Supporting the Core Subject TEKS in the Music Class.
 
There are many opportunities in our classrooms to show our support of the core subject TEKS. The music project takes very little time away from rehearsals; it teaches the students about a variety of topics connected to music; it makes use of both music and core TEKS.
 
While teaching both middle school and high school orchestras in both Georgetown and Lake Travis ISD I assigned a written project each grading period.
 
Students were expected to demonstrate research skills, reading skills, writing skills (every project is presented in cursive – check with your own district policy on this) and organizational skills.
To assist students with their research I gave them a list of suggested library resources (school and city) and helpful (pre-screened) web sites.
 

Suggested Topics:

Middle School

Grade Six
Project #1: Students learn about the development of the instrument they play. It may be presented as a poster or an essay.
Project #2: A short story using music notation. Whenever a letter belonging to the music alphabet is used it is written on the staff. Non-music alphabet letters are written below.
Project #3: French Music. Essential Elements 2000 contains a number of French melodies. Students are asked to find five melodies, to write the lyrics for one, and to write one in music notation. They are also asked to draw a map of France and to show Paris, Nice, and the River Seine. In addition they name a famous general and the current French President.
Project #4: Technology unit. The students learn to use “Notepad” or “Finale”. They compose a melody and, after performing it and making corrections, they then enter it on the computer. If there is time at the end of the year I compile these and give the students a booklet containing all of the compositions.
 
Grades Seven and Eight
The topics vary greatly from year to year but cover the following:
Project #1: Biography of a famous living violinist, violist, cellist or bassist. A performing group may be substituted.
Project #2: Music Analysis. Students study a current class piece (Gavotte, Minuet, March etc.), map out the form, and establish key, time, tempo, dynamics, and any other features.
Project #3: Music Vocations. They are given a list of occupations from which they choose one to research. The students are required to contact a person in the chosen profession (live or email) and to prepare a list of questions to ask that person.
Project #4:Technology – is a more developed version of Grade Six.

High School

Project #1 Grade Nine – The Baroque Period
Grade Ten – The Classical Period
Grade Eleven – The Romantic Period
Grade Twelve – Twentieth Century and Contemporary Period.
Students research music, art, architecture, literature, inventions, and major historical events of the period. Students select a major composer to research and listen to a composition by that composer.

Projects #2 and #3 are based on articles from “String”magazine.
Strings, bow hair, wolf tones, electric strings, varnish, Itzak Perlman, Music of Kazakhstan and a variety of other topics.

Project #4 combines a solo performance with an oral presentation about the composer and the piece being performed. Seniors write a short essay about what orchestra has meant to them. There is a small scholarship, provided by the booster club, awarded to the best entry each year.

Yes – it takes time to grade the projects but it is time well spent. The students learn there is more to music than performance. I encourage you to give “The Music Project” a try!

Julienne Smith
2006 – 2010 Hudson Bend Middle School
Lake Travis Independent School District
1998 – 2006 Georgetown High School
Georgetown Independent School District

The original article has been slightly formatted for easier viewing on screen. Download the original submission in PDF format here.

In Colorado and across the nation, student demographics are changing. Classroom teachers are now encountering students who are increasingly linguistically diverse. In many cases, students enter primary education having spoken a different language at home their entire lives. As a result, students are experiencing the English language for the first time when they enter elementary education. While they are acquiring a new language, they are still expected to become proficient in grade level concepts at the same pace that native English-speaking students follow. If the needs of English Language Learners are not met during such a crucial time in their education, they so easily can fall behind. More and more evidence shows that the sooner a student falls behind in their educational career, the more likely they are to never catch up.

With all of that said, it seems logical to strategically investigate how the education system can most effectively serve its English Language Learners. In my opinion, one resource that must be utilized more is the role in which the music curriculum can serve English Language Learners. Especially during economically challenging times, music programs are often among the first to lose funding because of their perceived lack of academic value or rigor. Serving an English Language Development program is an incredibly powerful way (though certainly not the only way) for a music program to demonstrate its unique significance in an education system that must, more now than ever, serve its English Language Learners.

Before I mention how a music teacher can develop his/her music curriculum to directly target English Language Learners, let’s first discuss how music already intrinsically aids language acquisition:

1. Repetition. Folk songs, and even songs within pop-culture, are structured around repetition. Whether the musical form is ABA, rondo form, or simple verse-refrain format, repetition is regular part of song structure. Repetition in language acquisition is absolutely essential. A new word must be used at least 10 different times in meaningful contexts in order to become a regular part of a person’s vocabulary set.
2. Aural Training. Phonemic awareness is an essential skill needed in order to recognize, produce, and read letter names and sounds. For example, students must be able to hear and distinguish the difference sounds among vowels before they can reproduce the sounds themselves, and certainly before they can accurately read them out loud. Likewise, students must be able to aurally recognize the different sounds that “b” and “v” make in order to pronounce a word like “verb”. Music is the only discipline that awakens and develops the ability to aurally distinguish between sounds. The ways in which the music classroom does this is endless. For example, music students must discriminate between the following sounds: beat and no beat; loud and soft; fast and slow; speaking or singing; high and low; or on-pitch singing and off-pitch singing. If the music classroom can teach students how to hear and classify sound, they are much more likely to accurately hear, reproduce, and read sounds in a new language.
3. Total Physical Response (TPR). Especially in primary games, songs are very often linked with games. Whether the game is as simple as the “Hokey Pokey” or as complex as a multi-part dance, movement is often a by-product of any musical experience. From a language acquisition standpoint, the more the movement the better. Brain research indicates that movement helps internalize concept awareness in an invaluable way. The music curriculum is perhaps better able to most organically incorporate movement than any other academic discipline.
4. Emotional well-being. Anyone who has had tried to acquire a foreign language knows that the experience can often inspire feelings of anxiety, powerlessness, and insecurity. The English language learners in our classrooms not only face the challenge of learning a new language for social purposes, but also are expected to become competent at academic concepts on their grade level. The anxiety that these challenges provoke must not be overlooked. Music calms the mind and spirit in a truly unique way. Even if the music is entirely instrumental, or even if the music lesson is centered on non-verbal movement, it is still helping English-language learners from a well-being standpoint. That aside, music is very often helping them from a vocabulary acquisition standpoint, as well.
5. Cultural Validation. Folk songs, drum circles, Orff ensembles, and standard children’s choir repertoire all have unique cultural roots. Whether learning a folk song in a foreign language or studying the historical roots of instruments, music is constantly affirming the richness and value of other cultures. Incidentally, it would be very easy for a music teacher to reference and/or use folk songs and/or instruments from Latin American cultures in an effort to validate the cultural heritage of his/her students. This is very important to do for English Language Learners. Though students are working to acquire a language different than what they’ve know before, they should know that their school system is not devaluing each student’s unique cultural heritage.

Clearly, there are many and varied ways that music-making serves language acquisition. If music teachers are wishing to capitalize on their ability to serve their ELL students, perhaps he/she can consider one of the following two suggestions:

1.  Pick one or two of the teaching focuses listed above that you already feel familiar with, and increase its power in your classroom. Here are a few ideas:

• If you have had training or extra resources concerning folk dance or other movement activities, use them extensively in your classroom! Teach a new movement activity at every opportunity. The language that students acquire from multi-step direction movement activities (even those without words!) is essential.
•  If you have a passion for and/or access to various types of world music, increase its presence in your class. Singing in different languages and validating a variety of cultures is a powerful experience for non-native English speakers.
•  Consider simply becoming more aware of which of the songs you teach that require total physical response (TPR). You probably already use a handful, but their force in your classroom can be increased by grouping them in similar categories. For example, find all TPR songs that name body parts, and teach them consecutively. This will allow your English Language Learners to have maximum repetition on important vocabulary.

2.  Develop a multi-pronged curriculum that serves English Language Learners by capitalizing on all of the teaching  strategies listed above. The structure of a music lesson that emphasizes ELD might look like this:

• A. Steady beat and pattern development. (Echoing the steady beat and/or 4-beat rhythmic patterns will give students the ability to recognize and repeat patterns, a skill essential for language acquisition).
• B. Nursery rhyme repetition. Nursery rhymes are repetitive, emphasize new vocabulary, and are emotionally comforting for children. Vocabulary acquisition from nursery rhymes would be enhanced by using a SmartBoard, as this would allow students to interact with and manipulate new vocabulary and/or grammatical structure.
• C. Simple singing games. A solid commitment to developing a proper singing voice will ensure that students understand the concept of “matching sound”. A student who has the ability to match pitch is also better equipped to emulate speech patterns, a skill that is essential when acquiring a new language (with, of course, different sounds).
• D. Movement activity. Movement activities provide students with essential vocabulary and TPR (total physical response). For example, the words forward, backward, step(s), turn, fast, slow, skip, touch, hands, back and forth, and repeat, are all part of the “Kindergarten Reel” by (insert name), and the actual music does not contain a single word! Students acquire and retain vocabulary from multiple-step direction games.
• E. ELD theme for the month or unit. Units of focus can include body parts, family, school vocabulary (library, office, classroom, etc.), clothing, food, weather, transportation, and animals. There is no need to abandon the music curriculum to teach these subjects. Rather, music teachers should pick relevant songs s/he is already familiar with and incorporate them into the ELD theme for the month.

Below, I have provided examples of all of the themes listed above.  This is a music lesson that I would teach at some point within the first quarter of the school year.

• A.  Pattern Development: “It Moves Me: World Music Warmups for Dance, Volume 1”, Christopher James Thomas & Piyata Penedo, 2006. (westmusic.com)I use track two “Curucumin” to perform a movement activity based on patterns.  Simple clapping patterns can be used in the beginning.  Egg shakers also work well.  As students become more advanced with their pattern development, simple dance choreography can be used.
• B.  Nursery Rhymes: Work your way through Favorite Nursery Rhymes of Mother Goose (amazon.com).  Peter, Peter, Pumpkin Eater; Hickory Dickory Dock; Jack and Jill Went up the Hill; and Rub-a-dub-dub are good places to start. 
• C.  Simple Singing Games: I find that simple so-mi games are good places to start for matching pitch, especially at the beginning of the year.  “Doggie, Doggie, Where’s Your Bone?”, “Tinker Tailor”, and “Bluebird, Bluebird” are examples of such songs that can be found in various music textbooks, such as Share the Music by McGraw/Hill. 
• D.  Movement Activity: I love the “Kindergarten Reel” in Step Lively 3: Primary Dances with CD by Marian Rose.  The recording provided for this dance is entirely instrumental; though students will learn a variety of movement terms as they learn the dance.
• E.  Vocabulary Focus: If “Body Parts” was my ELD theme, I could teach “Hokey Pokey”, “Head, Shoulders, Knees & Toes”, and “If You’re Happy and You Know It”, among many other choices!

Final Thoughts:

I wish to emphasize that I am not suggesting music teachers should revamp their music curricula to serve English Language Learners.  In fact, the link between music education and language acquisition is quite natural.  Perhaps music teachers should find one way in which they are already serving students who are acquiring English, and then simply draw awareness and focus to that aspect of their teaching. 

To close, I offer six practical tips that teachers of any discipline can use immediately when teaching English language learners, beginning immediately. 

1.  Speak slowly. 
2. Use gestures as much as possible. 
3. Repeat vocabulary and directions copiously.
4. Use a synonym if a word is not recognized.
5. Use your students as “models” instead of always modeling yourself.
6. Never, ever humiliate. 

Best of luck incorporating these strategies into your classroom!

Do you have a philosophy?  Develop a philosophy that fits your vision for your student’s musical growth.

My philosophy is:  The band, orchestra, or choir should provide A Place for all interested students.  Each student deserves my consistent Musical Best every day. I am the musical leader of our program and ultimately responsible for everything that is in the best interest of our student’s time and musical growth.

Your philosophy will determine how you spend your time.  The philosophy that you choose will gradually change and it should.  As you grow in your teaching repertoire, you will find new and better ways to do things.  Your thinking about music will also change and so will your goals.  Create both long and short-range goals every year.  Do not be afraid to revise or rethink your goals and objectives as the situation dictates.  

Create the learning environment that works for you

The classroom should be well organized with chairs, stands, risers, and equipment already set for rehearsal.  The student’s procedure for entering the rehearsal should be clearly stated and understood.  The attitude that I strongly encouraged to my students emphasized a friendly but business like atmosphere.  The director always sets the tone for a successful rehearsal.  When my rehearsals are less than I anticipated – it is usually my fault.  How did I present myself or react to my students. It is generally something that I did not plan,  think through, or control.  List the goals and objectives for the rehearsal on the board.

Well-defined and consistent rehearsal procedures are critical to a successful music program.

All students should be mentally active in the rehearsal at all times.  Your job is to engage everyone in the rehearsal.  Groups that are engaged are listening and are mentally in sync with you in the rehearsal.  These types of ensembles always perform at a higher level.  The director teaches the procedures.  List and talk about your procedures at the very beginning and reinforce every day.  The list should include all aspects that you think are important for the rehearsal.  Preparation, materials, and rehearsal expectations – I recommend a very short list.  The goal is to save time.

Communicate to staff and students your expectations.

A staff moving in the same direction is a great asset.  Staff planning and communication should be about involving everyone in the process.    Setting calendars, making schedules, and dividing staff responsibilities is very important.  Deciding on the curriculum and on a pedagogical philosophy for the entire program is critical.  The curriculum should include a logical time line and rehearsal verbiage that includes theory, fundamentals, technique, style, and counting.  This should be taught from the beginning.  Communication to the students should be clear and consistent with a minimum number of rules.  Have a plan for each rehearsal for the staff and students.  The most useful tool that is available to each teacher is that students need to be attentive and to look and listen to you.  They need to be respectful of the learning process.  To be successful, you must insist that their attitudes support those conditions.

Have a counting system and use it.

I believe in the Eastman counting system.  You can count everything with it and it is very simple.  I like to have students count out loud and insist on a foot tap. We also clap the beginning of each note and verbalize the durations with our voice.  Counting and fingering with a foot tap is also desirable.  Be careful to tap the toe not the heel.  I believe physical movement of an accurate foot tap with an accurate upbeat is very important in developing a sense of innate rhythm.  There are music programs that do not teach or require students to count rhythms on a regular basis – this is a mistake.  The lack of confidence in being able to understand and count rhythms is a result of not having a systematic approach to learning them.  It is very easy to develop some basic rhythm sheets that can be easily utilized on a regular basis in all classes. The rhythm sheets can be used when practicing style unisons.  A well understood counting procedure will save you a lot of time.  The secret is to follow through, monitor, and be consistent in its use.

Study the music before rehearsal.

Too few people really do this.  Look at Frank Battisti’s book on wind score study.  It will give you some great general ideas.  Choral knowledge of the language, the consonances and vowels as well as the meaning of the words is essential.  Develop a mental picture of what you want the music to sound like.  Any additional information that you can learn about the composition and composer is helpful.  After study, assign  parts and mark or outline important information in the score and on the individual parts.   Take the time to teach specific markings that you develop to your students.  Pass out a sheet to your students detailing the markings that you want them to use.  I would also suggest that you mark the most significant markings on the individual parts before you pass them out.  Bowings should be marked on string parts.  Students numbering the measures is a given.  Require each student to have a pencil.  Check regularly that they have one and that they are marking their music.

Be able to model to the students what you want musically.

Learn to count, sing, or play in style with good pitch.  Be able to model all of the parts of a piece of music.  This is a marvelous time saver to get the musical style across to your students.  Count in-tempo and in-style and also require that the students imitate what you do.  Modeling on an instrument is also a great tool.  Music is really exact imitation.  For wind and string players, encourage them to sing by being able to model the singing yourself. Practice singing  anything.  Even having the class sing a Remington  F  exercise while having one student play is a great start.  Sing diatonic and chromatic scales.  By being more accurate in the modeling of the fundamentals along with the elements of style, pitch, and nuance, you will save time.

Work to be concise, efficient, and direct in your instructions. 

Many young teachers are not direct or loud enough in their instructions to their students.  Teach the ensemble to be focused, still and to watch and listen when you instruct.   Be direct and have something to say.  Students have an attention span of about 6 seconds.  Have a reason for stopping and be able to give immediate feedback.  I like my students to sit in the chair strongly and I define a ready position for their instruments during instruction.  I also define a playing position and a relaxed position.  Horns come up immediately when my arms come up – no delay.  Rehearsal procedure is very important.  You are working for a minimum of talk – the goal is to be less verbal in your rehearsal.  Less talking and more learning by playing – efficient instruction and listening saves time.

Teach the ensemble how to watch and how to follow the conductor.  

For many of the young teachers of today – this is a lost technique.  We have become too dependent on metronomes for ensemble work.  We need to have directors teach their students to be rhythmically independent.  How many of our teachers count off or give too many preparatory beats when they begin a piece of music.  The conductor’s one preparatory beat gives the tempo, style, and dynamic. It forces them to be attentive and to watch.  Our students can understand that if we teach them.  Why do we need a full measure of preparation to start an ensemble?  We do not.  Practice with them by giving a preparatory beat and have them respond with the first sound by saying “dah”.  Continue the process by having them count, clap, or play consistent notes in style, tempo, and correct dynamics with your beat.  This will require practice and proper preparation by you and the students.  Observe and make them breathe in-tempo.  Developing the student’s ability to watch and follow will save a lot of time.  You are trying to get the ensemble to understand that everyone is ready to start and play together on each first note of each piece.  It always amazes me when I work with a new group – even a Region Honor Band and they cannot do this.  Spend time to save time.

Get your head out of the score and look at the students. 

The lack of eye contact with your students is a bad habit. You as a director need to be able to conduct and teach with as much eye contact as possible.  You are giving musical direction and you need immediate feedback from the students in the ensemble.  They need your mind and your body so that they may respond with musical confidence.  Again your direct attention to them will give a lot of information so that you can make the rehearsal more efficient.  Work to watch and listen to what the students are doing in the rehearsal – this will save you time.

Study and know the instruments.  

An indispensable tool for you is to have a thorough knowledge of the instruments and voices.   You cannot have too much knowledge or information.  Basic sound production requires good posture, breath, and mechanics.  Know the tendencies of the instruments.

Separate pedagogical jargon from the truth.  Study and develop a fundamental set of beliefs in the correct pedagogy of the instruments.  I am sure that you have been to clinics and/or master classes and have walked out knowing or not knowing if that the person had correct information.   Be wary of gimmicks and tricks.  Find and indentify colleagues that are respected as seasoned pedagogues for all the instruments and develop a professional relationship with them.  Ask questions.  Learning to play each instrment is important.  Clarinet and trumpet are very important instruments to study and understand.

Most embouchures are similar.  

Most wind embouchures require a minimum of pressure and relaxed openness.  They also require firmness in the corners of the mouth, a soft upper body, and a natural face.  In most embouchures, the center of the lips is soft.  An open, in-time and relaxed inhalation and exhalation will help create the correct feel and look.  You are looking for the least amount of tension.  Also, firmness of the corners and a natural flat chin is desirable.  The flute embouchure should be as flexible as the brass embouchure.  There are specific techniques that you can see and analyze for all of the string instruments  – you do not have the mysteries that are inside the mouth and related to the embouchure.

Isolate each student and work to correct fundamentals of posture, hand position, breathing, embouchure, and tone. 

These fundamental are on going everyday in the life of your program. Model them everyday.   It is important to teach the correct fundamentals and to teach them from the beginning.  They must be reinforced everyday.  Breathing exercises are a great ensemble tool.  Model the breath and the exhalation visually with the hand.  Visually help them take a four-count breath by using the hand and arm to show the direction and duration of the air. The inhalation and exhalation should be smooth and sustained.  The air is always moving.  The entire torso should be balanced and relaxed allowing the diaphragm to move naturally so the lungs can expand out to displace the organs and muscles of the lower torso.  Let the ribcage expand and rise.  Exhalation – the process reverses.  The upper body needs to be tall so that the mechanism is efficient.  I like the terminology of saying – organize your air to be in time, sustained, continuous, and consistent to the end of the phrase.  Posture dictates that the body is balanced and that you are sitting on your sit bones, the spine should be curled forward and up, and feet flat on the floor for balance.  Hand positions should be natural to the contour of each instrument.  Check fingers and thumbs for roundness, firmness, and correct angles.  No wrists bent to the forearms.   Arms should be natural and away from the torso. Bring the instrument to the head – not vice versa.

Create a performance atmosphere in each rehearsal. 

I emphasize that all rehearsals are performances.  The quality of focus and attentiveness in the rehearsal will determine how the group performs in a concert.  Rehearsals are performances.

Structure all of the warm-ups, vocalizes and technical exercises to relate to your learning the music.  

The goal of any warm-up or exercise is to create awareness.  Warm-ups should also include breathing exercises and be relaxed.  Emphasize Remington exercises and/or scale type matching exercises that include brass lip vibrations, matching of pitch, consistent tone quality, note starts, matching of energy, style consistency, resonance awareness, ensemble recognition and matching.  Warm-ups and technical exercises that are used routinely in a mindless way have little ensemble value.  The director needs to ask open-ended questions about what is happening when they play.  Direct the questions so that you are focusing them toward listening, evaluating, and correcting.  Ask them to play their best sounds and match the energy of their neighbor.  The students should be engaged in the rehearsal in a technical and musical way.  Thinking individually and collectively about what we are doing is the goal.  We directors need to talk a lot more about how we start a sound, what it sounds like, what is the shape of the note, and when and how we end it.  The transfer of concepts and fundamentals in a warm-up into the body of the rehearsal is critical.  The ultimate goal is to make the fundamentals transfer to the learning of music.

Learn to isolate the individual musical parts and talk about them.   

A director needs to be able to isolate the parts, define them, prioritize them, balance them within themselves, and within the ensemble.  Fundamentals to teach would be:  octave balance, who to listen or balance to, shapes of notes, energy matching within parts and groups, energy matching of the line, defining dynamics and the stress or direction of the line, breath and phrasing, evenness within the musical line, and technical problems within the tempi.

Teach the correct musical terms for technique, styles, and forms.

Take the time to teach basic musical terms and forms.  Do your students know the musical terms that describe styles and tempi?  Do they understand the terms syncopation, hemiola, or cadence? This should be part of their music education.  A general historical and theoretical understanding by each student is very helpful to understanding the music.

Do not be afraid of using the metronome.

Do not be afraid of not using the metronome. 

Work on matching pitch.

An electronic or student sound source is a good way to teach matching pitch.

Pitch moves around in a performance within the ensemble – it is critical that you work on pitch match every day.  Match not only the pitch but also the energy of each player. You need to talk about pitch and demonstrate with electronic tuners what a pitch-match sounds like.  F around the room is a wonderful way to quickly check pitch, how and when they start a note, the follow through or duration of the note, the quality, the energy match, and how they end the note.  You can quickly check everyone in the room and give them instant feedback as they play. Long tones for string instruments are excellent. Get the bows moving and full and in the proper place on the string.  Individual tuners should be encouraged for each student.  They are inexpensive and can be used for individual practice and in the ensemble.  Students should be encouraged to check their pitch visually and then develop the listening skills to match what they see and hear.  Spend time to save time.

Practice styles and rhythms on unison pitches. 

It is very easy to incorporate different styles, rhythms, and note lengths in your F around the room.  Notes should start and end together, they should be square and not move around or changes shape, should respond quickly, should have a good center and core through the note.  The individuals should match how they start articulations as individuals and as sections – talk about match of tone, energy, style, length, and pitch.  Writing what you hear and what you want in a descriptive way on the black board is helpful.

Plan on a regular rehearsal and sectional schedule.

It is very important that you schedule regular sectionals.  The initial scheduling should take into account all-important factors so as to eliminate as many conflicts as possible.  Student input is important when planning the schedule.  After the schedule is set, it is very important that you be consistent in day and time of the sectional or rehearsal.  Individual listenings of your students is a tremendous way to elevate the quality of your individual players and the ensemble.  Be consistent in your expectations and you will have more consistency in your rehearsals and performances.   Be careful to not have unrealistic expectations.  The total rehearsal structure should plan for consistency, maintenance, and growth.

Individual listenings are great!

Isolate players with other staff members for individual help.

Assume that everyone can do it. 

Have high expectations for each and every player.  I rarely cut players out of the music because they can’t play it. Being unable to play their part is not an option.

Work to have a high point in the rehearsal.

It is okay to have high expectations and so there may be times when there will be tension in the rehearsal.  There also should be a release of tension.  A planned musical high point is an excellent goal and a great way to end the rehearsal.

End the rehearsal with the students wanting more.

Encourage rather than discourage.

Do not be inflexible – be flexible when you need to be.

Start and end rehearsals on time – end early if possible.

General Logistics

Pass-off music each week.

Record the ensemble and get some help.

Communicate with parents, faculty, staff and administration.

Use handbooks, calendars, newsletters, and web and smart phone networking.

 Return phone calls, letters, and email.

1. Provided for all novice teachers
2. Complete contact information for protégé and advisor is needed
3. A pilot-mentoring program should be initiated in the beginning
4. Formal time for mentoring should be for a minimum of one school year
5. Selecting experienced, successful and effective advisors is of major importance
6. Advisor and protégé pairing with same teaching area and geographical area
7. Strong advisor-protégé relationships contribute to the retention and success of new teachers
8. Matching advisor’s and protégé’s teaching area and grade level is desirable
9. Training of advisors about the program is desirable
a. Expectations of advisor
b. Timeline for activities
c. Suggested procedures
10. Advisor’s ability to understand the “life world” of the protégé’s teaching situation
11. Advisor developing a relationship with the protégé’s lead music teacher, administrator and/or principal
12. Advisor and protégé developing a positive working relationship with each other
13. Advisors should be in contact with their protégé at least twice a month
14. Contact at first meeting is face to face and before school year begins
15. Monthly contacts via email, phone call, and face to face
16. Flexibility in meetings with more contact at the beginning of the year
17. Advisors and protégés should log all contact and communication
18. Advisors and protégés should keep a journal of first year teaching experiences
19. Advisors and protégés are TMEA members and are strongly encouraged to attend the convention
20. Protégé’s attendance at a summer music convention is strongly recommended
21. Advisors are not be paid for serving
22. Release time and opportunities for protégé to observe experienced and successful teachers is encouraged
23. Organizing a “chat room” for protégés and advisors is a desirable goal
24. A second year program expanded with advisor, the 2nd year protégé and new first year protégé is encouraged
25. A follow-up “end of the year” analysis is required

This information was presented at TMEA. You may download the handout and Power Point Presentation for your convenience.

The technique of the clarinet section sets the boundaries for literature the band ensemble can play, so it is critical to have a MONSTER clarinet section so that there are no limits, just possibilities!

The following tricks and techniques have worked for me!

Who gets to play clarinet?

• Recruiting
• Physical Characteristics
• Personal Interest

Equipment

• No plastic, please! Do whatever you can to prevent this!

Care and Maintenance

• Clean instrument after daily use with a silk swab
• Use bore oil bore at least once a month
• Use lukewarm water in mouthpiece
• Keep corks greased

Fundamentals: Posture

• Feet flat on the floor, work to “anchor” the body
• Back doesn’t touch the back of the chair

Fundamentals: Reed Position

• Tip of reed should line up with the tip of the mouthpiece, look for the “frown”
• Reed must line up on the table of the mouthpiece

Fundamentals: Embouchure

• Lower lip over lower teeth
• Firm upper lip with top teeth on mouthpiece
• Mouthpiece halfway in mouth, instrument at a 30 degree angle
• Pointed chin
• Use “smile muscles” to prevent poufy cheeks
• Use a small mirror on music stands

Fundamentals: Air

• Breathe through corners of mouth, teeth don’t leave mouthpiece!
• Air pressure should not change, keep the air intense

Fundamentals: Tonguing

• Demonstrate tonguing, but don’t tell class how separation is achieved
• Once students are moving the tongue on their own, then explain the mechanics
• Tip of tongue touches tip of reed
• Back of tongue should remain in a “cat’s hiss” position at all times there should be no visible throat motion or “clucking”

Fundamentals: Hand position

• Relaxes hands, no squeezing
• Left thumb should rest at the “2:00″ position

Fundamentals: Finger Motion

• Play with pads of fingers, not the tips (Cheerios)
• Keep fingers close to the keys, should “hover” around instrument
• Practice in front of a mirror

Method Book

• What appeals to kids?
• Choose a book that’s “cool”

Model

• Play as much as you can for the class. If you don’t play clarinet, learn!
• Find CD’s to play for the class; they need to hear a good sound!

Technique

• Get the fingers moving!

Finger Patterns

• Use colored stars to help understand instrument mechanics
  Scales make everything easy!
• One Octave scales first: Concert F, Concert Eb
• More one octave scales that don’t cross the break

More Technique

• Learn and use alternate fingerings

Crossing the Break

• Take in more mouth piece to produce the notes in the initial stages.
• Keep tongue in “cat’s hiss” position
• No biting!

More Scales!

• Add the register key to the Concert Eb scales and you’ve got another scale
• Concert C Scale
• Two Octave Scales
• Play for points & incentives

Performances

• Weekly chair tests
• Mini recitals at home
• First Performance!
• American Idol

Warm-Up

• Daily Drill
• Long Tones

Goals:

Success:

Questions/Discussion:

Part 1
Part 2
Part 3

99 Ways to Praise a Child!

• WOW
• WAY TO GO
• SUPER
• YOU’RE SPECIAL
• OUTSTANDING
• EXCELLENT
• GREAT
• GOOD
• NEAT
• WELL DONE
• REMARKABLE
• I KNEW YOU COULD DO IT
• I’M PROUD OF YOU
• FANTASTIC
• SUPER STAR
• NICE WORK
• LOOKING GOOD
• YOU’RE ON TOP OF IT
• BEAUTIFUL
• NOW YOU’RE FLYING
• YOU’RE CATCHING ON
• NOW YOU’VE GOT IT
• YOU’RE ON YOUR WAY
• HOW NICE
• HOW SMART
• GOOD JOB
• THAT’S INCREDIBLE
• HOT DOG
• DYNAMITE
• YOU’RE BEAUTIFUL
• YOU’RE UNIQUE
• NOTHING CAN STOP YOU NOW
• GOOD FOR YOU
• I LIKE YOU
• YOU’RE A WINNER
• REMARKABLE JOB
• BEAUTIFUL WORK
• SPECTACULAR
• YOU’RE SPECTACULAR
• YOU’VE DISCOVERED THE SECRET
• YOU FIGURED IT OUT
• FANTASTIC JOB
• HIP, HIP, HOORAY
• BINGO
• MAGNIFICENT
• MARVELOUS
• TERRIFIC
• YOU’RE IMPORTANT
• PHENOMENAL
• YOU’RE SENSATIONAL
• SUPER WORK
• CREATIVE JOB
• SUPER JOB
• FANTASTIC JOB
• EXCEPTIONAL PERFORMANCE
• YOU’RE A REAL TROOPER
• YOU ARE RESPONSIBLE
• YOU ARE EXCITING
• YOU LEARNED IT RIGHT
• WHAT AN IMAGINATION
• WHAT A GOOD LISTENER
• YOU ARE FUN
• YOU’RE GROWING UP
• YOU TRIED HARD
• YOU CARE
• BEAUTIFUL SHARING
• OUTSTANDING PERFORMANCE
• YOU’RE A GOOD FRIEND
• I TRUST YOU
• YOU’RE IMPORTANT
• YOU MEAN A LOT TO ME
• YOU MAKE ME HAPPY
• YOU BELONG
• YOU’VE GOT A FRIEND
• YOU MAKE ME LAUGH
• YOU BRIGHTEN MY DAY
• I RESPECT YOU
• YOU MEAN THE WORLD TO ME
• THAT’S CORRECT
• YOU’RE A JOY
• YOU’RE A TREASURE
• YOU’RE WONDERFUL
• YOU’RE PERFECT
• AWESOME
• A+ JOB
• YOU’RE A-OK
• MY BUDDY
• YOU MADE MY DAY
• THAT’S THE BEST!

Practice Routines

We all have habits. If you instill in them habits by your own consistent repetition and drill they will practice the same way. I would have a sequence and routine for each section that you use for EVERY sectional and practice. They need to learn the drills through habit not by reading exercises on a page. This frees up their minds to focus on listening to their sound and watching their embouchure.

The routines will change as their skills develop. The most important thing for the teacher is to make sure they are being consistent with their teaching routine.

Individual instrument goals for 6th, 7th and 8th grade

Flute

6th Grade Flute student
August- Sept. – Embouchure, Tone, Breathing, Foot tap, Basic Theory
Oct. – Put instrument together, play 1st note
Nov. – Learn first 5 notes
Dec. – Christmas Concert
Jan. – Bb concert scale
Feb. – Chromatic scale
Mar.-April and May- Vibrato, F con. Scale, Eb con. Scale, shifting
May- End of Year Concert and Solo Competition
June- Summer Band

7th grade Flute student
Good tone
Posture
Foot tap
Basic rhythms (whole note, half note, quarter note, eighth notes, dotted quarter- eighth and corresponding rest)
Scales one octave-Bb concert scale and C scale; two octave F and Eb concert scales
Articulation- slurring, legato tongue,
Shifting exercises
Arpeggio and thirds
Suggested solo’s- Melody, Nocturne, Spring song
UIL pieces
Christmas and Spring concert music

8th grade flute student
Fundamentals:
Tone- shifting, tapers and lifts. -when tapering or lifting, bring the lips and corners forward and slowly start to close the aperture; lift the head and roll out SLOWLY.
Technique- chromatic and diatonic scales for All Region- remember to keep your fingers curved and close to the keys.
Articulation- legato, staccato
Accents
Styles and Tempos
Tuning- air stream, tuner, alternate fingerings
4 measure phrasing
Rhythms: 16th’s, dotted eighth-16th, triplets, eighth and two sixteenth’s, two sixteenths and an eighth note.
Suggested solo and ensemble music: solo and ensemble
Concert and Contest Collection- any, Adv. – Sonata in A minor met. 1 or 3, Concerto in G-Quant, Viennese Refrain Trio, Classic Fantasy Trio-Adv., Comedians Gallop-Quartet- Adv., Jesus, Man of Desire- trio

Clarinet

6th Grade Clarinet
Fall Semester
Embouchure and tone development – start, sustain and release
Posture, hand position-instrument carriage and maintenance
Concert Bb through F
Whole note, half notes, quarter notes and corresponding rests

Spring Semester
Continued embouchure and tone development
Development of the lower and upper registers
Develop concert Bb scale range
Basic eight note patterns

7th Grade Clarinet
Continued tone development in all registers and dynamic ranges.
Articulation development – legato and march style (lift-bounce)
Work diatonic scales – Bb, Eb & F concert
Work chromatic scale – Concert Bb range (one octave)
Work on 8th note, dotted quarter-eighth and basic sixteenth note patterns
Solo and ensemble participation

8th Grade Clarinet
Continued tone development in all registers and dynamics ranges
Continued articulation development – legato and march style (lift-bounce)
Work diatonic scales – Refer to the required Region Band requirements
Work chromatic scale – Refer to the required Region Band requirements
Continue to introduce advanced rhythm patterns
Participation in the All-Region band auditions process
Solo and ensemble participation

Saxophone

6th Grade
1st semester
Correct posture and playing position
Correct embouchure
Characteristic tone
Correct breathing technique
Correct air flow
Correct hand position
Correct finger position
Block of sound (start-sustain-release)
Correct tonguing
Correct foot tap (down-up)
Appropriate concert etiquette
Whole note, half note, and quarter note
Range of first five notes (Bb concert – F concert)
Instrument maintenance
4/4 time signature
2 measure phrasing

2nd Semester
Chewing exercise
Develop lower register (low D)
Extend range (low D to G above the staff)
Dotted half notes
Eighth notes
Keep developing and improving on 1st semester goals
¾ time signature
4 measure phrasing

7th grade goals
Keep improving and building on 6th grade goals
Faster chewing exercise (sounds closer to a vibrato)
Wider lip bends
Extend range (High D above 2nd ledger line to low C on 2nd ledger line)
Some students may be challenged to play High F above the 3rd ledger line to low Bb below 1st ledger line
Dotted quarter eighth note rhythm
One octave Bb, Eb and F concert scale, arpeggios and thirds
Articulation – Slur two, tongue two
Tuning – Adjust mouthpiece on gooseneck
Dynamic Long Tone
On mouthpiece and gooseneck
Play the tone for five volume levels
Start whisper soft (0) all the way to the strongest volume (5) and then back down to whisper soft (0) in one breath…slowly
Do this every day and it will dramatically improve the tone
Improve on tonguing styles – Legato vs. Lifted
2/4 time signature
Chromatic Scale – One octave

8th grade goals
1st Semester & 2nd Semester
Keep improving on 6th and 7th grade goals
Rapid and wide lip bends (chewing exercise)
Vibrato
Range from High F above the 3rd ledger line to the low C below the 1st Ledger line
Scales – Ab, Bb, C, Db, Eb, F and G full All-Region octaves
Chromatic Scale full range
All-Region Music
Tuning
Covered C#
Tune fourth line D and fourth space E
Every effort should be made to tune this note by bending the pitch but there are some cases where extra help might be needed.
While playing either D or E add the left pinky B key or Bb key depending on which one makes it play better in tune
Improve on the legato and lifted tonguing
Syncopation, sixteenth notes, dotted eighth sixteen notes, triplets, and any other combination of these rhythms
Cut Time and 6/8 time signature

Teaching techniques for development of unique skills for each woodwind instrument

Flute

1. Vibrato
• I would introduce vibrato to Flutes when they have the following skills
• Stable consistent embouchure
• Shifting/8va exercise mastery
• Can produce a good sound with a proper embouchure up to F6
• Pulsing the breath teaching techniques
• Yell “Hey” with the hand on the tummy
• Say “who” with the hand on the tummy
• Hssss, or sizzle with the hand on the tummy
• Once they get the hang of this then pulse the air on a triplet pattern
• Pulsing with the instrument
• Stress that the embouchure must not change
• Use a mirror at all times while working on this!
• Pulse through a set embouchure
• Pulse while placing the lips on the head joint away from the lip plate
• Pulse while placing the embouchure on the tone hole but don’t worry about getting a sound
• Eventually work up to getting a sound as long as it looks right
• Developing vibrato *I would begin each of the following steps once they have mastered each skill.
• Work on a single triplet pattern until it is consistent
• Then to 2 triplet patterns followed by a half note
• Do this on a scale, each note of the scale
• Then 3 triplet patterns followed by a quarter and eventually continuous triplets
• Breaking a measured pulse in the vibrato
• On the shifting exercise do slow vibrato low and fast vibrato high
• Do not count off this exercise
• Demonstrate and explain that vibrato changes speed with range
• Also do dynamic exercises that start without vibrato and add/diminish through the crescendo/decrescendo
2. Shifting
• I would introduce this once they can play a Bb scale range with a great embouchure and sound
• Teaching techniques
• Say “wee” then “ooo”
• Normal embouchure then pucker
• ALWAYS USE A MIRROR!
• What they should see: corners come in, lips go out, opening gets smaller
• Touch finger to the lip, practice shifting the lips
• Then blow air while doing this
• Add the head joint placing the lips below the lip plate
• Do each step without air, then with air
• If the embouchure changes, go back a step until it is done correctly then try it again
• Eventually go to the lip plate and don’t worry about the sound! MAKE IT LOOK RIGHT.
• If you do this the sound will come
• Further development
• Start on Bb, C 8vas. Once mastered go to D5-F5 octaves
3. Lower register
• I would work on notes below F4 until they have mastered shifting, vibrato and play very consistently.
• Work on low F-D on the following items
• Play the low note and over blow it until the sound skips up a octave
• The right place for the low register is to play on the edge between the lower register and the upper register
• You want to hear the upper register note mixed into the lower sound
• There are no rules for the embouchure, they can stretch or do whatever they want here. In this case the goal is to make it sound right and get the sound on the edge
• Once they get this concept immediately add vibrato. Vibrato is key to lower register sound
4. Legato
• Use “Lu”

Clarinet

1. A key/Register key hand position
• It is critical to “get it right”
• Finger C4 and move the A key by rolling the side of the finger to it, rock the thumb to the octave key
• Rock and roll!
• After they can do this have them lift the fingers off the holes but keep them right over the holes
• Avoid “flying fingers”
2. Pinky position
• Pinky’s must be curved
• If they are straight then their hands are too far away from the instrument
• On the right hand, drill G-E-G-F-G-Ab-G-F#
• Go in different sequences, make it a speed game
• Same idea on the left hand
• Think the pinky has a eye in the end of it and it needs to look straight down at the key
3. Crossing the break starts with developing the low register
   • They must be able to play down to E3 with a strong sound and firm embouchure
   • Work on hand position to make sure they are covering the holes with the middle of the finger pads
   • If they can do this, then you are ready to introduce the upper register
   • Have them play a low G and then add the register key
   • Do this silent first focusing on hand position
   • Place the Clarinet on the knee and add the register key without moving the other fingers
   • Once this is mastered do this in playing position blowing slow air but not getting any sound
   • Eventually get a good solid sound on then try adding the register key
   • Do low G, F, E
   • Crossing the break
   • Finger a low E and lift the thumb and 1st finger just off the holes
   • Add them to go to the B fingering
   • Do this with the instrument on the knee and focus on hand position
   • Then try the entire instrument
4. Voicing and the upper register (this gives them the skills necessary to play the upper register in tune)
• When they are competent up to C6 I would begin to have them use voicing and bending sounds
• Move the tongue through the following voicing “EEE-AWW-EEE”
• Do this without the instrument
• Say it first then blow air
• Eventually add the instrument, finger on a high C and blow air/no sound
• Then try playing it
• Drill
• Play C-B-C then try producing the tones by voicing
• Overtones
• To further develop their voicing skills have them finger a low E, pop the Ab key or register key and experiment getting the upper register out.
• Play bugle calls to get them interested

Saxophone

1. Bending sounds
• I would introduce vibrato skills as soon as they have a consistent embouchure. Usually before Christmas as this is an extremely critical skill that affects much more on Saxophone than vibrato. I treat Sax and Clarinet almost the same at first, but quickly I want to get them not to “bite” and hold the mouthpiece with the correct type of grip.
2. Teaching techniques
• Have them say “Yo”, the “EEE-YO-EEE” or “EEE-YAW-EEE”
• After they have done this for several days, put the mouthpiece in and have them do the same thing without blowing air on the mouthpiece.
• After they have done this for several days add slow air, but not enough to get a sound.
• Make sure they are moving their jaws a lot
• Then add faster and faster air until “noises” start to come out
• As they get used to it refine the movement
• Play high C-B-C, then try to get these pitches by bending without changing the fingerings
• After they are doing this consistently and effectively I would begin working toward vibrato
3. Vibrato
• Have them say “yo-yo-yo-yo” on a triplet pattern
• Again, without the mouthpiece, add the mouthpiece w/no air, add air with no sound then add sound
• Drill this pattern until they have it mastered
• Developing vibrato *I would begin each of the following steps once they have mastered each skill.
• Work on a single triplet pattern until it is consistent
• Then to 2 triplet patterns followed by a half note
• Do this on a scale, each note of the scale
• Then 3 triplet patterns followed by a quarter and eventually continuous triplets
• Breaking a measured pulse in the vibrato
• On the shifting exercise do slow vibrato low and fast vibrato high
• Do not count off this exercise
• Demonstrate and explain that vibrato changes speed with range
• Also do dynamic exercises that start without vibrato and add/diminish through the crescendo/decrescendo

The Eight Teaching Points

Producing The Tone

1. Tone Production and Intonation
2. Start-Sustain-Release
3. HOLD STILL!!!

Measuring The Tone

4. Counting time with a feeling of good rhythm
5. The routine of musical expression

Manipulating The Tone

6. Register
7. Technical Efficiency

Judgement

8. Register
9. Technical efficiency

Philosophy By H.A. Vandercook

“No man can be rightly taught, unless he is aware of a real need in his life and in his work”

Here are some general ideas, goals and timelines for the first teaching the first 6 weeks of beginning band classes. These concepts can be used in homogeneous and heterogeneous settings. For this discussion it will be assumed the students are in heterogeneous woodwind classes.

1. Equipment
• ALWAYS use a MIRROR with beginners no matter what it takes to get them there
• Blackboard
• Patience, praise and encouragement
2. Books
• I would not use a book for the 1st 6 weeks
3. Instruments
• Instruments are not needed for the 1st 2 weeks
• Week 3-5, I would only add the mouthpiece barrel/gooseneck or head joint
4. Basic teaching concepts
• Band rules (posture and HOLD STILL)
• Up on the edge of the chair, feet flat on the floor, HOLD STILL!
• Embouchure formation
• 1st month goal
• Play a whole note/rest on the mouthpiece with the correct embouchure
• Theory
• 5 lines = staff
• Names of lines and spaces
• Treble clef and Bass clef
• Clap and count a whole note/rest with accurate foot tap
• Blow fast/cold air and slow warm air on a whole note
5. Rehearsal pacing
• Set areas you will teach and work on for a few minutes each day – be a plate spinner
• Don’t dwell on one skill or idea too long – law of diminishing returns
• Work each section for a few minutes then have a full group activity
6. Instruments stay at the band hall
• When students have the following skills then and only then are they permitted to take their instruments home
• Embouchures formed consistently while playing a whole note – whole rest
• They must “promise” to only play the head joint or mouthpiece and barrel
• If you are a good enough salesman and they buy into it, don’t let them take it home until they can play on the entire instrument.
• Tell them they can come into the band hall during school to practice during this time before school, during lunch or after school so you can monitor their habits.
7. Goals for the Fall Semester: The student should learn the Band Rules (Posture), Basic Theory, concept of a good tone on the first 5 notes, foot tap, and basic rhythms (whole note, half note and quarter note with corresponding rest).

Clarinet and Saxophone Embouchure

1. Setting the chin
• Put their finger on their chin, wiggle it, then make it flat
• Bite bottom lip, pull down chin
• Face like a whistle
• Smack lips, then just before the “pop”, freeze
• Make a “V” with the chin
• Look for lines in the chin or SHADOWS
2. Once chins are set
• Get the chin better set by
• Blow fast air through the set embouchure
• Power drill, 5 seconds of making the chin as tight as possible. Analogy: making a tight fist.
3. Assemble the mouthpiece and barrel or gooseneck
• This takes a day or two to complete depending on the size of the class
• Talk about reed placement, ligature tension, cork grease, how to line up the gooseneck etc…
4. Blow air into the back of the barrel or goose neck and watch the chin then do the following steps to set the embouchure
• Then open the mouth a bit and keep the chin set
• Click the mouthpiece on the top teeth 3 times and press the 3rd time
• Clarinet push out, Saxophone push up
• Bring up the jaw and keep the chin down
• Close corners
• Blow slow air, NO SOUND
• Keep the chin set
• Work up to effectively keeping the embouchure and blowing slow air on whole note-whole rest pattern.
• This continues SILENT until very good consistent habits are mastered.
5. Speed up the air while blowing and keep going faster and faster with the air
• Important points to emphasize during this process
• Everything they do will be correct
• They cannot make a “mistake”
• They will be experimenting so everything is right cause we learn from it
• Warn them that it may sound like party horns and weird noises and that is exactly what it should be right now.
• As the tone comes out the only thing that is important is that the picture in the mirror doesn’t change.
• Work through this over the course of a week until they all are getting a sound with a correct embouchure.
6. Start EVERY rehearsal without the instrument and go through all of these steps
• Always play silent and study the embouchure 1st
• This should continue through March
7. Adding the rest of the instrument
• Use no fingers for as long as needed
• Hold the barrel/gooseneck with one hand and the thumb rest with the other.
• Have them push out or up.
• They are ready to place the left had when the embouchure is absolutely consistent. (the 8 teaching points)
• When you add the left and right hands
• Do the left had 1st (at least 2 weeks of this before adding the right hand)
• Detail hand position placement and INSIST on accuracy
8. Remember, if you do it right now it will always be right.
9. After they can and have played the 1st 3 lines of the book without using the book, then and only then do you introduce the book and let them use it.
• When they start to look at the book their embouchure skills take a leap backwards.
• This is why the longer you wait the better.
• Like the Suzuki method, do it 1st then show them what they did.
• Teach the skill then add the knowledge. The skill of tone production is the key – Teaching points number 1 and 2.

Flute Embrouchure

The most important facet of teaching a beginner on Flute is to stress what you see and not what you hear.

Teaching techniques and sequence to set the basic embouchure

1. Setting the embouchure
• Blow air on finger
• Whistle
• Like blowing out a candle
• Like you have a spoon of hot soup and your are cooling it off
• Like saying “Pooh”
• Like saying “Pure”
• Think “Ouuu”
• Pucker
• Have them blow air and look in a mirror to maintain the set
2. Touch finger to the lower lip where the lip plate will go
• Like a feather on a pillow
• Barely touch the lip
• Try not to press the finger at all against the lip
• Have them then blow hot air over the finger w/o loosing the embouchure picture in their mirror
3. Head joint – the point is to make sure while adding the head joint to make sure the embouchure picture in the mirror does not change
• Touch the lip to the metal of the head joint below the lip plate, not on the lip plate
• Again just barely touch the head joint with the lip as you did with your finger.
• Blow hot air without changing the embouchure
• Look for a “V” vapor trail on the metal
• Check for them constantly to make sure they do not apply pressure
• The do this while the Sax and Clarinet are blowing in the back of the barrel/gooseneck
4. Lip Plate
• When touching the lip plate the object is NOT to make a sound
• They must be convinced that it is what they see and not what they hear that is important
• Again touch gently, blow hot air and look for the same image in the mirror
• Flutes do this when the Clarinet/Sax get to the reed
• IF they are ready!
• There is no hurry, the only goal is to get the embouchure to look right
5. When the Sax and Clarinets increase air so can the Flute
• It is most critical to watch to see that embouchure habits are maintained during this time
• Watch for the following and make immediate corrections to them
• Stretching the lips
• “smiling”
• Pressure against the bottom lip
• Tone produced through hard fast air
• A small stretched aperture
• Play with the head joint closed
• After they can do this with a very reliable embouchure then open the head joint
• Be careful when they open the head joint, they will have a tendency to revert to the habits listed in item b above
• Techniques to get a sound without changing the embouchure
• Move the Flute to find the airstream
• Roll up or down
• Roll in or out
• Blow air on finger and make the air feel like the tip of a pencil
6. General concepts when working to develop beginning Flute player habits
• It is better for a Flute embouchure to look perfect and not make a sound than to get a sound by using the habits listed in item b above
• Producing a sound using those habits will lead to the following issues for the player
• Airy tone
• Forced tone
• Loud sound without the ability to manipulate volume
• Inflexible embouchure
• Poor intonation
• Ulcers for the director who has to take them to UIL
7. When they can get a sound on an open head joint with a VERY consistent embouchure you can begin to add the rest of the instrument to the head joint.
• At first just hold up the Flute without placing the hand position
• Concentrate on maintain the embouchure picture and NOT getting a sound
• Work through the same steps again to get a tone as listed above
• Set the instrument on the knee while setting hand position working up to a D5 as their first note with hand position.
• You MUST be extremely persistent and accurate in drilling their hand position

This clinic was presented by Dr. Timothy Rhea, Director of Bands at Texas A&M University, at the Texas Bandmasters Association on July 28, 2009. This is part of 6 of 6.

 
You may click the links below to review any part of this series that you may have missed or wish to review:

Part 1
Part 2
Part 3
Part 4
Part 5

For a PDF copy of this series in its entirety, click here.

WIND BAND REPERTOIRE REFERENCE MATERIALS

BOOKS

Best Music for High School Band – Dvorak, Grechesky & Ciepluch – edited Margolis – Manhattan Beach Music

Best Music for Young Band – Thomas L. Dvorak – edited Margolis – Manhattan Beach Music

A Composer’s Insight – edited Timothy Salzman – Meredith Music Publications – currently three volumes

Composers On Composing for Band – edited Mark Camphouse – GIA – currently four volumes

Great Music for Wind Band – A Guide to the Top 100 Works – Chad Nicholson – Meredith Music Publications

Music for Concert Band – Joseph Kreines – Florida Music Service

Program Notes for Band – Norman Smith – GIA

Rehearsing the Band – John E. Williamson – Neidig Services

Selective Music List for Bands – National Band Association

Teaching Music Through Performance In Band – compiled and edited Richard Miles – GIA – currently seven volumes

Teaching Music Through Performing Marches – Carl Chevallard – GIA

The Wind Ensemble And Its Repertoire – Edited Frank Cipolla & Donald Hunsberger – University of Rochester Press

Wind Ensemble/Band Repertoire – David Wallace & Eugene Corporon – University of Northern Colorado

The Winds of Change – Frank L. Battisti – Meredith Music Publications

WEBSITES

Core Full Band Repertoire – Bob Reynolds
http://www.geocities.com/vienna/opera/1276/hrrlist.html

Karl King Marches
http://karlking.us/tunes.htm

Sousa Marches, Commentary by Frederick Fennell
http://lcweb2.loc.gov/diglib/ihas/loc.natlib.ihas.200152754/default.html

Tim Reynish
http://www.timreynish.com/

Wind Band FM
http://www.windbandfm.com/

Wind Band Repertoire Evaluation
http://www.mswindsymphony.com/rei/

Wind Repertory Project
http://www.windrep.org/

Works of John Philip Sousa
http://www.dws.org/sousa/works.htm

Young Band Repertoire Project
http://music.utsa.edu/~bharris/ybrp/analyses/analyses.html