The Band Director's Rehearsal Toolbox

The B!nd Director’s Rehearsal

Toolbox by Mich!el Tucker

a collection of pr! ctic! l !ppro! ches to common b!nd rehe!rs! l issues provided by over 45 b!nd directors who use them everyd !y.

a Project of the americ!n B!nd College

Contributors

Table of Contents

Preface I always find myself frustrated at professional development events that feature a lot of philosophies. Sure, philosophies are great, and every successful band program has some sort of great philosophy behind it, but I find it difficult to apply those philosophies to my own program. I always leave wanting something specific to latch onto and take back to my own program. It’s this frustration that led me to this project. In the pages that follow you will find fixes with specific steps and processes to common problems that all bands experience. The existence of “The Band Directors Group” on Facebook made accessing my contributors quite easy. I’m not sure where else someone could communicate with over 14,000 band directors all at once. From there, I had to find some way to “harvest” the wealth of knowledge amongst the members. Sure I could post individual topics, but that would muddy up the group and I didn’t want to be “that guy.” I had heard of google forms so I decided to venture over to my google drive and do a little experimenting. I soon found that google drive would be perfect. It would allow me to pose the questions in exactly the way that I wanted and would even make importing the data into my final document fairly easy. I wanted the process to be as easy as possible to encourage as many contributors as possible. Below you will see a few pictures of that process.

Google Form

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Google Form

Band Director’s Group Post with Original Cover Art

Google Form data collection spreadsheet

The only editing performed on individual contributions were in the instances of misspelling, poor formatting or incomplete sentences. I believe I stayed true to the contributors intentions in all of my edits. 5

The B!nd Director’s Rehearsal

Toolbox

 Ensemble  Perform!nce Tone - Articulation - Prhasing Breathing - Balance and Blend Tuning Rhythm and Vertical Alignment 6

Tone

 Explore v!rieties of tone !nd when they !re !pplic!ble. Pr! ctice with the old-school telephone g!me...p!ss the tone.  N!th!n Osh!ben - M!yfield, Ohio

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This was my biggest, most profound victory in my career, and it happened this past year. As you'll see, it also affects so many other issues (phrasing, breathing, balance, blend, tuning, and vertical alignment) - it just depends on how you use this. We did a lot of "choral" style exercises to develop our tone...rather, our CONCEPT of tone. I took a simple warm-up I did in 4 parts, and literally gave it to all of the band members. The exercise is to sing up and down the scale. Measure 1: Quarter, then 6 8th notes (Do, Re-Mi FaSol La-Ti). Measure 2/3: down the scale, all in quarter notes, fermata at the end (Do Ti La Sol Fa Mi Re Do). Soprano voices stop and hold the high Do. Altos descend to Sol and stop. Tenor voices down to Mi, and Bass voices down to low Do. I handed out parts based on the following, so that they could play in all of the following ways with all 4 parts represented (they stayed with their part all year): 1) Flute Quartet 2) Clarinet Choir 3) Sax Choir (my 2 french horns could play along) 4) Trumpets (my 2 french horns could play along) 5) Low Brass 6) Percussion on mallet instruments On top of those, I could do a woodwind ensemble, brass ensemble, or have any section play with another section, as needed. I could also have sopranos and altos play together (ends with Do/Sol tuning), or sopranos/basses (octave tuning), or basses/altos, or tenors/anyone (to focus on whichever relationship was needed). Introducing a group that hated singing to the importance and value of singing was a specific and structured approach. It started off with, at the end of the exercise, having the ensemble sing Do , then play it, then back to singing, then back to playing. Then they just sang the entire scale up and down, all going down to low Do at the end (no stopping at various parts). When things improved (and it was immediate), they saw it and valued the work. For about a 2/3 week period, instead of sitting them with their normal instruments, I sat them like a chorus - basses with bases, tenors with tenors, etc. And within the section, I had girls on one side of the section and boys on the other. This was as comfortable as I could get them, and it worked. It was in this section that they learned to sing in 4 part harmony. After over a decade of teaching, this little exercise about 5-7 minutes per class revolutionized everything I do. It didn't just make the group sound better, but (perhaps most importantly) it helped focus the concept of in tune and out of tune within EACH student. Any time we would play a scale (play up the scale in thirds, for example), I would just say "PARTS - 1 2 3 go" and they would rip into it. If we hit a new scale, we'd do parts there. If we were in a band piece that sounded bad, we'd figure out the scale, play it, sing it, play it again, and return to the spot in the piece. HUGE difference. We could practice style by playing the scale in different ways. Examples: crescendo on the way up, decrescendo on the way down; slower and broader; short, staccato, precise notes all the way up, etc. We could practice balance in a multitude of ways, in a full group setting, within their brass/woodwind choirs, or within their section (which meant we could do this in lessons too). We could talk vertical alignment, especially when we used staccato or accented notes or even slurs on the way up the scale. And tuning...TUNING...I will tell you that, after doing all of this, I practically NEVER tuned my group. They just adjusted naturally themselves. More importantly, it gave them the confidence to actually try to tune, because they were finally equipped with the tools to hear what was needed to hear.

Rob Allen - Hoosick Falls High School: Hoosick Falls, NY 8

 1. I bring in private teachers to run sectionals or I run sectionals to ensure that embouchures are set correctly. 2. I use whatever gadget exists to make sure embouchure is set correctly (mouthpiece visualizer, something to put between the back teeth to prevent clinching, using a breathing tube to facilitate that open feeling for wind players other than clarinet, mirrors on the stand, etc.). 3. I teach them syllables to facilitate correct aural cavity positioning both when inhaling and exhaling.”DOH" “HOH" "TOH" 4. I include exercises to increase embouchure flexibility in the daily warm up routine such as lip bends. Embouchure flexibility is invaluable not only to achieve correct intonation, but also to blend tonal colors when performing with different families of instruments. 5. I convince parents to invest in professional mouthpieces. 6. I try to match up the brand of mouthpiece used in the section if I can (and depending on the sounds each individual in the section is already making). 7. I require the very best quality reeds and do periodic reed checks. I convince double reed musician parents to purchase handmade reeds from someone I trust. If I can't talk the parent into it, I buy them anyway prior to important events. 8. I host a step up instrument night in my band room with our local music store to promote the purchase of higher quality instruments. 9. I buy the highest quality school-owned instruments I can afford. 10. I use a contra bass clarinet in my wind ensemble because that timbre changes everything! Contra bass clarinet is one of those things in life--like chocolate--that just makes everything better! 11. I do a daily lip slur routine with my brass players in order to strengthen their embouchures. Strong embouchures are necessary for good tone. 12. I do a reed clinic at the beginning of each year to show students how to properly store and manually correct problem areas with their reeds. They need to obsess over their reeds and the sounds those reeds create. 13. I stack my sections so there are more on lower parts than upper. 14. Have kids listen to professional recordings. 15. Have students describe the difference in tone of two professional recordings. 16. Have high quality guest artists perform at the school.

Continued on next page…

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Continued from previous page… 17. Provide extra credit to students who attend recitals or concerts (especially the local symphony or professional group). 18. Invite college and professional ensembles to perform at the school during the day so that all students get the benefit of hearing the ensemble. 19. Play great sounding professional recordings around the kids all the time. 20. Make sure all musicians in the band have a good understanding of air speed and how it affects tone. 21. Use the Breathing Gym DVD with your ensemble. 22. Use adjectives to describe the tonal color we are aiming for. For example: effervescent, thick, light, dark, liquid chocolate, velvety, dry, etc. 23. Have saxophonists match the richer tone color of an overtone with the real fingering. For example: have them over blow low Bb up an octave with the long fingering then play the mid range Bb using the real fingering. The overtones are out of tune, but are often much more resonant. 24. Isolate the melody (or counter melody) to rehearse. Have the principal players in each section play the melody together to model how the tone should blend. Add the second chairs of both sections and have them focus on blending their tones together. Continue process until heightened awareness of blending is achieved by full sections. 25. Adjust reed strength of musicians as needed. 26. Discuss the shape of the aperture, not just the size, with brass and flute players. 27. Have musicians decide which fingering of a note produces the most similar tone color to surrounding notes and mark it in their music (long, closed C# versus C# partially shaded versus the open fingering). Emphasize being consistent with use of fingerings in passages so others can work toward matching their tone. 28. Have trumpet players practice with a Pete. 29. Buy the same brand (of the highest quality) mutes you can for your entire brass section.

Jenny Collins - Goose Creek, South Carolina Be sure that students know how to form the correct embouchure. You need to model the correct embouchure, and the correct tone.

Deborah Shaw - Rogers, Arkansas Explore varieties of tone and when they are applicable. Practice with the old-school telephone game...pass the tone.

Nathan Oshaben - Mayfield, Ohio 10

We continue work on tone every day by using "The Breathing Gym," "Habits of a Successful Musician," and singing in nearly every rehearsal. A full round t one, produced with lots of supported air, goes a long way toward repairing any shortcomings in any ensemble. Balance, blend, intonation, and phrasing become second nature across the band.

Chris Simonson - Wisconsin We work on tone daily through singing and playing on mouthpieces. Even woodwind players must produce the correct mouthpiece pitch. Using the Yamaha Harmony Director keyboard, I have students match pitch in rehearsals and individual lessons. The idea is to educate their ears, so it's an ongoing process.

Cliff St. Clair - Sheldon, Iowa During warm up, I sometimes have my students play through dynamics, but also extending past where they have good tone (blasting or airy and breathy). Then, I have them back off a notch into "good tone territory”.

Robyn - California To get better tone out of clarinets: tell them to "turn your chairs sideways, pick up your feet. Lean backward so you are using your core. Now, play that section again." Much better tone due to better support. Next, ask the students why it sounds better and how you can make that sound without the whole process. Constantly refer back to this as they forget. I learned this in a clarinet master class, but I've used it with most other instruments.

Nicholas Turon - HS/MS Band

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 Articulation

 You must demonstr!te the !rticul!tion you w!nt. I ! lso  like to dr!w pictori! l represent!tions of the  differences of v!rious !rticul!tions on the bo!rd. Debor!h Sh!w - Rogers, ark!ns!s

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Have kids stand to play the one we're practicing, sit for all others. It becomes very silly, with a great deal of up and down movement, and my middle schoolers think it's fun. But, it draws their attention to where those markings are, so when we play everything seated, they've developed an awareness of the articulation style we had practiced.

Meg Cancino - Charles County, Maryland This is something that also improves with time, patience and some silly yet progressive exercises. If there's a section where sfz or staccato occur, we work in this order to promote the highest quality: rhythm, notes, staccato. Sometimes, I record my class so they can hear what I hear and we can work to fix it.

Emily - Holy Cross Catholic Academy You must demonstrate the articulation you want. I also like to draw pictorial representations of the differences of various articulations on the board.

Deborah Shaw - Rogers, Arkansas I have the students play from the longest style of note to the most detached, making sure to show it in my conducting. Then I have them play watching my conducting pattern only and trying to match what I’m conducting. I then take it back to the music to isolate the articulation issue.

Ed Harper - South Mecklenburg High School: Charlotte, North Carolina I like to review articulation technique away from horn. You have to make sure air support is correct, as air drives the tongue.

Peter I like to show visual note length/articulation bars. We also do a lot of slur and articulation patterns.

Nathan Oshaben - Mayfield, Ohio Find words that simulate the desired musical effect.

Zack Pitt-Smith - Oakland, California

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Phrasing

My Jr. High kids respond well to 'telling ! story' with the music. It helps them underst!nd when melody is p!ssed !round sections !s if instruments were t! lking to e! ch other. This ! lso helps them  dyn!mic! lly. For ex!mple, pl!ying pi!nissimo might be “telling ! secret”.

Judy Rotenberg - Port Hueneme, C! liforni!

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More often than not, the music will be interpreted differently by each person practicing. I will proceed with playing tests on specific phrases to listen to individual style then make a plan to get everyone on the same page if I hear inconsistencies.

Emily - Holy Cross Catholic Academy My Jr. High kids respond well to 'telling a story' with the music. It helps them understand when melody is passed around sections as if instruments were talking to each other. This also helps them dynamically. For example, playing pianissimo might be “telling a secret”.

Judy Rotenberg - Port Hueneme, California Ask students to sing through the line using the syllable “Shhh”. It causes resistance and helps them pace and shape the phrase. They can re-articulate the "Shh" as needed.

Marie - Bellingham, Massachusetts I separate passages in our warm-ups into two units. I assign each side of the ensemble to a particular half of the passage. One half starts the passage, the other half finishes. This gets them used to what it sounds like if phrases and cadences go unfinished. This makes them want to complete musical phrases...it even helps with breathing too much in phrases.

Nathan Oshaben - Mayfield, Ohio As an oboist I was taught Marcel Tabuteau's numbering system. You assign a number to represent a dynamic, ex. mp 4 and forte 9 - it doesn't matter exactly what numbers you pick as long as they have a logical relationship to each other. Have the students place the numbers at points that clearly show the shape of the musical line you want. This should not only guide dynamics, but are used to shape the phrase. For passages, especially technical, consider grouping the notes musically and have the students practice those groupings before adding them back into the line. Too often they will play those passages vertically and it will be dry and lack musicality. Groupings will give the passage direction, shape, and the entire passage becomes more musical. This can also help to fix rhythmic issues and uneven technique.

Stacy Toal - Destrehan, Louisiana

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r at

i

I te! ch my students to blow !ir through their instruments, not into it. Mitch McN! ll!n - Pl!inview-Elgin-Millville;  Elgin, Minnesot!

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I strongly recommend the “Breathing Gym”. I tell my students to release sounds with a breath. This initiates breathing immediately. Be consistent - reinforce breathing concepts during both inside and outside playing. I also use flow studies during my warm-ups. Finally, I have students mark breathing spots in their parts.

Scott King - Starr’s Mill HS; Peachtree City, Georgia I emphasize breathing quiet warm air with an open throat.

Nancy Teskey - Lewis and Clark College Having kids inflate balloons is conducive of good air support. Also, taking a piece of paper and seeing how long you can keep it up against the wall with just their air is a fun way to get them to think about directionality of air.

Javier - Middle School; San Jose, California Air is the answer to most of your issues. I would say that by working on this area correctly, you can solve a multitude of problems. To me, to get the 'most bang for your buck', correct breathing and unified tonguing will improve the band's sound in the least amount of time.

Doug - Oakland Christian School I use the breathing gym quite often at the beginning of the year to teach breathing. One of my favorite techniques to teach breathing is to give each student a small square of tissue paper and have them try to hold it up on the wall with just their air. It lets them feel what speed they need to blow the air in order to get a good tone.

Deborah Shaw - Rogers, Arkansas I teach my students to blow air through their instruments, not into it.

Mitch McNallan - Plainview-Elgin-Millville; Elgin, Minnesota Breathing Gym all the way! The kids hate it at first but they buy in when they hear the results.

Ann - Portugal I was a vocal performance major so I often use techniques from voice lessons. Open the mouth and pace your breath so a more pleasing sound comes out. I also work with students to find spots to breathe that make sense.

Emily - Holy Cross Catholic Academy

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 Pl!y to he!r others, not yourself.  N!ncy Teskey - Lewis !nd Cl!rk College

 D  N  E  L  B

 e  c  n  a  l  B a

AND

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I use chorales a lot. I have the bass line play, then add tenor line, then alto, and finally the soprano. You must remind the band to listen down and to balance with each other and blend with each other. Many times I will use the last chord to develop a balanced crescendo, breaking down having the tuba crescendo (asking them to have the largest cresc.) then adding instruments one at a time to to get the desired effect. I like for the low brass to crescendo the most, then horn and trumpet, low reeds, and upper reeds doing the littlest. I do this several times throughout the year to remind and develop, and then transfer to the music using the same concept.

Gu McKinne - Mercedes HS; Mercedes, Texas For balance, I use the "harmonic pyramid" and stress it utilizing chorales, scales, and canons. For blend, I use Ed Lisk's 3-point check: 1. If you can hear yourself, play softer. 2. If you can still hear yourself, adjust your intonation. 3. If you can still hear yourself, adjust your tone. I frequently change the set up - mixing instruments together and rehearsing in a circle. I find this really helps listening skills.

James Engelbert - Flat Rock, Michigan I try to have student directed balance practice. Student comes to front of room (who usually isn't in front) and gets to conduct a chord, changing balance, etc. Recording + playback. Let 2 students try per class. More than one class if needed. Show extremes of balance problems. Show youtube examples if possible. Mix up class seating arrangement.

Peter Imagine we are all connected as an ensemble like a web or body of water. When one section plays something a certain way, the rest of the ensemble should react in a fluid manner.

Rick Slembarski - Flambeau School District Instead of trying to balance whole ensemble, demonstrate matching volume with a smaller ensemble of students. Have 2 students first play different intensities on purpose, and poll the class to see if they can determine who is louder and who is softer, and if they can hear the difference once the volumes are fixed.

Javier - Middle School; San Jose, California When I have balance issues for whatever reason in my groups, I usually take a phrase and have different sections of the band intentionally over or under balance. I'll walk around the room and whisper in someone's ear what to do, then ask the group what they heard. I also do a lot of on the spot recordings with a gizmo I have in my band room. The instant feedback for comparison helps build their ears. I use the recorder in front, middle and back of the ensemble to give each section a different perspective on listening.

Amanda Miller - Port Charlotte, Florida 19

Reference is made to W. Francis McBeth's "Effective performance of band music : solutions to specific problems in the performance of 20th century band music", 1972 This book came out during my second year of teaching and it is a must-read for any wind band conductor. My mentor, Dr. William D. Revelli at Michigan had already retired and yet insisted that I study and implement McBeth. Basically stated, the set of harmonic overtones in the lowest pitch present will also be present in higher pitches played at the same time. Ex: With the sustain pedal depressed, silently hold down the piano key for G2 and then repeatedly strike C1 at a fff dynamic. As it sustains, suddenly release the sustain pedal and you will hear sympathetic vibes at G2 as long as you keep that piano key down. Having said that, upper voices MUST be able to hear the lower voices in order to tune to them. In McBeth's world the elements of music, in order of importance are: Melody, Bass Line, Rhythmic Countermelody, and finally Harmonic Pad notes. The bass must be heard to give the upper voices something to tune to at every juncture. For this idea that he calls, a pyramid approach to dynamics, to work, all the instruments must have been played long enough for the air column temperature to rise to its max temperature with 98.6 degree air being blown into it. Tuning cold horns is a waste of time since the point of temperature equalization will be reached by the piccolos way before the tubas. And tuning cold horns is why the chimes always sound flat late in the concert...pitch was set cold and all horns sharpened at different rates as they got warmer...no adjustments were made...chimes now sound flat.

Dave Smith - Retired Individually identify the melody and have instruments play it (highlight a certain color); same with countermelody (use different color); combine both lines to make sure you can EASILY hear the melody; identify white notes, accompaniment, and other lines (even different color); combine all lines while listening for the melody.

Scott King - Starr’s Mill HS; Peachtree City, Georgia Pyramid of sound- use teeter totter analogy to get the band to hear the proper balance.

Jennifer Nicol - Ubly Community Schools; Michigan Play to hear others, not yourself.

Nancy Teskey - Lewis and Clark College Use a picture of a 3 layer cake (layers of the band) with decoration (percussion). Constantly discuss context with students, as the layers can change depending on instrumentation and how written dynamics need to be interpreted, based on context.

Nathan Oshaben - Mayfield, Ohio

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A technique that was used when I was in the top ensemble at U of A in Fayetteville under the baton of W. Dale Warren was the "No conductor method". He would drop a down beat and allow us to play without him conducting. It forces the ensemble to listen to each other. Throughout individual instrument sections, through similar instrument voicing sections, thr ough the full band. All of these areas improved because there was no relying on a conductor to fix issues. No palm if you were too loud, no wiggling fingers if you were too soft; just a good, even blend across the band.

Russell Powell If you have balance, blend will happen organically. When I have incoming new students, I try to guide them to instruments that will balance the whole band. I also consider their preference so they are learning an instrument they care about. Blend comes from listening, thinking, breathing and lots of air.

Emily - Holy Cross Catholic Academy Do NOT simply teach them "the pyramid." Rather, have your ensemble's default balance resemble more of a "column," where each tone color is equally heard in the overall tutti sound. That way, you are more free to add more or less of a specific color depending on the composer's intentions - it also allows students to think more critically about their role within a specific excerpt of that piece.

Anonymous

Tuning

To pl!y in tune you h!ve to be "in tone" first.  You c!n't tune ! b! d sound. Tom Cox - Goshen, Indi!n! 21

Have students sing from beginning band all the way through. Have them keep singing in HS!

David Schatz - Salem, Missouri A couple quick strategies for helping kids hear beyond their own parts (most of these address other areas, too, and are fun just as a change of pace in rehearsals). 1. We do LOTS of moving around the room and not sitting by anyone else in the section. 2. We use the gym or go outside and stand in a circle to play (I usually put percussion and low brass on the outside with brass and woodwinds in the center). 3. We turn around (staying in normal seats) and play facing the percussion section. 4. Flip the traditional triangle for balance upside down - lows play softest, uppers play loudest. 5. Arrange the ensemble in quartets or quintets (a low, a couple mid-voices, a high) facing each other, and rehearse/run music as a large ensemble; feedback is given/discussed in the small groups.

Caroline Becker - St. Paul, Minnesota Fit your pitch inside of your neighbors; listen down; hear the pitches in your head.

Nathan Oshaben - Mayfield, Ohio To play in tune you have to be "in tone" first. You can't tune a bad sound.

Tom Cox - Goshen, Indiana Singing, Singing, Singing. Every single rehearsal I also record rehearsals often and play back the recording to the ensemble. Tuning is a process.

James Engelbert - Flat Rock, Michigan If it hurts your ears, try something. ANYTHING! Push in, pull out, etc. NEVER roll flutes in or dip head down to tune. Watch the pros - they NEVER do that.

Nancy Teskey - Lewis and Clark College Singing. Singing. Singing. Every day. Make sure to tune the band every day. Tune sections. Have students sing chords. Practice dissonance resolving to the desired chord. Mix up your class seating arrangement so students can hear new things.

Peter Achieving great balance and blend is essential before trying to tune. Students cannot tune if their tone qualities don't match and they are playing at different volumes.

Javier - Middle School; San Jose, California 22

Teach listening skills so students know what to listen for and how to listen for it. You will not have to work on this any more allowing you to spend time on things that need your attention. Procedure: Have two instruments play the same pitch, one after the other. Have students identify if the second pitch is higher, same or lower than the first. Do 5-6 examples of this daily. Each Friday give a ten sample quiz. Let students exchange papers and grade. It only takes about 3-5 minutes each day and about 10 minutes on quiz day. After 3-5 weeks of doing this the students will be quite adept at listening/tuning.

Harold Ford - Retired

Rhythm  And

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V E R T i C  A L

 A L I G N M E N T

I have the kids count straight 8th notes and clap the rhythms with durations in mind (the hands have to be held together for the entire duration of the note).

Javier - Middle School; San Jose, California We do daily rhythm sight-reading. For higher developed rhythms we dissect and discuss them. For vertical alignment I stress precision in attacks and releases. We discuss the multiple parts, and how they layer and interweave with each other.

Nathan Oshaben - Mayfield, Ohio Rhythm is a foundational element to the whole music making process. We spend about 3 weeks working solely on rhythm, learning to read it, following it, following a director's cues while reading it, counting and playing group games encircling the function of rhythm. For example: Around the World with flashcards, music Bingo, Rhythm Masters and more. The review is great for the older kids and gives the new kids a chance to have some fun while learning.

Emily - Holy Cross Catholic Academy Often times the kids favor watching the conductor over listening to each other, so if we can't get a section of the piece to stay together, I will stop conducting. It forces the kids to listen and works every time.

Amy Richter - Blue Mountain MS; Cortlandt Manor, New York Use rounds like “Row, Row, Row Your Boat” and such, undirected, to help kids listen to different elements and line up the timing. It eliminates technical challenges so they can just focus on the alignment.

Cal Anderson - Timberline HS; Lacey, Washington If my beginners are struggling with rhythm, I have them follow these three steps: ta-ti-ti, write in the counts, clap and count.

Ann - Portugal I use what I call the "bop" method. The students will play only the initiation of each note, rather than the entirety of each rhythm. It is understood that each student should play the length of an eighth note. This allows the students to hear whether or not they are accurately playing in proper alignment. We apply this to everything we do: long tones, scale patterns, chorales, études, and literature. The improvement in the ensemble is instantaneous.

Jonathan Payne - Raceland-Worthington Schools I’ve found that assigning words to rhythms work wonders. For example, two sixteenths and an eighth would be represented by the word “strawberry”.

Nancy Teskey - Lewis and Clark College 24

The B!nd Director’s Rehearsal

Toolbox

Conductor  Perform!nce Literature Selection - Rehearsal Planning Conducting Patterns and Techniques Developing Musicality - Scheduling Performances Chair Placement - Seating Arrangement 25

Literature Selection

Only choose the best - no exceptions, no excuses. The best liter!ture is obvious - it's cre!tive, innov!tive, !nd !rtistic, !nd thus n!tur! lly cont!ins ! we!  lth of educ!tion! l opportunities. Do not look for music the other w!y !round - educ!tion! l first, !nd !rtistic second. You'll end up picking music th!t h!s f!r less me!ning in the long run. anonymous 26

Beginning with the upcoming school year, our last concert will feature "Pops" music, used to entertain the audience and to treat the students for working hard throughout the school year. I view literature selection like a four-course meal: salad, appetizer, main course, and dessert. Our dessert will be the "Pops" concert in May. I always work toward the main course, the part of the meal which will most benefit the students from a nutritional standpoint. The main course is the material we will play for our state assessment in March. The appetizer course occurs in December, when we're playing works that are seasonally appropriate and educationally challenging, leading us to March's main course. October's salad course contains a set of pieces intended on grabbing the attention of my students and addressing the issues which persisted at the end of the previous school year. All long tones, scale passages, chorales, and études are chosen with regard to the most challenging of pieces that have been selected.

Jonathan Payne - Raceland-Worthington Schools I look at three different things when selecting literature. 1. How strong is each section, 2. How will the music help each section learn needed skills, and 3. How does each piece contribute to the program aesthetically?

Scott King - Starr’s Mill HS; Peachtree City, Georgia Difficulty I think that you should choose music that 75% of your band could play early on (especially in the fall). You want to provide a challenge, but at the same time, you want to pick music that will help everyone be successful. Context: What kind of performance is this? Fall concert? Holiday? Spring? Festival? By defining this first, you can help narrow your search. There are different goals for each concert. Fall (remembering how to play), Holiday (playing recognizable music really well), Festival (keeping in mind the characteristic sound of concert bands and traditional literature, Spring (some fun stuff and some extra challenging stuff in a way that highlights senior achievements). Instrumentation: Do you have the group for this? If not, can you convincingly re-write parts to fill in what you don't have without betraying the integrity of the work? Are you making sure that everyone has something to do? Don't just pick all “noodly" woodwind stuff to do if you have some good low brass players. Make sure the percussion has something to keep them busy. Variety: Are you continually playing music by the same composer or stuff from the same style/time period? Make sure you are mixing it up.

Doug - Oakland Christian School I love setting concerts around a certain theme while programming music from a wide genre including a march, a contemporary work, and a slow, sustained piece.

Chris Simonson - Wisconsin 27

 I'm always looking forward. I own most of the literature we use. Sometimes, we recycle favorites among the group and other times, I throw something completely new and different at them to sight read. Since I teach at a small school, I never know what my instrumentation will be until school actually starts. Band Camp is never well-attended. I try to think forward as to what will challenge them but be not so challenging a beginner could pick it up.Before I came on board three years ago, the band program was almost non-existent. I brought some life to it and now it's starting to make headlines and they've won their first contest trophy this past year. My groups are divided grades 6-8 and 9-12. It's hard having beginners in with third year students. We have to "start over" each year because of this. That's why I'm caught up having them play anything harder than a 2.5. More often than not, the two bands play together for concerts just so the instrumentation is covered for each piece. I love giving them upbeat and faster pieces like marches or show tunes but I also tone it down with more lyrical and classical pieces so they get a wider variety.

Emily - Holy Cross Catholic Academy Selecting music is based on a combination of personnel, audience, ability and desired result. I try to select music that exposes the strengths and hides weaknesses, while allowing the weaker musician the opportunity to be challenged and successful. I also try to select music that the performers would enjoy rehearsing and the audience would enjoy hearing. I have one performance each year where at least one selection is beyond their ability to stretch them as musician. I try to program contrast pieces against overture type selections and popular music that would appeal to all audiences.

Eric Wharton - Bruceville-Eddy High School; Texas I listen and look at scores a lot, not only figuring out which pieces would work for my current group but keeping notes on what might work if my strengths were... I look at which instruments or soloists could cover and perform what parts, or potentially get them.

Guy McKinney - Mercedes HS; Mercedes, Texas I have begun to look at the smart music selections and the teaching band through performance in band series. More and more schools/states are requiring pre-post test data and smart music does that. Plus they have the assignments already created.

Jennifer Nicol - Ubly Community Schools; Michigan I select music with the following things in mind: A. What is the range of my trumpet section (i.e. can they hit notes in the top part of the staff and below the staff)? B. What can my percussion section handle, part-wise, and the techniques needed to be successful? C. What musical elements does the piece cover? Style, articulation, historical significance, relevance to my curriculum? D. What purpose does the piece serve? (Broaden range on instruments, expand pedagogy, expose students to new elements) At this point, I will present the pieces to the students, have them sightread through them using the STARS method (Sound (Tone), Tempo(s), Articulation, Rhythm, Signs (repeats, D.S.'s, etc.), and then ask them for their opinions.

Jennifer Evans - Scranton Middle School; Brighton, Michigan 28

I consider the following: Grade level, range for trumpets, does the music go over the break for clarinets? Which sections of the band are the strongest, or the weakest? Are there enough percussion parts so that everyone gets to play? What concepts, such as style, new rhythms, etc. can I teach with this particular piece of music?

Deborah Shaw - Rogers, Arkansas Align your lit towards your strengths, but find challenges for all. Most important - find fun parts. Pick variety. Teach classics but explore new.

Nathan Oshaben - Mayfield, Ohio With a raw program in an urban district it was difficult to transition out of the exclusive pop series of concerts into the more standard and contemporary band literature. One of the ways I began to do it was to include the students in the process. They were given sites of band literature such as www.bandworkspublications.com, and JWPepper and asked to listen and choose three pieces that they would like to learn. I would ultimately choose one by the student who showed aesthetic and practical explanation of why we should perform the piece.

Leo daSilva - Harrison, New Jersey Only choose the best - no exceptions, no excuses. The best literature is obvious - it's creative, innovative, and artistic, and thus naturally contains a wealth of educational opportunities. Do not look for music the other way around - educational first, and artistic second. You'll end up picking music that has far less meaning in the long run.

Anonymous

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Rehearsal Planning

 Never...ever...ever in your wildest dre!ms, mount the podium, open the score !nd wonder wh!t this music is supposed to sound like. D!ve Smith

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On an actual calendar: write down the concert date, 2-3 days before the concert should be straight runs of each song (with corrections after each run) "Round robin" the selections backward to your first rehearsal day, and round robin EACH section of each song rehearsed (that way you won't forget to rehearse a section). Force yourself to move ahead if you’re getting too bogged down (try to fix it the next day, incorporate he skill in warmup, music too difficult?)

Scott King - Starr’s Mill HS; Peachtree City, Georgia I really focus on communicating clear objectives and goals. "Today we are going to really focus on intonation." Explaining to students to really focus on that for the day. Having a teacher and student working towards the same goal will fix any problem. The biggest issue is when there is miscommunication. Which results in "a problem.”

David Schatz - Salem, Missouri Never…ever...ever, in your wildest dreams, mount the podium, open t he score and wonder what this music is supposed to sound like. This might seem off topic for rehearsal planning, but more conductors than I like to think simply do not study the score adequately. Then when the time change, or dynamic, or ritard, or accelerando, or any transitional change is missed...they treat the nearest double bar as a stop sign and begin to talk...consuming rehearsal time that might have been better used playing. They talk to cover their blunder. How much more efficient would it be if they had practiced their part before hitting the rehearsal hall.

Dave Smith Keep a routine. It keeps classroom management and keeps students flowing. Put the plan on the board for students. I often record rehearsals if I start to feel like I'm losing direction.

Peter Plan through the work, work through the plan...THEN you'll be ready for class. Anticipate the problems and teach them proactively in warm-ups. Daily routines!!! Maximize your warm-ups as they should be the difficult part.

Nathan Oshaben - Mayfield, Ohio Rehearsal planning begins with score study. Know that score like the back of your hand. Be able to sing every part, know the overall forms, be able to identify idiomatic elements of that composer, and after all that study you should know exactly where a majority of the rehearsal issues will be. Then, plan for those issues so that they are addressed before they become bad habits. Also - do NOT simply play through huge chunks of music over and over. After identifying a "problem spot" from score study or in the actual rehearsal, isolate that problem spot down to the smallest possible fragment and work solely on that until the issue is resolved - just as you would when practicing your own instrument. Only after the issue is fixed should you then put the fragment in the context of a larger section (i.e. isolate the two beats where the issue occurs, then within the entire measure, then the entire phrase, etc.).

Anonymous 31

Conducting Patterns  and Technique

Re! d, w!tch videos, spe! k with profession! ls, put yourself in the student’s perspective.  N!th!n Osh!ben - M!yfield, Ohio

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My conducting patterns depend on what I want the music to FEEL like - 3/4 is in 1 if it needs to FEEL like it's in one - regardless of the tempo.

Nancy Teskey - Lewis and Clark College Since our literature doesn't go above a 2.5, the patterns are most likely 4/4, 3/4 or 2/4 and cut time. If it's cut time, I will start with a fast 4/4 until I feel they're ready to make the switch. More often than not, I will make the switch without telling them and it just comes together organically.

Emily - Holy Cross Catholic Acaedmy My conducting is focused first on very clear attacks and releases. When the kids understand the rhythms (jr. High) and have the general idea of the piece, I can be more expressive with my conducting.

Judy Rotenberg - Port Hueneme, California Dependent on needs of ensemble. Can be rudimentary (putting 2/2 in 4, putting a fast 3 in 3 instead of 1) but sometimes freeform is possible if students are watching!

Peter Read, watch videos, speak with professionals, put yourself in the students' perspective.

Nathan Oshaben - Mayfield, Ohio When I choose conducting patterns, I try to be expressive but clear. If a certain section is written in such a way as to create a different metrical "feel" than the printed time signature (hemiola, etc.), I will tend to conduct the passage according to feel rather than meter. To help student understand, I will count the passage off first and have them play it. Then, I will conduct the meter while they play it again. Finally, I will conduct it the way I intend to for performance and ask them if they can "see what I'm doing." I find that it is important that students understand WHY I am conducting it differently than written when appropriate.

Adam Noel - Joaquin Moraga Middle School I don't think there is any secret to choosing the "right" conducting patterns or techniques for any given piece. The more you know your score, the more you will naturally conduct in patterns that make sense and fit the music. Just make sure that you are clear, look how the music sounds, and are addressing the players that need to be addressed (hint: it's not always the melodic line). Also, if a gesture is not really adding anything to the phrase, don't use it. Sometimes a lack of gesture can say more than any convoluted technique ever could.

Anonymous

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D e ve  l  o   p   i    ng     M us   i c a   l i ty   

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The music you are playing must mean something! Focus on the emotion of the piece!

Mitch McNallen - Plainview-Elgin-Millville; Elgin, Minnesota Musicality is difficult with children who have a limited bank of life experiences from which to draw, so I create a lot of imagery for them..."play this as though you're sneaking out at night for a snack, and don't want to get caught," or "you're spending time with a boy or girl you really like...you wouldn't hurry through it, but you'd want to stretch it out." Sometimes I'll make up goofy lyrics for a passage. They all have a good chuckle at my antics, but they remember the emotion I want for the listener.

Meg Cancino - Charles County, Maryland We listen to different recorded performances of the piece we're working on whether be professional, YouTube, what have you. I help my students realize their potential and encourage and motivate them to keep on keeping on and if I hear something amazing come from one of them, I'll jump on it and really praise them. I find encouragement and taking notice of little things will promote and motivate them more than anything else. This may not work for every group but certainly works for mine and they have thrived.

Emily - Holy Cross Catholic Academy I try to record rehearsals at least twice a week. I allow the students to listen to rehearsal recordings as they enter the room and prepare for rehearsal. I believe this helps achieve the highest musical performance.

Eric Wharton - Bruceville-Eddy High School; Texas Modeling. Most students don't know what to do, modeling gives them a push start. Ask questions. Give imagery.

Peter Make sure the students have an understanding of what the music conveys. Students should be able to describe what is being expressed through the music. If they can't do that, you can guide them through an explanation of what you hear and what feelings come to mind when you listen to the music.

Javier - Middle School; San Jose, California Embrace passion in music and expect it out of your kids.

Nathan Oshaben - Mayfield, Ohio

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Scheduling Performances  The admin only demands three officially concert performances from us each year. However, for PR purposes and just because it's fun, my kids play at football games, retirement homes and communities, VA hospital, local bookstores, historical museums, t he mall - anywhere they can play for the public and get that exposure - I do my best to get them playing in front of people. It breaks down that wall of insecurity - and the kids are nervous the first couple times but then they relax and it's so much easier for everyone.

Emily - Holy Cross Catholic Academy Generally, there are the two "sweet spot" weeks for a big winter or spring concert. These are based on the school wide calendar, school's academic calendar (midterms/finals) community events (wednesday church nights) my chorus program's performances and the performances of my feeder elementary and the high school programs. Generally I try to get my dates in before everyone else and let them know nicely "hey, I've set my dates". Usually this avoids conflicts, and when conflicts do arise...honestly I pass the buck on them. I rarely re-schedule big events based on another director's lack of planning. Spring concerts are more challenging due to an inflated state testing schedule, but it generally falls within those same two weeks with enough time after to collect inventory for summer and prepare for final exams.

Amanda Miller - Port Charlotte, Florida I schedule my public performances aligned with the grading periods. In my current school that is every Six Weeks. As a performance based classroom, to evaluate the progress, there must be a performance. The only band class that doesn't perform at the end of the first Six Weeks is the beginning band. My administration allows me to give them a blanket grade for that particular six weeks to encourage their best behavior and participation. Competition performances are determined by the desired competition and scheduled by the contest organizer.

Eric Wharton - Bruceville-Eddy High School; Texas

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Chair Placement

 Whenever possible (! ll concerts except m!ybe concert festiv! l), switch p!rts within e! ch concert. Their r!nge will incre!se !s well !s the on/off intensity  level needed to pl!y first p!rt. I h!ve hem ! lso switch se!ts in between e! ch piece  Scott King - St!rr’s Mill HS; Pe! chtree City,  Georgi!

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Whenever possible (all concerts except maybe concert festival), switch parts within each concert. Their range will increase as well as the on/off intensity level needed to play first part. I also have them switch seats in between each piece.

Scott King - Starr’s Mill HS; Peachtree City, Georgia For the past few years, I have not had auditions for chairs. I do have a selection procedure for section leader but not for first chair. We’ve seen much better improvement in individual playing by rotating parts for each selection. In one concert, most players will play 1st, 2nd, and 3rd parts, always having a strong player on each.

James Engelbert - Flat Rock, Michigan NO chairs in middle school. What's the point? I prefer them all to be more collaborative, not competitive.

Nancy Teskey - Lewis and Clark College I strongly believe that chair challenges are inappropriate for middle school, since students should be able to work at their own rate without fear of competition. I rotate all parts and seating, although this presents challenges for brass players with limited ranges.

Amy Richter - Blue Mountain MS; Cortlandt Manor, New York In younger bands, beginners and Jr. High, I have regular "chair tests" to motivate home practice. In these bands, the students sit in the earned chairs until the next test. When performances come, they sit in the current placement. My high school students tend to have established a understood "pecking" order. They will naturally recognize t he better players and sit in a respected placement order. I will pass out parts as I need for each musical selection. I try to rotate the first parts through the section, so that each musician has the opportunity to prepare different parts. Seating is based on musical balance and not any other "hierarchy". Ensemble seating is based solely on ensemble balance and blend. The aural result is the focus and drives the seating. We shuffle seating weekly until I find the best seating for a selection. Sometimes, we change seating for each selection.

Eric Wharton - Bruceville-Eddy High School; Texas I abandoned "chairs" a few years back. Now I assign parts in a rotating system. I know who is what "chair" based on assessments, and the kids that score higher get more 1st parts, but everyone gets every part on some occasion. Sometimes the parts (especially in the clarinets) require equally strong players on all parts, and then I'll mix the top "chairs" in with the lower parts. Sometimes I want the 3rd part to have extra players, so I'll unbalance the parts. It takes some time to do it, but I think the results have been excellent.

Cal Anderson - Timberline HS; Lacey, Washington I work at a small school so this isn't a big issue for me. I can hear who should sit where and assign parts based on that. I don't tell the kids that they're in a certain chair, I just assign them parts that I know they'll be able to play.

Ann - Portugal

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Seating  Arrangement  Ensemble se!ting is b!sed solely on ensemble b! l!nce !nd blend. The !ur! l result is the focus !nd drives the se!ting. We shuffle se!ting weekly until I find the best se!ting for !  selection.  Sometimes, we ch!nge se!ting for e! ch selection.  Eric Wh!rton - Bruceville-Eddy High School; Tex!s

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I have a true wind ensemble and use risers with a straight setup. This gives us a more open sound to balance. I place my tuba in the back row and my horns in the center of the ensemble (balancing to them whenever possible). My percussion are on my left with he timpani usually on my right (near the tuba)

Scott King - Starr’s Mill HS; Peachtree City, Georgia Sometimes where I tell them where to sit, sometimes in a circle, sometimes by a different instrument, sometimes in little circle clusters, etc.

Nancy Teskey - Lewis and Clark College This has changed over the years due to numbers and balance. Middle school sits in a semi circle during class; high school the same thing. During concerts, I put them in general concert seating with upper woodwinds in the front and everyone else sitting behind them. Tuba and percussion are in the back.

Emily - Holy Cross Catholic Academy Ensemble seating is based solely on ensemble balance and blend. The aural result is the focus and drives the seating. We shuffle seating weekly until I find the best seating for a selection. Sometimes, we change seating for each selection.

Eric Wharton - Bruceville-Eddy High School; Texas I try to keep like parts together, sometimes experimenting for the best group sound within the section, and then compromising for other selections that might not have same parts. I have had the students change on occasion during a performance, especially for younger groups or for needed confidence.

Guy McKinney - Mercedes HS; Mercedes, Texas  It's difficult sometimes, but I like to move my sections around so they get exposed to different sound worlds. Doing a circle formation for ensemble once in a while is also a great way to expose students to new listening responsibilities.

Javier - Middle School; San Jose, California For ensemble seating, I try to be pretty standard, but if there's an issue like I can't hear my bass clarinet (who was my only bass instrument) I moved her to a place she can project and won't have to play through as many people.

Robyn - California

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