Habits Of A Successful BAND DIRECTOR

Habits of aSuccessfulBAND DIRECTORPractical Rehearsal Strategies ThatLead to Music-MakingClinician:Scott RushAuthor ofHabits of a successful musicianhabits of a successful band directorthe evolution of a successful band directorGIA Publications, Inc.Chicago

Components of PlayingList the Components of Playing, whether individual or ensemble based, that shouldbe taught as part of an effective teaching curriculum:1.2.3.4.5.6.7.8.9.Practice each individuallyPractice all simultaneouslyEach requires some form of “acting”10.11.12.13.14.15. Use the fundamentals/warm-up time to teach thecomponents Establish effective teaching strategies to address variouslearning styles Develop a logical sequence of instruction that accounts forboth large scale sequencing, as well as the subcomponents within a concept

Teaching Inventory SheetSkill to be taughtScalesSolfegeStyleAppropriate examples of recorded workPhrasingArticulationsKey Signature RecognitionHow to/Materials Needed to Teach It

Tuning Concepts1. Tune with the tuner (no audible pitch; visual process)2. Stop the needle on a stationary pitch (requires a steady airstream)Both of the above steps are visual in nature and are the only steps that arestrictly visual in the process3. Eliminate waves (use your ears and try to achieve “beatless” tuning)4. Know how to adjust the instrument (mechanics; tuning plug on flute)This step may include knowing that an oboe reed should crow a “C” or that onlyslight adjustments are possible with double reeds; knowledge of bocal size,etc.5. Learn inherent “bad” notes on the instrument and write a pitchtendency paper.6. Learn adjustments for “just” intonation (major and minor chords)Adjustments would include anything in the realm of bending pitch, fingershading, lowering the third in major chords and raising it in minor chords7. Do a pitch tendency chart (good reference for your instrument)8. Play “in tone” (many pitch problems will correct themselves)Other Ways to Improve Intonation Good posture and breathingSing and internalize your partsBe aware of natural tendencies when making dynamic changesGood embouchure developmentPlay on good equipment, especially mouthpiecesBe aware of how temperature affects pitch

Tuning and Pitch Centering IndicatorsFlute and PiccoloShould be an “A” on the HeadjointMay be slightly flatEb ClarinetBb ClarinetShould be a Concert “B” with the barrelShould be a Concert “F#” with the barrelMay use third space C for middle joint and high C for barrelBass ClarinetShould be a Concert “C#” with the neckUse middle C as the main tuning noteAlto SaxophoneTenor SaxophoneBari SaxophoneShould be a Concert “Ab” with the neckShould be a Concert “E” with the neckShould be a Concert “E” with the neckAll saxophones are sharp in the upper register / one should relax the pitchBassoonOboeTrumpetShould be a “C” with the bocal and reedThe reed should crow a “B” or a “C”Buzz and check Concert “F” and “Bb”When using the sequence, fourth line D (and Eb and E) will be oncert “C” to check the F sideConcert “Bb” & “F” to check Bb side“Bb” - both octaves“Bb” - both octaves“Bb” - both octavesWhen using the tuning sequence, check lower registers for brass instrumentsScale Study Sequence Teach the order of sharps and flatsTeach enharmonic notes for masteryTeach rules for determining the key signatureTeach the proper spelling of scalesTeach appropriate transpositions for each of the instrumentsTeach the chromatic scale enharmonically correctThe “Inversion Principal”

The Four T’s Self Assessment ModelTurn to Appendix F in Habits of a Successful Band Director and look at the two sampleexamples of the Four T’s Assessment sheet. In journal form, write a synopsis of potentialways that you can adapt this format to your current situation.I can assess Timing by:I can assess Tuning by:I can assess Tone by:I can assess Technique by:

The Three-Tiered Assessment Model(Refer to Habits of A Successful Band Director, page 175)Master Musician Two movements of two contrasting standard concerti for your instrument (eq.)Perform all three forms of minor for the following keys: A, E, Bb, F, C, G, DKey recognition test for Majors, minors, and identification of relative maj/minSightreading through difficult mixed meterSightsing a difficult solfege requirementAdvanced Musician One complete solo movement or etude of your choosing for your instrumentAll twelve major scales (Senior All-State requirements)Key recognition test for all major scalesSightreading at Senior All-State levelSightsing a moderate level solfege requirementIntermediate Musician Spring audition solo for your instrument performed at exceptional levelNine clinic scales (Clinic requirements)Key recognition of major scalesSightreading at Clinic All-State levelSightsing an easy level solfege requirementMaximum Grading ScaleSymphonic Band:100 Master Musician95 Advanced Musician90 Intermediate MusicianConcert Band:100 Master Musician100 Advanced Musician95 Intermediate MusicianChamber Winds:100 Advanced Musician95 Intermediate MusicianFor younger band students: Any student in the program achieving Master Musicianor Advanced Musician status will have their name posted on the appropriate chartand will be recognized in the band banquet or spring concert program.

Individual Performance RubricDirections: The total score for a criterion is calculated by multiplying the weight for the criterion bythe score. The total score for each criterion is summed to produce the total performance uratelyand mistakesdetract frommany areas oftheperformanceRhythmsperformedinaccuratelyand mistakesdetract frommany areas oftheperformancePitchesperformedsomewhataccurately andmistakes detractfrom some areasof theperformanceRhythmsperformedsomewhataccurately andmistakes detractfrom some areasof theperformanceMost pitchesperformed accuratelyand mistakes do notseverely detract fromthe performanceAll pitchesperformedaccurately3.5Most rhythmsperformed accuratelyand mistakes do notseverely detract fromthe performanceAll rhythmsperformedaccurately3.5Timing (SteadyPulse)A consistentunderlyingpulse is notpresentthroughout theperformancewhich severelydetracts fromtheperformanceA consistentunderlying pulseis not presentthroughout muchof theperformance,e.g., moredifficult rhythmsare played at aslower tempowhich detractfrom theperformanceA consistentunderlying pulse isoften presentthroughout much ofthe performancehowever somephrases may berushed which detractfrom the performanceA consistentunderlying pulseis presentthroughout mostof theperformance withminor flaws thatdo not detractfrom theperformanceIntonationNecessaryadjustments arenot made topitches (e.g.,alternatefingerings,finger shading,or lipping up ordown) andflaws severelydetract from theperformanceSome necessaryadjustments aremade to pitches(e.g., alternatefingerings, fingershading, orlipping up ordown) and flawsmay detract fromthe performanceMany necessaryadjustments aremade to pitches(e.g., alternatefingerings, fingershading, or lipping upor down) and minorflaws do not detractfrom the performanceAll necessaryadjustments aremade to pitches(e.g., alternatefingerings, fingershading, orlipping up ordown)PitchesRhythms5A consistentunderlyingpulse ispresentthroughouttheperformance33.5TotalScore

ToneUncharacteristicsound thatlacksfundamentals,e.g., full breathsupport, a goodembouchure,and properlyvoiced oralcavity,throughout therange andregisters of theinstrumentPartiallycharacteristicsound that lacksfull breathsupportthroughout therange andregisters of theinstrumentFull characteristicsound that lackssome control in oneor more registers ofthe instrumentfull characteristicsound that iscontrolled andmature in allregisters of theinstrument3.5ArticulationPrintedarticulations arenot performedand thesemistakesdetract frommany areas hataccurately andthese mistakesdetract fromsome areas ofthe performanceMost printedarticulationsperformed accuratelyand mistakes do notseverely detract fromthe performanceAll csPrinteddynamics notperformed andthese mistakesdetract frommany areas oftheperformancePrinted dynamicsperformedsomewhatappropriately andthese mistakesdetract fromsome areas ofthe performanceMost printeddynamics performedappropriately andmistakes do notseverely detract fromthe performanceAll rmedappropriatelythat gobeyondthose printedon the page1.4

Style(phrasing,agogic weight,andinterpretation)Stylisticattributes arenotdemonstrated.Few stylisticattributes areappropriate forthe piece andinconsistentlydemonstratedthroughout theperformanceStylistic attributes arecharacteristicallyappropriate for thepiece butinconsistentlydemonstratedthroughout theperformanceStylistic attributesarecharacteristicallyappropriate forthe piece andconsistentlydemonstratedthroughout theperformance1.834Marked TempoPieceperformeddrasticallyslower or fasterthan the MMPiece performedsomewhat sloweror faster thanthe MMPiece performedclose to the MMPiece performedat the MM1.833Total Performance Score:

It's All A Means to an End . Music MakingOnce the musical toolbox has been filled, then what? Well, we must cross the thresholdfrom the Components of Playing to communicating something musically.Musicianship (beauty, shape, interpretation, emotion, style, mood,artistry)Thoughts About Phrasing and MusicianshipMusical Tips Long notes should have direction - they should intensify ordecrescendo.Phrases should have peaks and valleys, arrival points, and weightednotes (agogic).You should carry over phrases and make sure that you don’t breath atinappropriate spots.If a line is repeated, do something different with it the second time.Find tension and release points.Musical moments usually take longer to build than they do to pullaway.In many styles, short notes lead to long notesExtramusical Stimuli It’s what’s NOT on the page that makes the music.Use “mood” words to establish style and ambiance.Assign words to entire musical phrases to help establish meaning andpurpose.Persichetti said, “Music is either dancing or singing.”It’s what happens from note-to-note that makes the music come alive.The music will tell you what to do; the intuitive response causes you tocreate more than what's on the page.Philosophical Prompts Trust your soul to feel and express the music – be musical! Tell amusical story with passion and conviction.The conductor’s blood must drip with musical conviction, both to theplayers and the audience.Try to discover music in every phrase.Unlike a painting or sculpture, music can be re-created again andagain, with new meaning and understanding.The paper and ink don’t make the music, instruments make no soundson their own – the soul creates the music.Music must be interpreted to the point that the performance is said tobe artistic and the performers, artists.

Music Selection ListMiddle School BandAhrirangAir For BandAllegro, Adagio, and AlleluiaAnasaziAn Occasional SuiteBarn Dance Saturday NightBeau GalantCapriceChesterCountry WildflowersCourt FestivalCreedCrest of NobilityGloriosoGreenwillow PortraitImaginary Soundscape No. 2ImperiumIn Dulci JubiloMusic From the Great HallPortrait of a ClownPrelude and MarchSarabande and GavotteSong for FriendsSong for WindsTheme and VariationsThe TempestTrain Heading West and Other Outdoor ScenesTwo British FolksongsTwo Russian FolksongsVisions on an Old American TuneGarafalo / WhaleyEriksonAkersEdmondsonHandel / OsterlingLa PlanteTeleman / GordonHimesBillings / TolmageDaehnByrd / PearsonHimesSheldonSmithWilliamsDel i / JohnsonDaehnEdmonsonBroegeR. SmithBroegeDel BorgoGingeryPegramYounger BandsAllerseelenAlligator AlleyAmazing GraceAmerican RiversongsAmmerlandAs Summer Was Just BeginningAustralian Up-Country TuneAve MariaBlessed Are TheyStrauss / DavisDaughertyTicheliLaPlantede HaanDaehnGraingerBiebl / CameronBrahms / Buehlman