The Creative Director: Conductor, Teacher, Leader

EDWARD S. LISK

Published by Meredith Music Publications a division ofG.W. Music, Inc. 4899 Lerch Creek Ct., Galesville, MD 20765 hnp://www.meredithmusic.com

MEREDITH MUSIC PUBLICATIONS and its stylized double M logo are trademarks of MEREDITH MUSIC PUBLICATIONS, a division ofG.W. Music, Inc. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any informational storage or retrieval system without permission in writing from the publisher. Cover photo © 2006 Andrei T chernov Copyright© 2006 MEREDITH MUSIC PUBLICATIONS International Copyright Secured • All Rights Reserved First Edition January 2007 International Standard Book Number: 1-57463-079-2 Library of Congress Control Number: 2006937905 Printed and bound in U.S.A.

...

111

CONTENTS FOREWORD . . . . . . . . . . .

• • v

PREFACE . . . . . . . . . . . . .

vii

PART 1. THE CONDUCTOR ..

.......

Becoming a Band Director . . . Conducting and Listening Skills . Ensemble Sonority . . . . . . . . Listening for Harmonic and Melodic Content Expressive Conducting . Shaping Expression . . . . . . . . . . . Free-Form Conducting . . . . . . . . . Exercises in Free Form Conducting. Selecting Literature . . . . . . . . . . .

PART 2.

THE TEACHER. . . . . . . . . . . . . . . . . . . .

. .. 1

.3 .4 .5 .6 .7 .9 11 11 13

. . . . . . . . 15

Alternative Rehearsal Techniques: A Paradigm Shift.

16

Rehearsals. . . . . . . . . . . . . . . . . A Story about the Circle . . . . . . . . .

19 20

Introducing the Circle of 4ths Worksheet.

22

Group Assignments. . . . Basic Chord Progressions . . . . . . . . .

23 24

Scale Knowledge . . . . . . . . . . . . .

29

Reasons for Using the Grand Master Scale . The Grand Master Scale. . . • . . . .

31

Internal Pulse: Discipline of Duration

33 35

Exercising Internal Pulse . . . . .

36

Internal Pulse Exercise . . . . . . Discovering the "Right Side" of a Note . The Secret of Note Decay. . . . . . . . Exercises in Silence at the Right Side of the Note. Exercises with the Ensemble Exercise in Note Decay . Dynamic Performance . Dynamic Counting ..

37 39 40 41 43 44 46 47 48

Crescendo Exercise . . Decrescendo Exercise .

49

Decrescendo - Crescendo Exercise .

49

Crescendo - Decrescendo Exercise .

so

iv

50 51 53 56

A Burst of Sound . Color Shifts . . . . The Ruler ofTime Demonstrating Tempo Variations. Speaking Musically for Meaning . . . Discovering Our Emotional Center

58 61 62 63

The Three Natural Laws of Musical Expression . I. Low Searches for High . 2. High Searches for Low. . . . . . . . . .

64 65 68

3. Short Looks for Long . . . . . . . . . . Musical Examples: Natural Laws of Musical Expression Jumping the Hurdles ofNotation . . . Exercises in Free-Form Expression

71 73

Intonation and Ensemble Sonority . The Art ofTuning Overtones . . . . .

75 77 78

Exercise in Straight-Line Tuning . The Power of the Fundamental Pitch: Target Tuning . Student Responsibility for Balance, Blend, and Intonation .

80

Six-Step Tuning Process. . . . . . . . . . . Section Tuning . . . . . . . . . . . . . Principal Players and Full-Ensemble Tuning Exercise in Full-Ensemble Listening

82

Sight Reading. Finale . . . . . . . . . . . . . . . . . .

PART 3.

LEADER . . . . . . . . . . . . . . . . . . . . . . .

81

83 84

86 87 88

. . . . . . . 89

The Importance of Instrumental Music . . . . . . You Can Make a Difference by Leading the Way .

.92

Organizing the Session .

.104

.102

Program Format . . . . . . . . . .

.105

Instructional Modules . . . . . . . . Data Control for Program Longevity .

.106 .114

Enrollment and Graduation Data Form . Inventory Cost-Value Form . . . . . . . Grade-Level Enrollment and Participation Form . Finale. . . . . . . . . . . . . . .

. ..... .

.114 .116 .118

.120

SOURCES AND REFERENCES .

.121

ABOUTTHEAUTHOR . . . . .

.123

v

FOREWORD

A

N OLD HINDU PROVERB

STATES

that "no man should compare himself to his fel-

low man; rather the comparison should be to the man he was yesterday." Since

the Creative Director Series began in 1991, the writings of Edward Lisk have provided all music teachers with an ongoing opportunity to look inward, compare the content and results of their teaching style to the methods revealed in these valuable resources, and move forward into tomorrow with proven strategies for individual and collective musical growth. During a period when the focus of music education has shifted so heavily to topics of mentoring, assessment, and standards, the musical insights found throughout these books have been a welcome catalyst for raising the awareness of what is possible musically at any level of conducting, teaching, and leading. Within the pages of this new addition to an already generous compilation of ideas, the author expands on his previous writings guided by the countless conversations his books and workshop presentations have sparked with music teachers around the world. By continuing to define the priorities of knowledge necessary to create an optimum musical experience, the reader is transported on a journey of reflection entailing more than fifty years of performance and teaching experience. From this road so well traveled, we are all privileged to gain the musical perspectives as well as the "nuts and bolts" insights of such a thoughtful pedagogue whose focus throughout is the quality of the musical endeavor rather than the travel or trophies often associated with today's successful music programs.

I am delighted to endorse the three levels of responsibility (conducting, teaching, leading) outlined in this book as necessary for true success and creativity. Our society often views creativity as the outlandish or the tangible evidence of creative production. However, creative theory and philosophy teaches that each of us has the potential to be creative in the everyday act of living. The philosopher Linda A. Firestone suggests, "Creativity is found where the search for a new and better ordering of life exists." The materials outlined in this book challenge us to examine our "ordering of life" as music teachers. Are we using the tangible commodities of our student's time and talents to full advantage in our efforts to teach the expressive and creative power of this art we call music? The model offered by Mr. Lisk provides the opportunity to access this question objectively and provides tangible methods for increasing our own creativity within each level of responsibility expected of every music teacher.

vi

In his book 7he Courage to Create, Rollo May defines true creativity as "a balanced merger between the creator's objective world (craft) and his subje~Ytive world (material)." The principles presented in 7he Creative Director provide an optimally balanced merger for the effective rehearsal as well as the inspiration and encouragement to create a new order of priorities that will benefit all who cross our musical paths. Finally, Igor Stravinsky eloquently noted, "In order to create there must be ~ dynamic force, and what force is greater than love?" The love shown for teaching and music making demonstrated by Edward S. Lisk is truly a dynamic force in music education. This book will only add to the momentum of a creative life's work so lovingly spared. Michael Haithcock, Director of Bands University of Michigan, Ann Arbor, Michigan

vii

PREFACE

T

with its first publication by Meredith Music Publications. In preparing this text, I contemplated on how I could enhance all my previous publications. The thousands of directors who atHE CREATIVE DIRECTOR SERIES BEGAN IN 1991

tended my clinics, workshops, and graduate sessions throughout forty-five U.S. states, five Canadian provinces, and Australia strongly influenced my direction and writings. Considerable discussion always surrounded these sessions. Most important was the director's desire to increase his or her awareness and understanding of this musical world that I write about, as they all experienced immediate success with this system of musical learning. Throughout these sessions and conversations with directors, I learned so much regarding our wonderful profession of teaching and conducting bands. A new dimension in teaching, thinking, practicing, and playing an instrument! This statement best describes my publications, as this system presents many unique teaching techniques that assure students a successful musical experience. The entire system places a high priority on musical knowledge, understanding, and the application of what was taught and learned. "Alternative Rehearsal Techniques" provide a system based upon instructional concepts and a series of pitches that connect all musical learning. This intelligent musical thinking system ensures error-free performance. The publication is in three parts, with each part describing optimal qualities and characteristics for the Creative Director as conductor, teacher, and leader. In Part 1, "Conductor," I speak about conductor listening skills and expressive conducting. The priorities became apparent as I observed the many guest conductors and composers who served my wind ensemble over the years. Their rehearsal design was unique as they guided and directed the young musicians in shaping beautiful music that elevated their artistic responsiveness. These observations helped to shape my philosophy on conducting and listening skills, harmonic and melodic content, ensemble sonority, and expressive conducting-ideas central to the success of my career as a conductor and teacher. In Part 2, "Teacher," I restate many of the instructional concepts found in my previous publications. Most of the instructional concepts have taken on new dimensions as a result of my travels as a clinician and conductor. I emphasize the important connections as they evolve and spiral, shaping a young student musician to be very competent in the world of music making.

viii

The sequence of techniques found in this section provides a coherent approach to teaching the fundamentals of instrumental music. It is important to understand that concepts evolve and connect the many "bits and pieces" of musical performance. Becoming aware and sensitive as a conductor to the inner flow of thoughtful expression, we are likely to change the dimension of a rehearsal setting by creating new order and priorities when bringing the detached parts together. The concepts create an ensemble sensitivity and awareness, with instrumentalists who think, sense, and feel music as one. The system of musical learning releases the ensemble's natural expressive qualities, providing intrinsic value rather than an extrinsic reward. Part 3, "Leader," addresses critical responsibilities in becoming a "leader" for your instrumental program and helps you learn to communicate the importance of instrumental music. I examine the complexities of teaching instrumental music through the framework provided by Howard Gardner's renowned "Theory of Multiple Intelligences" to show that what we do with our music students can have massive learning implications across the broader academic curriculum. I identify this program as Leading the \.%y. This approach maintains the importance of the concert performance to an instrumental program, but expands upon it to also help the Creative Director raise awareness of the value of instrumental music in your school district. Recognizing that our adult audience members are the product of someone else's music program (as general music is required throughout elementary and middle school levels), there is great variation in their values, support, and beliefs. Moreover, most school systems lack awareness for the unique needs of a successful instrumental program-and with heightened awareness would come heightened support. This special program gets everyone on the same page. You can make a difference by Leading the \.%y! Part 3 concludes with a discussion of how you, the director, can collect and maintain important enrollment data to ensure ongoing balanced instrumentation, adequate staffing, adequate facilities, a sufficient budget, and continued administrative support. This system of musical learning brought much joy throughout my years of public school teaching and guest conducting all levels of bands, from elementary through college and professional bands. The results and response are overwhelmingly supported. Read on, and I hope you experience many joyous moments as you make beautiful music.

1

2

0

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

BSERVING MANY OF OUR OUTSTANDING AND NOTABLE TEACHER/CONDUCTORS

has always been an important part of my education and career. I have collected hours and hours of cassette tapes, recording the most notable conductors and composers as they worked with instrumental students. My analysis of these tapes has given me a deeper understanding of music and helped me design an effective rehearsal. The most important lesson was in hearing how the "masters" developed their rehearsals by using techniques that flowed with the lyricism of beautiful compositions: adagio, accelerando, ritard, allegro, development, recapitulation, molto expressivo, and so on. Such lyrical instructional techniques-so musically efficient with no wasted notes or words-always captivated and consumed the student's attention and resulted in improved performance. During my twenty-one year tenure at Oswego, I invited many of these distinguished personalities to work with my students. In alphabetical order, they are: Frank Battisti, Norbert Buskey, James Dunlop, Harry Clarke, Eugene Corporon, James Croft, Frederick Fennell, Col. Arnald Gabriel, Edward Gobrecht, Donald Hunsberger, Karel Husa, Anthony Iannaccone, Robert Jager, James Keene, Tim Lautzenheiser, Anthony Maiello, W. Francis McBeth, Alan McMurray, Vaclav Nelhybel, Roger Nixon, John Paynter, Alfred Reed, James Smith, Joseph T. Smith, Jared Spears, Robert Spradling, Tim Topolevski, Fisher Tull, Robert Washburn, Frank B. Wickes, and Donald Wilcox. Since leaving Oswego, the list has grown. I have had the privilege of working with Harry Begian, Colonel John Bourgeois (ret.), Ray Cramer, Mark Kelly, Dr. Donald McGinnis, Kenneth Bloomquist, Robert Foster, Colonel Lowell Graham (ret.), John Locke, AI G. Wright, Colonel Finley Hamilton, Mark Camphouse, Stephen Melillo, Colonel Bryan Shelburne (ret.), William Gora, Thomas Fraschillo, Paula Crider, Thomas Leslie, Stanley Michalski, Colonel Gary Lamb (ret.), Ron Demkee, Garwood Whaley, and John Whitwell. It was evident that, immersed as they were in quality wind literature, these conductors shared a distinguished, professional, and intense commitment to elevating the performance of bands and wind literature. Their years of study, research, and teaching became a prominent guiding force in our profession and I am what I am as a teacher and conductor because of what I learned from them. I believe it is imperative

that young directors seek every opportunity to observe and listen to the distinguished leaders of our profession. I encourage you to arrange a yearly performance that includes a notable conductor or composer. You will realize an immediate improvement in your band program. These notable composers and conductors will leave a "musical gift" that your students will remember forever.

'All I! CONDUCTOR BECOMING A BAND DIRECTOR The career decision to be a band director often comes early in high school. I always encouraged my students to make this important decision by the ninth or tenth grade. As young instrumental students prepare for their music careers, they should receive private instruction from respected musicians and teachers. The private music teacher can determine the level of success that a student will achieve throughout his or her career. After high school, students should continue their studies by seeking universities that have a notable and prominent applied music teachers. High school students too often misunderstand the prerequisites for becoming a band director. Many believe that playing several instruments in high school will give them a better chance of being admitted into a university. When students ask me about such prerequisites, I emphatically state that it is not how many instruments you play; it is how well you play your major instrument. During their elementary and high school years, students should develop strict daily practice routines on their instruments. I also urge young students to take advantage of the theory courses available in high school to ease the demands of a college theory program. The skill most important to becoming an outstanding band director is the performance level one has developed on his or her major instrument. To revisit Alfred Reed's words, the director needs to become "someone who, apart from being a conductor, is also a musician: one who speaks the language, hears what is behind the physical sounds, and knows how to achieve what he wants to achieve in his performances." Knowing how to achieve what one wants in a performance is nearly impossible if one has a weak or mediocre performance background. The study of advanced solo performance, in small ensemble and orchestral music, significantly shapes the musical posture or knowledge base of a band director. This advanced skill level, technique, and exposure to the literature provides the necessary depth, awareness, and understanding necessary to effectively rehearse and conduct an ensemble and build an outstanding band program. It is impossible to address the fine details of an ensemble's artistic expression if one has not addressed them with his or her instrument. Any weakness in this area seriously impedes a band program. An instrumental teacher needs a deep awareness of music literature. Referring to this as the "Depth Principle," notable band director H. Robert Reynolds says: A person of very shallow musicianship can actually conduct "Irish Tune" quite well and have it come out nicely. Someone with greater musical depth can bring out more of its depth. The problem is that you can't really become a deeper musician if

4

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

you only are acquainted with pieces at your own depth. You have to be acquainted and work with pieces of greater depth than you are ready for at that time. Prominent wind band conductor/teachers now lead symposiums at the university level throughout every state. During the past two decades young conductors have had a multitude of opportunities to work with them. In my experience, the single most exemplary feature these famous personalities exhibited was how reading, listening, and observing surrounded their professional lives. There are no shortcuts to becoming a band director. One must devote many years to practice with a major instrument, coupled with high academic achievement. Once in college, practice increases significantly as one fine-tunes performance skills in preparation for a music career. This is the avenue for a band director to achieve superior band performance; the band becomes the director's instrument and reveals exactly what the director is as a musician. The band will play only as well as the director plays his or her major instrument.

CONDUCTING AND LISTENING SKILLS In order to shape the musicality of an organization, one skill stands above all others. That skill is listening. Unfortunately, most directors do not address the specifics of listening to the full ensemble. They typically emphasize a fixed sense of intonationhow well each individual can play his or her instrument in tune with a strobe. While this is important, equally so is each musician's ability to play in tune with a section or full ensemble. Each individual performer's listening skills significantly affect the quality and excellence of the entire ensemble. Over the years, whenever I adjudicated school band programs, listening continually stood out as the cardinal weakness. Obviously, the director is attuned to error in rhythm and pitch, and these elements typically consume months of rehearsal time. However, there is a time when a director must specifically focus on-listen to-the totality of the performance. What is it that conductors/musicians must listen to, and what is it that they must listen for, and finally, what do they do with it after they hear it? Simply stated, it is an aural image of the overall band sound. To guide the potential of the ensemble, a band director must have a clear perception of what the quality or end product will be. Remember that there is a difference between listening and hearing. Hearing is a passive process in which sound is simply received. Listening is an active, focused perception that allows a quick and precise analysis of sounds. No two people hear the

s

PART 1: CONOUCTOR

same sounds. Listening is unique to every person. When several directors listen to a concert, the discussions that follow reflect the directors' differing opinions on the ensemble's tone quality, intonation, sonority, and other performance fundamentals. Because each director hears different things depending on his or her level of musicianship, so will every band sound unique in overall tone quality, balance, and expression. The exceptions are those bands that I often refer to as "sound-alike" bands, because they fail to develop a unique identity or personality of musical excellence.

ENSEMBLE SONORITY The two most important elements in band sound are pitch and balance control. The challenge of listening is determining how to use that information to balance a wide range of instruments to create an in-tune, rich, and sonorous tone quality. Balancing an ensemble means effectively interpreting dynamics relative to the whole ensemble. It is easy to understand the serious balance problem that occurs when a forte or fortissimo is written in all parts. If one observes such dynamic markings without adjustment, the resulting band sound will be extremely piercing, edgy, and strident because of the high-pitched instruments playing at fortissimo. Low-frequency pitches travel much more slowly than higher pitched instruments. The same is true when a pianissimo dynamic is written in all parts. What usually happens is that the lower pitched instruments play too softly to balance out the higher pitches. One must adjust dynamics to maintain balance between high and low pitches. The band's overall sound will depend on the director's listening skills to shape a balanced ensemble sound. Robert Jourdain speaks of balance and blend in his wonderful book, Music, The Brain, and Ecstasy: Played softly, a low frequency tone must have ten times the energy of a midrange tone to sound as loud and almost a hundred times the energy at higher levels. Our ears are most sensitive to high tones, which require only a fraction of the energy to sound as loud as a midrange tone ... (I will speak more about balancing ensemble sound and sonority in Part 2.)

In my writings about individual and ensemble tuning, I refer to the law of sound, which is based upon the fundamental (tuba) of the overtone series. Achieving ensemble sonority is simply balancing sections from the fundamental (tuba) up to the piccolo in score order. I use a grouping system (Circle of 4ths) to shape balance, blend, and intonation. When working with a band, I simply say "less of Groups 1

6

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

and 2 and do not pass the sound (volume) of Group 4." Group 4 should be the most prominent, followed by Group 3. Pitch control continues to be a mystery, I believe. Despite the variety of tuning procedures used today, the expected improvement in pitch seems to be either nonexistent or moderate at best. So many directors focus tuning on a few standard-tuning pitches, usually in flat keys-but this is only 10 percent of tuning. How well a director conditions his or her ensemble to listen and play in tune requires an awareness of overtone tuning-perhaps the simplest way to achieve a rich, full, sonorous band sound. I introduced overtone tuning during the early 1970s when I was conducting honor and high school bands. The results far surpassed conventional tuning. Attending directors were always intrigued as we tuned heatless unisons, octaves, fifths, and fourths in all keys. (Overtone tuning is defined in Part 2.) Further, exercising students' listening skills in all keys immediately improves tone quality and ensemble sonority. It is impossible for a band to play in tune in the keys of Db/C#, Gb/F#, Cb/B, E, or A major if those keys are not a part of a warm-up process. Hearing tonality and chord qualities in these keys is critical in exercising and learning to play in tune in all keys. Moreover, shaping and balancing a consistent tone quality and sonority require more than a few flat keys or chorales. To hear the finest in balance and pitch control, one should listen to a Japanese band. Their tuning procedures are based on overtone tuning. Since 1987, Japan's finest bands have performed at the annual Midwest Clinic held in Chicago, Illinois, where attendance surpasses 13,000 directors from throughout the world. The attending directors are always impressed with the tone quality, pitch, and sonority of the Japanese bands. With impeccable intonation, virtuoso technique, ensemble sonority, and musical expression, their performance level and technical skills are amazing.

LISTENING FOR HARMONIC AND MELODIC CONTENT I am very aware of what I listen to when conducting. In addition to my usual score study and analysis, I am much attuned to the ensemble sound both horizontally and vertically. What does this mean? As I listen to the melodic line and its dynamic, rhythmic, and phrase movement (from left to right or horizontal), its design indicates how I will shape the contour and nuance of the phrase. As I conduct, I emphasize tension, relief, and nuanced subtleties beyond what is written. Listening vertically to sound from the bottom to top helps the conductor to hear harmonic progressions

7

PART 1: CONDUCTOR

and provides direction that supports the melodic line or theme. This is extremely important in the resolution and direction of phrases. This horizontal and vertical listening is spontaneous, complementing the conductor's musical decisions when interpreting a piece of music. It helps the conductor develop an aural image of ensemble sound-and it is this sound that most identifies the musicianship of the conductor. Listening for harmonic and melodic content to determine musical interpretation requires practice. When observing band directors, even in concert or festival settings, I am quick to recognize those who are totally immersed in reading the score. Their imaginations have taken over and they are hearing the precision of the printed score, rather than listening to the actual performance of the ensemble. We must be careful, however, because our imaginations can easily fool us, particularly when we let the score override the sound. One sure-fast way to expand listening awareness beyond the music's analytical details is to remove the score and conduct what one is hearing. No longer consumed with reading notation, the mind listens only to the ensemble sound for overall balance, tone quality, intonation, articulation clarity, and phrase direction. Without the score, we can take control of the action. We listen to the whole performance instead of the many bits and pieces.

EXPRESSIVE CONDUCTING Our first introduction to conducting began with learning simple 2-, 3-, and 4-beat patterns. We quickly move beyond these, however, because these basic patterns communicate very little and can appear to restrict expression. As James Jordan states in his lhe Musician's Soul: The pedagogy of conducting has focused on the teaching of technique. In many quarters, it has focused on a teaching of conducting devoid of sound.... A conductor does not "conduct"; he, by the nature of his being and his spirit, causes people to sing (play their instrument}; he evokes sounds that, hopefully, are reflective of each person's individual life experiences. However, the stuff that allows the creation of great music is rarely dealt with in the teaching of conducting. Later in this wonderful publication (which should be required reading for every music educator), Jordan says, "If you believe that music is self-expression, then you must have some self to express." I must also include a wonderful statement made by composer Stephen Melillo, who was asked what one must do to conduct one of his compositions. His response was:

8

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

How do you go about it? With Love. You simply conduct what it is the Music tells you, what it whispers to you, what it screams out for and speaks in a way only Music can. If you sit there and try to analyze it ... I guarantee you will get lost! Music is too vast for that ... Instead, think only of what is being said in the harmony and in the melody and then ... conduct that. These quotes illustrate an important point. Too often, young conductors become over-attentive to the notation of music and less attentive to what the composer intended to say. The beauty of the composition is overlooked because the mind is consumed with analytical details. A conductor can hinder the shaping of musical expression by relying too heavily on conducting patterns-leading to a tendency to manufacture mechanical, analytical music without soul or expression. The ensemble is no longer identified by its musical characteristics or personality because the uniqueness and individuality of musical expression have been lost. It ends up sounding like all the others. In this situation, the conducting pattern has come before artistic expression and the conductor has lost sight of musical meaning. Instead, artistic expression and interpretation must shape the conducting pattern. Like many instrumentalists, many conductors tend to take an analytical or mechanical route when dealing with musical interpretation and meaning. It is easier, and perhaps safer, to stick with an established performance standard. The tried, tested, and accepted establish a comfort zone with little risk. But a hidden danger exists inside this comfort zone-the performance often becomes so imitated and contrived that it has little to do with the actual music. The performer/conductor enjoys the satisfaction of being able to duplicate something someone else has done before, but often the music has had no meaning. Instead, the conductor should rely on his or her inner sense of the music, listen-

ing for harmonic and melodic content, determining what the music means, and conducting expressively. By trusting their own judgment, conductors can release their spontaneous expression. This is not a reckless undertaking; the knowledge and skill that lie behind the expressive musical interpretation inform this spontaneity-but the conductor must trust their intuitive sense of the music to be able to recognize and communicate its intrinsic meaning. When it comes to interpreting the expressive elements of music, young directors tend to be reserved and conservative when expressing the feelings of love, beauty, sadness, or tears. (They feel very comfortable, however, expressing the melodies of joy and happiness.) The poet expresses sadness through words, the painter through the

9

PART 1: CONDUCTOR

stroke of color on canvas, and the dancer/ballerina through body movement. But just as the poet, visual artist, and dancer place their inner worlds of feeling, impression, and expression into meaningful contexts for others to experience and appreciate, the music director must develop his or her inner sense of expression through instrumental performance. If neglected, students continue through years of active musical performance without realizing or experiencing the truth and beauty of musical expression. Such teacher/conductor limitations suppress the students' capacities for lifelong appreciation for music. A conductor must communicate with freedom and unrestricted body language. Facial expressions complement all body movements in conveying intent and meaning. The nuance and inflection of musical phrases are a mind/body connection with felt meaning projected through the sound of an instrument. Conducting movements must convey a similar meaning through the nuance and inflection of face, body, and hands. The silent physical movement of arms, hands, and fingers, coupled with facial expression, serve as the conductor's musical instrument. The thoughtful interpretation of written music, cradled within artistic feeling, guides conductors' physical movements as they project that interpretation expressively through the silence ofspace before them. The conductor's art of musical expression is a physical presentation of what lies within his soul. When observing the masters, we see expressive, fluid, unobtrusive movements guiding a flow of sound from an ensemble. When a conductor attempts to imitate a master, he or she transforms what was once natural and flowing into something mechanical. Remember Jordan's remark: "If one believes that music is self-expression, then it should follow that one must have a self to express."

SHAPING EXPRESSION The written note is like a strait jacket, whereas music, like life itself, is constant movement, continuous spontaneity, free from any restrictions .... There are so many excellent instrumentalists who are completely obsessed by the printed note, whereas it has a very limited power to express what the music actually means. -Pablo Casals Throughout my years of clinic and workshop presentations, I noticed that directors tend to be reserved when trying to conduct music expressively. From whence does this inhibition come? Having taught for over half a century at all levels, I

10

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, lEADER

state emphatically that reservation and inhibition enter with our very first lesson in elementary or middle school. It continues through high school and into higher education. What creates such a condition? A passion for excellence consumes most instrumentalists' many years of study and practice-however, that study is typically characterized by an overemphasis on accuracy and precision, rather than on musical expression. From earliest instruction, our teachers defined musical expression through the crescendo, decrescendo, phrase peaks, breath marks, and so on, and as we were graded for lesson preparation, we did not venture beyond the written notes and directions. Although we might have had different feelings about the phrase or melody, we were obliged to follow directions. Such a learning environment stifled any imagination or expression in the student and director. When students and directors have not had opportunities to exercise expression, their ability atrophies, just as muscles weaken over years of neglect. To prevent this, it is important to develop rehearsal techniques that activate the student's emotional center and encourage feeling to flow through their instruments. Our emotional center controls and releases human feelings surrounding words and music, and when released fully, our emotional center also determine the communicative actions of our conducting. I discovered that applying word prosody to the rhythmic flow and lyricism of musical phrases and patterns releases our deep, emotional center of felt expression without mechanical contrivance. I teach my students to speak the rhythm patterns with inflection and nuance to create meaning. Everyone possesses the language of expression. Theater and speech majors have no problem expressing their feelings through the nuance and inflection of words. Once we begin asking students to use word nuance and inflection in energized rhythm patterns, we have discovered an extremely important teaching technique. Students immediately connect with this and quickly discover the meaning of feeling and how easily it can become part of their musical performance. I often tell students, "If you can't say it, you can't play it." The uniqueness of musical thought is projected through the subtle, rhythmic nuance and inflection of note patterns that form a musical line or phrase. Nuance is the key that opens the door to the mysterious world of musical expression that has eluded teachers for so many years. As Pablo Casals said, "We can never exhaust the multiplicity of nuances and subtleties which make the charm of music." Therein lies the secret or mystery of musical expression.

11

PART I: CONDUCTOR

FREE-FORM CONDUCTING Free-form movement is important when developing a unique sense of musical interpretation. Far more than unmusical or visually distracting conducting patterns, free-form movement helps the conductor communicate meaning. Executed without the standard 2-, 3-, or 4-beat conducting patterns, this free, improvised movement releases the constraints that inhibit the more expressive and natural movement of the arms, wrists, palms, and fingers. Free-form conducting may include long flowing circles and lines shaped with arms, wrists, and hands in musically inspired motion, feeling, and expression. Such movement projects the inner grace, flow, and poise within a musical phrase or composition. The movements are similar to the graceful movement and poise of a ballerina moving through space. The exercises that follow enhance and embellish conducting movements with meaning; they develop poise and provide opportunities to articulate internal expressive interpretation more efficiently. Similar to mime, these exercises are a form of body language. Do them frequently and you will gain a considerable amount of freedom in your arms and hands. Such exercises demand a closer connection with our feelings and bring us closer to their physical expression. A word of warning: if not immersed in the flow of music (phrases and so on), the exercises will be meaningless. The intent is simply to elevate your musical awareness of how the subtleties of harmonic content embellish the nuances and inflections of the melodic line.

Exercises in Free Form Conducting 1. To begin, select a recording (unknown to you) of a chorale, ballad, folk song, or similar composition in an adagio tempo. Listen carefully to the flow of music. As the selection plays, make long, flowing movements with arms and hands. Do not use a baton or follow any learned conducting pattern. While you are listening, don't analyze the musical details (rhythm, melody, and so on) of the work. Focus your attention on the flow and ease of phrases, energy, tension and relief, softness, lightness, and the bold, aggressive, or gentle characteristics of the music. Without using any pre-scripted conducting pattern, allow your arms and hands to flow naturally with the phrases and motion of the music. Don't be surprised at how clumsy you may feel in these early experiments. Your movements will quickly reflect spontaneous reactions to the music's subtleties.

12

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

• •

•

Start from a center position with hands and arms extended slightly forward, inside shoulder and eye levels. Make your movements with long, circular lines and shapes projecting grace, poise, and freedom in your hands, fingers, and wrists. No 2-, 3-, or 4-beat patterns.

As the music continues, focus your movements and facial expressions on the following. Touch and feel the space before you-the space of silence. Expand and contract the space of silence with your hands. Connect all your movements in smooth, flowing motion. Amplify your hand/finger motions with facial expressions. Roll in a circular motion as the music unfolds and expands. Feel the space between the long lines . . . touch the space. Silently speak through the movements of the left hand. Silently speak through the movements of the right hand. Feel the difference between left and right hand. Appeal to the imagined ensemble for more expression. Don't beat or pulse tempo; it lives in the music. Sense and feel the time that lives in the music.

2. Select a recording of a march. As the march proceeds, focus your movements and facial expressions on the following. • • • • • • •

Imply the energy of the march style in flowing lines. Shape phrases with hands and fingers. Execute no patterns or movements that imply pulse or tempo. Emphasize slight nuances with fingers and hand movements. Make more abrupt moves where the music dictates. Keep a firm facial reaction expressing the dignity of a march. Move to a center position ... imply time with slight finger movement.

3. Expand the free-form improvisational conducting exercises to other styles of music literature.

As you gain freedom in both thought and physical movement, your conducting will convey your sensitivity to feeling and expression. The line shapes and motions of your body language represent a style of communication. If such movements are not prompted and released by the beauty within your mind, the long flowing lines of

13

PART 1: CONDUCTOR

music will appear to be meaningless and foolish. This three-step process is an avenue for a mind/body connection. More important is what is happening inside: thoughtful feeling guided by the beauty of musical phrases. Gradually start using these motions when conducting your ensemble. Be patient with yourself because the transition from merely beating time to physically shaping musical expression doesn't happen immediately. When you gain freedom in your conducting techniques and start perceiving and implying the motion and flow of phrases, your ensemble will react to the visual nature and style of your conducting patterns.

SELECTING LITERATURE Literature selection is a critical part of a comprehensive school band program, and it requires a considerable investment of time. In my experience adjudicating bands at various state and national festivals, I find some of the literature to be questionable. Since many of the wind masterworks are available at all grade levels, should students experience the masterworks in a planned course of study throughout a four-year program? That raises the question: is it important for a band program to have a course of study? These are important questions that must be addressed in order to develop a program that is a valid component of a student's overall education. When selecting literature, look for pieces that are at a grade level that will challenge students in their study and practice. Don't overestimate your ensemble's skill level by selecting literature that far exceeds its performance ability. I have heard high school bands play works that are far beyond the students' musical maturity. Though many directors believe their students are capable of playing some of the advanced works written for college or professional organizations, they should always take into consideration the musical maturity of their organization. Don't overextend your program by selecting inappropriate music. When programming a concert, I am a firm believer in always selecting a traditional military-style march. As American conductors, we do our profession and audience a great service by recalling America's band heritage and including one of the spirited marches by John Philip Sousa, Karl King, Henry Fillmore, and others. Playing a traditional march requires musical skills equal to the performance of any other style of wind literature. It is easy to be swayed by students to also include pop music (the music our young students listen to on television, radio, or CD/MP3 players) in a program. Publishers

14

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

make pop material available because it sells fast and students readily accept it. But including such music eventually contributes to program attrition as it contains very little musical worth/depth to maintain student interest and learning. It is our responsibility as directors to teach students the value of quality literature and programming, and also to increase our audience's ability to appreciate quality literature. Of all the premier, quality bands I have heard, not one has ever included such irrelevant material. I enjoyed programming many orchestral masterwork transcriptions drawn from my early orchestral experience as a clarinetist. I believed that such literature gave young musicians the opportunity to experience, as I had, the many glorious, flowing melodic lines found in this music. Moreover, the transcriptions were much different from some of the contemporary wind literature, which tends to be more rhythmic and articulated. I often programmed Mark Hindsley's transcriptions that he wrote for the University of Illinois Band when under his direction. The following are a few pieces I have programmed successfully: the Brahms/Hindsley transcription of Academic Festival Overture; the Respighi/Duker transcription of the Pines ofRome (four movements); the Strauss/Hindsley Don juan; the Moussorgsky/Hindsley Pictures at an Exhibition (complete); and the Borodin/Hindsley Polovetsian Dances, to name a few. I also enjoyed programming the many transcriptions written by Larry Odom for the United States Air Force Band under the direction of Colonel Arnald D. Gabriel. If my program needed a contrasting style, I included selections from such Broadway shows as Candide, Sound ofMusic, and "West Side Story, or Floyd Werle's An Ellington Portrait, Gershwin's Rhapsody in Blue with piano soloist, Frank Bencriscutto's Symphonic jazz Suite, and many of John Williams's compositions. There are many more additional works that can appeal to your audience other than irrelevant pop material. For additional help, consult with colleagues-especially those who direct state and nationally recognized bands. Collect their programs, attend their concerts, and visit with the directors at state and national conferences. These are easy steps toward selecting literature worthy of programming.

In Part 3 of this publication, you will find a special program (Leading the Wily) that I implemented with my school district. This program explained and demonstrated the musical qualities of my wind ensemble and literature selection. The results of such a program paid tremendous dividends throughout the years with standing-room-only audiences and solid administrative support in staffing, facilities, and budget.

15

16

I

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

I present the important instructional segments of A.R. T.- Alternative Rehearsal Techniques. During the past twenty years, many directors have been very successful in implementing A.R. T., and I encourage you to likewise apply the system to your program. You may introduce the instructional concepts at any time of the school year or at any grade level, to inspire higher levels of achievement, solid values, and proven practices for you and your band program. N THIS SECTION,

ALTERNATIVE REHEARSAL TECHNIQUES: A PARADIGM SHIFT A.R. T. is a new dimension in teaching, thinking, practicing, and playing an instrument. It is a departure from traditional instrumental techniques-a new paradigm for musical learning that recognizes the importance of metacognition. Metacognition is a state ofawareness as we perform specific tasks and then the implementation ofthis awareness to control what we are doing (Dimensions of1hinking, ASCD 1988). The notable educator Mortimer Adler made this important statement in his 1988 publication, Reforming Education; "The primary cause of all learning is the activity of the student's mind. The best that the best teacher can do is to assist that activity." Adler's emphasizes how important it is that teachers understand that students learn through thoughtful, intelligent actions. This thoughtful, timed, thinking energy, when connected to the body (eyes, ears, fingers), allows one to produce music. Playing a musical instrument requires an intricate combination of intellectual, visual, physical, and auditoty control coupled with a perceptive decision-making process-intelligence in action. A musician's mind persists through time, synchronized with other music-makers in an ensemble, to shape musical expression by moving melodic, harmonic, and rhythmic sounds in and out of silence. As teachers, it is our duty, and indeed our honor, to assist and guide our students' thinking in this process. By actively engaging their musical minds, we develop their performance skills and teach them to make intelligent musical decisions through which they will more fully experience the entire world of musical masterworks. Such engaged students are the fortunate beneficiaries of artful and comprehensive teaching, learning, and practicing. I have always been intrigued by how a musician's mind functions. I had the privilege of experiencing spontaneous musical thinking while performing with a major orchestra, the Syracuse Symphony, early in my career. My mind became fully immersed in creating beautiful sounds along with my musician friends, and this experience transformed me. I recognized that something unique happens within each

PART II: TEACHER

17

individual's mind when he or she is truly working in concert with an ensemble. This

triggered a lifelong search to understand the musician's mind and first wakened me to the importance of incorporating this understanding into the way that instrumental music is taught. How inadequate I felt with my first teaching appointment. Enormously disappointed in the musical progress of my students, I consumed large amounts of rehearsal time with conventional practices, mindless repetition, and re-teaching the fundamentals-and nowhere were we experiencing that musical spontaneity that I first experienced with the Syracuse Symphony. What was I to do? I knew that my teaching had to change and began to realize that many conventional techniques needed modification if I was ever going to develop a band program that was going to play the masterworks of wind literature. I reevaluated my rehearsal planning, warm-up books, and literature and recorded my daily rehearsals. This was the beginning of Alternative Rehearsal Techniques. As my system of musical learning evolved, I committed myself to developing an efficient instructional delivery system that ensured student success. I quickly learned that it was I, the teacher, who had to accept the responsibility for a student's failure to learn-or a student's success. The A.R. T. system begins with ensuring that students know the basic musical alphabet. Our musical vocabulary is similar to students learning to read, write, and speak. A young child enters the world of communication (listening, speaking, reading, and writing) being able to recite the alphabet, which evolves into our everyday language. Likewise, our performance vocabulary for instrumental music begins with the musical alphabet, which includes the first seven letters of the alphabet. The performance vocabulary continues to expand through knowledge and application of musical elements including scales, rhythm patterns, technical skills, dynamic levels, articulations, phrasing, and harmonic content. Having a command of the musical alphabet and basic vocabulary_sets the foundation to connect more advanced musical elements that they will learn as they grow musically, shaping and expanding their performance vocabulary. A band director must recognize that developing a performance vocabulary is critical for their students to achieve the highest levels of excellence. The key words are "connecting" and "performance vocabulary." Effective learning is based on patterns and connections. When new material is encountered, the brain searches for meaningful patterns and seeks ways to incorporate, connect, and apply that information. As students build their performance vocabulary, it is key that new material is presented as an outgrowth of what was previously learned, so that they

18

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

can recognize patterns and find context to apply each new piece of information. This is what I refer to as connected learning. Lessons must be carefully structured accordingly to guarantee student success. We cannot assume that students will learn simply by completing assigned pages from a method book; we must ensure that new concepts are connected to what they have already learned, in the way that we have taught it. There are very few, if any, method books that define how a lesson should be taught. Teaching techniques are the responsibility of the teacher-and consistent techniques, not just presentation of content-make the difference between successful and unsuccessful band programs.

ARE YOU TEACHING YOUR STUDENTS TO THINK? WHAT ARE THE STUDENTS LEARNING? Many of our traditional teaching practices have misled us into doing the thinking for our students, simply telling them what to do. I call this "teaching by imposition." In our haste to conduct efficient rehearsals, we deprive the students of using their brains. An example might be with tuning: "Push in, you're flat," or "Pull out, you're sharp." Therefore, students wait to be told what to do without having to think for themselves. Successful teaching is more than content alone. Success is the result of the student making meaningful musical decisions relative to what they have learned and were taught. If we expect the ensemble to improve, we must teach students to make meaningful musical decisions relative to literature demands. Noted neurologist Dr. Frank Wilson states: Your training in music must from the very beginning deliberately guide you toward the goal of making your own independent judgments about the quality of your playing. There is a serious threat to your growth if this does not occur, because if someone with greater knowledge must always approve your interpretation, your music ultimately can only be imitative. If this happens, you've missed the boat! Students must have opportunities to make decisions in order to become musically independent. They have total control of the ensemble's musical quality and excellence, but they cannot be expected to know anything more than what they were taught. It is absolutely impossible for the director to correct every musical error

PART II:

19

TEACHER

within a band rehearsal; the students must be taught how to make quality musical decisions so that they can correct errors themselves. Moreover, it is impossible for the musical quality of the band to surpass the musicianship of its conductor. There are very subjects or classes that actually teach thinking. One important aspect of teaching students to think is developing their ability to focus-and maintaining students' focus is perhaps the greatest challenge we encounter in our rehearsals. Our priority is to develop student-thinking skills that guide playing an instrument (error-free) for the duration of 3 to 20 minutes of a chorale, march, overture, or other work. Let us revisit Adler's statement: "The primary cause of all learning is the activity of the student's mind. The best that the best teacher can do is to assist that activity." Notable Brown University professor Alfle Kohn also has much to offer on the subject. In his 1993 publication, Punished by Rewards, Kohn states, "We teach thoughtless conformity to school rules and call the conforming student responsible. We rely on extrinsic motivators with our students because this will produce compliance." He continues: "A recent research project asked a group of students what their teachers most wanted them to do ... they didn't say, 'ask thoughtful questions' or 'make responsible decisions.' The students said, 'be quiet, don't fool around, and get your work done on time."' As Alfie Kohn states, the most important factor in teaching should be to have students ask thoughtful questions and make responsible decisions-in our case, that means making responsible musical decisions.

REHEARSALS The design of a rehearsal period is critical to the success of an ensemble. I have observed too many rehearsals where the warm-up had very little to do with the literature to be rehearsed. Too often, a warm-up pattern is established and followed each day with little variation. For example, many directors start rehearsals by having their students play some variation of the Bb concert scale, followed by a chorale. It is my opinion that simply playing a Bb concert scale in some form or variation is the most damaging part of such a rehearsal. I'm sure many students flnd these warm-ups tedious and monotonous, and just go through the exercise without focus. They can't wait to get it over with-and this defeats the purpose of the warm-up. In such an apparently limited preparation for rehearsal, where are the connections to the literature? It would be far more helpful to design warm-up exercises that are directly related to the pieces being prepared that day-and to

20

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

alert the students to those connections ahead of time so that they focus their efforts accordingly. Few seem to question the conventional rehearsal practices. If they did, they may see that many of our rehearsal problems result from the techniques being used. If your technique does not give you the anticipated results, question or remove it. As Larry Blocher, Richard Greenwood, and Bentley Shellahamer reported in the results of their 1993 survey, Teaching Behaviors Exhibited by Middle and High School Band Directors, "Band directors were reluctant to try new approaches to traditional rehearsal practices out of fear that the performance products of their bands will suffer." But the authors emphasize, "Getting ready for the next performance should include more than error detection, endless repetition, and dictated interpretation." Richard Grunow (Eastman School of Music) makes a powerful statement regarding instrumental music teaching in a chapter he authored for the 2005 GIA publication, 1he Development and Practical Application ofMusic Learning 1heory. He asked: What changes have we witnessed in beginning instrumental music instruction in the last forty years? With the exception of improvements in packaging and the use of technology-very little has changed in beginning instrumental music instruction. An old-timer observing in a beginning instrumental classroom today would recognize behaviors and comments prevalent forty or even sixty years ago. This is the shocking reality of what is happening today in our classroom lessons.

A STORY ABOUT THE CIRCLE The Circle of 4ths will provide you with unlimited rehearsal opportunities beyond the conventional Bb scale variations. I propose that all performance fundamentals should originate from a single musical source. Applying the Circle of 4ths during a warm-up is a very simple way to link all keys, scales, and chord qualities. Using the Circle provides countless variations for mastering music fundamentals. The variations are unlimited. Once students understand and can play a chromatic scale, they are ready to enter the vast world of musical fundamentals all connected through the Circle of 4ths. The most difficult challenge you, as director, may face during a rehearsal is to spontaneously create musical patterns (scales, rhythms, chords) that are connected to the literature to be rehearsed. With patience, it is not long before the creative director evolves and realizes the vast improvement in student performance.

PART II: TEACHER

21

From the time I first published my Circle of 4ths approach in 1986, theory professors have questioned it and I continue to receive phone calls, e-mail messages, and letters from directors. Some have been quite adamant that the Circle of 4ths is incorrect. Yes, we were taught in our college theory courses that it was the Circle of 5ths, but as my classmates and I often tried to convince our theory professors at Syracuse University School of Music, using the Circle of 4ths eliminates many problems. Let me clarify why I use the Circle of 4ths instead of the Circle of 5ths. In my years preparing to become a musician, I also had a love of jazz music. If one is familiar with the chord progressions that a jazz musician must spontaneously respond to when improvising, the chord progressions are based upon the "jazz circle." The jazz circle is the Circle of 4ths. I did not believe it would be wise to base an entire system of learning for non-jazz musicians on the jazz circle. This would immediately create suspicions from the non-jazz musician and most likely not receive the success it now enjoys. With that, I simply renamed the "jazz circle" as the "Circle of 4ths." I saw the huge potential of developing musical skills and techniques that would far surpass most of the conventional methods. Moreover, if you have a jazz ensemble, this system is already in place when teaching students to improvise. The system may be used with all ensembles, including marching band, orchestra, small ensembles, and private lessons. Another important musical consideration for using the Circle of 4ths is that it ultimately helps students to recognize the sound of chord progressions. We can all recall the early days of a theory class when we were taught how to build chord qualities and write chord progressions. Frequently, chords were "spelled out" for us in writing, bur we never heard the chord quality on a keyboard. This left a few student musicians handicapped, aurally. With this in mind, I wanted my students to make aural connections to their intellectual understanding of harmony and chord progressions. I could teach students that any pitch in the Circle of 4ths can be considered a dominant chord resolving to a major chord built on the next pitch in the circle-i.e., C7 resolves to F, or V7 to I. Taken to the next level of harmonic understanding, any pitch in the Circle of 4ths can be considered a II minor chord, moving to the next pitch in the circle as a V7, and resolving the V7 to the next pitch as a major chord (Cm-F7-BbM). This process results in the basic chord progression, II-V7-I, that is easily understood and connected to scales or notes used in the chord progression {extremely valuable when teaching harmony and improvisation). My students were far more able to understand music theory after they had heard the progressions.

22

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

Finally, my last reason for departing from the Circle of Sths is that we do not read in circles. Therefore, I wrote the sequence of pitches in a straight line as we normally read from left to right. The traditional Circle of 5ths moves in a clockwise direction starting with C and continues with pitches based upon the interval of the fifth. The Circle of 4ths moves with the interval of the fourth (C to F, and so on), or counterclockwise to the Circle of 5ths. Chord progressions are read and written in a horizontal line, not circles, and the Circle of 4ths corresponds more intuitively to horizontal harmonic motion, i.e., C to F to Bb to Eb, etc.

INTRODUCING THE CIRCLE OF 4THS WORKSHEET Using this Circle of 4ths worksheet provides unlimited opportunities to explore chord qualities, balance, blend, intonation, articulation, rhythm patterns, major, minor, chromatic, or any other scale form. By following the root sequences shown on the chart, it is possible to exercise all the important musical skills in all keys, not just a few flat keys. An exercise designed to move through the circle (row) provides students with an authentic music-making experience similar to the harmonic demands of all band literature. By teaching students using the Circle of 4ths, you will develop their command of all keys-and I cannot impress enough the importance of scale and key knowledge. I believe that the lack of scale knowledge is at the heart of two fundamental problems among young instrumentalists: poor sight reading and intonation. A musician's mind must respond spontaneously in all keys. To acquaint students with the row of pitches, simply have them play the letter pitches (whole notes) starting with their assigned (transposed) pitch and continue through the row as outlined below. Students should be instructed to play notes in the middle range of their instruments. •

Bb Instruments: C-F-Bb-Eb-Ab-Db(C#)-Gb(F#)-Cb(B)-E-A-0-G-C

•

Eb Instruments: G-C-F-Bb-Eb-Ab-Db(C#)-Gb(F#)-Cb(B)-E-A-0-G

•

F Instruments: F-Bb-Eb-Ab-Ob(C#)-Gb(F#)-Cb(B)-E-A-D-G-C-F

•

C Instruments: Bb-Eb-Ab-Db(C#)-Gb(F#)-Cb(B)-E-A-0-G-C-F-Bb

23

PART II: TEACHER

·----------·--. - · - - - - - - - - - - - - - - · - - - - - - - - - - - - - ,

Flats

c (Ill)

=

Circ{e of 4tfis s Db Gb C'

~

1

6

(Fb)

-

I

2

l

(E#)

(A#)

(DI)

-

4/4

s

3~7#

6#

(7) 6"-..4

- l

2

Sharps I

F Bb- Eb· Abor or orE A D·G 5/ C •F•B (G#)

The top number indicates the number of flats or sharps in that particular scale. The bottom number indicates the correct order of flats or sharps.

Woodwind Choir

I Groupl

I GroupJ I

I Groue,2 I

Piccolo Oboe EbCiarinet 1st Flute 1st Clarinet lstAitoSax

2nd Flute 2nd Clarinet 2nd Alto Sax

3rd Clarinet Alto Clarinet Tenor Sax

Group4

Bass Clarinet Bassoons BariSax Contra Clarinets

Brass Choir

I Gro2_2

I Gro2_1 I 1st Comet

I GroupJ I

2nd Comet 2nd French Hom 2nd Trombone

1st TrumJ:';t lstFren Hom 1st Trombone

3rdCornet 2nd Trumpet 3rd Trombone 3rd & 4th French Hom

I Group4 Baritone Euphonium

Tuba String Bass

Percussion Vibraphone (soft mallets)

Xylophone (soft mallets)

Marimba (soft mallets)

Tympani

---...- ......- ....- - - - - - - - - · - · - -

GROUP ASSIGNMENTS Notice that I divided the ensemble into groups numbered according to the part a student is playing in band. You may need to change some of the group assignments to better meet the needs of your instrumentation. The group numbers correspond with SATB voicing. The top priority is to have the lowest pitched instruments assigned to Group 4 as the foundation for ensemble tonal sonority. The next important pitch assignment is found in Group 3, as this group uses the 5th of the chord (next most important partial above the fundamental played by Group 4). The grouping assignments provide many options to explore all chord qualities in all keys. Allowing students to hear a complete palette of chord colors will significantly improve ensemble intonation and sonority. A major chord would be grouped in the following manner.

24

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

•

Group 1 begins the pitch sequence on Bb concert.

•

Group 2 begins the sequence on D concert.

•

Group 3 begins on F concert.

•

Group 4 begins on Bb concert.

As students then follow the pitch sequence, they will play every major chord as an ensemble. Assign the students concert pitches and have them transpose themselves, and then follow the pitch sequence (a fine example of a way to encourage your students to think for themselves!). With chord qualities in place, you can then use the exercise to address ensemble balance, blend, intonation, dynamic levels, and crescendo/decrescendo, to name a few of the variations. Using the Circle of 4ths worksheet, the students will always play through various harmonic progressions and keys-not only one key, but all keys. This simple sequence exercises the student's musical mind while playing their instruments. Your band program will improve significantly in a matter of months. NOTE: Your biggest challenge in working with chord qualities and various scale patterns will be that you may encounter students who are not familiar with a chromatic scale or pitch names. For example, some students who associate only valve combinations, slide positions, or other mechanical movements with a note, instead of a pitch name. Be sure that your students are familiar with the pitch names and chromatic scale before implementing these techniques. For additional exercises, see my other books, The Creative Director: Alternative Rehearsal Techniques, and the Student Supplement Books I & II.

BASIC CHORD PROGRESSIONS The following group voicings provide your band program with an important foundation for understanding and hearing basic chord qualities. As in all A.R. T. instructional techniques, the chord qualities should be played without written notation. The emphasis is on listening before any theoretical analysis happens. Students must hear basic chord qualities before attempting any type of theoretical reasoning. The chords should be played through the Circle of 4ths, providing students with listening exposure to chord qualities in all keys.

25

PART II: TEACHER

Major Chord Quality l .....Bb

Group

l .....Bb

2.....D 3.....F

l .....F 2.....D 3.....Bb

2.....F 3.....D

3.....F

4.....Bb

4 .....Bb

4 .....Bb

4 .....Bb

l .....D 2.....Bb

M7th

M7th*

l .....A 2.....D 3 .....F 4 .....Bb

l .....F 2.....D 3.....A 4 .....Bb

Minor Chord Quality Group

l .....Bb 2.....Db

3.....F 4 .....Bb

l .....F 2.....Db 3.....Bb 4 .....Bb

l .....Bb

m7th l .....Ab 2.....Db

l .....Db 2.....Bb

m7th* l .....F

2.....F 3 .....Db

s.....F

s.....F

2.....Db 3 .....Ab

4 .....Bb

4 .....Bb

4 .....Bb

4 .....Bb

M9th 1.....

c

2.....A 3.....D 4 .....Bb m9th 1.....

c

2 .....Ab 3 .....Db 4.....Bb

Dominant Chord Quality Group

l .....Ab 2.....D

3.....F 4 .....Bb

l .....F 2.....D 3 .....Ab• 4 .....Bb

l .....Ab

2.....F 3 .....D 4 .....Bb

l .....D 2.....Ab

3.....F 4 .....Bb

9th 1.....

c

2.....Ab 3.....D 4 .....Bb

13th

I .....G 2.....D 3.....Ab 4 .....Bb

DiminiBhed Chord Quality Group

l .....G 2.....E 3 .....Db 4 .....Bb

*Overtone tuning should be in place before playing the 7th, 9th, and 13th chord qualities. Such chord qualities are difficult to balance and blend. For more on overtone tuning, see p. 75.

Once your students become familiar with responding to the Circle of 4ths and playing basic chord qualities, introduce them to the following exercises, which address chord progressions. In the instructions below, teaching procedures are specifically outlined for each group assignment, relative to the part a student plays in the band. During the introductory stages of working with the following chord progression examples, start by spelling the chords in Bb concert. Students are to transpose their starting pitch. The chord progressions shown refer to scale tones in three ways: as letter and pitch names (A, B, C, and so on), number or digital names (scale steps 1, 2, 3, and so on), and solfege syllables (Do-Re-Mi, and so on). Use all three ways to help your students retain pitch sequence without written notation and make a mental, aural connection between chord qualities and progressions.

26

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

Because some of the chord progressions are long, it is entirely acceptable to abbreviate the exercise by playing the progressions in only three to four keys each rehearsal, but continuing around the Circle of 4ths as you vary the keys. That way, throughout a week of rehearsals, students will have experienced chord qualities in all keys. After a few weeks of exercising listening in all keys, the intonation and sonority of your band will improve significantly. The chord progressions also provide a foundation for improvisation, or "Freeform Expression" (Read more on this topic in my book, Intangibles ofMusical Performance.) Musical growth is expanded greatly through improvisation, composing, and cadenza performance, along with harmonic and melodic analysis. There are no shortcuts to improvisation ... improvisation is based upon scale knowledge and chord progressions ... and being able to hear chord changes! The Basic Chord Progression examples serve this purpose.

Begin the uCirde" with transposed Bb concert chord grouping:

Group I=Bb

Group2=D

Group 3=F

Group 4=Bb

fl

Basic Chord Progression #1 I-IV-I

Eb

Bb

Continue through all keys...

Ab

Group I

"' fl

....

Group2

"'

....

I.

Group3

Group4

inJ

0-6>

I

IV

I

Bb

Eb

Bb

-

.....

I

IV

I

Eb

Ab

Eb

ln:t

I

IV

I

Ab

Db

Ab

Group Assignments:

Group I= start on tonic {Bb) ... playthroughout chord progression as indicated ( 2 half notes followed by whole note in each key)

Group 2 =start on 3rd (D) ... sustain 2 beats... play lnd pitch a 1/2 step higher... retum to 1st pitch= { 3-4-3; rni- fa- rni: D-Eb-D). Group 3 = start on 5th (f) ••. sustain 2 beats... play 2nd pitch a whole step higher or 2nd note of scale... return to 1st pitch= (5 • 6 • 5; sol·la·sol; f·G·f). Group 4 =start on Root (Bb) ... sustain 2 beats... "go forward"l pitch in Circle (Bb·Eb) ... return to 1st pitch= (1·4·1; do·fa·do; Bb·Eb·Bb). • Chord progressions are to be played through all keys.

27

PART II: TEACHER

Basic Chord Progression #2

lkogin thco ..Cirdco" with transposed Rb concert chord grouping:

Group I=Bb

Group 2=1>

Group3=F

Group 4=Bh

fl

1-VJ-1

Bb

Continue through all keys...

Ab

Eb

GnJUpl

It! fl

-

Group 2

I"' GnJUpJ

Gruup4

I

~

V7

F7

Bb

·-.

.....

....

~

~:;j

I

I

V7

Bb

Eb

Bb7

I

Eb

I

~· V7

I

Ab

Eb7

Ab

Group Assignments:

n

Preparatory space

• • • •

1

&

&

&

&

2

3

&

::t m Al

4

The length and width of the Ruler of Time are determined by tempo. The slower the tempo, the longer and wider the space of subdivided silence. The faster the tempo, the shorter and narrower the space of subdivided silence. The lower and upper horizontal lines represent the "down" and "up" beats (arrival points). The three horizontal lines between the lower and upper horizontal lines represent 16th and 32nd note subdivision. VI VI

56

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

sistency with rhythmic teaching while emphasizing the concept that the passing of time can be equated with travel through space. The speed at which it travels through space-the steadiness with which it takes to hit divisions and subdivisions on the ruler-determines the accuracy of the tempo. Conventional techniques to teach subdivision-such as foot tapping-do not focus students' attention on the accuracy of silent space between the beats of the metronome. Students learn to follow the beat instead of internalizing the pulse, which is now-neither before nor after. Following the beat often results in tempos that are either rushed or slowed down to maintain accuracy. The metronome is still a very important tool to teach time, however, I suggest that you use the metronome coupled with the Ruler of Time, while emphasizing the precision of silence between the beats.

Demonstrating Tempo Variations When presenting the Ruler ofTime, demonstrate tempo variations by holding a pencil in a horizontal position above the top edge of the music stand. The top edge of your music stand represents the downbeat (bottom horizontal line) and the pencil represents the "up" beat (upper horizontal line). The space between these two lines represents the silence between the beats, through which time (and thought) must travel or move. This is where many instructional approaches fail. We do not teach that time consumes space and that time must travel through space. Space controls tempo-larger space between beats produces a slower tempo and the smaller space between the beats produces a faster tempo. Move your baton between stand and pencil to indicate tempo/pulse as you tap the bottom horizontal line (stand edge) and upper horizontal line (pencil). Students

can respond with the syllable "ta" or "da," either at the "down" or "up" beat as you tap the stand edge and pencil. Hear how precise their response is to the "down" or "up" beat. As an exercise, vary the space or distance between the music stand and pencil to show tempo changes.

PART

II:

TEACHER

Here are some examples of rhythm patterns placed on the Ruler ofTime: 1. Simple quarter- and eighth-note placement on the Ruler.

2. Illustrating a dotted quarter and eighth note. Place the "dot" on the second beat for accurate spacing and measurement.

3. Illustrating syncopation and the placement of notes in the space of time on the Ruler.

58

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

4. Illustrating sixteenth notes.

The Ruler ofTime is critical for defining accuracy with rhythm patterns and note duration. Couple this graphic illustration with the earlier internal-pulse counting exercises from 1 to 8. This is especially important for beginning students. I assure you that you will save considerable lesson and rehearsal time. Any time a rhythm problem occurs, simply refer to the Ruler ofTime picture. As stated earlier, you can also use a music staff without bar lines to make the division and subdivision of beats.

SPEAKING MUSICALLY FOR MEANING Don't play square notes! Notes remain trivial until they are animated with feeling and spirit! Ifyou can't say it, you can't play it! After listening to countless concertS and adjudicating bands for many years, I have discovered a disturbing trend: a seeming inability among our teachers to teach the expressive nature of music. This becomes quite obvious as one listens to a concert in which all the notes, dynamic embellishments, and articulation have been meticulously prepared, yet one hears very little expression outside the indicated markings. James Jordan, notable musician, conductor and author, states in his book lhe Musician's Soul,

PART II: TEACHER

59

Iris interesting to hear a performance where the conductor is an exquisite teacher ... all the elements of music have been well taught and there is rhythmic vitality to the performance. Yet, if one really listens, one can tell the music is barren of love and care. Most of these same conductors lull themselves into believing that they made music. They manufactured music ... it is unfortunate that the conductors involved do not or cannot recognize the difference. At what point in a rehearsal does a band director begin to address musical expression? What concepts and techniques are presented to shape artistic response? Do such concepts and techniques truly address felt meaning with the signs and symbols of notation? This is a dangerous setting. Too often, musical expression is manufactured in attempting to fit the conductor's belief of musical meaning. One who plays with manufactured expression can best be described as one who does not look beyond the literal interpretation of notes (values, articulations, dynamics, etc.). The result sounds mechanical and academic. As Leonard Bernstein stated, "Life without music is unthinkable, music without life is academic. That is why my contact with music is a total embrace." When do we know that our musical interpretation of the composer's intent is authentic and is communicating with the listener? Countless clinics and workshops are presented regarding this area of musical performance. Still, musical expression continues to be a vague and mysterious concept, and teachers lack specific direction as to how to teach expression and feeling within the context of phrases or notation. The fact is, most clinics only address technical approaches. The mystery continues as one literally interprets notation in anticipation of making music. Pablo Casals states in Casals and the Art ofInterpretation (David Blum), The written note is like a straight jacket, whereas music, like life itself, is constant movement, continuous spontaneity, free from any restrictions. There are so many excellent instrumentalists who are completely obsessed by the printed note, whereas it has a very limited power to express what the music actually means. Casals further states, "We tend to be inhibited by the printed score with its scarcity of expressive markings." When I compared musical notation with the signs and symbols of our language, there were many similarities. As we listen to people speaking, we are listening to the rhythmic flow of words, nuance, and inflection for meaning and comprehension. All these subtle nuances portray the feeling of "what" the individual is communicating. If it is sadness, happiness, or fear, we understand and feel what that person is project-

60

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

ing through voice inflections and speaking. When I recognized that this also applies to music, I opened an awareness window through which I was able to realize and appreciate the words of Pablo Casals: "We can never exhaust the multiplicity of nuances and subtleties which make the charm of music." Any type of notation (numbers, words, colors, etc.) has a "message" that creates and communicates meaning. Should not the language of music (notes, rhythm patterns, etc.) project feeling and meaning beyond the notated symbol? One must respond to notation in a manner similar to speaking or reading a book. Or, as Menahem Pressler of the Beaux Arts Trio states, "The subtle emphasis can be communicated in music, by comparing it to how we speak." Many of the mechanical or methodical responses to musical notation begin in the early stages of playing an instrument. Rhythm patterns are taught by speaking the pattern (1 & 2 &, etc.) and when spoken, the student's response is monotone (lack of expression, color, or style). The reason for such response is that instrumental teachers teach musical notation differently than a reading teacher teaches for comprehension and understanding. When students read notation, it is important to not have students count rhythm patterns in a monotone response with very few voice inflections. This uncharacteristic counting sterilizes rhythm patterns and hampers stylistic interpretation as musical skills develop (and it is boring for students). I discovered that my students had no problem with rhythmic comprehension when I emphasized the nuance, inflections, and rhythmic flow through the language of subdivision (counting rhythm patterns). I quickly realized that this was the key to getting students to count and remember subdivided rhythm patterns. By stressing the nuance and inflections of this rhythmic counting process, students retain and recall patterns immediately. The slang expression for "square" is somebody who dresses and behaves in an unfashionable way and is out of touch with the current culture-perhaps even lacking personality or character. Notes are not square; they have a personality or character. Notes remain trivial until they are animated with feeling and spirit. Everyone possesses the language of expression. It is natural. When applying nuance, inflections, modulation, and all the features that characterize speech with the rhythmic flow and lyricism of musical phrases and patterns, our deep emotional expressive center is realized, releasing "felt expression" without being mechanically contrived. Students immediately connect with the music this way and quickly discover the meaning of "feeling." They see how easily it can become a part of their musical performance. Our musical language is made up of musical phrases supported by rhythmic flow and inflections. By extension, then, when we speak, are we disguising music, and when we play our instruments, are we disguising language? Language and music

PART

II:

61

TEACHER

are means for self-expression. Is this the mysterious thread that connects music and language to the soul of a musician? With this recognition, I assure you, meaning and

understanding increase significantly ... and young students look forward to becoming immersed in musical expression. They enjoy being a part of the band program. I outline many procedures for speaking rhythm patterns in my book The Cre-

ative Director: Beginning and Intermediate Levels. I find that my method is the most successful way to teach rhythm for understanding and application. In the past we teachers never addressed such issues or compared rhythm with speaking. You see, our expressive language began when we were young children reciting nursery rhymes. We had so much fun with the frolicking rhythms, because they were spirited with voice inflections. But we didn't understand that at the time; we just knew it was fun. We should bring the same spirit to our teaching of musical rhythm.

Discovering Our Emotional Center This simple exercise uses words to draw students into their expressive centers. As you guide your students to become expressive through this exercise, remember Pablo Casals' statement: "We can never exhaust the multiplicity of nuances and subtleties which make the charm of music." The exercise has students shape the meaning and expressive characteristics of a spoken phrase, using words to help them become more aware of and connected to their feelings through the multiplicity and subtleties of voice nuance, inflection, and rhythmic flow of words. STEP 1:

Select a student to recite the following verse. Encourage the student to feel free to shape the statements (phrases) in a way he or she believes will project his or her own special message. Do not impose any expectations. Refer to this recitation as "Concert #1." The text/verse is taken from Stephen Melillo's composition, Erich! Seek out other examples or folk song lyrics appropriate for the grade level of your program.

It was a time ofturbulence ... When seafaring men dared claim the waters ofthe earth ... A time when the crimson blade oftreachery, Slashed across trusting hearts. STEP 2:

Continue the recitation with a few students to hear the unique differences each projects. Refer to each student recitation as Concert #1, Concert #2, #3, etc.

62

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

As each student reads the statement, you will hear how reserved and restricted students become when trying to be expressive. The same is true when they play their instruments. Freedom of expression is unusual, as students expect specific teacher-defined directions for correctness. Here, we encounter their fear of risk, which stifles or inhibits their expressive potential. This is exactly what occurs when they play musical phrases. They want the teacher to instruct them as to where the crescendo, decrescendo, accents, etc. should be, and these elements are as far as they go with musical expression. This exercise activates the same neuro-signals (emotional center) used for musical expression. Expression is the interpretation of signs and symbols, coupled with the individual's personality-and the exercise releases the student's personality. There is no difference between musical and personal expression; the emotional connections between the individual and either spoken word or music notation are identical. Personal expression is what makes the musical interpretation unique. The same applies to the conductor. Any reservations on his or her part inhibit musical expression. I can remember my earlier teachers telling me that musical expression is "behind the notes." I searched and searched for years and finally discovered it was only me, the player, who exists behind the notes. I found this speaking exercise in personal expression to be the most eye-opening experience for band directors that attend my sessions. They are stunned because this speaking exercise actually makes musical sense, and this approach is not found in any other publication, nor was it a part of any music program including undergraduate or graduate levels of study. Once you make this connection with your students, you will immediately realize a significant change in the way students play their instruments. The students connect the feeling that exists in their minds to the musical phrases. This is a totally new dimension in teaching musical expression!

THE THREE NATURAL LAWS OF MUSICAL EXPRESSION ''All music is nothing more than a succession of impulses that converge towards a definite point of repose." -Igor Stravinsky Natural forms of expression are difficult concepts to teach. Because musical expression is not simply an objective occurrence, it requires conceptual teaching and learning beyond musical notation. Notes remain trivial until they are animated by

63

PART II: TEACHER

feeling and spirit ... a musician's response coupled with the conductor's feeling and spirit. The beauty of a phrase comes from the musician/conductor's internal focused energy-and not necessarily from volume expansion or contraction. Focusing is a matter of the mind and the movement ofthought within the mind. The musician/conductor moves thought through the mind and projects it into the music. The listener responds to the subtleties of inflection surrounding musical phrases and interprets meaning and understanding. Artistic expression is the movement of thought within the musician's mind to activate a musical phrase to a point of repose. The word "repose" has significant meaning when teaching musical expression. Repose is the act of resting or the state of being at rest; calmness; tranquility; freedom from worry; peace of mind (American Heritage Dictionary). Notable conductor Robert Shaw has this to say about musical lines in the 1996 GIA publication by James Jordan, Evoking Sound: Melody is a note looking for a place to sit down. Melody, as abstraction, lies in the amount of tension or relaxation passed by each note to its successor (or received from its predecessor) until the musical sentence is complete and the moment of rest occurs. He continues, "There are three postures of melodic energy ... departing from ... passing through ... and arriving at ... " At this point, because of its importance for teaching musical expression, I will summarize the artistic considerations that appear in my publication, lhe Intangibles ofMusical Performance. As we continue our journey through the world of musical expression, the following simple concepts will complement your rehearsal procedures when teaching and connecting the notes for direction and movement of a phrase ... from the beginning of the journey and into the point of repose with mind and sound connected as one. It is the mind's internal motion, action, and feeling that determine the life of a musical composition!

1. Low Searches for High A very simple statement ... low searches for high. It implies that whatever is low moves and begins a search for something that is above or higher. The mind energizes the movement of notes in a forward direction (journey) as it searches for a high note-its point ofrepose. Here, it reflects briefly before motion continues. By arriving at the high point, this thinking energy moves in a forward direction and becomes

64

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

"whole," thus eliminating note-by-note playing. The perception of this slight feeling of arrival before the point of repose, or discovery, at the high note is what communicates the subtle nuance of felt meaning occurring in the musician's mind. Simply stated, acknowledge the arrival of the high note as in extending a hand when greeting a long-lost friend: "Oh! There you are!" Singing a major scale in the described manner will remove the technical restrictions of an instrument (range, etc.).

Exercise: •

Sing an ascending scale (see examples) and begin to think about the top note as soon as you start singing.

• As you are ascending, feel free to stretch or slightly exaggerate the notes. •

Slightly anticipate (rubato) arriving at the top note ... the point of repose. Acknowledge the arrival of this note ... the key to your artistic statement.

•

Sing through several times, experimenting with different inflections and speed before playing the same exercise on your instrument.

This simple exercise activates the thought/flow of notes (phrase) to determine the movement (speed) of notes ascending to their resolution. The feeling that occurs just before the arrival of the top note (resolution or discovery) is the artistic cradling of sound arriving at the point of repose. The slight delay (tension) before the point of repose, the greater the emotional reaction from the individual musician, ensemble, and audience. As stated by author Donald Barra in his book titled 1he Dynamic Performance: A Peiformer's Guide to Musical Expression and Interpretation (Prentice-Hall), "It is not the development of tension, but the prolongation of tension, that is the basis of our deeply felt emotional experience."

2. High Searches for Low The same holds true for this very simple statement: high searches for low. The concept implies that whatever is high moves and begins a search for something that is below. The mind's forward thought-movement energizes the movement of notes as it

PART

65

II: TEACHER

searches for a low note as a point of repose where it will reflect before motion continues. No matter how slight or insignificant the pause that prolongs tension, meaning occurs because it was the perception of this feeling by the musician's mind that communicated the subtle nuance of felt meaning. Similar to the previous exercise, I suggest singing a major scale in the described manner to remove the technical restrictions of an instrument (range, etc.)

Exercise:

•

Sing a descending scale (see examples) and begin to think about the bottom/lowest note as soon as you start singing.

• As you are descending, feel free to stretch or slightly exaggerate the notes. •

Slightly anticipate (rubato) arriving at the bottom note ... the point of reposethe key to your artistic statement.

•

Sing through several times, experimenting with different inflections and speed before playing the same exercise on your instrument.

This is identical to low searching for high. The feeling of resolution or discovery that occurs just before the arrival of the bottom note is the artistic cradling of sound arriving at the point of repose. The greater the delay that prolongs tension before the point of repose (bottom note), the greater the emotional reaction from the individual musician, ensemble, and audience. Allow the student to experiment with different inflections with note and melodic direction, especially just before the arrival of high or low points of repose. Emphasize the energy and direction of thought moving with the flow of notes, while being tempered by the individual's feeling. Resist the need to maintain the rigidity of tempo. The flow and beauty of the melodic line and contour (arrival points) need to be exercised before the melody is placed into a tempo.

3. Short Looks for Long The appearance and notation of a rhythm pattern on a printed page have an effect upon its interpretation and performance. Standard notation and manuscript divide note values within beats and measures to indicate rhythm patterns. Visually, the

66

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

patterns can create different meanings for the musician when interpreting rhythmic flow and direction. Look beyond the appearance of a notated rhythm pattern. When reading a rhythm pattern, consider the note values without the indicated beaming connections to arrive at a musical conclusion or statement. This is sound moving through time in a forward direction. The best example of this concept is in the interpretation of a dotted eighth and sixteenth note. The notes beamed together indicate that this is a one-beat pattern. The conventional appearance of this rhythmic figure in notation would suggest the vocables "day-to" as a way to verbalize the rhythm-a phrase that does not make any sense. Too often, conductors devote considerable amounts of rehearsal time to addressing this pattern. They continue to teach this figure using "day-to" and insisting that the figure is really three tied sixteenth notes followed by one sixteenth. The result is that the "to" becomes longer and longer, until the rhythm becomes a compound pattern (6/8) of a quarter and eighth.

Long ............. Short..... Long .............. Short ...... Long ............ Short

l ......................... a ........ 2 ......................... a ....... 3 ......................... a

Written ................................ Piayed (lazy pattern)

D Day

~;, To

Day

To

~;, Day

To

By applying the concept that short looks for long, the sixteenth is no longer a part of the dotted eighth note. The dotted eighth should be thought of as being connected to the short note that precedes it. Therefore, the sixteenth note becomes the important note that points to the dotted eighth, much like saying "today" or "teday" (the "to" is the sixteenth and "day" is the dotted eighth). When this concept is in place, the frequently heard lazy pattern of a 6/8 quarter-eighth is removed and the musician has complete control over the length and placement of the sixteenth note. The ensemble or section articulation and interpretation are immediately unified and executed with accuracy. The long note is related to the short that came before it. The long note is much like a point of repose similar to the concept of low searches for high. I rebeamed the

67

PART II: TEACHER

pattern below only to show the direction of the sixteenth note. Students will see the conventional pattern but are to treat it as illustrated-short looking for long.

Re-beam

!]. Long........Short.. Long.......Short..Long

Day............Te-Day.............Te-Day...

The length variation when speaking the syllable "to" determines the style and characteristic of the sixteenth note. Changing the length of the syllable "to" to "t"(as in "t'day") can shorten the 16th to a 32nd note. Practice the following examples so students realize the number of variations with their interpretation. The ensemble or section is to speak the word "to-day" several times to unify articulation. Follow this by playing the spoken word.

Day......... Too-Day

The length of the syllable "to" determines the style and characteristic of the 16th note

~ Day J. .........Too-Day J) J.

To-Dayb or ... n~._ Te-Day Te-Day T-Day

.n_.. . ._. r

~ J_....J......._ .. -~j T-Day

The concept is simple. It creates meaning and musical connection while eliminating many restrictive unmusical barriers that often enter the daily rehearsal or practice when reading this rhythm pattern. The following examples illustrate various rhythm patterns based upon this natural moving concept ... short looks for long. The important consideration is given to the "long" note. It is always related to the short notes that come before. The long note is the point of repose similar to the concept of low searches for high and high searches for low. It is important to recognize the direction in which the rhythm pattern is moving. The arrows below each pattern indicate the direction of thought, which will always lead to the long note (as in resolution or discovery).

68

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

Rhythm Patterns - Short to Long

1.

4.

n

2.

7

ni7

5.

~

)0 ~

3. 7

6. 7 n~jjj)7,

OJ~J .--3--,

7.

iJ j

~

iJ

- -j

r--3-,

10.

1.

~ JJJn

-

g~

-

- -

8.

~ ~ ~

J

!JJ

9.

r--3-, r--3-, r--3-,

J

),J

)~

~

r-3--,

J

11.

JjjJjjjjj~

n

~ ~

~

6/8 Patterns ~·

2.

~ )J J J I J

~·

3.

7

JJJ

4.

As you read the above rhythm examples, treat the long note as if you discovered or found someone you were searching for ... as in, "Aha, there you are!" Just before the arrival of the long note, experiment with a very slight delay. It is ever so slight but apparent, as it creates meaning and interest with the rhythm pattern-the life of musical expression.

Musical Examples: Natural Laws of Musical Expression The musical examples illustrate the points of repose or arrival points that acknowledge (''Aha, there you are") high, low, or a short note pointing to the long note. L

__. H

H __. L

Low searching for High High searching for Low

S __. L

Short looking for Long

69

PART II: TEACHER

The example below also represents short lookingfor long.

High to Low

Low to High

e

l

J I J.

e JJI J.

--+

High to Low

Low to High

Low to High

-~

• '.0), --+

Examples from well-known literature:

Oboe

Song without Words- "I'll love my love"- 2nd move. Holst Suite in F

'VVt · 1 }r@ ~ 1@ _ L-+H

S L L-+H-+L

S -+ L L-+H

UF·

L H-L S---+

jJ ±t:J. }:1

S-+L

S-+ L

L-

Intermezzo- "My Bonny Boy" - Folk Song Suite, Vaughan Williams

* titw

J If

S---+L L -+ H--.L-+H

------'----+L

r r l(lf~ S-+L

S-L u-L

S ---+ L L-+H-L-+H

S---+L L-+ H

S ---+ L u-L

S-

70

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

As a means for practicing the Natural Laws of Musical Expression with your ensemble, I urge you to play a short selection, such as a ballad or folk song, several times. Each time change the interpretation, tempo, tension, and points of repose relative to the outlined concepts. This new dimension offers unlimited options for interpretation. Yes, this concept is unheard of, since we are so programmed to follow the printed score. Donald Barra, in his must-read publication, 1he Dynamic Performance, makes the following statements regarding musical expression. Barra states: • The expressive potential of any piece depends upon the nature of its harmonic structure, the shape of its rhythmic patterns, the quality of its melodic growth, and the dynamic character of its tonal relationships. • The lyricism of a theme depends largely upon the continuity and sweep of its melodic line and the dynamic implications of its harmonic pattern. • Feeling arises from our inhibited or suppressed desires and expectations. This inhibited energy, or tension, forms the basis of our emotional response. • It is not the development of tension, but the prolongation of tension, that is the basis of our deeply felt emotional experience. • The personality of the performer/conductor will influence the character of his/her performance. His/her past experience and attitudes will affect the view of this expressive balance. His/her playing will reveal his philosophy as well as his ability. It will reflect his understanding of human nature as well as his/her knowledge of musical concepts and techniques. • Harmony provides a tonal skeleton against which melodies develop, and it also creates a pattern of motion that contains its own sequence of thrusts and resolutions. These statements are most significant in your search for musical expression. As I stated earlier, musical expression cannot be contrived or imitated. It is the truth of music. The Three Natural Laws of Musical Expression encompass an entirely different approach to musical expression. Hopefully, they will resolve the mystery that has existed for so long. I have also added several additional natural laws that prompt immediate musical decisions for student musicians. They are: •

You cannot play loud at the expense of tone quality, balance, blend, intonation, or harmonic content. A dynamic marking cannot be played so loud that tone quality is destroyed.

PART II: TEACHER

•

•

71

You cannot play soft at the expense of tone quality, balance, blend, intonation, or harmonic content. A dynamic marking cannot be played so soft that tone quality is destroyed. You cannot play short at the expense of tone quality, balance, blend, intonation, or harmonic content. A staccato note cannot be played so short that tone quality will be destroyed.

• Ifyou can't say it, you can't play it! The instrument has no intelligence ... the intelligent response to notation is processed through the instrument.

jUMPING THE HURDLES OF NOTATION Now that I have stretched your musical imagination, I present to you an essay that I wrote for Meredith Music Publications, for its 7he Music Director's Cookbook: Creative

Recipes for a Successful Program. It addresses a most important technique for building musical expression in young musicians.

Young musicians very seldom, if at all, venture out to discover musical sounds other than what is written. Their world of music making has been comprised of musical notation, method books, solos, and band music, and they have never lifted an eye off the page of music. The following instructional techniques provide a gateway into discovering the art of musical expression without notation. I share the following quote by notable teacher Eloise Ristad. Her words elevate the importance of such a musical experience. I use improvisation for many reasons. It can spark rich ideas for composition, for it gives us a more intimate sense of raw materials of sound. It provides an astonishing physical and emotional release, and helps develop the kind of spontaneity that can transform the way we play Bach or Mozart or Bartok. It creates a more direct personal relationship with an instrument that can melt square-shouldered bravado into keen-eared listening. In the beginning, young musicians are consumed with the signs and symbols of musical notation. From Day 1, their eyes are keenly focused upon that huge circle called a whole note, followed by the little black block indicating a rest. As they focus on each note, they dare not take their eyes off the page for fear of mistakes. "Wow, this is neat! I can read music!"

72

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

As years pass, the young musician continues to turn the pages of method books, experiencing the complexities of notation while expanding performance vocabulary. Young musicians very seldom, if at all, venture out to discover musical sounds other than what is written. In my travels as a clinician, I often ask students (or directors) to play a simple, beautiful lullaby. The response is always the same: the students are shocked that I would request that they play without music notation. I'm certain that many of you have had similar experiences. I introduce this next procedure to alleviate students' fears of playing music without notation. One could call it a form of "improvisation," though I find that that can be a loaded word that makes many students and teachers uncomfortable. Instead, I use the term "free-form expression." Free-form expression provides young musicians with opportunities to exercise their musical imagination and creativity without musical notation. Through practicing free-form expression, students discover the beautiful world of musical expression that exists beyond the boundaries of notes and rhythm patterns-boundaries that function like painting by number rather than spilling the colors beyond the lines. Artistic expression is what exists beyond the space of notes when one's imagination comes to life. In this artistic space, everything the student plays is correct! Students will hesitate to take the risk, as they have only been conditioned to respond to notation or teacher directions. They frequently react by saying, "I can't do this without music." Their first attempt will usually be a rapid line of notes. The melody becomes busy due to their nervousness as they search for "correctness." This is a natural reaction. Do not make any corrections, but rather encourage experimentation with a line of notes. It is important to convey that this is their own entrance into their unique musical world. You are giving them the opportunity to shape melodic lines relative to their own musical and performance experience. Believe in and support their natural musical intelligence. By removing some of these natural and learned barriers and inhibitions, you are allowing them to freely drift in any melodic direction with any duration of notes. You are opening a gateway for students to discover the art of musical expression. The fewer notes played, the more freedom they have to listen and become involved with the feeling of pitch and note direction. Encourage long, flowing melodies in comfortable playing ranges to develop melodic coherency. This will guide them into developing meaningful melodies while building confidence in their very own creation. You will find that the longer the student plays a free-form melodic line, the more apparent its beauty and interest will become. Their natural musical intelligence comes to life with musical, cohesive thought and expression.

7~

fAIT II; H~CHrK

When introducing this approach, you should not place any emphasis on key, time signature, or rhythm demands, as is the case with some current approaches with improvisation. Within a short period of time, your students will naturally play freeform melodies and find the need for scale knowledge to expand their expressive possibilities-not the other way around. Listed are several reasons for including this process as an important part of instrumental study for your students. •

Free-form expression is an opportunity to discover one's natural musical intelligence.

•

Free-form expression provides an opportunity to release an individual's imagi-

•

•

•

•

nation and creativity through the sound of his or her musical instrument. Free-form expression allows students to become sensitive to the feeling of resolution: moving a pitch or a series of notes within a phrase from tension to resolution or point of repose, and feeling the direction of their artistic decision. Free-form expression provides a mind/body connection with the individual's "soul" through the sound of an instrument. It provides a departure from "contrived" musical expression or meaningless notes. Free-form expression provides opportunities to develop and exercise interpretation and stylistic performance. It serves as an opportunity to go beyond the written symbols of musical notation to faithfully experience the composer's musical intentions. Free-form expression removes the inhibitions of being incorrect and the fear of risk in musical decision-making. Free-form expression will always be correct unless the teacher imposes some form of restriction or expectation. The musical statements are a result of and supported by the knowledge and skill experience of the individual.

Exercises in Free-Form Expression

The following sequence of events will guide a student successfully in their first attempts with their own free-form melodies. •

Ask the student to play a slow melody, such as a lullaby or beautiful ballad. Do not indicate any note, key, tempo, or other musical descriptor. Encourage the student to be free with their melody.

74

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

•

•

Have him or her begin on any comfortable pitch and invent a melody (lullaby/ballad), experimenting with different notes and rhythms (do not specify notes or rhythm patterns). Encourage the student to play slowly with few notes while listening to the notes moving in different directions to form musical statements.

Recognize that the longer (seconds/minutes) the student plays, the more the musical song improves, as listening becomes focused and directed to melody, note direction, and sound. Notes begin to form meaningful musical patterns and phrases. The feeling of key/tonality develops as student experiments with accidentals, and notes resolve naturally. As the student becomes comfortable playing simple melodies (usually after three to five practice sessions) suggest that they play a melody that will reflect the following styles. • • • • • • •

a happy spirited melody sad, somber song, as in losing a friend ethnic dance style (Spanish, Mexican, Latin, etc.) as an eagle soaring through the mountains running away (rapid, fleeting, swirl of notes) march in the style ofJohn Philip Sousa melody in the style of Mozart, Bach, or other composer

Experimentation with free-form expression is one of the most important musical experiences you can provide to your students. Early in my career, I was discouraged with how students responded to phrases and musical expression. After reading many textbooks, I concluded that musical expression cannot be programmed. As a professional clarinetist, I observed that the results of programmed musical expression were too mechanical and had no connection to the feeling of a phrase. Identifying what was "correct" when feeling music was a mystery, and too often the result of this attempt to ''feel correctly" was that the expression sounded contrived. "Free-form expression" emerged as the solution. Using this concept with my students immediately eliminated many barriers to their ability to play with more feeling. Their musically expressive phrases changed dramatically ... we were finally making beautiful music! The mystery no longer existed; free-form expression made the emotional connection between composer, conductor, performer, and audience. I invite you to bring this new world of music making to your students. By teaching the three natural laws of musical expression and free-form expression, I assure

PART II: TEACHER

75

you the results will be musically rewarding. In closing, I turn to the words of Claude Debussy: "Any sounds in any combination and in any succession are henceforth free to be used in a musical continuity."

INTONATION AND ENSEMBLE SONORITY Since the early 1970s, I have always tuned bands using the overtone series. This tuning system evolved from a graduate course in acoustics that I took with Professor Everett Gates at the Eastman School of Music. Overtone tuning is a response to the need for teaching students to play in tune in all keys. It is a departure from the variety of methods used in tuning to Bb concert. I use, as many others do, F concert as the fundamental tuning pitch. I have found that instrumental discrepancies with Bb concert can create, rather than solve, many intonation problems. For example, many bands tune to Bb concert played by the solo clarinet. The Bb concert on a clarinet is a long-tube note, so as the clarinet section tunes, players make barrel adjustments. However, the barrel adjustment alters only the throat tones, so this creates additional intonation problems on other pitches. Then, when the flutes tune to this pitch, they are using a short-tube note that tends to be sharp. Herein lies the discrepancy with tuning to Bb. Another concern with tuning to the clarinet is that this is totally in reverse of the harmonic series, which starts at a fundamental (tuba) pitch. It is nearly impossible to tune octaves down to the tuba. The fundamental pitch is the law of sound for the overtone series. Therefore, the pitch sounded by the clarinet is the 7th partial above the fundamental. Tuning consideration should be given to the stretched octaves, beginning from the fundamental, as the higher pitch (octave) has a +2 cent deviation from the lower pitch. When I tune a band, I have the principal tuba player sound an F concert relative to an A-440. From that pitch, I tune various instruments in unisons and octaves, from the tuba up to the piccolo. This places the instruments in the band in a correct order relative to the overtone series. I assure you that if you apply the tuning procedure I have outlined, your band's tone quality, intonation, balance, blend, and sonority will significantly improve. Since 1936, the electronic strobe tuning device has simplified the band directors' job. The strobe presented a "picture" of tuning to assure students that they were in

76

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

tune. However, I believe in many cases that it was the "picture (strobe) of tuning" that encouraged student ears to become dormant in the development of band intonation and ensemble sonority. In addition, the strobe simplified the measurement of pitch deviation via plus(+) or minus(-) cents to determine accuracy. Not only must the student play the instrument, but also must remember the cent deviation and adjust each note in a particular passage. This becomes a monumental task when applied over the entire range of notes encountered by an ensemble of forty-five or more players. Multiply the number of pitch deviations in an entire composition by every student member in the ensemble, and the task becomes quite cumbersome, if not impossible. I do believe the use of technology is important in the development of tone quality and intonation; the problem is in how we use this technology to improve student listening skills. Further, at what point do we depart from the "picture of tuning" and trust what the ear is hearing? The strobe picture ensures only the completed process of in-tuneness with one individual, not the total ensemble. Frequently, a director will move through the entire band, holding a strobe as students attempt to tune one note, Bb concert. The student plays the pitch and frequently the director makes the pitch adjustment decisions for the student. In such a case, the student has no role in the musical decision-making process. While that one pitch may be in tune, it does not ensure that the band plays all pitches in tune and the result is that the director does not get what he or she is looking for. Further, there are very few (if any) techniques to teach students how to play in tune as a section and recognize how each section sound contributes to the entire ensemble. Most directors assume that this happens after the individual is in tune. How disappointing to go through an entire career without having a band that plays in tune. The strobe has other good uses. I find it an invaluable tool when selecting instruments. I required all my students to review their instrument's pitch tendencies periodically throughout a school year using a strobe. However, I did not use the strobe to tune my wind ensemble. I taught my students to trust their ears when making a musical decision according to the beats or misplaced frequencies they were hearing. I said little, if anything, about the plus(+) or minus(-) cent deviation because pitches varied from day to day, and the students had to learn to play in tune from what they were hearing. As my wind ensemble tuned from the fundamental (F concert), my principal tuba player had to assure the ensemble members that the F concert was relative (through the overtone series) to A-440. Many notable conductors and composers recognized my wind ensemble for its tonal sonority, in-tuneness, and musicianship. Let's explore how it works.

77

PART II: TEACHER

THE ART OF TUNING OVERTONES Using the overtone series for tuning makes it fairly simple to eliminate intonation problems. Being aware of the overtone series helps students produce a heatless pitch (perfectly in tune) by relying on their ears as they listen for unisons, octaves, fifths, and fourths. The following graphic illustration shows the overtone series for the pitches C, F, and Bb. The circle around an overtone or partial indicates octaves and the square box indicates fifths.

Overtone Series for Tuning

Q =Beatless Octaves

D= Beatless 5ths

c~®·EB'·®· F~E) Bb

8

II

...

B

" EJ '" @ "

0

EJ

1111

8

II

..

11

EJ

0

~-

-9

Composer Robert Jager states, "Composers utilize the overtone series as part of their harmonic language. If the music is performed out of tune or misunderstood, then the overtone series is destroyed, and the composer's intentions are not fulfilled." Wilmer Bartholomew, in his well-known publication Acoustics ofMusic, has this to say: "Tone quality depends upon the number of overtones and the way the energy is distributed among them.". Also, if a: set of ten or more tuning forks, mounted on resonator boxes, and comprising a fundamental tone and its harmonic partials and if the fundamental be

78

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

sounded alone, a sweet dull sound will result. Then if one after the other of the partials are added, the tone will become more and more full, rich, sonorous, and "living." Another illustration of tone quality and its dependence on the number and relative strengths of the overtones is when the dampers are lifted from the piano soundboard. One hears the overtones begin to resonate. If the overtone series is responsible for a full sound, as Bartholomew states, "Why is it that so many methods for tuning are not based upon such a foundation for listening and aligning pitch?" Directors and students must recognize the importance of aligning pitch, beginning with the fundamental and then proceeding with unisons, octaves, fifths, and fourths. Tone quality and ensemble sonority are greatly enhanced when an ensemble is tuned from the fundamental (lowest pitch) to the highest pitched instrument using the overtone series. The tuning and listening process establishes a deep, resonant, warm band sound. An "edgy" band sound is the result of misaligned overtones. Throughout my career, my bands (and the many that I have guest conducted throughout the nation) have recognized that overtone tuning significantly improves the tone quality and overall sonority of the ensemble. In fact, after being introduced to overtone tuning, most directors report that they never had a band that played so in tune. The very simple process guides students as they make their decisions as to what they are to listen to and for, regarding straight-line tuning (heatless pitch frequency). Your results will be immediate if you apply the suggested procedures.

Exercise in Straight-Line Tuning

For musical excellence, a student must have opportunities to exercise listening just as much as any other required skill. Unfortunately, strategies that go beyond the conventional tuning methods are often limited to a pattern that very seldom exceeds the one- or two-note tuning process via a strobe, followed by some type of warm-up chorale. Such patterns do very little to improve the individual's intonation, considering how the musician's mind and ear must also be exercised to recognize a wide array of other musical elements, including pitch, chord qualities, melodic patterns, and tutti playing. We cannot assume that an ability to hear pitch discrepancies will develop naturally.

PART

II: TtACI-HR

1he tuning line is the only straight line in music. If this pitch line is jagged, the ensemble suffers. Straight-line tuning, also referred to as heatless tuning, is a three-part process. First, playing in tune begins as an individual decision: each player matches the target pitch to make a "straight line" of sound. Second, the individual's in-rune pitch must be perfectly matched and in tune with the section when it plays a straightline unison with the section leader. Third, each musician must understand how section listening and musical decisions contribute to the full ensemble's in-tuneness and tone quality. The quality of listening exercised when playing as a section determines the overall quality of the ensemble. Students control the musical quality of the organization through what they have been taught. If one individual is not attuned to the specifics of section listening and does not understand how it contributes to the total ensemble, the overall ensemble quality suffers. Moreover, it prevents the need to dedicate excessive rehearsal time to achieving ensemble balance, blend, and intonation. The key ingredients for producing good tone quality are embouchure, breath support, instrument quality and condition, mouthpiece, and posture. The next important ingredient is the tone quality being produced by each individual section, and the degree to which this integrated tone contributes to the total ensemble. A concept of beauty must exist within every student musician; if they don't hear themselves playing with beautiful tone quality, then that tone quality will not be beautiful. It is also important to teach students to recognize what playing in tune feels like. That means developing an awareness of the specific positions of muscles, lips, air, etc. through embouchure, posture, and breath support. Urge students to feel what it's like to play in tune with their stand partner, section, and ensemble. In effect, they must lose their identities; no matter how many players are in a section, the section must sound as one and not a group of individuals playing the same note. Early in my career, as a clarinetist with a major symphony orchestra, I became aware that it was my responsibility to play in tune at all times, on all notes-not just the tuning note of A-440. As I emphasize regularly, a musician's mind will encounter all key tonalities when performing the masterworks of orchestral literature and must be able to respond spontaneously in all keys. If we expect students to play in tune throughout an entire composition or concert that may span numerous keys, the most effective way to teach listening is to design a process that exercises listening skills in all keys. Considerable rehearsal time will be wasted if students are unable to hear the tonality of all keys when played in tune, beyond the common keys ofF, Bb, and Eb. As we have seen, that is why I base my instructional techniques and tuning approach upon the Grand Master Scale with its unlimited variations.

80

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

THE POWER OF THE FUNDAMENTAL PITCH: TARGET TUNING When the principal players in each section use the fundamental pitch as the "law of sound," they have an aural target (a mental picture) rather than a visual one (a strobe picture). Without established tuning "targets," an ensemble will struggle throughout an entire performance or rehearsal, either trying to play in tune or ignoring tuning altogether. When two or more players try to play in tune with each other without identifying a target player, it is nearly impossible to resolve the pitch discrepancies. They are attempting to get in tune with someone who, in turn, is trying to tune to someone else. The target tuning process relies on the principal player-usually a more advanced player-to play the correct or in-rune pitch, which is why they are in this position. Using the target tuning process, it is the section player's responsibility to play in tune with the section leader, the target. When we hear a higher pitch, our ears subconsciously search for its relationship to a lower pitch or octave. For example, the piccolo is frequently quite flat and the player consumes hours trying to play in tune with a strobe-but this never quite resolves the problem. The piccolo pitch is an overtone of the fundamental, and if the fundamental is sharp (which is usually the case when a band does not tune from the fundamental), the piccolo will always sound flat. Therefore, the director music emphasize tuning the lower pitch-the fundamental-not the higher pitch. At the very least, the higher pitch must be in tune with the lower octave. This takes into consideration stretched octaves (higher pitch +2 cents) endemic to the overtone series. W. Francis McBeth based ensemble balance and tuning on a pyramid concept in his influential 1972 publication, Effective Performance in Band Music. His pyramid concept provides an easy way to understand correct band balance, blend, intonation, and sonority. The pyramid concept places musical priority on the lower-pitched instruments, along with the second and third parts. For example, in any clarinet section, the 3rd clarinet is the lowest pitch. As McBeth has demonstrated in his many clinic presentations, the tone quality and intonation of a band improves significantly using the pyramid-of-sound concept. Robert Jourdain says of balance and blend in his outstanding book, Music, 7he Brain, and Ecstasy: Played softly, a low frequency tone must have ten times the energy of a midrange tone to sound as loud and almost a hundred times the energy at higher levels. Our ears are most sensitive to high tones, which require only a fraction of the energy to sound as loud as a midrange tone.

PART II: TEACHER

81

His statement makes a great deal of sense when we consider balance, blend, and intonation within a musical organization. It is easy to understand the serious balance problem that occurs when a forte or fortissimo is written in all parts. (The piccolo, flute, 1st clarinet, and 1st trumpet, as an example, sound much louder than mid- and low-range instruments.) To maintain balance between high and low pitches, dynamics within each section must be adjusted. Each individual instrumentalist must be aware of his instrument's relative volume and make decisions accordingly. Robert Jourdain writes not only from his experience as a pianist and composer, but from his studies and writings in science and technology. The concepts and instructional procedures that follow place all responsibility on the student, for it is each student's "musical decision" that ultimately determines the musical quality and excellence of the ensemble. It is impossible for a director to address the countless imperfections if the students have not been trained to make meaningful musical decisions themselves. In these procedures, students are no longer passive but active participants contributing to the quality of the musical product. I discourage the use of an electronically produced pitch (sine wave) for tuning because it is out of context for wind players. An electronic pitch is a foreign sound. Tuning should always be done with instruments so the produced pitch relates to section or ensemble tone quality in rehearsals or concerts.

Student Responsibility for Balance, Blend, and Intonation To establish balance, blend, and intonation, I use a three-step method that places responsibility with students. This process leads directly to a six-step tuning process; the two methods are inseparable. The procedures use an intelligent self-questioning process, outlined below. This is an important priority for improving the overall quality of your ensemble, as students are responsible for their decisions. The tuning process I introduce here is an ongoing "exercise" that fine-tunes listening skills. Once students are charged with the responsibility for determining ensemble tone quality and pitch, these important listening skills are developed and locked in by the time of the first performance. By that time, they have been conditioned (exercised) for in-tune playing. If you need to adjust intonation during a performance, simply point to the principal tuba player, and your students will know what they are to do to make additional adjustments. The three-step process is a "silent questioning" that students follow to make decisions about the quality of sound they are producing. As the director, all you have to

82

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

do is prompt the sequence of questions ("If you hear yourself ... "),with the student making the final adjustments. The students are going to be quick to give you a verbal answer. It is extremely important when asking the questions to refuse a verbal answer; you will hear the answer. This sequence outlined below is important, as it is impossible to tune a pitch that is overblown or played with poor tone quality. The first priority is balance, followed by blending tone quality, and finally tuning. The student must understand that balance (volume) and blend (tone quality) precede intonation (McBeth). Say to the students: "If you hear yourself above the ensemble, one of three things is happening." Here is the three-step process: 1. To determine balance, the silent thought is:

Ifyou hear yourselfabove all others in

your section or band, you are overpowering or over-blowing. Make an adjustment to volume by playing softer; lose your identity by making your tone become a part of the section and/or the ensemble.

Ifyou still hear yourselfand you made the volume adjustment, you are playing with poor tone quality. Adjust embouchure,

2. To determine blend, the silent thought is:

breath support, posture, or equipment (instrument, mouthpiece, reed). Poor tone quality will not blend with your section or band; lose your identity by blending your tone, as it becomes a part of the section and/or the ensemble. 3. To determine tuning, the silent thought is:

Ifyou still hear yourself, and you made

the adjustments to balance and blend, you are playing out oftune. Adjust the length of your instrument, as outlined in "Six-Step Tuning Process" below.

It is important to consistently refer to this process when teaching students to apply their sectional and ensemble listening skills. If students have an intonation problem, they move to the next sequence of listening specifics to determine their intuneness.

SIX-STEP TUNING PROCESS The six-step tuning process outlines the decision-making procedures for playing in tune with a principal player (section leader) or other designated tuned instrument (not an electronically produced pitch). The process connects the ear with the subtle feeling of embouchure pressure or relaxation when listening. The student applies each of the outlined steps to determine in-tuneness. The director's responsibility is only to

83

PART II: TEACHER

prompt the silent questioning sequence that determines beats going faster or slower. The student makes the final decision for heatless or straight-line tuning. Don't allow the student to give a verbal answer; you will hear the results as the students make their decisions. Remember to be patient, as the students are experiencing an entirely different approach with greater personal responsibility for tuning.

Section Tuning Designate one individual (principal player) to produce the target pitch (F concert). This is the correct, in-tune pitch to which all others in the section will tune.

1. As you play F concert with your section leader, listen for the beats. Are the beats fast or slow? Adjust the barrel, mouthpiece, or slide. (Move the slide/barrel in or out.) 2. If the beats become faster, you moved the barrel, mouthpiece, or slide the wrong way. Adjust the length of your instrument in the opposite direction. 3. If the beats became slower, you moved the barrel, mouthpiece, or slide in the correct direction. Continue in this direction until all beats are eliminated, or until you are hearing the pitch as a straight line. 4. If you are pinching your embouchure to eliminate beats, your instrument is too long and must be shortened. 5. If you are relaxing your embouchure to eliminate beats, your instrument is too short and must be lengthened. 6. When you and your section play the same pitch without any unnecessary embouchure adjustments and no individual sound or beats are heard (you lose your identity), you and your section are perfectly in tune. Tuning can't be any better than this. Emphasize this step when two or more students play perfectly in tune to reinforce confidence in their decision-making processes.

Students must exercise listening by knowing what to listen for, and then knowing what to do with it after they hear it. They must learn to maintain a pitch center throughout an entire composition as well as know what it physically feels like to play in tune (embouchure, air, etc.).

84

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

PRINCIPAL PLAYERS AND FULL-ENSEMBLE TUNING The principal player (tuning target) of each section has the responsibility of establishing and maintaining a pitch center. This person will always be correct and should not tune to anyone but other principal players and the fundamental (i.e., the tuba and other instruments playing the root). The process places a new value on the section player, for it is his or her responsibility to play in tune with the section leader. There is no longer a mystery as to who is or isn't in tune. This role solidifies a pitch center for the band and saves time that would otherwise be spent tuning each individual student. It is not as important to be able to identify whether the pitch is Hat or sharp, as it is to recognize that the beats of out-of-tuneness (misplaced frequencies) increase or decrease in speed. The slower the "beats," the bener in tune the individual is with their section leader; when all "beats" are eliminated (and there is a straight line), the intonation is perfect. This illustration graphically outlines the correct order of building heatless unisons and octaves with principal players. The tuning begins with the principal tuba and goes all the way up to piccolo. Beadess unisons and octaves take priority.

Principal Player Overtone Tuning 13. ~ Pjccolo/Eb C!ar 12.

~

'

Oboe ?---...

11. ~ Flute

""

10. ~ Bb Clarinet 9.

8.

~ BbTrumpet

'

'

French Horn

6.

~

Baritone Sax

5.

~ Bass Clarinet

4.

~

3.

~ Trombone

2.

~ Euph.""

""

'

"'

"" "" ""

Bassoon

F~

""

"'-

~ Alto Saxophone

7.

Tuba 1.

"'

.;>---

""

I

'


....__________________________

Intrumental Enrollment Data

~---------------------------­

De--------------

0

m

Form is to be used for: I. Band size/enrollment 2. Balancing Instrumentation 3. Instrumental equipment needs 4. Staffing needs 5. Facility needs and planning

"'

Graduation Year-+ 2015 2014 201J 2012 2011 2010 2009 2008 2007 7 12 H.S. Total District Total 5 Elem.Total 6 Grade-+ 4 8 M.S. Total 9 10 11 Oboe Flute BbCJarinet Bass Clarinet Contra Alto/Bass Clarinet Bassoon EbAitoSax BbTenorSax Eb BaFitone Sax Trpt./Cornet French Horn Trombone Euphoniunt Tuba Percussion Total

~ Grancl Total

..... .....

\1\

116

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

Inventory Cost-Value Form The Inventory Cost-Value Form is highly recommended to compile the overall dollar-value invested in a district instrumental program. This form is important, as school district administrators are not aware of such information. It is best to know

the cost of equipment purchased by parents, along with what the district has invested in equipment. Comparisons are easily made relative to parent investment and district expenditures. From an administrator's point of view, they only see district investments. This data is collected annually to provide instrumental staff with the amounts of money being invested in a building and district program. When collecting this information, use current list prices for instruments. Do not use discounted prices or state or dealer bid prices. For instance, a beginning student will most likely have a student-line horn, a middle school student might have upgraded to an intermediate-line instrument, and a high school student might have invested in a professional-line instrument. Use these prices as you compile this information.

"'1::1

>

"'.....

District Inventory Value IMPORTANT! Collect data/cost each school year with current list prices of instruments (not discounted price)

~~-----------------~~---------------Dille--------------

School Owned Instruments

~

Total Number of Jtl:tHurrn:cru.,

~ Total CostNalue

r....,

>

0 ....,

"'

Individually Owned Instruments

~

Total Number of n

r

~

Total CostNalue

rn ru

Total Investment School & Individual Owned

Oboe Flute BbCiarinet Bass Clarinet Contra Alto/Bass Clarinet Bassoon EbAitoSax BbTenorSax Eb Baritone Sax Trpt./Cornet French Horn Trombone Euphonium Tuba Percussion Grand To tal

Total Form to be used for individual buildings to determine total cost. Compile all buildings to determine district total cost investment.

~ ~

"'

118

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

Crade~Level

Enrollment and Participation Form

The Grade-Level Enrollment Form provides information to school district administrators, boards of education, and parents as to the size and percentages of instrumental students participating at each grade level versus total school enrollment. To obtain accurate grade-level eqrollments, I suggest you contact the guidance department or attendance office. This information also becomes a part of an annual Instrumental Program Report. The data collected with these three forms will provide you and your program sufficient documentation for program size, anticipated growth, future staffing needs, inventory/equipment, and budget reqj.lests, to name a few. I cannot stress how important this information is for establishing a successful program that has a firm, wellorganized foundation. Annual reports submitted to your district and building administrators are important in establishing the foundation for your program. If your administrators are not a((customed to receiving such reports, their first reaction is that they don't need this information. I caution you, if you receive such a response. I did. Continue to send the annual or semiannual reports. Within a year or two, your administrators will recognize the value of such information when it comes time to prepare budgets and justify school district expenditures.

"a

> :Ill -4

Instrumental Enrollment & Class Enrollment Participation Percentage

,.... m

> 0 _,

,.,

&Md~------------------

~~----------------~--------------

Grade

l

Instrumental Enrollment

l

Student/Class Enrollment

Percent% Particpating

l

Elem. Total

M.S.

Total

H.S. Total

GnndTotal

........ \C

120

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

FINALE You can make a difference by Leading the \%y! The information and forms I have shared in this part of the text are extremely important for the wellbeing of your program. They provide a solid foundation for your music program. Elementary and middle school staff must be active participants, working cooperatively with those at the upper levels. An instrumental program is integral to a student's total educational process. Day after day, week after week, month after month, and year after year, you must continue to define and redefine the importance of instrumental music. Your

students will reflect the excellence ofsuch a program. They will be the foture decision makers. They will be the administrators, board ofeducation members, doctors, lawyers, legislators, and civic leaders oftomorrow. They will determine the quality of music and arts education that must be a part of every school district.

Enjoy the rewards ofLeading the mty!

PART Ill: LEADER

121

SOURCES AND REFERENCES Adler, M. (1988). Reforming Education. Macmillan Publishing. Adolphe, B. (1991). 1heMind's Ear. MMB Music, Inc. Adolphe, B. (1999). OfMozart, Parrots and Cherry Blossoms in the Wind: A Composer Explores Mysteries ofthe Musical Mind. Limelight Editions. Armstrong, T. (1994). Multiple Intelligences in the Classroom. ASCD Publishers. Barra, D. (1983). The Dynamic Performance. Prentice-Hall Publications. Bartholomew, W. (1942). Acoustics ofMusic. Prentice-Hall, Inc. Blum, D. (1977). Casals and the Art ofInterpretation. University of California Press. Brummett, V. (1997). Ithaca Conference '96: Music as Intelligence, A Sourcebook. Published by Ithaca College. Copland, A. (1980). Music and Imagination. Harvard University Press. Csikszentmihalyi, M. (1996). Creativity. Harper Collins Publishers. Csikszentmihalyi, M. (1990). Flow: 1he Psychology of Optimal Experience. Harper & Row, Publishers. Gardner, H. (1982). Art, Mind & Brain: A Cognitive Approach to Creativity. Basic Books, Inc. Gardner, H. (1983). Frames ofMind: 1he Theory ofMultiple Intelligences. Basic Books, Inc. Gardner, H. (1991). The Unschooled Mind. Basic Books, Inc. Gardner, H. (1993). Leading Minds. Basic Books, Inc. Gardner, H. (1997). Extraordinary Minds. Basic Books, Inc. Gardner, H. (1999). Intelligence &framed. Basic Books, Inc. Gardner, H. (2004). Changing Minds. Basic Books, Inc. Gardner, H. (2006). Multiple Intelligences: New Horizons. Basic Books, Inc. Garofalo, R. (1996). Improving Intonation in Band and Orchestra Performance. Meredith Music Publications. Green, B. (2004). 1he Mastery ofMusic: Ten Pathways to True Artistry. GIA Publications. Harris, F. (2001). Conducting with Feeling. Meredith Music Publications. Jensen, E. (1998). Teaching with the Brain in Mind. ASCD Publications. Jordan, J. (1999). 1he Musician's Soul GIA Publications. Jordan, J. (1996). Evoking Sound. GIA Publications. Jourdain, R. (1997). Music, 1he Brain, and Ecstasy. New York: William Morrow and Company, Inc. Lazear, D. (1991). Seven Ways ofKnowing. Skylight Publishing.

122

THI: CUATIVJ: DIRECTOR: CONDUCTOR, TEACHER, lEADER

Lisk, E. (1991). The Creative Director: Alternative Rehearsal Techniques. Meredith Music Publications. Lisk, E. (1996). The Intangibles ofMusical Performance. Meredith Music Publications, Lisk, E. (200 1) The Creative Director: Beginning & Intermediate Levels. Meredith Music Publications. Lisk, E. (1993). The Creative Director: Student Supplements Books I Music Publications.

& II. Meredith

May, R. (1975). The Courage to Create. Bantam Books. McBeth, W. F. (1972). E.lfoctive Performance in Band Music. Southern Music Publishing. Melillo, S. (1980). Function Chorales. Stormworks Publishing. Miles, R. (1997). Teaching Music through Performance in BanJ (6Volumes). GIA Publications.

Ristad E. ((1982). A Soprano on her Head. Real People Press. Runfola, M., & Taggart, C. (2005}. 1he Development anti PracticalAppilcatiQn ofMusic Learning 1heory. GIA Publications. Sloboda, J. (1985). The Musical Mind: The Cognitive Psychology ofMusic. Oxford University Press.

Smith, L. (1985). Treasury ofScales. Belwin Publishing. Sylwester, R. (1995). A Celebration ofNeurons: An Educator's Guide to the Human Brain. ASCD Publications. Tame, D. (1984). 1he Secret Power ofMusic. Destiny Books, Vermont. Wilson, F. (1986). Tone Deafand All1humbs? Viking Penguin, Inc.

123

ABOUT THE AUTHOR EDWARDS. LISK is an internationally recognized clinician, conductor, and author. He is a graduate of Syracuse University School of Music and is the former Director of Bands and K-12 Music Supervisor for the Oswego City School District in Oswego, New York. Under his direction, the Oswego High School Wind Ensemble was recognized for its musical excellence with performances at most national instrumental conferences. The Oswego High School Wind Ensemble had the privilege of being conducted by most of the nation's distinguished conductors and composers. Mr. Lisk is an inducted member of the prestigious American Bandmasters Association and in the year 2000, served as the 63rd president of this distinguished organization founded by Edwin Franko Goldman. He has an active guest-conducting schedule that includes all-state bands, honor bands, university, and professional brnds. He has served as guest conductor for the U.S. Air Force Band, Australian Wind Symphony, U.S. Interservice Band, U.S. Army Field Band, and the U.S. Army Band, "Pershing's Own." In 1992, he had the distinguished honor of conducting the world-premiere performance of the first American Bandmasters Association's commissioned composition Endurance, by Timothy Mahr with the United States lnterservice Band at DAR Constitution Hall in Washington, DC. Mr. Lisk was selected to guest conduct the 175th Anniversary Concert of the Allentown Band, which featured several prominent conductors who had a significant impact on the band world during the past fifty years. Since 1985, Mr. Lisk has served as an adjunct professor, appeared as a clinician/lecturer, adjudicator, and guest conductor throughout forty-five states and five Canadian provinces. In 1990, he traveled to Australia and presented sessions for the Australian National Band and Orchestra Clinic in Perth, Melbourne, and Sidney. Recognized as a national leader for school band programs, rehearsal/instructional techniques, and school reform issues, his state and national presentations continue to serve directors in building and improving band programs. He has made more than five hundred presentations at state, national and international conferences, university graduate sessions, and workshops. In 1991, he was selected by the New York State Education Department to co-author the New York State Standards for Arts and Humanities. He also served on New York State's first School Quality Review Team in 1993, which was responsible for assessing the quality of teaching and learning in New York State schools.

124

THE CREATIVE DIRECTOR: CONDUCTOR, TEACHER, LEADER

Mr. Lisk is the author of 1he Creative Director Series published by Meredith Music Publications and a co-author of the highly acclaimed six-volume publication by GIA, entitled Teaching Music through Performance in Band. Carl Fischer Music Publishers recently released his editions of On the Mall March, 7he ABA March, and Bugles and Drums March, which are a part of the Edwin Franko Goldman March Series. Mr. Lisk is an appointed member of the Midwest Clinic Board of Directors and serves the John Philip Sousa Foundation as Vice President for Administration. He is a past president of the National Band Association ('90-'92) and served NBA as Executive Secretary Treasurer ('97-'02). In 1978 he was one of the original founders of the New York State Band Directors Association. He holds membership in several professional associations and is an International Honorary Member of Phi Beta Mu. He has received many distinguished awards and titles. He is listed in the 2006 edition of Whos Who in American Education.

ADDITIONAL TITLES BY EDWARD 5. LISK:

1he Creative Director: Alternative Rehearsal Techniques ISBN: 0-9624308-0-3

1he Creative Director: Intangibles ofMusical Performance ISBN: 0-9624308-5-4

1he Creative Director: Beginning and Intermediate Levels ISBN: 0-634-03044-2

Student Supplement, Book I ISBN: 0-9624308-I-1

Student Supplement, Book II ISBN: 0-9624308-2-X

1he Creative Director: Alternative Rehearsal Techniques Teaching Accessories ISBN: 0-9624308-3-8

DVD: Alternative Rehearsal Techniques Virginia Commonwealth University Wind Ensemble Edward S. Lisk, Clinician; Dr. Terry Austin, Director ISBN: 0-9624308-4-6

Listening skills, harmonic and melodic content, ensemble sonority and expressive conducting are only a few of the insightful topics that Ed Lisk offers to the creative director in his latest publication. He presents a thorough discussion of the complexities of instrumental music as related to Howard Gardner's Theories of Multip le Intelligences and provides an overwhelming foundation for the support of music in the schools. From philosophy to practicality, this book has it all! "His conci e pro e combined with a thoroughly researched, uniquely logical, and analytical approach to all aspects of the musical process make any Lisk publication an eagerly awaited and thoroughly enlightening event." PAULA A. CRIDER, Director Emeritus, U niversity ofTexas Bands

"Lisk's method has proven to be an invaluable resource for me personally, as it has brought both my own per anal musicianship and that of m y tudents to a level and quality I had never experienced. " BETH SOKOLOWSKI, Learn ing Coord in ato r for Art, Music, North Penn Schoo l District

" ... It is about empowering your players to make deci ions about blend, balance, intonation, and mu ical style ." WILLIAM EICHER, Conductor, Clarence ( Y) Wind Ensemble

"Ed inspires students to cheri h those special 'moments ' in their music making experience! " KEITH W. HODGSON, Pre id nt, South Jersey Band and Orchestra Director's A sociation

"At a time of dramatic educational and societal change, when thinking and value of

the past have been cast aside, Ed Lisk has establi hed himself a a unique leader in the profe sian ." BOBBY ADAMS, Ph .D., Dire tor of Band ,

tet on Univer ity

"The love hown for teaching and music making demonstrated by Edward 5. Lisk is truly a dynamic force in music education. This book will only add to the momentum of a creative life 's work o lovingly shared. " MICHAEL HAITHCOCK, D irector of Bands, University of Michigan

~~

u.s. $24.95 ISBN-13:

978 1-57463- 07 9- 4

I SBN-10:

1- 57 463-079 - 2

lllllllllllllllllllllllllllllllllil ~I il ijifl

..

MEREDITH

M

I

• PUBLI AT IO

1

www. mered it h m usic .co m

1

1