Thank you Sponsors: Hal Leonard Corporation, Meredith Music Publications, and Wright State University

BOOK & DVD: Teaching Instrumental Music: Developing the COMPLETE Band Program! by Shelley Jagow

1. IF ONLY . . .

2. TARGET PRACTICE

3. PYGMALION EFFECT

4. 5 MOST COMMON PERFORMANCE ISSUES as identified by Adjudicators at Concert Band Festivals:

1)! ______________________________________________________________________________

2)! ______________________________________________________________________________

3)! ______________________________________________________________________________

4)! ______________________________________________________________________________

5)! ______________________________________________________________________________

Less is More: Look for the Common Denominator

WHAT IS GOOD TONE? Tone quality is essentially influenced by five basic factors (Jagow, 2007, p. 34):

1. _______________ concept of tone for each instrument, 2. _______________ concept of tone for their instrument, 3. student’s ability to produce a characteristic tone, 4. ensemble _______________ and _______________, and 5. color and texture influenced by the nature of the repertoire.

SHELLEY JAGOW

Wright State University; Department of Music ; 3640 Colonel Glenn Hwy. Dayton, OH 45435 Phone: 937-775-2178 Email: shelley.jagow@wright.edu Website: www.wright.edu/~shelley.jagow/index.html

Circle of AcceptanceSetting Expectations for Maximum Performance PotentialWhat is your Circle of Acceptance? What are the expectations you set for yourself? ... for your ensemble? Manage

your time and focus on key ingredients for developing maximum performance potential with your instrumental program. In this session, we will look at approaches for solving the most common wind band performance errors as identified by an adjudicator survey. We will also explore methods for engaging students in the music making process while elevating their standard of "acceptable" performance. Become more aware of your ensemble's Circle of Acceptance and learn how to prepare each rehearsal with an appetite for excellence!

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Major

Minor

Diminished

Augmented

Major 6th

Minor 6th

Diminished 6th

Dominant 7th

Dominant 7th (+9) Major 9th

Diminished Major 7th

Dominant 7th ( 9) b

Major 7th

Minor 7th

Diminished 7th

Minor 7th ( 5) bbDominant 7th ( 5) Minor Major 7th

Dominant 7th ( 5) Major 7th ( 5)

˙#˙#

+2 -14

+2 +16

-17 +16

- 4 -14

+2 -14

+2 +16

-17 +16

-31+2-14

+19

+14

-16

-12 +2 -14

+16 +2 +16

+16 -17 +16

-17 +16 +19

+4 -31 +2 -14

+16 -17 +16

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+5 -31 +2 -14

Repertoire: ____________________________ Composer: ____________________________

6 ms. after

E

Adjustment

Piccolo

Flute 1

R

Flute 2

R

Oboe 1

3-14

Oboe 2

English Horn

Eb Clarinet

Clarinet 1

5+2

Clarinet 2

3-14

Clarinet 3

3-14

Clarinet 4

Alto Clarinet

R

Bass Clarinet

R

ContraBass Clarinet

R

Bassoon 1

3-14

Bassoon 2

Alto Saxophone 1

5+2

Alto Saxophone 2

3-14

Tenor Saxophone

3-14

Baritone Saxophone

R

Trumpet 1

5+2

Trumpet 2

3-14

Trumpet 3

R

Cornet 1

Cornet 2

Cornet 3

Horn 1

3-14

Horn 2

R

Horn 3

Horn 4

Trombone 1

Trombone 2

Trombone 3

Bass Trombone

Euphonium

Tuba

Timpani

Mallet Percussion Vibr.

R35na

Mallet Percussion _______

Mallet Percussion _______

Table 20: Recommended Pitch Production on Mouthpiece /Reed Alone

INSTRUMENTCONCERT PITCH ON MOUTHPIECE / REED ALONE

Flute

• A on stopped or open head joint

Oboe

• Reed crow should sound a B or C

Clarinet • Soprano: C

• Bass: F#

Saxophone • Soprano: C

• Alto: A

• Tenor: G

• Baritone: D

Bassoon• Reed crow should sound a G or A

HTGNERTS DEERDEERERUTAGILECEIPHTUOMTNEMURTSNI

Oboe N/A N/A Beginner/Intermediate:• Jones or Charles

Advanced:• Hand made• Jones• (preferred reed cut is 10.5 to 11 mm

in diameter; tube length should be 47 mm and total reed 70 mm; tip width ca. 7mm)

• Cane should be of medium density.

Beginner:• Medium

Intermediate/Advanced:

• Medium-Hard to Hard

Bassoon BOCALBeginner:

• Heckel #1-CC or CD

• Fox #2-CVCIntermediate/Advanced:

• Heckel #1-CC or CD

• Fox #2-CVC

N/A Beginner/Intermediate:• Jones• Charles

Advanced:• Hand made• Jones

• Cane should be of medium density.

Beginner:• Medium

Intermediate/Advanced:

• Medium-Hard to Hard

Clarinet Beginner:• Vandoren B45• Vandoren 5RV

Intermediate/Advanced:

• Vandoren B45• Vandoren 5RV

Bonade (inverted)Rovner (Eddie Daniels)

Beginner:• Rico Royale

Intermediate/Advanced:• La Voz • Vandoren 52 or V-12• Rico Grand Concert Select

Beginner: • 2 or 2 1/2

Intermediate:• 3 or 3 1/2

Advanced:• 3 1/2 or 4

Bass Clarinet Selmer C*Charles BayVandoren B45

BonadeRovner (Eddie Daniels)Charles Bay

Vandoren (traditional)Rico Grand Concert

Beginner: • 2 or 2 1/2

Intermediate/Advanced:

• 3 or 3 1/2

Saxophone Selmer C* (S-80) Rovner(Eddie Daniels)Bonade

:rennigeB)lanoitidart( nerodnaV• 2 or 2 1/2

Intermediate/Advanced:

• 3 or 3 1/2

Trumpet Bach Standard / Yamaha EquivalentBeginner:

• Bach 7C / Yamaha 11C4 Intermediate/Advanced:

• Bach 7C / Yamaha 11C4• Bach 3C / Yamaha 14B4

(It is common to use the same mouthpiece for Bb and C trumpets.)

Baritone /Euphonium

Beginner:• Bach 11 or 11C (1st year)• Bach 9 (2nd year)

Intermediate/Advanced:• Bach 6 1/2 AL• Schilke 51D (available for small or large

shank horns)• DEG BB2 (Brian Bowman Signature

Series)

Horn Beginner:• Yamaha 30C4• Holton MDC

Intermediate/Advanced:• Yamaha 29D4, 30C4, or 31D4• Giardinelli C8 or C10

Tuba Beginner:• Bach 22 or 24• Yamaha 65

Intermediate/Advanced:• Bach 22 or 18• Yamaha 66 or 67C4

Trombone * Beginner:• Bach 12C

Intermediate/Advanced:• Bach 6 1/2 AL (with small shank)• Bach 5G or Benge 6 1/2 ALL (with large

shank) (Bach 3G or 4G is recommended for

Bass Trombone )

*NEVER use an adaptor for a mouthpiece to adapt a small bore to a large bore instrument

Group 1 Oboes, Eb Clarinets, 1st Clarinets 1st Trumpets Group 2 2nd & 3rd Clarinets 2nd & 3rd Trumpets Group 3 Alto Clarinets, Alto & Tenor Saxophones Horns, 1st Trombones Group 4 Bass Clarinets, Bassoons, Baritone Saxophones 2nd & 3rd Trombones, Euphoniums, Tubas

Group 1 (Soprano)

Group 2

(Alto)

Group 3 (Tenor)

Group 4

(Bass)

90+ Tables and Figures

Practical Charts for Students & Directors

(found in Developing the Complete Band Program (S. Jagow)[Meredith Music Publications]

Dynamics ! louder dynamics = encourages pitch to play sharp*! softer dynamics = encourages pitch to play fl at*☺ when playing at louder dynamics , compensate for sharp pitch by relaxing the embouchure/lipping down ; (fl utes will compensate for a sharp pitch by directing air stream down and/or rolling head-joint in)☺ when playing at softer dynamics , compensate for fl at pitch by fi rming the embouchure/lipping up ; (fl utes will compensate for a fl at pitch by directing air stream up and/or rolling head-joint out)☺ Reeds: when playing at louder dynamics, compensate for fl at pitch by fi rming the embouchure☺ Reeds: when playing at softer dynamics, compensate for sharp pitch by relaxing the embouchure* opposite pitch tendency for reed instruments, esp. saxophone and clarinet . (Although this pitch tendency can sometimes vary dependent on reed strength and embouchure .)

Director & Student Tools

Thank you Sponsors: Hal Leonard Corporation, Meredith Music Publications, and Wright State University

BOOK & DVD: Teaching Instrumental Music: Developing the COMPLETE Band Program! by Shelley Jagow

5. INTERVENTION

BLEND & BALANCE

If you hear yourself above all others, 1 of 3 things is happening: (Lisk, 1987, p. 70)1. You are _______________ or _______________ . Make the necessary adjustment. This initiates an auditory

reaction to Balance. If you still hear yourself and you made the adjustment in #1, then:2. You are playing with poor __________________. Make the necessary adjustment (embouchure, breath

support, posture, reed, etc.) This initiates an auditory reaction to Blend and a physical reaction to embouchure and breath support. If you still hear yourself and you made the adjustment in #1 and #2, then:

3. You are playing out of _______________.Make the necessary adjustment by extending or shortening the length of your instrument. This initiates an auditory reaction to “Beatless Tuning”

INTONATION

6. EYES WIDE SHUT?

7. PLACE YOUR ORDER

8. ASSESS YOUR ASSETS

9. SHOW & TELL

10. ANIMAL SCHOOL

11. CHOPPED!

12. TRUFFULA SEED

BIBLIOGRAPHY

Jagow, S. (2007). Teaching Instrumental Music: Developing the COMPLETE Band Program. Galesville, MD: Meredith Music.Jagow, S. (2008). Teaching Instrumental Music: Developing the COMPLETE Band Program. Galesville, MD: Meredith Music. [DVD]Lisk, E. S. (1987). The Creative Director: Alternative Rehearsal Techniques (3rd ed.). Ft. Lauderdale, FL: Meredith Music.

STEPS Method

S = Score StudyT = Tswbat (The student will be able to…) E = know your EnsembleP = identify Potential ProblemsS = identify Solutions to the problems

‣ three steps ‣ !balanced instrumentation‣ !volume & balance‣ !equipment

Blend occurs when two or more tones combine with one another to achieve ___________of sound.

Balance occurs when two or more tones combine with one another to achieve a ___________of sound.

‣ factors affecting pitch‣ !student learning styles

‣ !tuning notes‣ !Just Intonation and Overtone Tuning

BOOK & DVD AVAILABLE AT EXHIBITOR BOOTHS, ONLINE, AND YOUR LOCAL MUSIC DEALER.

300+ pgs of “Tips & Tricks”

(Instrumentation Calculator included on DVD)

(Rehearsal Videos included on DVD)