Session topics to include: conducting master classes, forums to explore repertoire, rehearsal techniques and instrument pedagogy

The conference will be led by international and Australian clinicians and will feature performances by some of the country’s leading ensembles.

International Headliners

Craig Kirchhoff
Professor of Conducting and Director of Bands
University of Minnesota

Dr Richard Miles
Professor of Music and Director of Bands
Morehead State University
Editor, Teaching MusicThrough Performance in Band
Sponsored by GIA Publications

Dr Joanne Erwin
Professor of Music Education (Orchestra)
Oberlin Conservatory
Sponsored by Hal Leonard Australia

Early Bird (closes 12 April 2012
$450 Conference
$40 Delegate Band *

Normal Rate
$500 Conference
$40 Delegate Band *

* Delegate Band, conducted by Craig Kirchhoff USA commences rehearsals 9am Wed 4 July with performance on opening night (Thur 5 July)

All Conference attendees to be financial ABODA members. Day rates will be released through the ANBOC2012 website. Accommodation and meals not included.

Location
St Laurence’s College
Edmund Rice Performing Arts Centre
82 Stephen’s Road
South Brisbane QLD

Register from 20 January 2012 at www.anboc2012.com

Keep checking back for updates …

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The programming reminded of a session given by Dr Peter Morris at QBOC last year, where he gave numerous suggestions on how to program an interesting concert. My school band cannot do what the Conservatorium Wind Orchestra can, but I did see the possibilities for future school concert programs.

The playing was ebullient, and clearly demonstrated the talent of Brisbane’s young musicians. Speaking of talent, the soloist, Emma DiMarco, demonstrated a masterly performance of the Fantasia for Alto Saxophone by Claude T. Smith, and showed how beautiful the classical saxophone can be.

It was a great concert, but a pity that it wasn’t patronized by more of Brisbane’s music teachers and conductors. They missed an enjoyable night.

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We’re planning to take Mark to lunch afterward – you’re more than welcome to join us. Please call Alisa Jones by Thursday noon on 0412 016 509 so she is able to book you in. Location central … Mark has requested seafood.

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Several years ago, when the William Revelli–led University of Michigan Band recordings were collected for that now famous Golden Crest record series, Clark Galehouse, president of Golden Crest marveled at the consistency of the timbre and texture of Revelli’s band over the 14-year span of the recordings in the midst of constant personnel changes from year to year.(1) We are all familiar with successful band directors at every level that seemingly shrug off “down years” and produce consistently fine ensembles that “really sound.” What does it take to achieve this?

Many musicians believe that achieving a beautiful band tone heads the list of challenges confronting the school band director. The issues that contribute to this challenge are many. Ranging from subtle to drastic, there are constant changes in group size due to scheduling, attrition, recruitment and graduation. The effects of student leadership and variations of ability on key areas of instrumentation can affect the band’s tone as well. These conditions occur with every band, from grade school ensembles through collegiate wind bands and even the professional military bands. Why is it that the most successful conductors can accept these changes and adjust accordingly while others succumb to the vagaries of the ensemble and accept the sound it gives them? What does it take to achieve consistency?

Achieving Your Tonal Concept

The answers often lie with the conductor’s concept of the band’s tone production. A band cannot meet performance expectations if its conductor cannot articulate, define or otherwise establish his concept of ensemble tone. What are your sonority preferences? What quality of sound is desirable; what blend sounds best to your ears? Could you begin to describe your ideal tone in terms like homogenized, brilliant or warm?

Preference toward a particular band sound is a combination of personal taste and convention. Personal tastes are established by past influences and experiences in ensemble participation, workshop or master-class experiences, listening and reading. There are many acceptable band tones in the spectrum and the act of developing your preferences is the first important step toward the long term goal: achieving consistency in timbre and texture in your band’s sound. There is admittedly a degree of subjectivity in the process. What might be one’s ideal band tone could need refinement from another’s viewpoint.

How does a conductor get started? There are five basic components that contribute toward a band’s overall tone: balance, blend, acoustics, sonority and chord voicing. These key components can be supported by several basic “principles” that can be applied to achieve the ideal tone.

Balance principles (2)

Human ears hear higher frequency notes more efficiently and clearer than lower frequency notes. This implies:

I. For each instrument family (Brass/Woodwind/Percussion): Bass instruments will provide the foundation followed by tenor, alto and soprano families. The analogy of the pyramid of sound is appropriate.II. For the section: the inner parts or the third or fourth parts may oftentimes need to project more than the upper parts.

III. For the individual: A forte passage in the lowest range on the instrument often needs more presence of sound than a forte passage in the highest range.

Blend principles (3)

If you hear yourself above all others, one of three things is happening:

I. You are overpowering or overblowing. Never louder than lovely.

II. You are playing with poor tone quality. Make the necessary adjustment to embouchure, breath support, posture, reed, etc.

III. You are playing out of tune. Make the necessary adjustment by extending or shortening the length of your instrument.

Acoustic principles

I. The larger the instrument and/or the further away you are from the front of the stage, the more you will have to anticipate the beat to avoid sounding “behind.”

II. Directional instruments (trumpet, trombone) will sound louder than non-directional instruments (bassoon, clarinet).

III. Tutti crescendi will maintain balance best if softer instruments lead louder instruments in the swell. (generally woodwinds first, brass next, percussion last) In diminuendi, vice versa: louder instruments should lead the softer instruments.

Sonority principles

I. The faster the tempo, the less loud you should play; let the speed carry the intensity. Generally, a forte at presto is softer than a forte at andante.

II. The more people sharing a rhythm, the less loud you should play.

III. The more people sharing the note, the less loud you should play.

Chord voicing principle

In diatonic/homophonic music, the tones that make up the quality of the chord are generally balanced under (are softer) than the foundational chords. For example, in a C major chord, the loudest tones are the C and G (the root and fifth) because they comprise the foundation. Since the 3rd defines the chord’s quality, I often balance it inside the sound of the root and fifth.

ACHIEVING A CONSISTENT TONE

Although the students’ ages in a school band remain consistent, different players often participate each year. It will take several rehearsals to shape the group’s sound to match the band a conductor hears in his or her head. Taking the time to define a band’s tone to the students improves the chances of satisfaction with the product. Moreover, at this point it is important to guide students toward formulating their own ideal band tone because guiding the aural development of students will help them become more discriminating listeners. The following seven suggestions may be helpful.

1) Explain and establish goals for the band’s tone. This point is one of the most crucial. Goals should be decided upon as soon as possible. A strong, agreed-upon aural image of what a band should sound like should be established in the conductor’s mind and communicated with the students. Then, when a deviation is appropriate, such as an unusually bright passage, adjustments can be made within the context of the established goal.

2) Teach the students the principles of tone. All of the principles work interdependently. For example, bands usually need to learn to control the volume in general, but especially when they play in their upper ranges. Long tone exercises in octaves promote a free-flowing sound that allows students to evaluate their tone quality and intonation in the upper tessitura. They adjust to keep their individual sounds full, yet without undue brightness.

Articulations must be well defined but never to the extent that they distort the tone’s beauty. Accents are normally achieved with a distinct tongue, but with more air behind the tongue on the initial impact.

If a C-major chord is voiced in first inversion in woodwinds with the bass clarinets carrying the only third of the chord, use the principles of balance stated above (e.g., pyramid) to be sure the quality of the chord is appropriate. If the composition calls for a brilliant unison with the trumpets over the general band texture, then an adjustment can be made.

3) Listen to good examples. The concept of “dark” or “bright” sonority may have to be taught, but verbal explanations often fall short compared to aural images. Record the band and locate examples of passages where the group is approaching or has achieved your idea of bright and dark, even if for only a chord. Have your students compare and contrast the qualities. Seek out recordings of professional or collegiate bands that are worthy of emulation and have the students in your band listen and imitate the quality of last chords or excerpted passages. Be sure the students hear the music on the finest equipment affordable. Considering the abundance of fine band recordings available, an aural model may provide your students with a truly valuable nonverbal learning experience.

4) Practice for tone. Numerous warm-up books are available for teaching consistent timbre and beautiful tone production. Any chorale book, such as Treasury of Scales is useful to encourage a full, flowing chordal sounds without edginess or lack of control. Typically, these exercises can be done at the beginning of the rehearsal and then be reinforced as the literature is introduced. Students will practice opening up their sounds within a technically easy format and then, with coaching, can be expected to transfer it to the music you intend to perform.

5) Control instrumentation. Defining your ideal band tone and then working with your students to realize the concept are two important steps requiring a partnership with band members. But, there are also several steps the conductor must take to ensure that the desired tone is even feasible. The “ideal sound” may be impossible to achieve without several instrumentation requirements. While the conductor may need to be flexible with the size of the group from year to year, two bass clarinets, a bassoon, two tubas and two euphoniums are the minimum numbers needed in these sections in order to facilitate the desired tonal balance. If a band averages 70–75 members there can be no more than 10 flutes and 10 trumpets and the clarinet section is stacked with three on the first part, 4 on the second part and five are on the third part. Variations in the middle to lower brass are inevitable and easier to deal with than overpopulations in the treble winds.

To some it may appear peremptory to control instrumentation, but if the goal is a first class musical experience for the students, the students as well as parents must accept the established instrumentational conventions. While enforcing these conventions may necessitate careful diplomacy, the effort can pay off in a more worthwhile experience for everyone.

6) The seating of the band has to be analyzed to maximize success in realizing the band’s ideal tone. Grouping the bass voices, irrespective of whether they are brass or woodwind can boost confidence with younger ensembles. Experimentation with acoustic shells and clouds, risers and upstage and backstage placement have a huge effect on the ensemble tone. If there happens to be a large flute section, experiment with seating them in twos on the conductor’s right going back to the final row. Start a second tier (a la the orchestra violin seating) to accommodate the second flutes. Brass bells straight on or from the side of the group is another variant that affects the ensemble’s sound.

7) Finally, choose program music that enables the ensemble to perform under the stencil of the agreed-upon tone quality. Not every selection qualifies, although every style of music is eventually possible. Choose some music at every concert students can breeze through technically so they can concentrate on tone production, especially at the beginning of the concert season. Shelve the popular “macho-bravura” genre of band pieces until the time when all of the variables to band tone have been scrutinized and demonstrated.

PUTTING IT ALL TOGETHER

Striving to achieve the ideal control, blend, clarity and quality that define the “perfect sound” begins with developing a way to communicate the concept to the ensemble and practicing to attain the goal. When all of these elements are addressed — establishing and explaining the goals, teaching students the principles of tone, listening to good examples, practicing for tone, controlling instrumentation, evaluating seating arrangements, and choosing music to optimize tone– students, audiences and conductors will enjoy consistent timbre — the ideal band sound.

(1) Clark Galehouse. Unpaginated liner notes for The Revelli Years with the University of Michigan Symphony Band. Golden Crest Records, Inc. CRS-4202D, LP recording.

(2) For a more complete discussion on this refer to W. Francis McBeth. Effective Performance of Band Music. San Antonio: Southern Music Company.1972. In this book McBeth also states that “good band pitch is a direct result of good balance.”

(3) A most thorough discussion of this can be found in Edward S. Lisk. The Creative Director: Alternative Rehearsal Techniques. Ft. Lauderdale, FL: Meredith Music Publications. 1991.

(4)Leonard B. Smith. The Treasury of Scales. Melville, NY: Belwin Mills Publications. 1961.

Related articles

• Summer Conducting School, part 4
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Please find below links to the new repertoire list for concert band music for 2011 and the updated repertoire for orchestra list. There are new works present in orchestra from Hal Leonard which are pleasing to see–a revisiting of some older titles. The new concert band works include some really excellent works this year, especially at the younger levels. I am sure some investigation will allow you to connect with the works which will make your year a very satisfying one musically.

Best wishes to you

Ralph Hultgren
Head, Open Conservatorium
Queensland Conservatorium Griffith University
P.O. Box 3428 South Bank Queensland 4101, Australia
140 Grey Street, South Brisbane Queensland 4101, Australia
Phone: (61 7) 3735 6253 Fax: (61 7) 3735 6366

Repertoire for Band 2011

Repertoire for Full Orchestra 2011

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Brolga Music
Think of central Australian Publisher, think Brolga
http://www.brolgamusic.com/

Manhattan Beach
http://www.manhattanbeachmusic.com/

GIA
www.giamusic.com
Also has the complete list of everything in the anthologies “Teaching Music Through …”
www.teachingmusic.org/pdfs/TMTPComprehensivelist.pdf

Meredith Music
www.meredithmusic.com/music-teaching-books
Get the Ithaca High School Book

Band Quest
www.bandquest.org
Published by American Composers Forum
Commissioning of works by outstanding USA composers for middle school bands … but some are more difficult and could suit high schools; e.g., Old Churches by Michael Colgrass. Exposes students to aleatory music and improvisation
http://www.bandquest.org/music/oldchurches.shtml
A+: A “Precise” Prelude and an “Excellent” March – Thomas Duffy.
http://www.bandquest.org/music/aplus.shtml
Paper Cut — Alex Shapiro.
http://www.bandquest.org/music/shapiro.shtml
Combines electronic with acoustic esp. paper ripping with various techniques (comes with click track), visual piece for audience.

Windependence series
http://www.boosey.com/teaching/series/Windependence/10130
Divided into: Apprentice/Masters/Artists
Some wonderful music in the series

Daehn Publishers

TRN (“That’s Really Nice”)
http://trnmusic.com/

Grand Mesa Music
http://www.grandmesamusic.com/
Trying to produce the best music for school bands and orchestra

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The Australian Band and Orchestra Directors Group is up and running on Facebook–go and ‘like’ it so that you can join in the conversation about Australian music making …

Please invite friends who are in the industry and would enjoy the conversation.

Check out the Australian Band and Orchestra Directors Group …

Jemima Bunn
Australian Band and Orchestra Directors’ Association (ABODA)
ABODA National President
ABODA Victoria Vice President
Melbourne Wind Ensemble
Ph: 0438 511 877

While you are on Facebook don’t forget to ‘like’ ABODA QLD’s page to keep up-to-date with all the Queensland professional development opportunites.

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Table 1.

Percentage of respondents who agreed or strongly agreed that they would attend these sessions.
95% Rehearsal Pedagogy
90% Conducting Master class Workshops
89% Guest Conductor available to rehearse members’ ensembles
84% Reading Days for Concert Band (New Repertoire)
79% Instrument Repair Workshop
78% Instrument Pedagogy – Percussion
76% Instrument Pedagogy – Woodwind
75% Reading Days for Concert Band (Standard Repertoire)
75% Conducting School (multi-day)
75% Mentor Program
75% Instrument Pedagogy – Brass
74% Survival Workshop for Music Educators
68% Visiting Composer Evenings
65% Reading Days for Stage Band (New Repertoire)
57% Reading Days for Stage Band (Standard Repertoire)
41% Instrument Pedagogy – Strings

Click here to download the complete survey results.

Among the initiatives being undertaken by ABODA QLD in 2011-12, that are in part based on the results of this survey, is a three-week Queensland residency by Dr. Mark Fonder (Ithaca College USA). This residency will include professional development events in Brisbane, Townsville and Rockhampton focusing on Rehearsal Pedagogy and having a conducting master class component. In addition, there are 10 days set aside for Mark to guest conduct/rehearse ensembles of all levels.

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