NN0015B Kjos Band News Vol 2 · 2 Kjos Band News | Fall, 2000 Neil A. Kjos Music Company • 3....

Neil A. Kjos Music Company • www.kjos.com

Kjos Band News Welcomes YouBack to School!Welcome back for the start of another

school year. We, at Kjos, hope that yourtime away was refreshing.

A new school year brings with it new goalsand objectives. It is filled with challenges andgreat expectations. It also seems that there isfar more to do than there is time. There is therecruiting of students, starting beginners,writing teaching units, selecting repertoire,scheduling performances, and a myriad ofother things that need attention.

Because the Neil A. Kjos Music Companyis committed to the support of quality music

education, Kjos Band News will provide arti-cles, suggestions, and teaching tips fromleading educators, composers, and conduc-tors from around the world to help you meetthose challenges and expectations, andstrengthen and support your band program.

If you have specific topics you would likediscussed, or wish to receive back issues,please contact:

Kjos Band NewsNeil A. Kjos Music Company4380 Jutland DriveSan Diego, CA 92117

Everyone agrees on the importance of agood embouchure for good tone produc-

tion. Embouchure, along with air support,determine the tone quality that is producedon a wind instrument.

Experienced teachers know that the firstlesson is, perhaps, the most important in theplaying career of a student. This is certainlytrue when it comes to clarinet playing.Embouchure muscles have a tendency toreturn to their habitual position. If the clar-inet student’s embouchure is not formedproperly from the beginning, his or her toneproduction potential may be impeded.

Assist students in forming and developingtheir clarinet embouchure by having each beresponsible for providing a small mirror thatcan be placed on the music stand. This willallow students to see that their embouchureis being formed properly.

Ensure a good formation of the embouchureby having each student do the following:

1. Put the mouthpiece and the barreltogether and secure the reed with theligature. Slip a piece of paper betweenthe reed and the mouthpiece and slidethe paper down toward the barrel untilit stops.

2. With a pencil, draw a light line on thereed connecting the two sides of thepaper. This line will indicate where thelower lip should be placed.

Teaching the Clarinet Embouchureby Bruce Pearson

NE WS AND INFORMATI O N FOR BAND EDUCATORS

Fall 2000 Volume 2

IN THIS ISSUETeaching the ClarinetEmbouchureby Bruce Pearson

Connecting Classroomand Instrumental MusicInstruction: The FirstLessonby Bruce Gleason, Ph.D.

Page 4

Teaching DrumsetGroovesby Peter O’Gorman

Page 6

Practice, Practice, Practiceby Bob Baca

Page 8

Selecting Jazz EnsembleLiteratureby Dean Sorenson

Page 11

Reading and Analyzing:Saving Time in Rehearsalby Ralph Hultgren

Page 12

Recruiting: The OngoingProcess —Part Twoby Bruce Pearson

Page 14

IN THIS ISSUE

Published bi-annually by the Neil A. Kjos Music Company 4380 Jutland DriveSan Diego, California 92117(858) 270-9800Fax: (858) [email protected]© 2000 Neil A. Kjos Music Company

Kjos Band News

2 Kjos Band News | Fall, 2000


3. Hold the assembled mouthpiece and barrel in one handand place the tip of the thumb just under the line thatwas drawn on the reed.

4. Remove the paper from behind the reed with the otherhand and shape the mouth as if saying “whee-too.” Holdthe mouth in the “whee” position while saying “too.”

5. Cover the bottom teeth with a small amount of thelower lip.

6. Place the mouthpiece in the mouth so that the lower liptouches the thumb that was placed just below the line.The thumb should serve as a “stop” allowing just the rightamount of mouthpiece in the mouth. Too much mouth-piece in the mouth will cause a harsh, raucous tone. Toolittle mouthpiece in the mouth will cause a tight,constricted tone.

7. Rest the top teeth directly on the mouthpiece. Close themouth in a drawstring fashion with equal support on all

sides of the reed. The chin should be flat and pointed.Using the mirror, check to see that the embouchure isformed properly.

8. Firm-up the top lip. This will open the back of the throat.9. Take a full breath of air (filling the back of the throat) and

play a long, steady tone.

If the embouchure is formed properly, the following pitchshould sound:

Many young clarinetists play a pitch lower than this resultingin an immature, non-centered tone. To raise the pitch, have thestudent pull in the corners of the mouth as if saying “oo.” If thepitch is too high, which is rarely the case, the student shouldrelax the embouchure as if saying “O.”

To ensure a well-established clarinet embouchure, have thestudent play long tones daily.

By following these simple steps, students will learn to forma good clarinet embouchure that will be important to the devel-opment of a beautiful clarinet tone.

Bruce Pearson is an internationally-known author, composer,clinician, and conductor. He has taught at the elementary, juniorhigh, high school, and college levels for thirty years. In Decemberof 1998, Bruce was awarded the prestigious Midwest ClinicMedal of Honor in recognition of his outstanding contributionto music education.


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In the last issue of Kjos Band News, Imentioned that dialogue between class-

room music teachers and instrumentalmusic teachers is crucial for streamlinedK-12 music programs. Too often,however, the “us against them” frame ofmind gets in the way of true dialogue,with classroom music teachers wishingthat “instrumental teachers would buildon what we’ve taught and put in place,”and instrumental teachers thinking that“it doesn’t matter what students havebeen taught; we’ll have to start at thebeginning with them no matter what.”Hopefully, the following suggestions willhelp provide a foundational dialogueacross the music curriculum.

Some school systems have district-wide curricula for K-12 music. If you arepart of one of these districts, congratu-lations! But you probably aren’t in themajority. With current interest in theNational Standards, now is one of theeasiest times to implement such acurriculum. Building and expanding onthe suggestions as outlined in theNational Standards can attain continuity

across all of the grades.The first of the National Standards

Content Standards is “Singing, aloneand with others, a varied repertoire ofmusic.” In other words, the NationalStandards are advocating that the musiccurriculum for grades K-12 has singingas its basis.

The reason for this is that a humanvoice is the best place to start with musicinstruction because it has the closestconnection to the inner musical process,and that with strong progressive devel-opment, combining music readinginitially with singing instruction will leadto musical literacy. Further, because thevoice has no valves or keys to operate, itis also the most readily available vehiclefor developing early artistic expression.

Several years ago I had the opportu-nity to take a two-week Kodaly Level Onecourse. Although I have taught a fair shareof classroom and vocal/choral music, Itypically think of myself as an instru-mental teacher, a minority in a Kodalyclass. What I learned in that brief course,however, in terms of inner hearing, or

“audiating,” significantly changed myideas about music literacy and learning. Iquickly echoed the opinions of my class-mates who wished that they had beentaught to audiate, to truly hear intervals,rhythms, and patterns before seeing themon a staff, in undergraduate ear trainingand sightsinging courses.

If your students are coming to youwith some solfege training, build on itrather than ignore it. If they haven’t hadsolfege experience, you can easily imple-ment it in your instrumental classes.

Forget about the music staff of fivelines and four spaces for awhile. Teachstudents to develop their ears apart fromtheir eyes. After students have learned thefirst three notes (mi, re, do) from Standardof Excellence, to develop their audiationskills and the application of them to theirinstruments, do the following:

1. Sing a simple (do, re, mi) solfegepattern and have students echoyou with their voices. Then havethem echo your singing on theirinstruments.

Connecting Classroom and Instrumental Music Instruction:The First Lessonby Bruce Gleason, Ph.D.

Robert JagerVariants on the Air Force Hymn (Quebec) (WB206)

Jeff JordanTharsos (WB200)

Timothy MahrFlourish (JB40)A Quiet Place to Think (JB48)

Alfred ReedCanto e Camdombe (WB225)

Nolan E. SchmitFanfare and Dance (WB204)

Kenneth SoperJingle Bells March (WB227)

Jared SpearsBravo! (WB205)

Jack StampVariations on a Bach Chorale (JB41)

John ZdechlikBarcarole for Flutes (WB217)Hats off to Thee (For Brass Choir) (E1458)

New Grade 3– 41⁄2 Concert Band Pieces

BandWorks VII Demo-CD Coming Soon!

BANDWORKS VII

Kjos Band News | Fall, 2000 5


2. Sing a pattern, using the pitches do,re, mi, on a neutral syllable, andhave students echo using solfegesyllables. Next, have them play thatpattern on their instruments. Witha large group, have some studentssing while others play.

3. Have students improvise vocally,first using small tone sets (do, re,mi) with given rhythms or overgiven numbers of beats. Let themtake turns singing first and thenplaying. Have students echo ontheir instruments what others singand vice versa.

4. Write do, re, mi, (or d, r, m) invarious combinations on thechalkboard in two ways, first withall tones written on the same visualplane: do, re, mi; mi, re, do; etc.(by beginning with tones writtenon the same visual plane, studentslearn to hear intervals betweenpitches without visual aids) andlater with the tones written inproximity to how they sound:

After students have an under-standing of pitch and duration,begin using solf ege with theirlesson books and with exercisesyou have written out.

5. With students’ books closed, yousing Exercise #1 from Standard ofExcellence. To teach rhythm andto develop students’ sense of“rhythmic flow” (steady beat), clapthe rhythm of Exercise #1 whilesinging the solfege syllable mi.Whole notes are executed bypulsing each beat with the palmstogether. Whole rests are executedby pulsing each beat with thehands apart. Next, have studentsplay on their instruments whatthey have just sung. Now, havestudents open their lesson booksand relate what they have beenplaying to the written notes. PlayExercise #1 again, but this time

students should read the musicfrom their books. This is the timeto teach pitch and note names.

6. When new notes or rhythms areintroduced in their lesson books,repeat the aforementioned processusing the expanded pitch andrhythm sets.

Remember that solfege is most effec-tive when it isn’t initially attached to astaff. Don’t introduce solfege by showingstudents a staff with pitches written on itand pointing to three pitches and tellingyour students that these are called do, re,mi. That’s like pointing to the wordspelled “d-o-g” and telling a person whodoesn’t speak English and who has neverseen a dog that this word is “dog.”

With more advanced students whohave a wider command of their instru-ments (high school students included),go back to the beginning of an earlylesson book. Then have them play exer-cises in different keys by changing wheredo is. Students will connect the trans-posed exercises more readily if they canhear in their minds (audiate) the solfegepattern, rather than thinking “I have toplay everything up two pitches.”

The key to effective solfege use is tosing patterns before playing them.Continually bringing students back tothe first National Standards ContentStandard of singing will give cohesion tothe broad K-12 music curricula, and willhelp students build on previous learning.

Many of you have plenty of experiences inconnecting classroom music with instrumentalinstruction. Inaddition to my comments andideas, we would like to gather informationfrom you for future issues of Kjos Band News.Send comments to:

Kjos Band NewsNeil A. Kjos Music Company4380 Jutland DriveSan Diego, CA 92117

Dr. Bruce Gleason is an assistant professorof graduate music education at theUniversity of St. Thomas in St. Paul,Minnesota where he teaches courses in musiceducation and advises graduate research.

Since its release with Book 1 in1993, Standard of Excellencehas led the way in addressing theNational Standards for MusicEducation. While using the “draftstandards,” the Standard ofExcellence ComprehensiveBand Method was carefully andmeticulously designed andwritten so that, upon completionof Standard of Excellence, Book3 , al l Grade 5–8 NationalStandards are addressed andexceeded. You may obtain a copyof a handout that shows whichactivities address each of theStandards by calling or writingthe Neil A. Kjos Music Company.In addition to the method book,the Standard of Excellence INCONCERT series presents excep-tional arrangements, transcrip-tions, and original concert andfestival pieces. Each of the overforty pieces currently availableprovides valuable activities thatwill help students meet, address,and achieve the NationalStandards. In fact, when consid-ering the method book and corre-lated pieces, Standard ofExcellence is the only curriculumthat addresses the NationalStandards with both components.

STANDARD OF EXCELLENCELEADS THE WAY INADDRESSING THE NATIONAL STANDARDS

mi mi mi

re re re

do do do etc.



Teaching Drumset Groovesby Peter O’Gorman

Percussion students often find them-selves in situations where they need

to learn a new drumset groove (beat) butare uncertain of how to proceed. Withouta step-by-step process for the student tofollow, learning the new groove can betedious and frustrating.

This article outlines two systems thatI have found to be extremely effective inteaching students new grooves.

SYSTEM AFrequently when a student is having

trouble learning or perfecting a groove,the trouble can be traced back to theinability to coordinate two of the limbs.By isolating and practicing each of thetwo-limb combinations (ride & snare

drum, ride & bass drum, and snare drum& bass drum), the student can oftenwork out the coordination challengesbefore putting the groove together.

Groove to be learned:

Notation Key:

Step 1

Choose a slow tempo!Example:

q = 76 ( e = 152) for eighth notebased grooves

q = 50 ( e = 100) for sixteenthnote basedgrooves

I recommend practicing with ametronome or drum machine. Note:When the tempo is slower than q = 100,students may find it easier to play alongwith eighth note clicks rather thanquarter note clicks.

– ride– snare drum– bass drum

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Steps 2, 3, and 4

Play the three two-limb combina-tions, repeating each several times.

Step 2

Step 3

Step 4

Step 5

Start by playing two of the limbs(example: snare drum & bass drum).After a few repetitions, add the third limb(example: ride) to complete the groove.

Step 6

Increase the speed of the groove bysmall increments (example: q = 80, q = 84,q = 88, etc.) until the desired tempo isreached. Repeat the groove several timesat each tempo.

SYSTEM BFrequently when a student is having

trouble learning or perfecting a groove, thetrouble can be traced back to one or twonotes in the pattern. By starting the grooveat the beginning and adding notes one ata time, the student will dramaticallyincrease his or her awareness of each note(count) in the groove. Usually this

increased awareness is all that is needed tolearn or perfect a groove.

Step 1

You guessed it, choose a slow tempo!

Steps 2, 3, and 4

* Play the first two notes of thegroove.

* Add a single note in eachsucceeding step. Repeat each stepseveral times.

Step 2

Step 3

Step 4

Step 5

Continue this process until thegroove is complete.

Step 6

Increase the speed of the groove bysmall increments until the desired tempois reached. Repeat the groove severaltimes at each tempo.

While both of these learning systemsare quite effective, you may find that oneworks better than the other depending onthe type of groove and the learning styleof the student.

For more challenging grooves or forstudents who need to take smaller steps,it is possible to combine these twosystems. After practicing each of the twolimb combinations, add the third limbone note at a time.

Example:

* Start by playing the ride and snaredrum parts.

* Add the bass drum part one note ata time.

Step 1

Step 2

Step 3

Step 4

There are several variations of thesesystems that may also be effective inteaching drumset grooves. Be creativeand trust your instincts when workingwith students.

Peter O’Gorman is a percussionist, composer,educator, and author of the critically-acclaimed drumset method series DrumSessions. He maintains an active privatelesson studio and is president of the MinnesotaChapter of the Percussive Arts Society.



Ready, Set, FallFall marks the end of summer

marching season, the beginning of fallmarching season, jazz ensemble, begin-ning band for some, plus a myriad of smallensembles to coach and the beginning ofdeveloping that special concert band“sound,” not to mention all of the admin-istrative adventures that go with it.Suffering with tyranny of the urgent yet?All of this preparation work is quadrupledif the students do not have the word “prac-tice” etched in their minds as a daily func-tion. What would it be like to spend mostof the rehearsal period working on musicalideas versus rote teaching of notes andrhythms? When the paradigm of yourstudents’ role in band includes daily prac-tice at home, the band director’s ability toproduce a creative musical environmentbecomes a reality. “Give a man a fish andfeed him for a day. Teach him how to fishand feed him for a lifetime.” If we canhelp our students find their love of musicby giving them the tools to create it, thesearch for successful musicianship will bea self-fulfilling journey.

Working as a clinician in many areasof the United States, I have found thatquality band programs are not charac-terized by location, school population,budget, number of band directors, oreven a cooperative administration, but bysimply helping students discover theeffects of music and instilling thecommon-sense principles of good old-fashioned hard work and a knowledge ofwhat to work for. Over time these prin-ciples become the established perceptionof what being in band is all about and theefficiency of rehearsal time grows expo-nentially. Using short- and long-termgoals, the band director can slowly incor-porate practice outside of rehearsal intotheir students’ daily routine.

Inspiration (Leads to) Imitation(Imitation = Observation + Action)

The first step for building a good

practice habit is to become inspired.Inspiration is an action, not just a coinci-dence. We can all remember the concertor experience that lead to a passion forpractice (even if short-lived) and thatmotivated us to imitate excellence. Minewas the first time I had the opportunityto hear Adolf Herseth (principal trumpetof the Chicago Symphony) perform.Although I was seated in the second-to-the-last row of the balcony in OrchestraHall, Mr. Herseth’s sound was so opulentthat it was as if he was playing only tenfeet away. After the concert, I rushedbackstage to congratulate him and ask ifhe would reveal his secret for this amazingquality. Without hesitation he said,“Sure, it involves three things: Practice,Practice, and Practice! ” For the nextseveral days practicing was not a chore.Although we had no orchestra programin our school, the rest of the ensemblesseemed to take on a new freshness. All ofus are not inspired by listening to oneconcert, but it is the band director’s goalto find the right setting that will eventu-ally lead each student to self-motivation.As a teacher, a large part of our job is toinspire. Our approach is not to unlockthe creative potential of a group of musi-cians but rather a group of individualsthat relate to music in different ways.Therefore, we are facilitators who mustget to know our students better than theyknow themselves to correctly prescribemusical direction for each one. For thisreason it is important for the banddirector to keep his or her creative abilityfresh by performing, writing, reading,etc. If the director is living the musician’slife, it is easy to share these experiences ina way that will inspire each student.

Getting Started: UnderstandingHow Our Instrument Works

The goal for any instrumentalist is todirect relaxed air down the center of theinstrument in order to let the instrumentdesign create the most opulent sound.

While this is easily achieved in the middleregister, many muscles in our face(embouchure) must work symmetrically tokeep the air direction constant regardlessof the musical challenges. Ourembouchure is similar in function to themetal end of a garden hose. If a gardenhose did not have the metal tip, the hosewould change its shape when more waterpressure was added and therefore changethe water direction. While our lips mustvibrate freely, the other muscles in our facehold everything together to keep the airdirection constant under all playing condi-tions. While the embouchure does thework, the muscles from the neck downneed to stay relaxed. When our relaxed airstays in the center of the instrument, oursound is clearer and physical considera-tions such as endurance, upper register,technique, and flexibility are more easilymastered.

Short Term Goals: EstablishingPractice HabitsFirst Things FirstDeveloping a Good Warm-up

Rome was not built in a day andneither is a good practice environment.Right from the start, use Standard ofExcellence Books 1, 2, and 3.The exercisesin these books are excellent for building aclear sound and creating an interest inmusic history and theory. Whileperforming these exercises, explain thedifference between going through themotions of playing an exercise versuslistening to one’s sound to create a goodmusical tone. Special emphasis should beput on the accompaniment CD’s. Mostprofessional players use similar simple exer-cises to get the sound centered in themiddle register before beginning a taxingperformance. Warm-ups are not done tosee what we can do, but to do what we seeon the printed page. A teacher of mineonce said, “As a musician matures our inter-ests turn from high, fast, loud to discov-ering the intricacies of a whole note.”

Practice, Practice, Practiceby Bob Baca



If your instrument is not too dusty,play along with your students and describethe difference in tone quality. As soon asthey play remotely closer to a clearersound, let them know they are gettingthere. Establish a library of CD’s of profes-sional musicians to take the inspiration tothe next level. When playing a CD,explain in detail what makes it musicallyoutstanding. CD’s are an excellent wayfor our students to discover heroes to tryon, and live by what their ideal is of them.With practice, musical attributes are moreeasily accomplished with a clearer soundand therefore should be the end goal of agood warm-up. A weight lifter needs themuscle mass and coordination to lift 90pounds before lifting 200 pounds, and amusician needs a productive warm-up tohandle the greater demands of a lengthyrehearsal or practice session.

Long Term Goals: Establishing aDaily Practice Routine Outside ofRehearsal

A child learns to walk slowly by inspi-

ration, imitation, and guidance by his orher parents. Developing musicality isachieved in the same way. After thestudent can hear and play with a goodsound on even a few notes, exercisesshould be given to help him or her strivefor this sound in all registers, tempos, andstyles. In order to create a good sound, themechanics of correct breathing, posture,and embouchure must all be in place.Placing too much emphasis on themechanics of how to play can lead us toforget what the end goal is. Using thestudent’s newly desired goal as the moti-vator, explain a routine for daily practicewith a good diet of fundamental exercisesand musical etudes that will help achievethis goal in the fastest manner.

After that inspirational evening ofhearing my first trumpet hero, multiplehours of practice a day were as easy asbreathing. This motivation lasted aboutfour days. After discovering that playinglike Adolf Herseth could not be achievedin just a few practice sessions, hopeless-ness set in. Two things were missing:

1. Other inspirational experiences tokeep the motivation going (someChicago Symphony CD’s would havehelped here).

2. Not knowing what to practice inthe practice room.

Motivators for Daily Practice Developing a Practice Plan

There are no short cuts or sunkentreasure answers that develop a sense ofmusicianship —only consistent practice.Students should start with slow exercisesin the middle range and expand in bothdirections, playing the lower register exer-cises big and full as to be the example forpositioning and sound for the upperregister. Encourage students to rest aslong as they play each exercise.Supplement the exercises from Standardof Excellence Books 1, 2, and 3 withHerbert L. Clarke’s Technical Studies;and don’t forget the brass bible: Arban’sComplete Conservatory Method. Bothof these books are available in treble andbass clef. The range and speed the student

FOUNDATIONS FOR SUPERIOR PERFORMANCEWarm-Ups & Technique for Band

by Richard Williams & Jeff King

Foundations for Superior Performance is designed to helporganize the daily rehearsal and improve the overall performanceof any band.

A variety of musical studies target student improvement in thefollowing areas: Sound (tone production), Articulation (styles andconcepts), Flexibility, Agility and Endurance, Range, ListeningSkills and Technique in all twelve major and minor keys, and abasic understanding of Music Theory.

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plays is determined by whether he or sheis able to keep a good sound. When thesound turns stuffy, it’s time for a fiveminute break and then on to the nextexercise. Keep CD’s and a portable CDplayer around for rest periods.

I practice three sets a day. The first setwill include a routine consisting of longtones, Herbert L. Clarke exercises, andMax Scholssberg’s Daily Drills andTechnical Studies to help quiet my mindand even out the rough edges of yesterday’splaying. The second set is my musicalsession filled with etudes. Here I concen-trate on imitating what I hear in concertsand on CD’s. The third set is filled withArban’s exercises, duets, or jazz playing.The set durations can be flexible—from15 minutes each to two hours each. Soundquality is the determining factor for speed,expansion of range, volume, and thenumber of exercises to play. The soundmust stay free in the higher range, andtechnical exercises must remain relaxed.Because of performance demands, thesefactors may change daily and thereforepractice must change accordingly.

Practice with Someone ElseThere is no greater motivator to

practice than to be held accountable tosomeone. In college, my trumpetbuddies and I practiced together all thetime. If one person overslept for amorning session, you can be sure theother person would call to ask wherethey were. Students should pick peopleof similar motivation and interest inmusic to practice with. Suggest that theytrade off on similar exercises and learn asmuch as they can from listening to eachother. It is easy to see how egos must beleft outside the practice room for this towork properly. Playing like-exerciseswith the same instrument is optimal butnot necessary.

Practice the Same Time Every DayThe easiest way to insure consistent

practice is to treat it like a class. With alittle pre-planning it is easy to schedule itin the day.

Get a Good Private TeacherOnly through time and experience

can we develop a deeper musical concept.Exposure to recordings, live concerts, andactual performance situations are impor-tant but cannot replace studying with agood teacher. Living in Wisconsin, fishingis a favorite pastime of mine. When I firstbegan learning the sport I bought severalbooks on the subject, discussing weather,lure choice, sonar, lake temperature, waterconditions, etc. The books explained howto properly hold the rod, provided castingexercises, and even covered how to senseif there is a fish on the line. While theauthors made money from my bookpurchases, I did not catch fish with anyregularity until an experienced anglervolunteered to take me fishing. Heobserved my actions and made sugges-tions like “Pull fast, but not that fast”;“You may think you have it on thebottom, but you don’t. This is what itfeels like to be on the bottom”; and, “Notyet, not yet, not yet; now!” Simply put,there is no substitute for a good teacher.

What can be common sense is notalways common practice. Instilling theseprinciples in our students so theirchanged role becomes routine will requirelots of imagination and our continuingbest efforts, but most importantly,patience. By paying the price over anextended period of time we can fully reapthe benefits of efficient, musically grati-fying rehearsals, and come closer toreaching our ideals as a band director.

Bob Baca currently serves as AssociateProfessor of Trumpet and Director of JazzStudies at the University of Wisconsin-EauClaire. He has performed with the BuddyRich Big Band, Frank Sinatra, Mel Torme,Tony Bennett, and Andy Williams, as wellas the Cincinnati Pops Orchestra, PhilipBrunelle “Plymouth Music” Orchestra, andthe Milwaukee Symphony Orchestra. Healso freelances in the Minneapolis-St. Paulmetropolitan area. Baca is in demandthroughout the United States and Canadaas a brass clinician.

STANDARD OF EXCELLENCE

IN CONCERT IV

12 New Grade 1– 21⁄2Concert Band Pieces by:

u Bruce Pearson

u Wendy Barden

u Bob Cotter

u Chuck Elledge

u Barrie Gott

u William Himes

u Steve Hommel

u Ralph Hultgren

For your FREEStandard of Excellence

Curriculum Guide, write, fax, or e-mail today!

Neil A. Kjos Music Company4380 Jutland Drive

San Diego, CA 92117Fax (858) 270-3507

[email protected]

NEW!



When it comes time to chooserepertoire for the jazz ensemble,

many directors are somewhat perplexed.Programming for the jazz ensemble is insome ways significantly different thanprogramming for the concert band, andin some ways very similar. Choosingmusic of the highest quality that iseducational and inspirational for thestudents and audience alike are universalgoals that apply to any ensemble. Thejazz ensemble offers its own particularchallenges, however, when it comes tochoice of repertoire. Let’s explore a fewof these and try to shed more light onthis topic.

The most obvious difference betweenthe concert band and jazz ensemble isthe instrumentation, and this poses someunique problems. Since jazz ensemblesare ideally one on a part (although this isby no means necessary for a good musicalexperience) it is vitally important thatthe chosen music will not expose seriousweaknesses in the ensemble. This is espe-cially true in the rhythm section. Therhythm section is really the heart andsoul of a jazz ensemble, and particularattention must be paid to them if therest of the band is to sound as good as itcan. Make certain that the charts youselect are consistent with the level of yourrhythm section players. Some questionsto ask: 1) Can my guitar, piano, or bassplayer read chord symbols? If not, arethe parts written out sufficiently? 2) Is mydrummer capable of creating a part withthe information on the chart? 3) Is the

general feel or groove of this chart some-thing the entire rhythm section can feelcomfortable with?

Beginning level charts (generallygrades 1–2) are often very completelynotated. Piano and guitar should havevoicings written out and bass lines shouldbe written out. Drum parts also shouldbe well notated, including a completelywritten-out groove (basic “feel” that isplayed throughout the chart) as well asfills and ensemble hits. As the grade levelsbecome higher and the charts get harder,the level of rhythm section notationdecreases and becomes less consistent.Grades 5–6 are considered professionallevel and feature notational shorthand inall rhythm parts. Even if you have windplayers capable of playing charts at thislevel, make sure your rhythm players willbe able to make sense out of their parts.

Wind parts should be looked over tomake sure that there are not one or twoparts that are significantly more difficultthan the rest. The first place to look is thelead trumpet part. Along with therhythm section, the lead trumpet playeris responsible for defining and shapingthe ensemble sound. Make sure the partis largely within a comfortable range. Becareful not to sacrifice your trumpeter’sindividual growth by asking him or herto play significantly higher than he orshe is able. Also be aware of solo parts inall sections, and of woodwind doubles inmore difficult charts. If the wind partslook to be within your band’s technicalcapabilities, consider some possible

musical difficulties: 1) Are there thickchords that may be difficult to tune? 2)Are all sections scored with the samerhythms or is there more independencefrom section to section? Very often, chartsthat are technically quite easy allow anopportunity to work on unwritten, moremusical characteristics like ensembleswing or absolute rhythmic precision.

Since most demo recordings aremade by professionals, careful listeningand score study is necessary to deter-mine whether or not a chart can beplayed by your band. Be honest aboutthe abilities of all your players. They trustyou to give them music that they willenjoy and learn from. Repertoire that istoo difficult or poorly written is frus-trating to the ensemble and does little toinspire the individual player. Repertoirethat is too easy will likewise do little tohelp the ensemble or the individualplayers grow. Knowing how much tostretch is an art form in itself and isdifferent with every band, with everyyear, even with every concert. Work toachieve a good balance of difficulty toensure steady growth for the band and allmembers of the ensemble.

Dean Sorenson is a prolific and highlysought-after composer, trombonist, andclinician. He holds degrees from theUniversity of Minnesota and the EastmanSchool of Music, and was recentlyappointed Interim Director of Jazz Studiesand Performance at the University ofMinnesota-Minneapolis.

Selecting Jazz Ensemble Literatureby Dean Sorenson

9 New Grade 1–2 Jazz Charts by Dean Sorenson and Bruce Pearson.

All charts correlated with the Standard of Excellence Jazz Ensemble Method.

For your FREE Demo-CD, write, fax, or e-mail!


JJaazzzz IInn CCoonncceerrtt



Do you remember Mr. Band Directorfrom my last article in Kjos Band

News? Well, he is asking some questionsof Ralph Hultgren and what scorereading and study is all about.

Pressure!Guilt!No time!Yes, yes, yes! I know!I guess I should look at those scores!Hmmm……..Yankees 5, Cards 3No, no, no!!!

Those scores!! The ones that Aussiesaid I had to orient myself to, then read,analyze, and then interpret. Yeah, well heteaches in college and he obviously doesn’tknow the time commitments on theschool band director! He has the time! Hedoesn’t rush from class to class or evenfrom school to school like some of us do!

I have all that teaching to do! Thenthere are the parents’ meetings, the staffand administration meetings at school,commitments at the Boy Scouts and withmy other community groups, and he saysI need to take extra time to look at thosescores! What about my family time?Doesn’t he realize I have to spend all thattime preparing for my classes? Peopleforget that a teacher has to spend so muchtime outside of school preparing forclasses. You know, so many people forgetthe extra time we teachers spend outsideof the normal hours that others work. Wespend those extra hours (that we don’t getpaid for!) preparing so that the studentshave the best experience in band!

Does he realize how much time wehave to commit to that?

Does he realize we have no time forthe academic niceties he goes on about!

Why, I can’t spend the time doingwhat he says I should do because I haveto prepare for class. I have to study thosescores I am doing for contest!

Hmmm…………..Well, let’s see. Read and Analyze:

what could he mean?

Hi, Mr. Band Director!I am not trying to add to your

responsibilities. What I am attempting todo is let you know how to make yourrehearsals and performances more effec-tive. If you can have a more completeoverview of the art that you will presentto your ensemble, then there is morechance that they will present that arteffectively in performance.

So how do we set about that morecomplete overview? We discussed in thelast newsletter the need to consider orien-tation to the score. That is the capacity tointerface with the composer’s intentionby understanding not just the musicallanguage but more of the composer andtheir artistic and cultural context.Following from that, we actually need topick up the score and investigate thosedots and dashes and, given our neworientation, set about understandingmore of the intent of the writer, whichwill lead us inexorably to an interpreta-tion of the work.

We must read and analyze the scorein this process. The score’s musical secretswill unfold before us if we take the timeto search them out, but it is most impor-tant to be aware that such an investiga-tion is not wasted on time you don’t have.It is actually a means to effectively utilizethe precious time you have in therehearsal. Be assured that every momenttaken up by reading and analyzing thescore will be repaid in the rehearsal room.I am not talking about an onerous addi-tion to your time commitment but ameans whereby you can more substan-tially intersect with the musicianship inthe score and your students.

So, how do you read a score?There are many approaches to score

reading that can be found in textbooksand in talking to colleagues. Such a diver-sity is not a reflection of a lack of clarityin respect of the process, but more aconfirmation of the breadth of artisticideas and approaches in practice.

Here are a number of ideas toconsider. Individual conductors may liketo use these thoughts to assist them intheir score study, but be sure to adaptthem when you feel there are ways youmay more effectively connect with thework in your hands.

Read it like a magazine or journal tobegin. Don’t necessarily try to take it allin, but allow yourself to be drawn tothose areas that you find interesting andengaging. Some will be drawn torhythmic figures, some to melodies, andothers to harmonic constructs. I amintrigued by counterpoint and orches-tration, but one person’s interests are notpervasive. You should not be afraid ofyour bias here!

When we open a journal we are takenby the articles that are closest to ourhearts and then we slowly investigate theother contributors’ works. Eventually weget to those articles that we know weshould read! They are like the vitaminsupplements my wife gives me! I knowthey are good for me (like the salad shemakes me eat), but I wouldn’t choosethem as my first preference. Similarly,those areas of the score that don’t intrigueus, or that we find less comfortable, arethe components we may well leave toconsider in more detail later.

Sadly, they are vital components ofthe whole musical fabric of the art we areinvestigating (just like those vegetables),so we must intersect with them. It isimperative that we read and then analyzethem. When we allow ourselves to do so,we often find a fullness and a sustainingin that work that had escaped us previ-ously. Also, we have a balance in ourappreciation and future interpretation ofthe piece that will sustain the ensembleand us through the trying times ofrehearsal. Those engaging and intuitivefacets are mixed in with the less palatableto give us artistic nourishment (I quiteenjoy salad now too!).

What is vitally important here is that

Reading and Analyzing: Saving Time in Rehearsalby Ralph Hultgren



our appreciation and understanding ofthose less intriguing areas, throughanalysis, gives a broadness to our overallconcept of the work only if we investigatethe satisfying and more easily approach-able components similarly. Because wemore comfortably embrace some sectionsof the score doesn’t mean we understandit (I embrace the salad maker but stilldon’t understand him or her!). If we areto have a truly satisfying relationship withthe work we must come to terms withand honor what makes those intuitivefacets so attractive as actively and intel-lectually as we pursue our understandingof those difficult-to-fathom areas. Thesatisfaction of finding the composer’sintent, in the fullest way possible, allowsfor potent interpretation.

Well, asks Mr. Band Director, Fund-Raiser, Chairman of the Church Council:how do I analyze a work when I finallyfind the time to do so?

It should not be a surprise to findthat there are just as many, if not more,ways to engage in analysis as there were inreading. Textbooks on conducting, whenconsidering analysis, take their termi-nology from the forms we were familiarwith in university study. Harmonic struc-tures, form, thematic and melodiccomponents, and so forth are the foun-dations on which much analysis is based.

Though not wanting to be seen aspresumptuous by questioning such estab-lished analytical paradigms, I do believeit is important to change our perspectiveat times. This allows us to find new waysof discovering the composer’s intentionand to then bring that to fruition throughperformance.

Consider for a moment harmonicstructures. We have a propensity toanalyze harmony vertically. We have beentaught from our mother’s knee thatharmony is a vertical construction, butdelve into your history notes andconsider for a moment how harmonyevolved. Most often, even in young bandworks, satisfying harmony is a directresult of effective contrapuntal writing.

I do not suggest here that if it isn’tBach, then it isn’t good. My contention

is that we need to be able to shift fromour mindset that harmony is vertical andappreciate its linear origins. Consider fora moment that in a vertical analysis wemight conclude that a chord is a C major7th. In balancing that chord in rehearsalwe have to decide what is the mostimportant note or notes. Is it the C, forwithout it the chord is not a C chord; isit the E, for that gives the chord its minoror major quality; or is it the B, forwithout that it is not a major 7th?

In this situation and many similar,the question that should be asked is whatproceeds and follows the chord.Therefore, what are the melodic andrhythmically active notes. The contexttells the truth about what is the impor-tant note. It is then reasonable tocontend that the C major 7th chordmay well have been formed as a conse-quence of linear writing. Arguably, then,we could conclude that a purely verticalanalysis may not inform us as to what arethe vital harmonic components, becausesuch harmonic components may betransitory and serving a melodic orrhythmic purpose.

In Pioneers, my latest work foryoung band to be released in the USA,the second beat could well be argued tobe an implied major 7th. The secondbeat of the second measure presents asimilar implication. When viewed withinthe context of the whole work, those twonotes (and implied chords) obviouslyform a motific construct that is thegenesis, in inversion, of the main theme.There is no doubt that those notes couldbe considered to be the implied chordsnoted above. To plan a rehearsal aroundan investigation that is predicated onsuch a vertical analysis would be to denythe melodic imperatives inherent in thiswork in particular.

The mid-section of Pioneers has amore obvious harmonic structure. Hereit would be easy to suggest that a verticalanalysis would inform the rehearsalmethod. Interestingly, an insight into thecomposer’s method here tells us that themelody came first, then the bass line, andthe harmony came out of what was

implied in both.When we view the work in its

entirety, we can see that the melodic andmotific structures noted permeate thefirst and third sections. The middlesection is of a more lyrical and expressivecharacter. If we now consider form as apart of our analysis, we can see that thework is ternary with an introduction andcoda. How much more effective wouldwe be if, through analysis of the form ofthe piece, we were able to construct arehearsal plan that takes into account thesimilarities of both the A sections of theternary form and the motific similaritiesin the introduction and the coda.Admittedly, at this level the transparencyof form and harmony makes for a moreeasy analysis and subsequent rehearsalstructure, but the fact remains thatwithout analysis, the rehearsal plan couldnot make use of the time savings availablethrough effective and efficient rehearsalmethodology.

What I suggest here in respect toreading and analyzing the score is oneperson’s view. I do believe there is muchto be considered outside the formal struc-tures we have all been taught, but mostimportantly, whatever our method, wemust allocate time to reading andanalysis. To not do so actually impactsadversely on our time management,stress, pressure to complete and achieve,and on our level of guilt about what wedo and believe we should do.

Contemplate my views and try them.Consider adapting them to your ownpersonal style and be adventurousenough to develop your own ideas andexperiment with them. Be assured, I havebeen to the point of despair trying tofind the time to do what I suggest here.Be assured also that, when I find thattime, the rewards in rehearsal and perfor-mance are incalculable.

Ralph Hultgren is Director of the WindSymphony at Queensland University ofTechnology in Brisbane, Australia, andlectures there in Conducting, Arranging,and Instrumental Music Curriculum.



s the name implies, recruiting students_ for a band program is a continualprocess where, every year, students areencouraged to begin or continue theirmusic-making.

An effective, “ongoing” recruitmentprogram not only brings new students intothe band program, but also has high visi-bility, good communication, and acurriculum with activities that are designedto provide new and exciting learning expe-riences that will help retain students.

While there are many reasons studentsdecide to join the band and continue theirmusic-making, there are also many reasonswhy students may decide to drop out ofthe band program. There are reasonsstudents drop out that can be affected bythe band director. These can be groupedin the following categories:

1. Public Awareness2. Program Administration3. Communication4. Teaching Strategies

In the Spring 2000 issue of Kjos BandNews, we looked at many ways that thevisibility level and ensuing public aware-ness of a band program can be raised. Inthis issue of Kjos Band News we willexamine program administration.

A good band director needs to be agood administrator. The following arehelpful hints for being a good programadministrator of your band program:

1. Take time to be organized.Arrange a specific time each day to receiveand return phone calls, do memos,communiqués, and book work. Guardthat time and try to minimize interrup-tions. Carry a conventional or electronicorganizer. Good planning can maximizeyour time.

2. Prepare a yearly calendar. Includeall concerts, special rehearsals, and all bandactivities that take place outside of theschool day. Give a copy to students,parents/guardians, and administrators. Itis important to stick to that calendar.

3. Select your repertoire carefully.Repertoire should be selected to meet yourcurricular goals. Determine how manyyears a student will be in your bandprogram and select and program repertoirefor that many years. In that way, studentswill be allowed to experience music repre-senting the full spectrum of yourcurriculum. This may include, for example,marches, suites, overtures, programmaticmusic, multicultural selections, and histor-ical pieces. Choose your repertoire so thatit represents the highest quality that yourband can play. Make certain that you selectrepertoire so that each student may grow inhis or her understanding of comprehensivemusicianship. Determine what conceptswill be taught and what repertoire will beused to teach those concepts. Your reper-toire should have active parts for allmembers of the ensemble.

4. Be a team player. Volunteer toparticipate on faculty committees. You willfind it beneficial to volunteer to participateon your school’s scheduling committee.

5. Strengthen relationships withband directors at all levels. Goodprograms respect the work of directors atall levels. Work together to ensure asmooth transition from one level toanother. Occasionally trade teachingresponsibilities so that students see thatyou are a “band director team.” Someother ideas may include sharing concerts,exchange concerts, adjudicating oneanother’s bands, or team teaching. Youmay also choose to publish a district-wideconcert calendar and attend concerts atother directors’ schools.

6. Analyze dropout issues. When astudent drops out of the band program,attempt to determine the real cause for thestudent dropping out. The school coun-selor can be a very valuable resource inobtaining the real cause of student dropout.Determine if the dropout could have beenavoided and, if possible, make the necessarychanges. All band programs have dropouts.Try not to take a dropout personally.

7. Solicit student evaluation.Periodically ask students to evaluate theband program and your teaching. Thestudents may often provide you with valu-able information that will allow you toimprove your teaching or give you theopportunity to explain your position andthus thwart potential dropouts.

8. Schedule lessons for large instru-ments on band rehearsal days. By sched-uling lessons of students playing largeinstruments on days when the bandrehearses, it minimizes the days studentsmust bring their large instruments to school,thus avoiding transportation problems.

9. Encourage the use of “luggage trol-leys” with large instruments. It is often diffi-cult to recruit and retain students to play thelarger instruments because they are heavierand less portable. This may be alleviated byissuing a luggage trolley to those studentsplaying larger instruments.

10. Pre-assign percussion parts.This willreduce the waste of valuable rehearsal timeand allow the percussion section to run moresmoothly. In the Standard of ExcellenceComprehensive Method Books 1, 2, and 3you can find reproducible PercussionAssignment Charts.

11. Be flexible and imaginative. Whenrecruiting students who are small in statureto play tuba, consider having them start on“tenor tubas” (baritone or euphonium) anduse the Standard of Excellence BB b Tubabook. Since they are playing from the tubabook, they will sound an octave higher thanBBb tuba. When the students grow to the sizewhere they can handle a full-sized instru-ment, switch them to the tuba. Since theyalready know the tuba fingerings, thetransfer from baritone or euphonium totuba will go smoothly.

A well-administrated program is animportant component in recruiting andretaining students in the band program. Ifyou have additional ideas that you want toshare with your colleagues, send those ideasto Kjos Band News.

Recruiting: The Ongoing Process – Part Twoby Bruce Pearson

A




BY DEAN SORENSON & BRUCE PEARSON

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Kjos Multiple Option Scoring allowseach arrangement to be performedas a solo, as an ensemble of any sizeor instrumentation, or as a fullconcert band work.

All pieces are correlated withStandard of ExcellenceComprehensive Band Method Books1 & 2. Both secular and sacred titlesare included, making Sounds of theSeason ideal for use in school,church, or community settings.

Sounds of the Season is a collection of 15 songs fromaround the globe representing holiday musical traditionsfrom Africa, the British Isles, Germany, France, theMiddle East, the West Indies, and the United States.


SOUNDS OF THE SEASONBY BRUCE PEARSON & CHUCK ELLEDGE

NN0015B Kjos Band News Vol 2 · 2 Kjos Band News | Fall, 2000 Neil A. Kjos Music Company • 3....

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