Band training de Bruce Gale

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Introduction
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Category: Band Training

Published on Friday, 08 January 2010 11:23

Written by Bruce Gale

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T his section deals with some fairly basic issues faced by band directors of primary, secondary and even college
level bands. It is far from being comprehensive, however, and there will also probably be some things I have said with
which some visitors to this website will disagree. Few professional musicians are able to agree with each other totally
about methods and techniques. For this reason, it is probably best to assume that anything a competent player has to
say about such matters is worth listening to. The various ideas and concepts introduced here - as well as in several
other sections of this website - should best be seen as helpful starting points rather than ironclad prescriptions.
Ultimately, what is most important is what works best for you and your band.

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Intonation
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Category: Band Training

Published on Saturday, 09 January 2010 08:46

Written by Bruce Gale

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Introduction
The Brass Section
The Woodwinds
Chorales and the Full Band
An Instant 'Chorale'
Introduction
While tuning is simple act of adjusting a length of tubing on a wind instrument (often by reference to a single note),
intonation is an ongoing process in which a player strives to match the pitch of others in the ensemble during
performance. Unfortunately, the general level of intonation of an ensemble is not simply dependent upon the listening
skills of the performers – although this is probably the most important variable. (If this is the main problem in your
band, check out the section on ear training). Intonation can also be influenced by a whole variety of factors.
Players with weak embouchers tend to play flat in the low register. Intonation is affected by the key (wind instrument
designs tends to favor flats rather than sharps), the endurance of the players, and the quality of the available
instruments. Intonation can even be affected by the extent to which performers who are resting keep their
instruments warm by gently blowing through them (see the section on pitch and temperature).
Generally speaking, a weak embouchure will result in the low register being flat because the lip muscles are not held
firm. A player with a badly formed embouchure also tends to overestimate the tension needed in the high register,
sometimes causing him to play sharp. This can happen regardless of the intonation tendencies of the instrument.

The Brass Section

As I pointed out in the section on music and physics, brass instruments utilize various partials of the harmonic series in
order to make them truly chromatic. Since several partials, notably the 7th, 11th and 13th, are not in tune with the equal
temperament scale, they are substituted with other lengths of tubing by means of rotary or piston valves. Use of the
first valve lowers the fundamental by a tone, the second valve by a semitone and the third by a tone and a half. These
valves can also be used in various combinations, thus giving the player no less than seven harmonic series from which
to choose.
The Valve System
Unfortunately, if the instrument is constructed in such a way that the notes played with a single valve depressed are in
tune, the notes played by using these valves in combination are not. The 1-3 combination, for example, is quite sharp
while the 1-2-3 combination is very sharp. To compensate for this, the tubing attached to the third valve is made a bit
longer. This puts the 1-3 and the 1-2-3 combination better in tune (though they are still a bit sharp), but results in the
2-3 combination being slightly flat. Further refinements include the addition of a fourth valve on euphoniums and tubas.
Brass instruments tend to play sharp in their low register Trumpets and cornets sometimes come with a ring or trigger
on the third valve slide (and sometimes also on the first) to provide further help, while many trombones also have
trigger mechanisms. Even so, it is important that the player listens carefully and uses his embouchure to make fine
adjustments when playing.
The inherent sharpness of the 1-3 and 1-2-3 combinations means that - all other things being equal - most brass
instruments tend to play sharp in their lowest register. All things are not equal, of course, and beginners often tend to
play flat in the low register instead.
Lipping
The ability of a player to use his lips to correct the pitch of a faulty note varies greatly between the higher and the
lower brasses. This is because the business of forcing a column of air to vibrate at a frequency other than the one that
should be produced naturally by the length of the tube (i.e. to sound certain upper partials) becomes progressively
more difficult as the vibrating columns become longer. In this sense, a trumpet is much more under the control of the
player’s lips than just about any other brass instrument. Trombone players can deal with the problem by adjusting their
trombone slide, while French horn players can approach the issue by varying their hand positions. Tuba and
euphonium players, on the other hand, have no such means of overcoming the difficulty. This implies – at the very least
– that whereas a trigger or ring mechanism fitted to a trumpet or cornet may be considered almost a luxury, the use of
a fourth valve on the tuba or euphonium is essential.
The Trombone
Because of the way in which it is constructed, the trombone is probably the only musical instrument capable of being
played perfectly in tune. By the same token, however, this same design can result in the trombone section of the band
being the one where intonation problems can be most acute. The secret is in the placement of the slide positions.
The gap between slide positions increases as the position number increases. Many secondary school players tend to
play second and third position notes flat, while notes produced on the fifth, sixth and seventh position tend to be
sharp. Band directors often react to this problem by demanding that their students listen more carefully to what they
are playing. True enough, but many beginners would also find it helpful to be informed that the gap between slide
positions increases as the position number increases. In other words, the distance between sixth and seventh position
is greater than the distance between the second and third position.
Buzzing on the Mouthpiece
Resolving these intonation issues requires time, effort and a great deal of patience. One exercise, which can be used to
help develop proper breathing habits as well as improve endurance and general intonation, is to buzz on the
mouthpiece. At first, students unused to this exercise may be unenthusiastic, particularly if any woodwind players
present find the activity amusing. The benefits to be gained so far outweigh any short-term embarrassment, however,
that the approach is well worth pursuing.
Students should be encouraged to take deep breaths and buzz loudly. Begin with long notes (any pitch will do at first),
then proceed to intervals and finally to some well-known tunes.
Try to buzz a standard four part chorale. At first, everyone should buzz in unison. After some weeks of regular practice,
however, it should be possible for the brass section to attempt to buzz a standard chorale in four-part harmony.
Another good exercise with young students is to play “Name That Tune” at every lesson. This involves students taking
turns buzzing a tune for the teacher or other students to identify. Players who can do this well will have little difficulty
producing a centered tone when using their instrument.
Begin the brass section’s chorale study by repeatedly playing the music in the normal way so that everyone has had
ample opportunity to memorize his or her respective part. Then assign a four-man ensemble to play the chorale softly
(an exercise in itself!), while everyone else attempts to buzz at the correct pitch. Do not forget to insist on proper
breathing. Repeat the exercise several times, selecting a different quartet each time. Then, as a finale, ask everyone
to pick up his or her instrument and play. You will be pleasantly surprised at the improvement in the tonal quality of
the section
Woodwinds
In some ways, the intonation problems facing the woodwind section far exceed those of the brasses. This is because
there is less uniformity in the way woodwind instruments are designed. In fact, the pitch tendencies of the various
instrumental subgroups can be quite different. As in the case of the brasses, compromises inherent in the various
designs also result in a situation in which no woodwind instrument is perfectly in tune, even with itself.
Flutes, Clarinets, Oboes
Most modern flutes, for example, have tone holes that are equal in size, whereas in purely acoustical terms they should
be graduated. It is therefore wise to be aware of potentially off-key notes. This helps prepare a player to make the
necessary embouchure adjustments or employ alternative fingerings whenever they may be needed. The most seriously
off-pitch note is usually C sharp in the treble staff and - to a lesser extent - C sharp above the staff.
Quiet clarinet passages tend to be sharp. The intonation tendencies of the flute and oboe are almost exactly the
opposite of the clarinet. Flutes and oboes tend to play sharp in louder sections and in the high register, and flat in
quieter sections and in the low register. Clarinets, on the other hand, tend to be flat on high notes and sharp on low
ones. But while this is the basic tendency of the instrument, a weak embouchure or a lack of air support sometimes
results in young clarinettists playing flat in the low register instead. Quiet clarinet passages will also tend to be sharp.
Considering the fact that the clarinet, flute and oboe often play melodies in unison, the resulting intonation problems
can be quite marked.
Added to this is the fact that flute players often double on the piccolo, an instrument whose intonation tendencies have
more in common with the clarinet than the flute. A piccolo’s middle register tends to be sharp, while its upper register
tends to be flat.
Because sound wavelengths on high notes are very short, even small pitch variations within the flute and clarinet
sections can produce a good deal of interference. The result can be much more annoying than if a group of bass
clarinetists, baritone saxophone or even tuba players are slightly out of tune with each other.
It is not easy to "lip up" with a clarinet Clarinet players have yet another problem in that it is not so easy to “lip up”
(actually done with the jaw) than on other instruments. In fact, trying to match a sharp pitch with a clarinet can
actually hurt the lower lip. If the clarinet section sounds flat (and adjusting the barrels does not solve the problem), it
may be wise to consider the possibility of getting the ensemble to tune down to match them. However, this strategy
risks producing an excessively dark tone colour and may even create intonation problems elsewhere in the ensemble.
It should therefore be done only as a last resort.
Bassoons
The bassoon has many intonation problems. For one thing, the difference in pitch between a cold bassoon and one
that has been played for about half an hour is greater than on any other woodwind instrument. Lipping a note into
tune is possible but, unlike most wind instruments, is not often recommended because it tends to change the tone
quality. Another approach is to employ alternate fingerings, especially in slow passages. Notes in the extreme lower
register of the bassoon tend to be sharp, as does the G and G-sharp in the middle and upper registers. When playing
loudly the pitch tends to become flat, while playing softly tends to make the pitch become sharp.
Saxophones
Saxophones have fewer inherent pitch problems than most other woodwinds. Intonation problems can still be found
within the saxophone section of the average secondary school wind band, however. This is probably because the
instrument is so easy to play initially that many music directors tend to neglect the section. Built-in design flaws tend to
result in the instrument playing flat on notes in the moderately high register (leger lines immediately above the treble
clef) and sharp on those in the low register (just below the treble clef).
There are quite a few saxophonists who play sharp in the extreme upper register.

This is the reason inexperienced alto saxophone players in particular tend to play flat in the upper register and sharp in
the lower one. Fourth line D on the saxophone is also usually flat, as is third space C sharp. In the extreme upper
register there are also quite a few saxophonists who play sharp. However, this is not so much a design problem as it is
the result of the player pinching the reed or biting down on the mouthpiece.

The quality of the instrument and how well it has been cared for are issues worth considering. If the keys open too
wide, for example, the pitch will tend to be sharp. As in the case of clarinet players, young saxophonists also tend to
play flat on loud passages and sharp on soft ones.
Reeds
Reeds also affect pitch. A hard reed may be more difficult to control, but it does assist in proper embouchure
development. Even so, it is worth remembering that a hard reed will tend to play sharp while softer ones tend to play
flat. Reeds that are old or water-soaked tend to become soft.
Unfortunately, because reeds are not as flexible as the lips of brass players, the woodwinds do not lend themselves to
the sort of buzzing exercises I have advocated for the brass section. Double reed players can come fairly close,
however. William Woodward ["Oboes Can Play in Tune" Bandworld Vol. 5 No.4, March-April 1990] has suggested two
exercises designed to help develop a flexible oboe embouchure. The first consists of having the student play a 5-note
scale on the reed alone. The second exercise is for the music director to play a pitch and have the student match it
using only the reed.
Embouchures
Other woodwind players can also adjust their embouchures to control intonation. Clarinet and saxophone players who
play too sharp are often biting on the mouthpiece, while those who are too flat can usually correct the problem by
tightening their embouchures. Intonation problems on the flute, on the other hand, usually have to do with the angle
of the air-stream. If the air-stream is directed too much into the flute the pitch will tend to be flat. Raising the head or
(even better) moving the jaw should correct the problem. If too much of the air-stream is directed toward the outer
edge of the embouchure hole the pitch will be sharp.
Chorales and the Full Band
The role of chorale playing in developing good intonation, not to mention correct phrasing and breathing habits, is well
known. Unfortunately, few secondary school bands practice these exercises with any sort of consistency. In fact, it
almost seems as if band members would rather visit a dentist and have a tooth drilled than play chorales with anything
approaching enthusiasm. In some ways, it is hard not to be sympathetic.
Playing chorales may never become fun.

Chorales are invariably slow and uninteresting to young ears, and the time spent on them can irritate a school band
anxious to play a favorite march or Benny Goodman transcription. Playing chorales may never become fun, but band
directors should probably spend more time than they do inventing little variations that will cut down on the monotony
while at the same time enhancing the band’s listening skills.

Needless to say, chorales should be sung as well as played. By way of preparation, band members should be given
plenty of opportunity to memorize their respective parts by playing the chorale through several times. The members of
the ensemble should then be asked to sing and play the chorale alternately on their respective instruments. As an
additional variation, ask the brass section to play the first two bars and the woodwinds to play the third and fourth bars
and so on. This encourages band members to listen to each other and forces everyone to be on their toes with
correctly pitched entrances.
Try adapting a march or other largely chordal piece.

Richard Otto [Effective Methods of Building the High School Band, Parker Publishing, New York, 1971] has suggested
yet another approach to good intonation that does not involve playing a chorale at all. Instead, the band director
selects a march or other largely chordal work familiar to the band and asks the players to sustain the first note of each
measure as a whole note, proceeding in this way from measure to measure for the first four to eight bars. This
approach has a huge advantage over the traditional chorale, since it helps to make a direct link between the intonation
exercise and the music being prepared for performance.

An Instant "Chorale"
The following instant 'chorale' can be used to check the intonation of a band on some basic diatonic chords. It is a
simple three-part round that is easy to memorise and can be played in virtually any key. It is written out below for Bb
clarinets or trumpets, but can easily be adapted for other sections of the band (such as the trombone section), or even
the entire ensemble. It serves as a good warm-up when no suitable chorale is immediately available.

Notice the successive unisons in the third bar between the first and second voice, the first and third voice and the
second and third voice. These provide a useful means of checking for intonation, as does the final unison in the fourth
bar.
Numerous variations on this basic scheme are possible, such as varying the rhythm, beginning with a descending scale
or playing in a minor key. The following example is much more difficult than it looks to play well because of the
augmented and diminished chords created by the minor tonality.
http://www.theconcertband.com/index.php/band-training/balance-and-blend

Balance and Blend

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Category: Band Training

Published on Saturday, 09 January 2010 08:33

Written by Bruce Gale

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Definitions
A Suggested Exercise
Distribution of the players
Experimenting With Sound
Pyramid Approach

Definitions
I it is important to keep in mind the distinction between balance and blend as it applies to the band. "Balance" refers to
the strength of the various sections (saxophone, trumpet and clarinet sections, for example) and the extent to which
one or more of these sections tend to dominate the band as a whole. A good balance will not necessarily be achieved if
everyone plays at the same dynamic level. More attention may need to be given to the melody, or to some moving
inner line.
Good balance and blend are the result of careful listening

"Blend" has two related meanings. The first meaning refers to the process of merging the sounds of instruments of
contrasting tone colours (for example, a clarinet and an oboe) in such a way that they produce a sound that is quite
different from the mere sum of their parts. The second meaning refers to the extent to which the sounds produced by
instruments of similar tone colour merge together to form a homogeneous timbre such that no one player dominates.

Like balance, a good blend is more often the result of careful listening than anything else. There are no quick fixes.
Getting the brasses to use the same brand and size of mouthpiece throughout each section, for example, will not
necessarily produce a perfectly blended sound (unless, of course, all players have exactly the same shaped teeth, lips,
and jaws). In fact, it may be argued that if you want similar sounds from different brass players it is essential that they
be permitted to use different mouthpieces. The blend of a woodwind section, on the other hand, can often be
improved by matching mouthpieces and reeds.

Go Top

A Suggested Exercise
One particularly effective means of dealing with the issues of balance, blend and intonation is to invite one section to
play while the rest of the band listens. For example, instruct the first clarinet section to play one or two short phrases
from a chorale in unison and then ask other band members for a response. Was the section in tune? On which notes -
specifically - could a subtle beating sound be heard, suggesting that one or more players was a little off pitch? Was the
section breathing properly? Did they demonstrate good posture? Did they blend well, or did one or two players
dominate the section?
Do the same with the second and third clarinet sections, then ask all the clarinets to play together. Was there an
acceptable balance, or did the first clarinet section dominate the others? Correcting this latter problem often requires
urging the seconds and thirds to play more confidently rather than asking the first clarinet section to tone down.
Focus on the need for the section as a whole to overcome any weaknesses.

Because the above approach risks embarrassing or even humiliating weaker players, it is usually best to avoid singling
out particular students, even when their shortcomings are obvious. Focus instead on the need for the section as a
whole to overcome any weaknesses, and encourage those listening to give positive as well as negative comments. By
moving systematically through the band in this way and summarising the findings of the group in a kindly and
encouraging manner, the band director can do much to raise awareness within the ensemble of the basics of
 intonation, breathing, balance and blend. It will also help produce a much better sound from the band as a whole. Try
it!

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Distribution of the Players

Good balance is not necessarily going to be achieved if every section has the same number of players. Indeed, such a
system would almost certainly guarantee disaster, particularly if everyone insisted on playing at the same dynamic level.
Depending on the register and dynamic level demanded by the composer, for example, a single trumpet player might
drown out an entire flute section. Similarly, there is unlikely to be a desirable blend among the clarinets if the
ensemble’s best players hog the first part while the third part is relegated to one or two beginners.
 In determining the instrumentation of a school or college band, the following guidelines may prove helpful in
promoting both balance and blend:
 Ensure that the band has significantly more woodwind than brass players. A ratio of 3:2 in favour of the woodwind
section is about right.
 Reinforce the lower parts in each section. This means, for example, that there should be more third trumpet players
than first trumpet players.
 Ensure that there are not too many saxophone or percussion players, particularly the latter.
 Include plenty of clarinet and flute players. Critics rarely take a band to task by claiming that these sections are
playing too loudly.
 Ensure that the horns are seated in such a way that the first horn plays into the rest of the section.
 If necessary, move players to other instruments. Common transfers include saxophonists to the oboe and other
saxophones; trumpet players to horn or euphonium.
Beyond this, the music will usually determine whether the band should strive for a single homogeneous sound (as in a
chorale) or whether one or another section should predominate. Melodic parts, for example, will need to be heard over
an accompaniment. At other points, it may become necessary for an inner line to be given more prominence.
Go Top

Experimenting with Sound

The following exercise is sometimes used by experienced band directors to help players become more aware of how
balance can affect the overall timbre of a band. Choose a major chord from a chorale (the final note of the last
cadence is a good bet) and ask the band to play it. Then assign each player a number from one to eight that divides
the woodwinds from the brass and also roughly corresponds with the general pitch level of each instrument. The
following is presented as a guide:
1. Piccolo, flutes, oboe, first clarinets.
2. First trumpets.
3. Second and third clarinets.
4. Second and third trumpets.
5. Alto and tenor saxophones, alto clarinet.
6. First and second horns, first trombone, euphonium/baritone
7. Tubas, second and third trombone, euphonium.
8. Baritone saxophone, bassoon, bass clarinet.
Next, ask the players to imagine that each number refers to a particular point across the arms and shoulders of the
band director. For example, on the left arm number one corresponds to the tips of the fingers, number two with the
wrist, three with elbow and four with the shoulder. Similarly, on the right arm number five refers to the shoulder, six to
the elbow, seven to the wrist and eight to the tips of fingers.
The different timbres produced can be highly instructive

The original chord is then played again, but this time with the music director holding both arms outstretched in front of
the band. The ensemble is then instructed to respond by raising or lowering the volume according to the extent to
which the music director raises or lowers the positions of his fingers, wrists, elbows and shoulders. The different
timbres produced in this way by the band can be highly instructive. Needless to say, the contortions of the band
director can also be hilarious, thus ensuring that everyone has a good time and learns something useful in the process.

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The Pyramid Approach

A more sophisticated approach to the problem of balance and intonation is identified with the composer Francis McBeth
[Effective Performance of Band Music, Southern Music Company, 1972]. It is based on the theory that, at any given
dynamic level, the higher pitched instruments should be playing softer than the lower pitched ones. This is consistent
with the notion that players should be able to hear the bottom notes of the chord so that they can tune to them.
McBeth illustrates the concept with the use of an isosceles triangle. Today, however, the idea is more commonly known
as the pyramid approach.
Once again the band is divided into groups, this time into four as illustrated in the following diagram. The width of the
triangle is a measure of volume, so that the higher the voice, the softer the sound.

Begin the exercise by selecting a suitable chord as before and then asking the band to play the chord at a pianissimo
before crescendoing to a full fortissimo. The band then does it again, this time with group four playing the full
fortissimo, group three holding back at a forte, group two at a mezzo-forte and group one at mezzo-piano. Reverse the
instruction on the third attempt, with group four crescendoing to little more than a mezzo-piano, group three to a
mezzo-forte, group two to a forte and group one to a full fortissimo.
Repeat the exercise with the brass and woodwinds separately

Chances are that the third attempt will sound very much like the band’s regular crescendo (first attempt), while the
second attempt will produce a sound normally associated with that of a far more superior band. It is often useful to
repeat the exercise with the brass and the woodwinds separately.

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Articulation
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Category: Band Training

Published on Friday, 08 January 2010 11:26

Written by Bruce Gale

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Introduction
Promoting a Common Approach
Interpreting Some Basic Articulations
See also Hints on Articulation from Adam Frey Master Class in the Focus section.

Introduction

O ne of the great dictums in the wind and brass band world goes as follows: "It doesn’t matter what we do, so
long as we all do it the same way, together". Like all such sayings, the advice should not be taken too literally. Even
so, it does point to an important principle that is worth keeping in mind. It is this: bands may be forgiven for many
musical sins, but a lack of precision is not among them.
Ironically, although a lack of precision is one of the easiest problems to detect, few band directors approach the subject
in any systematic way. For example, while conductors will often drill a band repeatedly to obtain precise entries, few
demand the same standards when it comes to releases. Yet the latter can be very important, particularly at the end of
tapered phrases.

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Promoting a Common Approach

Using Syllables
One very effective way to get a band to play with greater precision is to ensure that all the members of the ensemble
use the same syllables when articulating similarly marked notes. The following illustration outlines the suggestions of
one popular band method book -- Total Musicianship by Frank Bencriscutto and Hal Freese:

Unfortunately, the authors do not address the issue of what syllable to use when playing an unmarked note. [Some
band directors use tah or too]. The suggested syllables also ignore the fact that certain consonants are easier to
articulate on some instruments rather than others. An oboist, for example, is likely to have less success using doo for a
tenuto articulation than a clarinetist. To obtain a cleaner attack, an oboe player may be better advised to use too
instead.
The most appropriate vowel sound also changes with register. Brasses in particular will find an ee sound to be more
suitable in the upper register, and an aa sound more useful in the lower register.
Even so, the idea of associating specific syllables with particular musical articulations is a good one from the point of
view of attaining greater precision and is therefore well worth pursuing. Try inventing your own syllables to help elicit
the sort of sound you want from your band in particular passages. In general, the consonant ‘T’ produces a strong,
brilliant attack, while the letter ‘D’ gives a softer one. In very legato passages, an even smoother attack can be
obtained by using the letter ‘L’. As for vowels, aa can give a rough, brassy effect, while oo might be used to encourage
the players to produce a well-rounded, full-bodied sound.
Using Sound shapes
Yet another way of achieving a uniform sound within the ensemble is to promote a collective mental picture of the
shape of the notes. The following diagram shows how this might be done with several common articulations.
The sound shapes given here are primarily intended to illustrate changes in amplitude or volume (width) over time
(length) with respect to a single note. The general purpose note has an unchanging volume level, thus its rectangular
shape. The bell-like sound shows a rapid but fairly smooth decrease in volume after the initial attack. The swell, on
the other hand, begins softly before building up volume fairly suddenly in a manner characteristic of many compositions
of the Romantic era. Finally, a sforzando attack demands a loud, almost percussive beginning, followed immediately by
a sharp drop in volume before settling at a much softer dynamic level.

Go Top

Interpreting Some Basic Articulations

Several basic articulations can sometimes be difficult to interpret. For example, while it is generally agreed that a tenuto
mark over a note means that the note should be given its full value, how does this distinguish a note so marked from
an ordinary unmarked note? Shouldn't the latter be played full value as well? One answer is that the tenuto mark
implies a slight lengthening of the tone. In some situations, however, a composer may simply have inserted a tenuto
mark to remind the players that the note should not be short-changed. Most wind players also assume that the tenuto
mark implies a legato attack. If this is true, then how are notes connected with slurs and market tenuto to be
interpreted? In the end, it is really up to the band director to decide just how a tenuto mark should be interpreted
based on the musical style of the piece and the context in which it occurs.

The interpretation of staccato markings has become progresively shorter over the centuries.

Staccato markings can be similarly ambiguous. Staccato is generally taken to mean short and light. But how short? One
popular rule of thumb - which works well with beginners - is that notes marked staccato should be held for
approximately half their written value. While this works in most situations, there are important exceptions. In fact, the
interpretation of staccato markings has become progressively shorter over the centuries. In Baroque music, staccato
notes are generally meant to be played longer than similarly indicated notes in nineteenth century compositions. In the
twentieth century, the meaning of staccato became even shorter, with wind players sometimes expected to produce
very short, dry effects.

Perhaps a better definition of staccato is 'detached'. This takes account of the ambiguities mentioned above. It also
allows for the fact that slow music from all musical periods generally requires a staccato note to be held for rather
longer than half its value. Once again, however, it is up to the band director to make a musically sensitive decision
based upon the context in which the staccato indication occurs.
Staccato and accented notes can also be confused, since both have a period of silence between them. The main
difference is that staccato notes are usually played more lightly. A good rule of thumb is that accented notes should be
played one dynamic level above the surrounding notes.
Slurs present another set of problems. Students are often confused when they come across what appears to be a
combination of a slur and a tie as in the following illustration:

The solution is to tongue the first note in the normal way, then use a very legato attack (lah) on the second note. Notes
three and four (C and D in our example) are slurred in the usual way.
Trombone players have a unique problem when dealing with slurs. This is because using the slide without the tongue
when playing slurred intervals can produce an unwanted glissando. In such cases, the use of a legato tongue cannot be
avoided. This glissando effect only happens, however, when both the slide and the melodic line move in similar
directions. In all other cases, the trombonist can, and should, connect the notes using breath support and lip tension
alone in the same way as any other wind band player.

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Ear Training
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Category: Band Training

Published on Saturday, 09 January 2010 08:39

Written by Bruce Gale

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Introduction
Exercise #1
Exercise #2
Exercise #3
Exercise #4
Value of Electronic Tuning Devices
The Musical Ideal

Introduction

U nlike the piano and other keyboard instruments, good intonation on wind instruments is dependent as much on
the effort of the performer as it is on the quality of the instrument he is playing. This makes ear training an important
aspect of a wind band musician's education. Yet many school band directors do not approach the subject in a
systematic way. Some students will have quick ears and may only need to be corrected occasionally. The majority,
however, will need to be told what to listen for, and for some progress may be quite slow.
With the full band in front of him, the band director has a valuable opportunity to demonstrate exactly what is
required. The exercises given here are fairly straightforward and only require the cooperation of one or two of the
band’s more advanced musicians.
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Exercise #1
For the purpose of this exercise we will assume that the band director is a brass player and that he is working with a
fairly elementary group. He invites the band’s first chair cornet player to join him on the podium. A quick tune-up
follows in which the band director ensures that the pitch of his own cornet matches that of the student. [This exercise,
and the ones that follow, generally work best when instruments of a similar timbre are used]. This can be
demonstration enough for those with a quick ear. The aim of the exercise, however, is to reach all band members, not
simply the more musically gifted.
Band members should be asked to listen for the subtle beating that indicates that the standing waves are out of phase.

The demonstration itself proceeds as follows. The band director announces that he will imitate an instrument that is
playing too sharp. The student holds a sustained concert F (G on the second line of the treble clef for the cornet). The
band director then joins in on his own instrument. After entering at the correct pitch, he lips up slightly to produce a
mildly discordant sound. The procedure is then repeated, this time with the band director lipping down to imitate the
sound of an instrument that is playing too flat. In both cases, band members should be asked to listen for the subtle
beating that indicates that the standing waves in two instruments are out of phase.

To some readers the whole procedure may seem excessively elementary, but the fact remains that even experienced
players sometimes need to be reminded what “too sharp” and “too flat” really mean. The human ear is more tolerant
of sharpness in pitch than flatness. Told during a rehearsal that they are out of tune, many players tend to assume
(often mistakenly) that they are too flat rather than too sharp.

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Exercise #2
Long tone studies are often advocated by band directors as a means of developing the embouchure, extending the
range, and encouraging students to breathe properly. An equally important goal of such studies, however, is the
development of the skills required to maintain a constant pitch. Beginners – as well as quite a few more advanced
players -- are often blissfully unaware of their weaknesses in this department and need to have the problem pointed out
to them in a way that they can readily understand. Fortunately, this can be easily accomplished through the use of an
electronic tuning device.
Try this during sectional practice

The following exercise is best done during sectional practice. The players take turns playing long tones in the middle
register while watching the needle or LED indicator on an electronic tuner. The aim, of course, is to ensure that the
needle (and therefore the pitch) remains as steady as possible. This exercise works well on at least three levels. It (1)
raises awareness of the problem, (2) encourages the sort of fine embouchure control necessary to manipulate subtle
pitch variations, and (3) results in a much more sensitive ear.

Having developed the skill of playing long notes at steady pitches, the students then move on to using the tuner to help
them deal with the problem of maintaining accurate intonation when playing at varying dynamic levels in the middle
register as indicated below:

[Brasses, flutes and double reeds tend to go flat when playing a pianissimo, while clarinets and saxophones go sharp.
Conversely, single reed instruments tend to play flat when playing a fortissimo, while other wind instruments go sharp.]
In essence, this is a test of the ability of the player to distinguish between the quantity of air being used and the speed
of the air-stream. Thus the music director is provided with a valuable opportunity to point out an important principle
that applies to both brass and woodwinds. It is this: the amount of air employed determines the volume, while the
speed of the air determines the pitch. [Some argue that volume is also influenced by the size of the mouth cavity. A
very loud, high register note is said to require a larger mouth cavity than a soft, low register note].

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Exercise #3
This exercise serves as a useful introduction to playing block chords of the type encountered in chorales. The band
director selects three clarinet players (or three players from any other section of the band for that matter) and instructs
them to use an electronic tuner to tune their instruments as precisely as possible to the different pitches of a major
triad. They are then asked to play the triad several times so that both they and the whole band can hear what an in-
tune chord sounds like. Then the band director adjusts the tuning device on one of the instruments so that it is slightly
out of tune. The trio plays the chord again, producing a slightly off colour chord. In this way, everyone gets to hear
the difference between good and bad intonation.
The embouchure plays and important role in determining pitch

The band director then instructs the players to adjust their embouchures so as to produce the original in-tune chord
without altering the instrument’s tuning device. The students play the chord again, this time (hopefully) with
considerably better intonation. By approaching the problem in this way rather than fiddling incessantly with the tuning
mechanism on the instrument, the band director is able to illustrate yet another point that was made more subtly in the
earlier exercise involving the cornets, i.e. the role of the embouchure in determining pitch.

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Exercise #4
Many band directors express frustration when, having (1) painstakingly tuned the band on a single note or chord and
(2) ensured that each player is capable of holding a note at a steady pitch, the ensemble promptly reverts to its old
habits when asked to play even the simplest of melodies. I am convinced that at least part of problem lies in the fact
that many young players are unable to play in tune with themselves, let alone adjust their pitch to match that of others.
Once again, it is possible to turn to the electronic tuner for salvation. The following studies, transposed to an
appropriately comfortable register for each instrument in the ensemble are designed to address this issue. Use them
during individual and sectional practice.

The notes should be played very slowly, with the student paying close attention to the tuner to ensure that each
interval is played accurately. Once this can be done successfully, students should be encouraged to work in pairs, with
one playing the studies and the other holding the tuner in such a way that the performer is unable to see the LED
indicator. In this case, a brief record should be kept about which notes the student habitually plays flat or sharp. This
should then be followed by united sectional practice. As in the case of exercise #2, the goal is to raise awareness of
the problem while training both the ears and the embouchure.
See the 'instant chorale" in the intonation section or another exercise that helps check for tuning and intonation.

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Value of Electronic Tuning Devices

Opinions vary on the wisdom of using electronic devices. Some argue that tuning by ear alone is an excellent means of
forcing young musicians to get into the habit of listening to each other. Excessive reliance on electronic devices, they
insist, trains the eye rather than the ear and should therefore be avoided. This is possible, of course, but I rather
suspect that the danger is over-rated. My own view is that electronic tuners can be enormously useful as bio-feedback
devices, particularly when used with the sort of ear training exercises given above. Moreover, in cases where band
members seem almost tone deaf -- usually the result of habitually playing out of tune under poorly trained or
inexperienced leaders – heavy reliance on electronic tuners may be the only way an incoming band director can make
any headway at all.
It is often a good idea to ask an inexperienced player whether he thinks he is playing flat or sharp relative to the first
chair .

Even so, it is important to avoid getting into the habit of using an electronic tuner to tune the whole band. Most band
directors use a system in which the first chair of each section tunes his instrument to an electronic tuner and then
assists other members of the section tune to him. In the case of a very poorly trained band, this approach may take
considerable time. However, it has far greater educational value. Moving through the band while this process is going
on can help a music director gauge the extent to which young players are gaining the necessary listening skills. Often,
it is a good idea to ask an inexperienced player whether he thinks he is flat or sharp relative to the first chair.
Sometimes, a young student gets into the habit of adjusting the instrument’s tuning mechanism in response to
instructions from a more experienced player rather than taking the effort to listen carefully for himself.

Bands that avoid using electronic tuners completely usually attempt to tune to the clarinet, piano or oboe. It would
probably be better -- at least in theory -- if the band director insisted that the ensemble tune itself to one of the lower
pitched instruments such as the tuba. Getting the lower brass in tune is especially critical because pitches produced on
these instruments set up a series of overtones that actually sound in the range of the higher instruments. Thus, even if
the lower brasses are only slightly out of tune, the whole band can be affected.

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The Musical Ideal

The very best professional musicians go much further than anything we have discussed here, of course, training their
ears to detect variations in pitch coming from just about anywhere in the ensemble. For such players, wrong notes are
easy to spot. Elizabeth Green [The Dynamic Orchestra, Prentice-hall, 1987] relates the following incident involving the
violinist Jacques Gordon:
When Jacques Gordon was concertmaster of the Chicago Symphony
Orchestra, a guest conductor stopped a rehearsal with “Wrong note in the
horns.” The passage was replayed. Again the conductor stopped the
musicians and made the same criticism. Once more the passage was
repeated. Still the wrong note persisted. For the third time the conductor
stopped in exasperation. Whereupon Gordon spoke (as concertmaster, this
was his right): “Maestro, why don’t you tell them what the wrong note is?”
Disgusted, the conductor asked, “Well, do you know what it is?” Gordon
replied, “Certainly. The third horn is playing concert A-flat instead of A-
natural.”
It would be unrealistic to expect all secondary school music directors – let alone their students -- to reach this standard
of excellence. Even so, it is useful to be reminded from time to time just what the musical ideal is. Bands – and
especially band directors! – who are not constantly striving to improve their listening skills are ultimately shortchanging
themselves as well as their audience.

http://www.theconcertband.com/index.php/band-training/rhythm

Rhythm
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Category: Band Training

Published on Tuesday, 12 January 2010 09:59

Written by Bruce Gale

Hits: 5268
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Introduction
Short Changing Notes
Dotted Quaver-Semiquaver Patterns
Other Quaver-Semiquaver Patterns
Syncopation
Triplets
Problems in Compound Metres
Notes Following a Tie

Introduction

A sense of rhythm is born in everyone to a greater or lesser degree. It does not have to be taught. In the case of
musicians, however, this innate sense needs to be much more finely developed. It is important to remember that just
because a student has an intellectual understanding of the relative time values of the various notes does not necessarily
mean that he or she can play them properly. The ability to instantly translate such symbols into their correct rhythmic
patterns is a skill, and like all skills it needs to be practiced.
The following sections outline some of the most common rhythmic problems facing the typical secondary school band.
More advanced ensembles may like to refer to my article on "tempo traps" in the Interpretation section.
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Short-changing notes
Sustained notes are often short-changed by inexperienced players. Sometimes this is caused by improper breathing,
but it can just as easily be the result of carelessness or simply a misunderstanding of the importance of giving the notes
their full value. The problem seems most acute at the end of phrases, or in situations where a note is to be sustained
throughout a measure until the next one is about to begin.
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Dotted Quaver-Semiquaver Patterns

Another common problem occurs in 2/4 or 4/4 metres when dotted quaver-semiquaver (eighth-sixteenth) patterns are
executed as if they were in triple time:

The solution is to call the attention of the ensemble to the mathematics of the situation by using a blackboard to divide
the quarter note into four equal parts. Then count slowly 1-2-3-4 for each subdivision. The opposite problem occurs in
playing swing music. In the case of the latter, a literal rendition of the notes would sound too mechanical.
That said, greater precision is often produced in rapid passages when the dotted quaver (dotted eighth note) is
shortened and a rest is added, as in the example below:

Even greater rhythmic clarity will be achieved if the band director encourages the ensemble to treat the semiquaver as
if it were a grace note ahead of the following beat. The use of this so-called 'energetic sixteenth', however, is not
always musically appropriate. It is the responsibility of the band director to decide whether or adopt such an approach
in any given situation. As a general rule of thumb, the energetic sixteenth can be usefully employed in marches. It also
works well in certain compositions written during the Romantic period.
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Other Quaver-Semiquaver Patterns

A satisfying sense of precision and forward movement can also be attained in particularly fast passages when rhythms
such as that given below are similarly amended. With some ensembles the approach also seems to have the added
advantage of helping to prevent rushing.

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Syncopation
Dealing with syncopated passages can be especially difficult. One way of achieving rhythmic precision is to get the
ensemble to sing or clap the troublesome passages. Yet another is to pencil in the downbeats in the students’ scores.
This is particularly helpful to players when they are faced with a mixture of notes and rests as given here:

Scribbling reminders on the students' scores can be useful in a wide variety of situations. It is especially effective when
used to indicate dynamic changes, articulation and appropriate places to breathe.
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Triplets
Many players also have trouble with triplets, particularly when they unexpectedly occur in 2/4 or 4/4 metres. The most
difficult triplets for young players to execute properly are apparently those that oblige them to negotiate intervals at the
same time. Typically, the first two notes are rushed, forcing the student to hold on to the third note longer than its
written value. The musical effect is rather similar to that shown below:

One way to encourage the ensemble to understand the nature of the triplet is to drill the players using the syllables tri-
per-let. And even better approach, however, is based on the realisation that the music rarely halts when a triplet is
played. Encourage students to use the words, one-and-a-two, with the two representing the following crotchet (quarter
note) beat. Eventually, memory of the drill will combine with a more developed rhythmic sense to produce an
acceptable triplet feel whenever it is required. See also the section on notes following a tie.
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Problems in Compound Metres

Another triplet form that is often played incorrectly is that which occurs in the 6/8 metre, especially in marches. In this
case, a clear distinction has to be maintained between (1) rhythms that consist of a crotchet (quarter note) followed by
a quaver (eighth note), and (2) those that are characterized by two quavers separated a quaver rest. The following
illustrates the point:

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Notes Following a Tie

Many inexperienced players hesitate after a tied note. The result is that the notes that come after it are played late and
the rhythm is lost. The problem seems particularly acute in slow, melodic passages, where players are inclined to take a
breath after the tie. A typical rhythm pattern where this problem occurs is given below.

As in the case of many other syncopated passages, the solution is to ignore the tie completely and get the players to
clap and then play the more simplified rhythm that results. Once the pulse of the music has been firmly established in
this way, the tie can be reintroduced.