“Chaconne” from First Suite in Eb by Gustav Holst – beginning unison theme, as written:

First Suite in Eb and Second Suite in F by Gustav Holst copyright Boosey & Co. Ltd. Used with permission.

Played:

    Notice that except for the cadence measures, every sub-phrase flows over the barline, creating the wave effect in a 3-1-2 beat grouping. The high tone in measure one is a light expression and a pick-up to the following downbeat. The half notes in measures one, two, four, and five should get a slight diminuendo so the sub-phrase continuation is noticeable. In the two-bar cadences in measures three-four and six-seven, the half note F acts as both a tone of resolution (from the C) and also a pick-up to the cadence tone Bb. The quarter note on the downbeat of measures three and six should be emphasized following the phrasing principle that tones of short duration on strong beats resolve to lighter, longer tones. Verbal directions to the ensemble would just ask for a 3-1-2 grouping over the barline.

“Song of the Blacksmith” from Second Suite in F by Gustav Holst – beginning, as written:

    The opening theme may be explained as being performed in three sub-phrases using a four-one beat grouping over the barline in the second sub-phrase. Accents have replaced the staccato markings on the important notes with accents to help indicate stylistic inflection. The second tone in first two measures should be played with less emphasis, which fits the natural inflection of the meter. The rests on the downbeats should be felt with the same emphasis as though a note were present following the natural strong and weak beat inflection of both meters. That puts the periodic emphasis on the concert Bb, first off the beat in measure one and then on the beat in measure two. Encourage the musicians playing second and third parts to play expressively even though their parts do not contain the same quality of contour as the lead part. When all the members of the brass section think in terms of the three sub-phrases and the natural inflection of the prevailing meters, the result is stunning at a forte dynamic.

Making Choices in Analyzing Melodies
    There are two different ways to perform the following musical phrase. Each one results in a slightly different expression in style, and both are valid according to the melodic content and desired style of the performance of the piece. Both solutions treat the eighth-note rhythmic activity of the weak beats (second and third) as moving over the barline from weak to strong, creating the wave effect, but use different sub-phrase groupings according to the contour of the line.

Written:

    This first option recognizes the neighboring tone configuration and incorporates it into the sub-phrase grouping, using a 4-1-2-3 grouping of the four eighth notes.

Played (option 2):

    A second possibility bases phrasing on changes in direction, creating a more flowing style with longer sub-phrases moving over the barline. It uses a 2-3-4-1 grouping of the four eighth-notes.
The conductor is responsible for establishing the expressive sub-phrases. In the above example, you may imagine how an ensemble would sound if some players base sub-phrases on neighboring tones, others on changes in direction, and a group of players only thinks note-to-note without any sub-phrase groupings or awareness of the natural inflections of the meter.

“Aria,” When Thou Art Near by J.S. Bach/Nowak. Opening melody scored for woodwinds in octaves with chordal accompaniment in a quarter-note harmonic rhythm. As written:

“Aria,” When Thou Art Near by J.S. Bach/Nowak, copyright Northeastern Music. Used with permission.

    In measures one, five, six, and seven, the guiding principle should be that the leaps to weak beats in the meter are usually light. Measure three applies the repeated tone principle by placing the repeated Abs on weak beats in two different sub-phrases (noted by the arrows) in an animated Baroque style.

Played (option 1):

Measures five and six recognize the new leading-tone lower neighbor in the analysis over the barline, featuring the Bb for these measures. Measure seven ends the previous sub-phrase on the C, which acts as the tone of resolution for the Ds marked with asterisks in measures five and six. Measures eight and nine are same in both this and the next version, following the rhythmic principle of tones of short duration off the beat resolving to longer tones on the beat.

Played (option 2):

    The first two measures are the same as in the first option. Measure three treats weak beats two and three as pick-ups – a 2-3-1 grouping and a more Classical style than the first solution. Measures five and six start the second phrase by calling attention to the new chromatic leading tone to the dominant by making it the first tone of the pick-up sub-phrase over the barline. Measure seven ends the previous sub-phrase on the downbeat Eb as a resolution of the F from the beginning of the previous bar but leaves the following C as an independent tone, which does not work out well for the total line.
    The first solution works well in a Baroque style in measures three and seven, and I prefer this version. That said, what matters most to creating an expressive performance is establishing common sub-phrase groupings.

Beat Groupings in Common Meters
    When addressing sub-phrases that have a scale-line configuration or moderately shaped contour, use a numbering system according to the note groupings. Select the grouping that best fits the style of the piece from within the meter, flowing or animated. When within the meter, taper the grouping.

Meter in 2:

    The first three measures show tapering within the meter. The last three measures group notes over the barline, producing a more animated feel. In both cases, they are light expressions.

Meter in 3:

    Possibilities for three-beat measures include sub-phrases within the meter, a flowing 2-3-1 grouping over the meter, or a 3-1-2 animated grouping. In all three versions, the second and third beats are light expressions.

Meter in 4:

    Meters in four offer numerous options. The first line shows a tapered flowing within the meter, a 1-2-3-4 grouping. The second shows an over-the-meter long flowing 2-3-4-1 grouping. The third line shows an intermediate flowing over the meter (3-4-1-2) usually used by contour. The fourth line is an animated 4-1-2-3 grouping over the barline.

Meter in 2 with a Pulse Subdivided in 3:

    The possible groupings here are similar to those of three-beat measures.
    Some composers indicate expressive sub-phrase groupings as best they can within the limitations of music notation, but others do not, leaving it up to the conductor to make such decisions. In my opinion, expressive phrasing is the least taught subject in most of our colleges and universities, so it is not unusual that most instrumental teachers struggle with this in both their conducting and playing. In recent years, I have included an expressive phrasing suggestions page in all my scores published by Northeastern Music.

Meter in 2: Scale-line groupings in context of a melody. As written:

Played (option 1):

    This first option uses a 4-1-2-3 animated grouping in the first long phrase. The cadence in measure two stays within the meter. The second long phrase features the two half steps in the scale (Bb-A-Bb and F-E-F), resulting in a 3-4-1-2 grouping.

Played (option 2):

    This option uses a more flowing 2-3-4-1 grouping in the first long phrase. The half-cadence in measure two takes the resolution of the upper and lower neighboring sixteenth tones to beat two, resulting in the following 8th note as a pick-up to the next sub-phrase. The second long phrase is more animated, applying a 4-1-2-3 grouping.
    Both solutions are musically valid. It is a choice of style and which version fits the overall flow of the section of the piece as a whole, animated or flowing.

Meter in 3 – Scale-line groupings in context of a melody:

    This example uses both the 3-4-1-2 and 1-2-3-4 groupings. The melodic configuration in measure one clearly indicates the 3-4-1-2 grouping. In measure three, the disjunct nature of the sixteenth-note figures clearly indicate a 1-2-3-4 grouping. The implied diminuendo indicated below the staff applies the phrasing principle that rising lines that do not resolve are usually diminuendos.

Meter in 4 – Mixed scale-line groupings in eighth-notes:

    The first antecedent phase uses a flowing 2-3-4-1 grouping as indicated by the melodic configuration changing direction. A neighboring tone configuration is also possible in the beginning, but it would be more animated, creating a 4-1-2-3 grouping. I prefer a more flowing grouping, which is why I chose a 2-3-4-1 grouping. The consequent phrase uses the neighboring tone configuration resulting in a more animated 4-1-2-3 grouping and stylistically contrasts the flowing first long phrase.

Phrasing Within and Over Slurs.

    Frequently composers will slur sixteenth or eighth notes in groups of four. Depending on the tempo, it is possible to create sub-phrases that flow from within one group of slurs into another according to the contour of the line. In most cases, legato slur markings should not be taken as phrase markings unless they match the contour or configuration of line. In this case, they are pure articulations and sub-phrases should be applied for expression and interest for both the player and the listener.

Ensemble Phrasing Analysis with a Condensed Score
    Notice that every element in the score on the previous page progresses over the meter or pulse. My choice for the accompaniment uses the longer sub-phrase eighth-note grouping of 2-3-4-1. If no grouping is applied, the mind tends to revert to note-to-note thinking, making the tempo unstable; the repeated eighth notes become uneven over time and boring to play. The grouping helps keep the players focused on the task at hand and avoids boredom with the repetition. The bass line is over the barline in a 2-1 grouping and the melody uses an animated &-1-&-2 eighth-note grouping in most of the measures. When playing an anacrusis, be sure to think of the salient note (tone of resolution) so the anacrusis will have the proper inflection. In measure 13 the light high note principle is applied to the Db on the upbeat of two as a pick-up to the downbeat of measure 14.
    Holst wrote accents over the first three eighth notes in the melody, calling for a strong statement of the motive. This includes the upbeat of beat one, which would have been light if unaccented.

“Intermezzo” from First Suite in Eb by Gustav Holst – rehearsal letter B:

Summary
    There are limitations in indicating expressive phrasing in our system of music notation, but there are concepts that can be beneficial to our teaching and performing. Being aware of the natural inflection within the weak and strong beats in the meter is helpful in determining expressive sub-phrases. Look for activity that creates the wave effect. Young players are just building a memory bank of musical experiences and should be aware of these principles and concepts and apply them to their playing.

The post Style and Expressive Performing appeared first on The Instrumentalist.

    As a high school band director, a husband and father of four, I find it difficult to keep up with my work obligations as well as my family. It is hard to find that working balance between the two lives. Providing a high-quality musical experience for my students while being a good husband and father is essential. Here are some suggestions, based on research done for a master’s project, as to what any director can do to help any director find a better balance.
    1. Keep a paper or digital planner to put in daily appointments and schedule. I find that this helps throughout the year as I plan for both school as well as my family. With that daily planner, schedule time for the family and put the family obligations and schedule in the calendar first. Keep those appointments.
    Then schedule as many of the school events around the family events. Consider scheduling a date night with the spouse or kids. Put that date night into the planner and guard that date from any other event. I try to take each of my kids out for lunch or breakfast once in a while. Each of the kids gets their own day and chooses where we are going.
    2. Plan each day ahead of time.  Many times, directors have students in their rooms after school hours. By arriving at school early and completing administrative tasks before students arrive, we will accomplish more during the day. Additionally, schedule a specific time to leave each day. It’s easy to get involved in a project and lose track of time. Pretty soon it is five o’clock and we haven’t gone home. A cell phone alarm can make a good reminder to shut things down and head out the door. 
    3. Delegate responsibilities. Students can complete many tasks that are often done by directors. Assign jobs to specific students. One student or a small group of students can manage the music library. Their job is to get music ready to go out and then refile it later. Another student or group straightens up the room. Another student might take attendance and contact absent students. Yet another student could direct publicity for the program. They could contact the newspaper to advertise for the performances, send out invitations to the school board, design the program.
    4. If possible, split a stipend with a second director to share some of the extracurricular responsibilities. Teaching music does not run from 7:45 to 3:30. Many of the hours are taken up with basketball and football games and concerts. If there is an assistant director in the district, consider splitting the extra responsibilities to get more time at home.
    5. Establish limits for extra performances or events. When scheduling different events, refer back to the priorities that were already set. It is okay to tell someone that the ensemble is unable to perform at a function. When setting priorities, divide things up into different categories: work goals, necessities at home, and any leisure activities. Then develop a plan to balance these priorities. Keep a time log to determine if a balance between each of the different categories is being achieved.
    It is equally important to share these priorities with family and administration. When a decision must be made to eliminate an activity from the schedule, it will be much easier to justify that decision if everyone shares the same priorities.
    6. Learn to say no. There are plenty of times that the ensemble is out performing, so saying no once in a while is okay. If the no comes with an explanation, the recipient is more tolerant.
    7. Do not take work home. It is essential to spend undivided time with your family. We spend a good deal of time working on school work while at home. The work will still be there in the morning. Another difficult time to leave is immediately following a performance. As a high school director, I spend a lot of time waiting for the students to get picked up. If parents know when they should be there to get their child, most likely they will be there on time. Getting the students out the door as quickly as possible allows me to get home.
    8. Technology has made it much easier to stay in touch with work than it has for spending time with the family. I suggest taking school email off the phone, which allows us to escape from work and undistracted time with the family. I remember one weekend trip I took to Wisconsin Dells that my family took. While we were there, I took a glanced at my school email on my phone, even though I was on vacation. There was an email from my principal to call him. I spent the next half an hour wondering what was going on and talking with the principal instead of enjoying my time with my family. It is so easy to get sucked back into the school life. Remove that temptation.
    9. Involve the family in the job. Bring kids to the concerts, and let them be involved in every aspect possible. Once the family is involved, they will better understand why teaching takes so much time. My kids basically are growing up in my band room with my bands. The band students love it when they are there, and I get to spend more time with my family.
    10. Live closer to the job. When I started my teaching career, I was advised to live a long distance phone call away from my students. This would keep families from contacting me outside of school. That was probably  sound advice at the time, but now with cell phones and email, getting in touch is not hard to do and distance plays little part in it. The problem with living away from the school, is that we spend so much of our day traveling. If we live close to school, we cut down that travel time and have more free time.
11. Finally, take time for yourself. Teachers spend so much of their time and resources for their students and seldom take time for themselves. Go on vacation, golf, fish, or whatever it is that is relaxing. Protect the days off. Do not let that day get filled up with school related issues. Marching band takes up a majority of a director’s Saturdays. Do whatever it takes to limit the number of Saturday performances throughout the season and the school year.
    Balancing work and family lives is not easy. As Shakespeare said in Hamlet, “to thine own self be true.” Make priorities and stick to them. Balance is a work in progress. I feel that I need to work on many of the suggestions above. Balance is not achieved overnight. Keep working at it and it will come.   

The post Keeping Your Balance appeared first on The Instrumentalist.

Embouchure
    If you do nothing else but make sure all your clarinet players understand and can play with the correct clarinet embouchure, you will be doing them and your band the greatest possible service. Teachers usually say to have a flat chin, but specifically, the lower chin should be pulled down and away from the reed, with only the lip contacting the reed. This creates a concave indent in the chin and should look firm as in the picture below.
    The earlier in a clarinetist’s career a teacher can implement this em-bouchure the better. Once the embouchure muscles form into habit, it becomes hard to change, and if a student gets to the college level without having learned the correct embou-chure, it will be a difficult road for them. The correct embouchure will make a world of difference in intonation, the ability to play high notes, an ability to play high notes in a pleasing manner, clarity of low notes, articulation, and beauty of tone.

The Break
    One crucial moment in a clarinet player’s development is getting over the break. About one third of the way through most beginning band method books, clarinet players learn how to get into the high register using the register key. The break on the instrument, usually known as going from written A4 or Bb4 (easy, free-blowing notes) to B4 (a note with all fingers down and more resistant to play) is a challenge for many students. Crucial to success is the embouchure, which should be flat and unchanging, and increasing the air speed into the resistant note.
    If clarinet is not a director’s primary instrument, practicing changing registers occasionally will make it easier to communicate to students. Some-times it is best not to even draw attention to the fact that crossing the break is difficult; just advise them on embouchure and air and they may sail through.

Tonguing
    Check tonguing early. Make sure young players are actually using their tongues to articulate. This may seem obvious, but it is surprising the number of strange things students will do if they have never gotten instruction on how to tongue. For some students tonguing may feel weird, and they find novel ways to avoid it.
    Some clarinetists may articulate using only air (ha-ha-ha tonguing). Anchor tonguing – locking the tip of the tongue under the bottom teeth and then tonguing with the upper-middle part of the tongue – can hold some students back as well. A generally good piece of advice is the tip-to-tip method, which is using the tip of the tongue to touch the tip of the reed. A good consonant to suggest on clarinet is doo, because that usually produces a clear, but not too aggressive, note beginning.

Equipment
    Having a good set-up (mouthpiece, reed, and ligature) is important – even more so than having a good instrument. I highly recommend having the entire clarinet section use the same high-quality mouthpiece. If a student is studying privately, and the teacher suggests other equipment, then by all means support the private instructor. However, this approach is to ensure that those students who are not taking lessons will avoid playing on mouthpieces and ligatures that cause them to struggle. Additionally, a good reed makes a substantial difference in sound. Cheaply made reeds will lead to poor results, so encourage parents to purchase reed brands of known quality.
    The idea of making all students play on the same mouthpiece, reed, and ligature is contentious. It is hard to tell parents they need to spend even more money to buy a mouthpiece when one is already in the case or to explain why they should buy a more expensive reed. Some of the many benefits of having everyone on the same equipment, however, include better intonation and a greater uniformity of tone in the section.

Wood vs. Plastic
    Advancing players will greatly benefit from having a wood clarinet. There are many fine options in the intermediate-to-professional level of wood instruments to choose from. An unfortunate obstacle to suggesting this to parents is marching band. Wood instruments should not be used for marching, and parents may balk at buying an instrument their child would be unable to use for half the year. Some ways around this problem might be for the school to loan out plastic instruments for marching band or to work with a local music store to rent marching instruments. Advancing students can grow and benefit much more if they are able to get a high-quality wood instrument sooner rather than later.
    On a side note, I don’t recommend using bass clarinets in marching band. They generally make little difference in a band’s sound on the field, and more importantly, both plastic and wooden bass clarinets go out of adjustment easily. They should be considered delicate instruments best reserved for indoor concert band.

Literature
    Advancing students should practice standard literature, not just the all-state etude of the year. The literature written for clarinet teaches clarinetists how to play. Students benefit tremendously by playing the great composers first hand. As a college professor, one of the most disheartening things I see is the many students who come to audition who have never worked on anything except all-state etudes and their band music. The following is some repertoire I would suggest introducing to high-school clarinetists:

Sonatas Op. 120, No. 1 and No. 2 by Johannes Brahms
Concerto for Clarinet, K. 622 by W.A. Mozart
Fantasy Pieces by Robert Schumann
Sonata for Clarinet and Piano by Camille Saint-Saëns
Concertino, Concertos No. 1 and No. 2, Grand Duo Concertante by Carl Maria von Weber
Five Bagatelles by Gerald Finzi
Six Studies in English Folk Song by Ralph Vaughan Williams

    It is possible this music may be too difficult for them, but when they get a start on it, it will challenge them. They will begin to understand how Brahms and Mozart are supposed to sound, and you will have opened a big door for them.   

The post Beyond Clarinet Basics appeared first on The Instrumentalist.

    Band directors, even those who are percussionists, may not always have a clear approach to solving percussion problems in rehearsal. These moments can consume extra time, alter rehearsal momentum, and be frustrating for both director and students. The following are some possible solutions for common percussion problems in rehearsal.

Playing in Time
    Percussionists must know what steady time is and how to play rhythms in that flow of time. Work with a metronome can be useful to develop steady time, but if this beat is not internalized, problems can resurface when the metronome is taken away. Stepping with the time and clapping or sizzling rhythms with steady time can increase students’ sense of steady beat. Percussionists should also practice alone with a metronome to make sure they can play a given passage correctly and that they are not rushing or dragging specific rhythms.
    Additionally, rhythms may sound incorrect if the stroke begins early or late. Watch for students waiting to start the stroke until the moment they should be striking the instrument. Depending on tempo, the student may need to start a stroke as much as a beat before they should be striking. Also monitor instrument and stand setup so students can see their music while seeing their instrument beating area and the conductor peripherally.

Snare Drum
The snare drum is too loud.
    One possible reason is that the stroke height is too high. Coach snare players to listen to the group around them and avoid playing louder than a certain section. Students may also be unaware that dynamics are relative and that their piano may be the director’s mezzo forte.
    Another cause may be using a stick that is too large. A 2B stick is generally a good size for concert snare drum.
    If the snare player is getting a thuddy or smacky sound, make sure he isn’t ending each stroke close to the head. The stick should generally come back up to the height at which it started; this will give a more characteristic sound.

The snare drum always sounds behind.
    If the snare drum always sounds behind, the player may need to place their notes further in front of the beat. Some students interpret this as being asked to rush, but there is a difference. Make clear the tempo should be followed strictly but the snare should play slightly before the rest of the group. If the student does this, it will likely sound more correct to the director.
    Even when students are aware of the problem they sometimes cannot fix it. They may be starting the stroke when they should be striking the drum, which can cause them to sound behind. Snare drummers should make sure their first movement is down and not up, which will help the note sound in time.

Rolls are uneven.
    Work with percussionists on the pressure they are using in each hand; more pressure will lead to a more closed roll sound, while less pressure will lead to a more open roll sound. If the roll is uneven, the student may need to increase roll speed (the number of times the hands alternate during a rolled note). Attention should also be given to grip pressure; too firm a grip will cause the stick to bounce less on each stroke and can cause unevenness.

There is an unpleasant ringing sound.
    It can be difficult for a busy band director to maintain the tuning of a snare drum enough to eliminate this ringing without applying any dampening. Once the heads are properly tuned (on a 6.5" drum, the top head should be tuned to A and the bottom head tuned a fourth or fifth lower) and the snare tightened so there is not excessive ring but still a snare sound, a more practical solution is some type of dampening on the head. Common dampeners are usually made out of either gel or leather.

Timpani
The drums sound thuddy or uncharacteristic.
    Make sure timpanists use a proper stroke. In simplest terms, the mallet should come back to the point at which it started. The mallet must not stay on the head very long at the point of contact, which is why you hear lots of directors coaching students to “Come out of the head.” I have had a lot of success doing the stroke with my hand about halfway up the shaft while the student grips the mallet at the bottom. This gives the student a feel for how the stick should move.
    The director can also monitor the striking area, which is over the pedal and between tension rods. Striking over the tension rods will give a less resonant sound. The amount you play in from each edge depends on the size of the drum, measured from the bearing edge; timpanists should play closer to the edge the smaller the drum is. These distances work out to approximately 2-3" for a 23" drum, 3-4" for a 26" drum, 3.5-4.5" for a 29" drum, and 4" or more for a 32" drum. Remember to go by how the instrument sounds rather than strict measurements.

Rolls sound poor.
    First, make sure the timpanist is not attempting buzz rolls. Only use single-stroke rolls on timpani. Then give the student an idea of what they are working for. The roll should sound like a note of the same length sustained by a wind or string instrument. The number of strokes in an unmeasured roll is determined by the desired sound, not by the duration of the note. If you hear the strokes of the mallet more than the sustain of the head, you may need to increase the roll speed. However, if the roll speed is too fast, the head does not have time to rebound, which can choke the sound and decrease resonance. Also, make sure the students’ hands are spread apart about six inches. This will also help the head breathe. Remember, the size of the drum helps determine roll speed, so use a slower speed for a larger drum and a faster speed for a smaller drum.

Each stroke sounds different.
    Make sure the student isn’t playing on the seam of the felt (usually marked with a black dot), which can lead to a different sound from each mallet. Also watch the type of stroke each hand makes. Sometimes students play legato (less velocity, more relaxed grip) in one hand and staccato (faster velocity, less relaxed grip) in the other, which creates different sounds in each hand. Check the distance each hand is from the rim. If one is two inches away and the other is four, each hand will sound different.

The timpani pedal moves by itself.
     This can be complicated, but the first thing to do is to make sure that when the heel of the pedal all the way down, the 32" drum sounds D2, the 29" drum sounds F2, the 26" drum sounds Bb2, the 23" drum sounds D3, and the 20" drum sounds F3. This sometimes can solve the problem altogether. If it doesn’t, there might be a problem with the horizontal pull rod under the drum, which is likely to require the assistance of a professional.

Mallets
Some of the notes are thuddy.
    Often students end up playing on the area of the bar the cord runs through, known as the node. This can give a much less resonant tone than striking in the middle or on the very edge of the bar. Make students aware of passages where they are playing on the node. They will likely need to slow these passages down to relearn proper mallet placement.

Notes have heavy accents and decay too quickly.
    Students who do not come back to the point at which they started a stroke but rather leave the mallet down (sometimes known as a downstroke) may create a tone that is less resonant and has more front on the sound. Monitor the way the head of the mallet travels as students play, as this is important in tone production.

The passage isn’t loud enough.
    Mallet height at the beginning of the stroke generally determines volume. Students who start at a lower height than they should may struggle to create a given dynamic. For example, starting two inches off the keyboard is usually too low to create the sound needed for a fortissimo passage. If students are starting low, ask them to play twice their starting height and see if they get the desired volume. If they are still too quiet, have them increase the starting height more until the volume is correct. Coaching students on setting mallet heights based on the dynamics will help get the desired volume.

Crash Cymbals
I don’t know which crash cymbal technique is correct.
    The most important factor is the sound. There is no one right technique; each player will have to find what works best for them. One possible technique to start with is to have the student hold one cymbal in his non-dominant hand vertically and then move only the dominant-hand cymbal at an angle into the vertical cymbal, striking it about two inches below the top. When the student can do this consistently, have him bring the vertical cymbal straight down while at the same time moving the angled cymbal up and in, still striking the dominant-hand cymbal about two inches below the top edge of the non-dominant-hand cymbal. The goal is to get all of both cymbals to vibrate to create a full crash.

Students keep getting an air pocket.
    If the edges of the cymbals meet and trap the air between them, the resulting sound contains very little crash and is more of a chunk sound. If enough force is applied and the cymbals are parallel, one cymbal can even flip inside out. One cymbal should be angled to the other to prevent this. In addition, make sure that once the angle is established that the student doesn’t bring the cymbals back to parallel right as they crash.

Crashes are too soft.
    The student may not be using enough velocity when bringing the cymbals together. It may also be necessary to increase the angle of one cymbal.
    Check the grip, as some players put their entire palm on the cymbal, muffling it. The proper grip for concert crash cymbals is to grab the strap between the index finger and thumb and hold the strap with the rest of the fingers. The hand should stay off the cymbal as much as possible.

Crashes are inconsistent.
    Cymbals have a heavy spot, which should be at the bottom so the cymbal does not rotate when played. You may need to mark the top of the cymbal when the heavy spot is at the bottom so students know where to have the cymbals set. More often though, the problem is that the player can’t replicate the same cymbal angle, striking point, and velocity with each crash. These variables must be as identical as possible to get a consistent crash. To do this requires practice.

Soft crashes don’t get the sound I want.
    Start with the cymbals touching with a slight offset, then separate and draw the right hand down. You may also consider holding the cymbals together for a moment longer, sometimes called a kiss, after the first impact. This can give the sound of the soft crash more breadth.

    These are possible solutions for the most frequent percussion problems. Attention given to these details will likely result in a more refined percussion sound for the group.   

The post Fixing Percussion Problems During Rehearsals appeared first on The Instrumentalist.

Rules
    Most teachers are required to have classroom rules posted on the wall, in our handbooks, or on our web site. These classroom rules are usually discussed with our students during the first few days of school.
    Rules should be as brief and general  as possible. The more you try to address every conceivable situation with a rules, the more likely that students will try to find exceptions or loopholes. By trying to create very specific rules, directors paint themselves  into a corner.
    Here is an example of classroom rules that are brief yet apply to almost any rehearsal situation.
1. Be in the right place at the right time with the right materials and the right attitude.
2. Don’t do anything to interfere with the ability of yourself or others to learn.
3. Don’t do anything to interfere with the ability of the directors to teach.
4. Be excellent to and for each other.
If students are talking or someone did not prepare assigned material for the rehearsal, these situations fall under the rules listed above.

Procedures
    While rules may be posted somewhere and are concrete, procedures should be thought of as the unwritten rules of how we do things. Examples of procedures include:

• How to enter the room
• Where to be at the start of class
• How to respond when someone is talking to us
• How and when to ask questions
• How to sit when not playing
• How to change from one piece of music to another
• How to end rehearsal
• How to travel (boarding and exiting the bus, behavior, etc.)
• Stage decorum
• Concert etiquette

    Unlike with rules, directors will not cover all procedures at the beginning of the year. Procedures are installed as needed. On the first day of school, cover only what is necessary to get through that class period, exit the room, and start class the next day.
    Before building in procedures, it helps to devise a list of expectations. As procedures develop, directors need to be insistent about expectations and allow students time to practice. These procedures need to develop into habits, so repetition may be necessary. Call attention to procedures that are not being followed and redirect student behavior as necessary.
    Many procedures are established in beginning classes, so there should be some carry over from year to year as students advance. If teaching on a staff with multiple directors or in a dedicated feeder system, it helps if all teachers are on the same page in terms of implementing and enforcing procedures and rules.

Reacting to problems
    As mentioned above, how a director reacts to unwanted situations in rehearsal goes a long way toward setting up a good or bad atmosphere. There is an old saying, “Don’t sweat the small stuff.” With classroom management, there is no small stuff. Anything that is interferes with the rehearsal goals must be addressed.
    Directors should address the behavior, not the student. By making sure that corrections are not personal, we limit the likelihood that the student will react negatively. Simply redirect and move on (“Please don’t talk.”) Obviously, if the misbehavior persists, the director may need to show more concern, but in most instances this will be sufficient.
    Nagging is the fastest way to turn off a group of students. Many young people feel that they get enough of this from parents and other teachers. Also, helping students to understand the reasons for your expectations can go a long way toward increasing their commitment. If directors can get them to see that expectations help the group achieve its goals, students are less likely to see these expectations as a power struggle and more as a team effort.
    Not all corrections need to be verbal. Hand signals, facial expressions, and more can address issues without missing a beat of instruction or rehearsal. With minor misbehaviors or efforts to increase engagement, proximity can work wonders. The podium does not have a shark-infested moat around it. Directors are free to get off and move around the room when rehearsing.
    If teachers repeatedly address the same types of problems with the same techniques, those practices are not effective. It may be time to try something else, ask a student to meet after class for a private conversation, or involve parents or administration.
    With rehearsal management, perception is reality. Even if not intended, if the students feel that you are yelling at, talking down to, or being mean to them, you might as well be. Be sure to self-monitor when it comes to tone and delivery of any corrective information. A good question to ask oneself is, “If someone were talking to my own child about this, how would I want that person to behave, and what would I want them to say?”

Communication
    Rehearsal time is precious, and we directors want to make maximum use of that time in terms of efficiency and production. The more our students play, the faster they improve, but there are times conductors have to address the ensemble to teach and make corrections. Here are some hints for making your communication as effective and affective as possible.

Noise
   Be aware of non-verbal noise in the room. We all expect students not to talk when we are addressing them; however, the director should also listen for room noise. One might hear a trumpet player is turning his instrument into an Erector set by unscrewing the valves or valve caps or popping out slides. Someone might be shuffling papers or maybe a percussionist who is twirling sticks keeps dropping them on the floor. These behaviors are just as much of an obstacle as talking.
   A former co-worker and mentor, Randy Storie, often said to his band, “Listen to the lights.” This immediately produced a much more quiet, focused atmosphere even if the students were not talking.

Vary the tone of voice
   The reason the monotony of Charlie Brown’s teacher is funny to so many is because it is based in truth. By changing the speed and inflection of our words, we can better maintain a high level of student attention.

Limit what you address
    When stopping to fix issues in the music, only call attention to one or two things. Work on these issues, and then, if needed, bring up additional problems a few at a time. The more students can play, the more engaged they will be. Running down a long laundry list of problems usually only makes sure that nothing will get fixed. Students will either lose focus after the first few items or simply not remember everything that was addressed.

Eye contact
    Most of us insist that students look at us while we are talking to them. Many of us do not return the favor. If you are going to demand that students make eye contact with you, be sure to make eye contact back.

Talk with students, not at them
    Especially in the last few years, I have noticed that when addressing a group about things that come up in rehearsal, I use a lot more of we and us than I do you. This emphasizes that music is a team effort and that we are all working toward common goals, rather than the idea that directors are only there to judge and correct.

Work to create a sense of urgency and accountability, not a state of constant stress
    There is a fine a line between the two. The tension caused by undue stress creates an almost insurmountable obstacle to communication. By helping students to realize that they and the director share common goals, and that all expectations put into place and corrective information given are in pursuit of those goals, a sense of tension can be replaced by one of purpose.
    Most students know when they make mistakes. Therefore, directors can work to avoid rehearsals where every musical mistake is immediately mentioned. Instead, trust students to recognize and correct minor mistakes, until they prove that they need help by repeating those mistakes.

Humor
   A quick story or joke, even a bad one, can loosen things up and allow students and director to re-focus on the task at hand. Be sparing with sarcasm. If students don’t first know that you care about them, sarcasm sounds mean.

Communicating by conducting
    Playing time in rehearsal can be maximized if students pay attention to the conductor and implement the instructions from the podium. Directors must train our young students to watch and respond and then hold them accountable for doing so. The conductor should insist that the ensemble starts and stops with them, of course, but they should also understand the need to watch between the starts and stops.
    There are a number of teaching strategies that can be used in order to get students to watch. These include games such as holding up a number of fingers with the left hand during a passage and then asking how many students can show the number back to you or picking random students as one is conducting and not moving on unless they look back at the conductor within a measure or two.
    When it comes to conducting and response, directors must make sure they actually hear the group performing in the room, and not the ensemble in their head. If a gesture is given, do as my friend Bill Surface often says and “hold their feet to the fire” on accountability and response to that gesture.    

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    The sounds of summer can mean many different things. For some, they are the sounds of a baseball game, a day at the beach, or an amusement park ride. In our world, they can be the Boston Symphony Orchestra at Tanglewood, a conducting institute, or a drum corps. My summer soundtrack has long involved the melodious sounds of community bands.
    I first became involved in community bands at the start of my teaching career. Even before the first day of classes at West Marshall High School (State Center, Iowa) in 1998, I had already made my local debut, conducting our summer community band. Over the next four years, I found the summer band just as rewarding as anything I did during the school year. Our membership consisted of a few high school students with most everyone else coming from all different walks of life. We gave concerts in conjunction with the downtown farmers market and played for local festivals. It was something our community enjoyed and was just as beneficial for me. It kept me conducting throughout the summer and showed that I was more than the high school band director. I was involved in the life of the community throughout the entire year. Important connections were created.
    Seventeen years later, I have just completed my second summer as conductor of the Amherst Community Band. We gave six outdoor performances this summer ranging from a regular concert series in a downtown park to a concert at the local Survival Center to help raise awareness of its programs. The Amherst Community Band has a membership somewhere in the 40s-50s; I am never exactly sure. There is no audition, nor any particular attendance requirement. On any given date, the horn section can range from five players to one. Three is a good number of percussionists, but in one performance, we used a one man band in that section, not unlike Dick Van Dyke at the beginning of Mary Poppins. While this uncertainty might drive some conductors crazy, I think it just comes with the territory. As my predecessor at the University of Massachusetts, George Parks, famously said, “Band is for everyone.” The informal nature of a volunteer summer band is what often attracts players. I call it band à la carte as members choose the rehearsals and concerts that fit their schedules.
    Admittedly, it can take a while to get used to a laissez-faire ensemble. By our nature, we directors tend to want to reduce the variables in our groups. A summer volunteer band, though, requires a certain acceptance. This goes for seating, too. No one auditions for part assignment; people gravitate to where they feel comfortable. With only minimal adjustment, we have gotten all the trumpet/cornet, clarinet, and trombone parts covered.
    The Amherst Community Band is a completely voluntary operation; no one is paid. Because I am a faculty member at UMass, we use its library, rehearsal space, and equipment. Approximately a fourth of our band members are either current UMass students or recent graduates. The rest of the band comes from all walks of life. Our youngest member is a 7th grade trombonist. I will remain silent with who is at the opposite end of the spectrum. Though we do have a few future, current, and retired music educators, the majority of our members are amateur musicians. It is a love of making music that brings us together. I recently surveyed the membership to find the reasons they participate. The most common responses were having an outlet to make music in a group setting, the camaraderie inherent in a musical ensemble, and the feeling of giving back to our community through providing free public concerts. As one person wrote, “I like that it includes a broad range of musical and life experiences. It’s nice to get to know others who share a passion for music in our community.”
    The survey responses also made me think more about what community bands offer the conductor. One respondent wrote, “I like that it’s time-limited, leaving room for me to engage in other interests, including travel.” The Amherst Community Band rehearses for two hours once a week; we typically have two rehearsals and then a concert. Each concert is usually around one hour and includes 8-10 pieces of music. Granted, some of those pieces we play often and rehearse little (Stars and Stripes Forever, I am looking at you). Still, 240 minutes to prepare 60 minutes of music can be a challenge.
    Literature choices have to reflect variety, appeal to the audience, and challenge the players but yet be achievable in the limited time. With uncertain attendance and varying ability levels, it sometimes is an educated guess as to whether a piece can be performed successfully. Marches are almost always a sure-fire winner. Anything with essential percussion parts beyond snare drum, bass drum, and cymbals could be problematic.
    Rehearsing requires a balance: the social aspect of the band is an essential, and every schedule needs to include time for a halfway-point break to accommodate this. A good story can add much to the rehearsal, but the clock is always ticking. As I often remind myself, people give up a free summer evening to play their instrument; they did not come to hear a lecture.
    For anyone who has not worked with adult musicians before, it can be a striking difference from the school environment. Our players are not afraid to share their thoughts. If my conducting is not clear, I hear about it. In many ways, I find this refreshing. A volunteer group does not need the maestro/musician divide. An open collaboration between peers can be quite rewarding, especially coming during the respite between the school years. I have found adult musicians to be much less judgmental. No one is afraid to make an error. Honestly, a joking response to a musical suggestion you offer sometimes just fits the summer mood. At the end of the day, it is all about people who enjoy making music with others. It is not a competition, and there are no paychecks at stake. A good-natured zinger in rehearsal may be just what you need to keep in touch with why we do band in the first place. At the same time, adult musicians can be more open in their appreciation. It is not uncool to let directors know they are doing a good job.
    My last thought on why community bands are important is that musical enjoyment can last a lifetime. I have too often seen musicians view band only as a school activity, something put aside when they move into their next stage in life.  Community band provides an outlet to change that mentality. Two years ago, I invited another local community group, the Florence Community Band from Northampton  to share a concert with the UMass Concert Band. I am an on-again/off-again tuba player in the Florence Band, and I thought it would be important for the UMass students to see first-hand how playing in band goes on beyond college.
    Both bands played their own sets and then we combined for a grand finale. That might have been the most valuable part. The college students sat next to the community band members and saw how music can last for a lifetime. I am hoping the lesson takes root in them.
    Few students will go on to become professional musicians. If we believe that what we teach as music educators is important for all students, we should encourage music-making beyond our doors. I cannot imagine our peers in the English classes feeling content with the idea of reading only for study. There are countless resources to read for a lifetime. Community bands give us the opportunity to do the same with group music making.
    The summer is nearly gone. The sounds of the Amherst Community Band are replaced by the equally beloved sounds of the UMass Minuteman Marching Band. Soon, our campus is full of student music-making, from jazz ensembles to choirs to percussion groups. When the school year comes to its inevitable close in May, the sounds of a band will carry on. It will be time for another great summer of community band. If you have the opportunity to start a community band in your area, I highly encourage it. You will help others enjoy those indescribable intrinsic rewards that come from music making, and just might become a better conductor through the experience. I know I have.    

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