A Festival Prelude by Alfred Reed (1962, Marks Music Corporation)
    Written in commemoration of the 25th anniversary of the Tri-State Music Festival in Enid, Oklahoma, this effective concert opener is built from one main theme and two fanfares that occur throughout the score. Reed was a prolific composer whose music has been played throughout the world, and this is one of the pieces that helped establish him at the beginning of a long and successful career as a band composer.

Incidental Suite by Claude T. Smith (1966, Wingert-Jones Music, Inc.)
    Claude T. Smith was adept at writing engaging music with interesting parts for all sections of the band. This work was enormously popular in the late 1960s and early 1970s. Set in three movements, the music provides a wonderful contrast from solo passages to full band. Smith also included his signature 7/8 measure, which was somewhat novel for that time.

Fanfare and Allegro by Clifton Williams (1956, Summy Publ. Co.)
    Beginning in the 1950s, Clifton Williams established himself as a significant composer of high-quality band literature who was also playable by high school groups. He influenced the sound of band literature for a number of years to follow. This piece is noble and energetic, with engaging contrapuntal lines and effective use of ostinato patterns without becoming trite. 

The post Finding High-Quality Music appeared first on The Instrumentalist.

Systems of Tuning
    Prior to the late 16th century, many systems of tuning were in use, such as Pythagorean tuning and meantone temperament. The gradual acceptance of equal temperament radically changed the future of tuning systems. Equal temperament divided the octave into twelve equal half steps and finally allowed composers to write music that sounded suitable on fixed-pitch instruments in any key.
    The two systems of tuning that are most relevant to music performance today are equal temperament and just intonation. Electronic tuners and all fixed-pitch instruments (mallet percussion, piano, harp, etc.) use equal temperament. The natural acoustics of sound, however, operate according to the overtone series, which forms the basis for just intonation. To help students understand this difference, I describe equal temperament as being like a ladder with 12 equal rungs, while the system of just intonation results in a ladder with rungs that are not spaced evenly or symmetrically. In an ensemble, then, equal temperament is frequently used to tune individual pitches, and just intonation is used to tune intervals in melodic passages and harmonic structures. Understanding these two systems will greatly improve a student’s ability to address intonation problems.

The Overtone Series
    The overtone series results from sympathetic vibrations in the air when a given pitch is sounded. The first partial is referred to as the fundamental, which is the pitch that we hear. The overtones occur at regular intervals above the fundamental pitch according to the pattern at the top of the next page.
    To help students understand this scientific phenomenon, I demonstrate the overtone series on a piano. Select a low note that will serve as the fundamental pitch. Lightly depress the piano key an octave higher with your right hand to release the hammer, but without sounding the pitch. While holding down this note, strike the fundamental pitch loudly with your left hand and immediately release the key. The upper octave will vibrate sympathetically.
    Continue in the same fashion, depressing the next highest note in the overtone series each time with your right hand and then striking the fundamental pitch with your left hand. Depending upon how well in tune the piano is, some partials will sound louder than others. I can usually get all of the overtones to sound up to the 8th partial. Conversely, depressing the key of a note that is not in the overtone series will result in no sympathetic sound whatsoever.
    You can also demonstrate the overtone series by playing any brass instrument for the class. Simply play every partial from the lowest note to the highest note for a given fingering. Brass instruments are built so that the fundamental pitch is typically a pedal tone, which is not always easy to produce. Explain to students that the first pitch of the overtone series on most brass instruments is actually the second partial.
    String instruments are also great for demonstrating the overtone series. Natural harmonics can be produced by laying a finger over a given string at the correct interval. Instead of pushing the string against the fret board, gently touch the string at the appropriate node. For example, the first overtone of an octave occurs at exactly half the total length of the string. All of the overtones can be produced by dividing the string into smaller and smaller segments.

Unison Tuning
    The characteristic color of each instrument is created by the relative presence or absence of harmonics from the overtone series. This is why tone and pitch center are so closely related. When tuning individual pitches, we align the fundamental frequency of a given pitch, which in turn, allows the sympathetic vibrations to align as well. When players match both the pitch and tone of their section, they have effectively strengthened the overtone series which results in a warm, vibrant sound. There is great truth to the adage, “To play in tune, one must play in tone.”
    I use electronic tuners at the beginning of rehearsal for tuning notes and occasionally during rehearsal to help tune the root of a given chord. I have students hum the pitch first to internalize it and then open their mouths to sing the pitch on a neutral syllable such as lah or tah. Students using a tuner should only look at it after they have established a steady, full sound on their instrument. I always emphasize producing their best sound first. Students need to learn how to match pitch center using their ears, not their eyes.
    When two pitches are not in tune, the unmatched wavelengths create nodes that sound as audible beats. The easiest way to teach students how to tune is to focus on eliminating these beats. As the beats get slower, the two pitches get closer to being in tune until eventually the beats disappear. It is easier to hear the beats on flute and saxophone, which makes them great for demonstration.
    Matching the pitch center in unison passages must begin with the people sitting next to each other, so I have students work on partner tuning. Students simply practice eliminating beats with one other person at a time. In addition to matching the pitch of their neighbor, they must match their tone and volume as well. This contributes toward the development of good blend as well as pitch center. If every student fulfills this responsibility, then a web of listening is created across the entire ensemble.
    By using this approach to tuning, it is initially unimportant whether students can tell if they are flat or sharp. This is an advanced skill that they can learn over time. As they get better at eliminating beats, I teach students to hear sharp pitches as being brighter and flat pitches as being dull. I encourage students to purposefully flatten their pitch or pinch it sharp so that they can physically feel the sensation in addition to hearing it.

Harmonic Tuning
    When tuning intervals or triads, students must align their harmonies with the overtone series. Just like unison tuning, students will hear audible beats if the higher note is not aligned with the overtone series produced by the lower note. Because electronic tuners use equal temperament, only the fundamental pitch can be tuned with a tuner. The intervals must be tuned using just intonation. The differences between equal temperament and just intonation are summarized according to commonly used intervals in the table below.

    I use a variety of tuning exercises to help students hear intervals, and students first learn the adjustments needed to tune a perfect fifth (+2) and the major third (-14). These are the most common intervals that students will need to tune. I only introduce the number of cents needed to tune these intervals so students know the relative amount that the interval must be moved. Once students develop some proficiency at eliminating the beats on these internals, I add the minor third (+16) and dominant seventh (-31). Rather than memorize the number of cents, I ask students to commit to memory that a minor third should be played moderately sharp, a major third moderately flat, a perfect fifth slightly sharp, and a minor seventh very flat. I rarely have to spend rehearsal time on intervals beyond these as students quickly develop competency at tuning intervals by ear.
    Cadences are the best place to start with harmonic tuning in ensemble literature. Any chord that is held for a longer duration will expose an ensemble’s ability to eliminate beats. Initially, the director should help students identify their chord tone. Be sure to have a plan ready when tuning chords since all of the transposition involved can be confusing for students. It is best to build chords in the following order: root, fifth, third, seventh. Do not add additional intervals until the pitches already sounding have locked. Have students sing their chord tone as well to help them internalize the pitch center. Over time students will develop the ability to identify what part of the chord they have by ear and adjust quickly to eliminate beats.

Pitch Tendencies
    Directors should know the characteristic pitch tendencies for every instrument. Similarly, students should memorize the tendencies for their instrument. Regardless of the instrument manufacturer, there are inherent pitch problems that result from the natural acoustics of each instrument. For example, the 5th and 7th partials are naturally flat in the overtone series. Since brass instruments are based on overblowing the partials of a given fingering, students can always expect those partials to be out of tune.

    I have students complete an intonation chart each year to check the natural pitch tendencies of their instrument. Students begin by using their best tuning note to tune their instrument. I use concert A for most of the woodwinds, Bb for the brass and clarinets, and F for the horns. I always encourage students to move up to their tuning note by playing a short series of notes, such as F-G-A-Bb. This prevents students from playing the tuning note off center. Trumpet players will often pinch their tuning note sharp if they start right on C. Similarly, flute players will unintentionally roll their instrument slightly in or out on their A. Walking up to the tuning note provides context and helps center the overall sound and pitch.
    To complete the chart, students play a chromatic scale on whole notes through the full range of their instrument. I instruct them to play with a steady, pleasant sound at a mezzo forte dynamic. It is important that they not try to adjust the pitch, and each student completes the assignment with a partner who watches the tuner, so that the student performing is not unduly influenced by seeing the tuner. I encourage students to start with their tuning note and then descend by half steps to the bottom of their range. They then return to the tuning note and ascend to the top of the range. Once completed, the student keeps the intonation chart in his music folder for future reference.
    It is also important for students to learn the common alternate fingerings and shadings for their instrument. Alternate fingerings can help increase technical facility in difficult passages and also improve intonation in sustained or exposed passages. Although it is possible for brass players to adjust pitches solely by using their embouchures, this approach decreases endurance considerably faster and also adversely affects the consistency of the tone. It is far better to use alternate fingerings when the option is there. For example, the following alternate fingerings can be used on trumpet as needed:

    Shadings improve the stability of some notes on woodwind instruments, both in terms of tone color and pitch center. On clarinet, the throat tones vary widely in quality on every instrument. Teaching students to add the right-hand portion of the fingering for F3/C5 is a good starting point for shading and also helps them get over the break more quickly when approaching it from the throat tones.

Applications in the Literature
    A director should become adept at identifying passages in the literature that may create intonation difficulties. In the opening of Incantation and Dance by John Barnes Chance, the entire flute section plays an unaccompanied melody in a low register, which is typically very flat. Every player has to adequately support the sound with a full, fast air stream to ensure that the opening is up to pitch. Otherwise, the clarinet entrance that follows will sound sharp in relation to the flutes, even if the clarinets enter at the correct pitch.

    In Colonial Song by Percy Grainger, the trumpet soloist should lower the A naturals in the melody. This pitch is typically sharp on trumpet but is functioning as the third of the chord in this passage. The player can either use the first valve trigger to lower the standard 1-2 fingering or use the alternate fingering of third valve only. In addition, D5 is typically flat, so the soloist must adequately support the sound to bring it up to pitch.

    A similar dilemma exists for the alto saxophone soloist in the first movement of the Holst First Suite in Eb. Both D and A are typically sharp on alto saxophone, but in this melody they are the tonic and fifth. The D will need to be lowered rather considerably and the A slightly. Both can be accomplished by lowering the jaw slightly. Additionally, the player should strive to hear the melody in his head before he plays it, adequately support his tone, and listen to the flute and oboe soloists to reach a consensus on pitch.

    The challenges of adjusting intonation become more complex in harmonies. Each phrase in the opening section of Chester by William Schuman ends with a sustained cadential chord. The horns are playing D5, which is typically sharp, but is used as a major 3rd here. The third trumpets end their phrase on E4, which is also typically sharp, but is also the third of a major chord. The horns can lip down accordingly or use an alternate fingering, whereas the easiest solution for the trumpets is to use their first valve trigger. Have all players identify their chord tones as follows:

    A similar example occurs just after the opening in Symphonic Dance No. 3 by Clifton Williams. This part calls for a three-part divisi in piccolos, flutes, and clarinets. The players on all second parts have the major third, which must be lowered to eliminate beats. The third clarinets are sustaining a throat tone A on the root of the chord, so it should be shaded accordingly. Lastly, there is a major seventh marked pianissimo that appears in muted trumpet only. This part usually gets lost in the texture due to the soft dynamic and the unusual dissonance that it creates with the major triad. The first trumpet should be encouraged to play stronger to be heard.

    Grainger’s chorale setting of Irish Tune from County Derry tests an ensemble’s ability to play with beauty of phrasing and expression. It inherently requires great attention to pitch center throughout. For example, the low brass will have to tune carefully in the opening measures. The opening three pitches in trombone and euphonium sound a major third, perfect fourth, and perfect fifth against the pedal C, which the tubist on the lower octave should finger with the fourth valve if the instrument has one. In the second and fourth measures, the trombone and euphonium sustain major thirds against the tuba, so these notes should be lowered accordingly to eliminate beats.

    Learning the pitch tendencies of intervals, how to eliminate beats, the characteristic tendencies of instruments, and when to use alternate fingerings and shadings takes considerable patience and diligence, but over time, it will greatly accelerate perfecting intonation in rehearsals. All efforts toward teaching intonation must serve the higher purpose of making beautiful music.  

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    Although the marching season is still relatively new and this year’s shows are still fresh and exciting, routine sets in quickly, and students begin to feel the burden of all their classes. We asked six experienced teachers for tips on beating the doldrums in the middle of marching season and taking the final steps of making a good show into a great one.

How do you keep enthusiasm up in marching rehearsals in mid-season?

Anthony Pursell: Keeping enthusiasm up is much easier in groups that put on multiple shows each year, because there is always something new to learn. Change the rehearsal routine or the warm-up; this keep students on their toes. Using the same exercises each day quickly becomes monotonous. One easy change is to make games out of various elements in rehearsal. Although certain aspects of the fundamentals of marching may vary slightly from school to school, they are mostly the same, and unless you are working with students who have never marched before, working on them gets monotonous quickly. One way to make a game out of them was to set up one section of the band in a company front and have them march drill playing the fight song. Each section took a turn doing this, and the directors and drum majors evaluated each section before declaring a winner. Other ideas include a march-off to see which student can go the longest without making a mistake. This gets students enthusiastic with the monotony of fundamentals, especially when given commands from the press box.
    It is also important to remember that students start having papers and big projects due in the middle of the semester, and that creates pressure on them. Students who seem listless may have other things on their minds. Have a party for the students one night; either skip a rehearsal or end things a bit early. This can break the ice and interrupt the routine.

Mark Hosler: We used to have a battle of the bands within the band. This began with a music rehearsal in which the band was divided into two groups with equal instrumentation. Band A would stand on the field and play the show music while Band B sat in the stands and critiqued. Students would evaluate their section and give feedback, then trade places so Band B could play. It really helped students understand some of the musical concepts that we had been learning.
    This works for marching and playing the show, too. If there was balanced instrumentation on each side of the opening formation, I split the band down the middle, otherwise I removed every other player to create the two bands. Again, it was a great opportunity for students to engage marching and playing concepts in a different way. Occasionally, we even invited guest judges, such as the middle school band director, choir director, principal, or football coach, to pick a winning band. Both high school and college students enjoyed this experience, and I believe it helped improve their music and marching techniques.
    Keep coming up with new ideas. That can be difficult with high school bands that put together one competition show each season; it gets stale rehearsing the same thing over and over. I also occasionally switched things up by spending a rehearsal reading music to play in the stands.
    I was always on the lookout for ways to challenge students. We would watch a video of our most recent performance, and then I would have students help analyze what we saw and suggest ways we could do better. It might mean rehearsing the alignment of a particular formation or the intonation from a section of one of the show tunes, but because it was their idea to work on these things, there was more enthusiasm.

Gerry Miller: Raise the standards. The first time that students learn something, 70% success may be acceptable, but the next time they try, it should be 72%. As we consistently raise the grade, in terms of keeping their enthusiasm and interest, we set a bar. I tell students that we’re going for 90% on a repetition, and then after running it, I might tell one section of the band they were at an 88%, but that I’m sure we’ll have it with one more run-through.
    We also like to play games on the field. I might challenge the band to see which section can score the highest on a repetition of the drill. Too often we play punitive games designed to catch who misses. It is healthy and fun to play a game to see who is going to be best at something. It is almost tricking them into learning things. We have a squeaky dog toy that is given to the section of the week each week. Students decide who wins, and the section that wins squeaks it all the time. They use it at sectionals to get the section’s attention.
    In the midst of summer band, students have an hour break for lunch, and they spend it together. When school starts it gets trickier for students to socialize and find those opportunities. Marching band is always more work than play, but the workload gets heavier as the year goes on. We break that up by having social events. We also have a mid-season marching party for students, just so we are not working every time we’re together. We have gone bowling or rock climbing and have also had a movie night.

Stephanie San Roman: We try to have a goal the students are working toward. There always is a goal in mind, so we can encourage students that way. We also try to add things to the show, so if there is a place for a dance section or some body movement, that gives students something different to think about. It helps out the show, and students have a lot of fun learning the choreography at the same time.

Timothy Todd Anderson: Set a tangible goal. In some competitive programs at the high school level, this may be going to Bands of America Grand Nationals. For the University of Massachusetts Band this year, the goal is marching in the Macy’s Thanksgiving Parade. Knowing we will be on a big stage in mid-November will provide motivation in the doldrums of October.
    On the other hand, sometimes we lose focus when coming up on something big. It can become all-encompassing. Band is our lives as directors, and while it may be something students love, it is one of many things in their day and they can choose not to be a part of it. It may be necessary to get after the group at times, but avoid demoralizing students. That doesn’t mean every rehearsal has to be all lollipops and rainbows, but at the end of the day marching band should always be a good experience for them – something the remember fondly when the season is over.

Duane Chun: I schedule a mass band in the middle of the marching season. I invite the four middle schools in the county and the visiting school’s band, and we have a big pregame show. Right in the middle of the season, we have to stop what we are working on to learn this music and drill. It is a nice break in the routine, and then we are fresh after that.
    We have a choreographer who comes out in the beginning of summer to teach our color guard routines, and we bring her back out again in October as a refresher. Bill Humbert, the director of bands at Glendale Community College, is a great motivational speaker, and I also invite him out to build enthusiasm and remind us what we are doing and why we are doing it. Sometimes, however, I put it on my students to build enthusiasm. I meet with my student leaders, and we set short- and long-term objectives. Having both means we are building toward something big, but also experiencing success along the way.
   Some years the band parents have thrown a random pizza party for us after a long rehearsal. Such random acts of kindness are also good motivators.

What’s one quick and easy change you can make to add a new level of interest to a show?

Gerry Miller: Being an audio guy in the drum corps world, I notice those moments where things are together both musically and visually, but everything is not interesting enough. For these moments, I find sample sounds to help enhance or add character to the show. We had a judge who, after listening to a percussion program, called one of the phrases bland. We agreed, so we added handbells to the phrase, and when he heard it the next time, he said, “I love this, but I don’t remember it from last time.” With the handbell texture it became a beautiful section of music. I think we only added eight or nine notes, but it made a big difference.
Rewriting a trumpet part is easier said than done, but adding sample sounds or changing the synthesizer sound from a basic piano sound to something with a little more character can take those moments that feel flat stand out and be spectacular. Many marching bands are set up to handle electronics, so it never feels like an effect is crowbarred in.

Stephanie San Roman: Any sort of body movement is good. A horn flash or a step out work well in the right spot. Added movements should be dictated by the show theme. Last year our show included a lot of rock music, so it worked well to add different sorts of body movement with that. If a show is of a more serious nature, you can do contemporary-style movements, such as leans.

Anthony Pursell: With the high schools I write drill for, sometimes they ask how to make a power stand-still within the ballad more interesting. I tell them “On this chord, have the ensemble start on their left side and pan to the right side.” This creates an interesting audio effect and also produces a good visual.

Duane Chun: Last year, during some of our stand fast moves, we tried to incorporate some body choreography. We had one of our local dance instructors teach us some ballet moves. Look for those moments in the show where the music is rising and falling, and if the group is standing still, add some interest or flash to it.

What are the differences between a good and a great show performance?
Duane Chun: Do the groundwork before the show happens. We set the foundations for November in August. After we have learned all the dynamics, articulations, and moves, the mental challenge is making it fresh and exciting for the audience because the 50th time you run something might be the first time some of them see it. Others are seeing the show for the 10th time, in which case it is necessary to think about what you are doing to make it fresh. We spend a great deal of time discussing what we can do better now than we did in previous weeks.

Timothy Todd Anderson: Commitment from every member of the ensemble is important. Much of the time we get into a ballpark area where enough players know their music that it covers up some problem areas, or enough people know their exact spot on the field that the rest can figure it out. When every member of the ensemble is accountable for having the music and drill memorized, that takes a performance to the next level.

Mark Hosler: The precision of both the music and the marching is what makes a show outstanding. Sometimes bands try to rely strictly on volume change to make an impression. This is part of it, but the technical aspects of being able to play the music cleanly and in tune definitely make a big difference. In marching, precision is key. I have seen high school groups over the years whose drill was just too difficult for them. This makes it difficult to reach the level of greatness the conductor might be working toward.

Anthony Pursell: Enthusiasm is essential for getting students to step things up. I have students who just aged out of DCI, and from reading their posts on Facebook it is easy to see just how memorable that last show was. When students have that sense of urgency about the performance, they will usually turn it on. I invited the parents out to watch Thursday evening rehearsals, because they were usually working the concession stand during football games. We opened Thursday night rehearsals at the stadium, parents would come out and watch, and having an audience made students stand up a little straighter. Before a big performance, I would recommend opening up rehearsals or bringing in adjudicators to critique the group. I would tell students at the start of rehearsal, “We have some guests watching tonight, so let’s see what we’ve got.” Students of all ages usually want to impress who is in front of them. Changing the atmosphere of who we’re practicing for is a good psychological tactic.

Gerry Miller: Clean performances stand out to me, but the most memorable ones are those that convey emotion. There is a point at which the students move from a routine where they just go through the motions to really investing and communicating with the audience. This is difficult for wind players, who should focus on marching and playing a very clean show, but for other sections the opportunities for emotional communication are endless. When the color guard, front ensemble, and battery percussion show emotional intensity the show will be special. It does not have to be at the state marching contest; it might happen at a Friday night football game. It may only happen for two or three phrases, but it is important to point it out when we see it. Let students know they weren’t just playing and moving their feet out there, they were saying something to the audience without having to use words. Those are the shows the students remember over the years. We aim for that anywhere, even in a rehearsal at a last runthough.

Stephanie San Roman: It comes down to quality. Regardless of what the show theme is, students should be playing musically with good tone quality, and the visual aspect should enhance the music rather than detract from it.   

Timothy Todd Anderson is director of the University of Massachusetts Minuteman Marching Band.
Duane Chun has taught at Buena High School in Sierra Vista, Arizona for 21 years.
Mark Hosler is associate professor of music at Clemson University in South Carolina.
Gerry Miller is director of bands and Fine Arts Department chairman at Justin Wakeland High School in Frisco, Texas.
Anthony Pursell is assistant professor and director of bands at Tarleton State University in Stephenville, Texas.
Stephanie San Roman is director of bands at Oswego (Illinois) High School.

The post Tips for the Middle of Marching Season appeared first on The Instrumentalist.

    High school and college-level clarinetists may be unfamiliar with the standard fingerings for altissimo notes, let alone the staggering number of useful variations and possibilities in the highest register of that instrument. Students tend to avoid these notes altogether because standard fingering charts often leave off at C6, and many students fear them unnecessarily because the fingerings are somewhat less obvious and a little more complicated than those in lower registers. I developed a fingering chart consisting of only the fingerings I found to be the most usable and reasonably in tune, showing the most common or standard fingering first, with alternates following.
    When playing in the clarinet’s altissimo register, the main considerations are the ease of getting to the fingering, the resistance level of the note (how easily it speaks), and pitch. All can be dependent upon which notes the player is coming from and going to, as well as the individual instrument and mouthpiece and reed setup. It is important to note that there is no right or wrong fingering choice; I always emphasize to students that a fingering chart’s main use is to show available options so a good choice can be made.
    This excerpt is measures 25-30 of No. 19 from 32 Etudes by Rose.

    G6 presents a dizzying array of choices. In addition to the eight fingering options shown, there are several additional ways to produce this note on the clarinet. When considering the ease of getting to the G6 in the third mesaure of the example, I would eliminate choices two and seven, which are awkward to get to from D6. Because this passage is marked forte and molto risoluto, it would be important to choose a high G with a resistance level that is neither too light nor free-blowing. Usually choices that include more fingers are more resistant, so at this point I would lean toward options one, four, five, or six. Pitch will likely determine the final choice. I would not want to be sharp on this note, so a good choice for me is option four. It is a solid fingering that I can get to easily, play strong and loud, and be in tune. Other players might choose one, five, or six if any of these was more in tune for them.

Fingerings for G6

    There are a number of altissimo passages in the orchestral excerpts that a college-level player might encounter.
    The high Gs in the Trio section from Beethoven’s Eighth Symphony, in contrast to the previous excerpt, should be played piano, and with exceptional ease and grace. For this reason, I choose a less resistant fingering for the G that appears below. My favorite is option 3, which I have come to call Easy G because there are so few fingers involved.

    For the final high G in this same section, I prefer a fingering that comes out easily, but is sturdy enough to never squeak. The standard fingering is best here.

    I vividly remember having quite a laugh with some college friends as we experimented with several possible fingerings for the repeated high Ds in Rimsky-Korsakoff’s Capriccio Espagnol. The standard fingering for D6 is somewhat awkward when moving to or from C6, so it is quite tempting to use an option like the third or fourth fingering in the list. Unfortunately, these options range from slightly to extremely flat at the requisite forte dynamic. Because the repeated motion from C to D is the main motive of this excerpt, the whole-step interval is prominent and should be properly spaced. I recommend staying with the standard fingering on this one.

Fingerings for D6

    For daring souls who want to attempt the Variazione in modo di Scherzo per Clarinetto on A or Bb clarinet in Ginastera’s Variations Concertantes, I have included fingerings for the highest C# and D in the range, notes that appear very rarely in the repertoire but that are possible to produce. In the Bb version, the highest note is a C#7, and on the A it is a D7.
    In a passage such as this, the approach to the high note becomes of great importance. The fingering choices should lead comfortably and smoothly from one to another and be of a similar resistance, or the high note will not speak. I write numbers above the altissimo notes referring to which choice on my fingering chart is the best to use. In the Bb version below, it is helpful to keep the same left hand pinky key down for all of the notes beginning on the G#.

    The G#6 I chose is the sixth option on my chart. For A6 I use the second, B6 the first, and C#7 the second.

    A frequent problem for band directors is what to do when several players in the section, or even the entire section, are playing altissimo notes together. Many of the notes in the altissimo register cause students to tense up, making the sound extremely loud, shrill, and strident. Composers sometimes choose high notes precisely because they want that effect, but it is also possible to play these notes softly and delicately. Anyone who has heard the top college or military bands knows it is possible for a clarinet section to play altissimo notes in tune without sounding overpoweringly strident, and it can produce an incredible sonority when done well.
    Have every player start with the same fingering; this alone will probably help a lot. Beyond that, encourage students to approach high notes in a relaxed manner using warm air, a neutral throat, and an embouchure that is comfortable but not too tight. An excellent exercise is to have students ease into a high note by playing with air first, and gradually increase air speed until the note speaks. Ask them to remember how it felt at the point the note spoke and then start the note again at that point. It usually surprises them how easily high notes can speak, and that they do not need to force the air or the embouchure. Releasing any jaw pressure and avoiding excessive squeezing with the lips will help tremendously. It is best to relax and blow comfortably.
    Extended passages in the altissimo can be a bit of a puzzle. I keep my fingering chart handy and research the best fingerings for navigating from one note to the next.  

The full version of Stacey DiPaolo’s altissimo fingering chart:
page 1
page 2
page 3
page 4

Bibliography
Unpublished clarinet fingering chart by Philip Aaholm (Professor Emeritus of the University of Colorado at Boulder).
Modern Fingering System for Clarinet by Jay Arnold (New York: Shapiro, Bernstein & Co. Inc., 1953).
Yamaha Band Student, Book 2 by Sandy Feldstein and John O’Reilly (Alfred Publishing Co., 1989).
The Twentieth Century Clarinetist by Allen Sigel (New York: Franco Colombo, Inc., 1966).
Rubank Advanced Method, Clarinet Vol. I, Table of Fingerings for the Boehm System Clarinet by Himie Voxman and William Gower (Chicago: Rubank Incorporated, 1939).

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