By Keith W. Hodgson
SBO+: This is the second in a series of three articles. If you missed the previous installment, you can always read it on SBOplus.net.
LIP SLURS:
All wind players, but especially brass players need to establish lip flexibility as part of their daily routine. Beginning with a simple 2-note (5 1) half note slur in Concert Bb and proceeding through each of the seven fingering combinations on all brass instruments (0-2-1-12-23-13-123) is a great way to start. Woodwinds can also play 5-1 or can sustain one tone (1- tonic) and descend chromatically from concert Bb to E while the brass plays each sequence. Numerous variations of descending and ascending lip slur exercises in the ’Overtone Series’ can be explored as next steps such as: (1 5 1); (1 3 1 5 1); (13 5 3 1 5 1) and many more. A good band method book will hopefully outline some lip slur flexibility exercises.
SCALE AND INTERVAL EXERCISES:
Scales are a significantly important part of warming up and improving the facility development of the fingers, tongue, and for teaching musical literacy. One of the challenges all wind players face is getting the fingers and tongue to work together seamlessly. Be sure to vary the articulations that are applied (staccato, legato marcato and combined patterns such as ‘slur 2, tongue 2’, ‘slur 3, tongue 1’ etc.).
Be sure to communicate the understanding of individual scale degrees and tendencies on each instrument in context to each individual key. It is also essential to engage students in a culture of continuous learning and development of all keys; major, minor, chromatic, modal scales; interval sequencing, and chord studies. It would be a disservice to students to restrict warm-ups to two to three keys and a sure way to instill boredom and mindlessness to ‘warm-ups.’ (You knew the soapbox was coming, didn’t you?).
Performing scales in rhythm (ie: Q,E,E,E,E,E,E,Q) is a common requirement for auditioned honor ensembles. Making this a daily practice in ensembles will assist in building key fluency, finger facility, and muscle memory. All forms of scales (not just major) should be explored in all keys of the ensemble’s curriculum. Scales do not always need to be played fast; however, a conscious effort to improve the tempo of each key will improve the overall ensemble’s technique around the circle of keys.
RHYTHMIC AND ARTICULATION EXERCISES:
In addition to applying various articulations to scales as previously mentioned, it is a common best practice to apply a rhythmic pattern to a scale or the circle of fourths. In planning this approach, new rhythm concepts, fragments of rhythms, or combining rhythmic elements can be repeated on scale or circle tones to establish ensemble consistency and understanding. Another suggested planning approach is to extract a rhythmic challenge from the music for study and incorporate it in the ensemble preparation time.
TUNING:
Tuning is and has always been a widely discussed and argued topic and many directors and programs across the country have their philosophies and established routines. As far as tuners go, they are an excellent tool for individual practice and checking pitch tendencies on your instrument, and when putting it together to make sure the instrument is closely in-tune with itself. However, we know just because you tune your instrument, that does not guarantee all notes will be in tune or your instrument will stay in tune. In fact, it was very purposeful to place ‘tuning’ in this sequential order of this article. To tune earlier in the process would be a waste of time as it will change as the musician and the instrument warm up. Consider that the real tuner… ‘the mind’s ear,” must actively work on tuning and intoning throughout a rehearsal or performance. The ensemble preparation process must train and focus this skill as each musician learns to adjust to the ensemble’s established center of pitch. Developing this musicianship skill is critical!
The concept of tuning to the ‘fundamental’ pitch (the lowest ensemble voice) is a common best practice. This encourages listening down and building the sound in balance to the bass voice, intoned to the tonic when placing intervals above, and structuring chords. I will not get into the more technical approaches for triad adjustments; however, it is essential advanced ensembles engage in teaching and practice achieving true chord ‘resonance.’
A basic approach to tuning a unison pitch is the “waveless-tuning process.” Composer and teacher Stephen Melillo (1980) in his Function Chorales method shared the analogy of listening to the sound waves and responding to the sound like focusing a camera lens. The best-practice is in having the musicians ask themselves if they are above or below the center of pitch being provided and making their own decision to make an adjustment. This is how they will learn best. Being told they are “sharp or flat,” or to “push-in or pull-out” will not teach the musical skill. This should be developed through individual trial and error, and the experience when the sound is correct.
The importance of having musicians make their own musical decisions cannot be understated. Musicians must be encouraged to adopt this ‘musicianship mindset’ and taught how to apply to decisions about dynamics, balance and blend, melodic phrasing, note direction, articulations, rhythmic interpretations, and much more. In The Artistry of Teaching and Making Music, Richard Floyd (2015) stated, “Engaging students in the decision-making process, defining the musical reasons for making the adjustments, and empowering the students to use this acquired knowledge in future musical settings is music education of the highest order (p.24).”
