Thoughts on Beginning Band

Dick Clardy

dclardy@foundationformusiceducation.org

2013 TMEA Clinic Convention, CC 103, Saturday, 11:00 AM

I have observed common mistakes in beginning band classes

• An unorganized rehearsal space
• An undefined rehearsal atmosphere and slow pace
• No sense of the director ‘s or students’ readiness for the rehearsal
• Lack of follow-up on the requirements and maintenance of equipment and materials
• No conscientious procedure from director and the students
• No sense of urgency and direction in the classroom
• The director talks too much
• Lack of a positive learning atmosphere
• Rehearsal decorum lacks direction and structure, much talking and moving around
• Students lack eye attention and are not responsive to director’s directions and gestures
• Director’s lack of awareness of the students in the class
• Director’s lack of basic pedagogical knowledge
• Director’s inability to hear, analyze, direct, and redirect

Develop a philosophy for your program

• Do you have a philosophy? Why do you teach? Develop a philosophy that fits your vision for your students’ musical growth.
• My philosophy –
  • My band 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 students’ time and musical growth.
  • Music and the arts are powerful – most of the other curriculum in today’s schools is structured to kill creativity.
• The choreographer for the musical “Cats” – her teachers thought she was a lost student with ADD.  Someone discovered that she had to physically move to music to function and think.   She would finally attend and be successful at the Royal Ballet School.
• “The essential conditions of everything you do must be choice, love, and passion” – Nadia Boulanger.
• 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.

Recruiting beginners and determining individual’s instrument decisions

• Create a regular and consistent pattern of contact with each elementary principal, 5^thgrade teachers, and elementary music teacher.
  • Use yourself, music faculty, students, and student ensembles to present your program concerts and demonstrations of the instruments.
  • Develop a brochure for your program that describes what you do.  Design some pencils or stickers that logo your program that you can supply to the elementary students.
    • Use the most recent statistics that describe all of the positive effects that results in the study of music – the importance of goals, hard work, team building, self discipline, added self-esteem and the crossover to added academic success.
    • Describe the fun aspects of being in band – performances, social events, and trip activities.
    • The added information to also participate in other activities such as athletics, cheerleading, and academic excellence.
    • You may be recruiting the next conductor of the New York Philharmonic.
• Create a regular and consistent pattern of contact with the parents and administration even before the students are in your program.
  • Information to your parents is your friend.
  • Develop a recommended quality instrument brand and model list with multiple price ranges.
  • Procedures, general polices, practice sheets, and grading procedure.
  • Instruments and supplies, instrument companies, and procedures to get them.
  • Calendar with concert information.
  • Communicate faculty, staff and administration.
  • Use handbooks, calendars, newsletters, and web and smart phone networking.
  • Return phone calls, letters, and email.

Standards and pedagogy in your program start in the beginning classes during August

• If not started, focused upon, and corrected on a daily basis starting in August – they probably cannot be easily changed.  You are working on organization and accountability.
• Develop procedures and reinforce them everyday.
• You are always working on fundamentals.
  • Establishing ensemble concepts
  • Identifying and internalizing the potential in the ensemble’s playing standards
  • Addressing embouchure, playing position, hand position, and posture
  • Understanding and developing the ensemble’s tuning process
  • Sensitizing the musical awareness of the director and then transferring to the ensemble
  • Planning a daily regimen of technical skill maintenance and improvement
  • Growing the director’s ensemble skill-set daily by observing
  • Stealing concepts from not just anyone but from the best.
  • Developing strategies on your own to fit your philosophy and personality for optimum use
• If the above items have not been addressed early and often and do not remain an ongoing passion through the year we are lost as band directors.

Find and use mentors

• Seek out the very best and pick their brains.
• Observe the very best teachers and have them watch you to give you feedback.
• The sooner the better.
• Being a band director is always an ongoing learning process.
• To embrace the profession fully and be successful as you make the journey, you must have passion and be true to your personal philosophy.
• I would suggest that you consider the following early in the process – find someone that is very global and successful with their own group – they certainly should be out of your normal sphere of influence and/or local comfort zone.
• Picking the right person is essential since there is a lot of incorrect pedagogy being taught.
• This experience can be very humbling as far as the feedback that you may receive.
• You will then need to proceed with due diligence.
• Really try what they may suggest otherwise it will be a waste of everyone’s time.
• They can become a new colleague for you and possibly open a lot of avenues for you.
• I always told my students that ignorance can be blissful, that is also true for teachers. So the more you know – the more you know you don’t know.
• This new mentor will also begin to take some ownership in you and become a champion in your ensemble’s growth and success.
• Another additional help – video yourself in a rehearsal and really view it.
  • How do you look, how much time do you spend talking, what type of information are you giving, can you give clear gestures and patterns, are the students looking and listening to you and are you looking and listening to them.
  • What type of other feedback do you convey, and do they understand?
  • Remember, the attention span of most students from middle school through university is about 6-10 seconds – so play, recognize and analyze, direct attention, instruct, isolate, redirect making a point, convey style, and keep moving.
• Do not waste days – rehearse after concerts and performances.
• Start and end class on time.

Create the learning environment that works for you so 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, concepts, 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 class 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.
• You teach them to be respectful of the learning process.
• To be successful, you must insist that their attitudes support those conditions.
• The classroom should be well organized with chairs, stands, risers, and equipment already set for rehearsal.
• Chairs should be semi circle with space between or arranged in rows in block style
• 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 plan, present myself, or react to my students. It is generally something that I did not control or think through.
• List the goals and objectives for the rehearsal on the board.
• Well-defined and consistent rehearsal procedures are critical to a successful music program.
• Allow students time to assemble, disassemble and clean instruments during the class time
  • Start class on time.
  • All students should be mentally active in the class at all times.
  • Your job is to engage everyone in the class even when not playing.
  • Students that are engaged are listening and are mentally in sync with you in the class.
  • These types of students always perform at a higher level.
  • The director teaches the procedures.
  • List and talk about your procedures at the very beginning and every day.
  • The list should include all aspects that you think are important for the class.
  • Preparation, materials, and rehearsal expectations – I recommend a very short list.
  • The goal is to save time.

Start with the embouchure and mouthpiece 

• Know what the embouchure looks like.
• Be able to describe it.
• Identify and learn all of the parts of the embouchure for all instruments.
• Teach the student what it looks like by demonstration.
• Show the students what the instrument sounds like.
• Lots of slow rote teaching and imitation – positive reinforcement.
• You must be able to respond to everything they do all of the time.
• Embouchure first in class – no full instrument.
• Reinforce minute by minute each day.
• No instrument taken home until embouchure is understood and solid.

Learn the instrument

• Learn the instrument parts.
• Learn how to take it out of the case and put it together – repetition.
• Learn how to hold it.
• Learn how to place fingers in the correct position.
• Progress on fingerings depends on note recognition.
• Use quality method books.
• Write supplemental exercises.
• Begin to work on -
  • Body/posture – ready, relaxed, and playing position without instrument.
  • Add instrument and hand position.
  • Instrument maintenance – explain and show basic information.
  • Explain how the air is used and explain relaxed breathing.
  • Add and begin producing sound on instrument.

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 instrument is important.
• Clarinet and trumpet are very important instruments to study and understand.

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

• 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.
• 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.  Usually in the form of “C.”
• 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.
  • Head and instrument need to be the right angle and pointed directly toward the conductor.
• 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.  Feet anchored on floor to balance upper body.
  • 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 – organize your air to be in time, sustained, continuous, and consistent to the end of the phrase.
• Most embouchures are similar – 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.
• Teaching embouchure to beginning students is deliberate, slow, and demands repetition.
• Start on the least complicated part of the instrument – the mouthpiece, reed, head joint, etc.
  • Be caring and non-judgmental as students start to try to play on mouthpieces.
  • Use all communication in rote form – verbal, visual, aural, etc.
  • Take each step slow and work to get everyone going at an acceptable level.
  • Do not allow students to take the mouthpiece or the instrument home until they are confident looking and acting.

 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.
• Rhythm sheets can be used from the very beginning when practicing on unisons.  Start slow and add.
• 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 method or materials before rehearsal, too few people really do this.

• It will give you some great ideas.
• Develop a mental picture of what you want the music to sound like.
• 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.
• As you progress students numbering the measures of a piece is a given.
• Require each student to have a pencil and a highlighter marker.
• Check regularly that they have materials 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.
• Encourage singing in your students by being able to model 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 modeling the fundamentals and  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.

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.

Teach the students 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 in their second and third year of playing when they begin a piece of music.
• The conductor’s one preparatory beat gives the tempo, style, and dynamic.
• This preparatory beat forces them to be attentive and to watch.  Our students can understand, 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 watching, ready to start, and ready 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. 
  

Create a performance atmosphere in each beginning rehearsal. 

• I emphasize that all rehearsals are performances.
• The failure to insist that students are quiet, still, respectful, and actively listening is critical to the success of a class.
• The quality of focus and attentiveness learned in the beginning classes will determine how the older ensembles rehearse and perform.
• Teaching a group how to rehearse and to pay attention at rest is critical.
• Do not be totally inflexible – be flexible when you need to be.
• Rehearsals are performances.

Structure all of the warm-ups and technical exercises for beginners to relate to your learning the music – method book or ensemble 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
• Do not be afraid to use the metronome.
• Do not be afraid to not use the metronome.
• Work at the beginning on matching.
  • Pitch
  • Tone quality
  • Note starts
  • Energy
  • Styles
  • Resonance
  • Ensemble nuance and inflection
• 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 as you advance.   

• 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:
  • octave balance
  • who to listen or balance to
  • shapes of notes
  • energy matching or balancing within parts and groups
  • energy matching of the line
  • defining dynamics
  • stress or direction of the line
  • breath and phrasing,
  • styles within the musical line
  • technical and mechanism problems within the tempi

Teach the correct musical terms, styles, and forms.

• Take the time to teach basic musical terms and forms.
• This should be part of their music education from the beginning.
• Do your students know the musical terms that describe styles and tempi?
• Do they understand the terms syncopation or cadence?
• As you progress, general historical and theoretical understanding is fun and very helpful to the students to better understand the music.
• An electronic or student sound source is a good way to teach the matching of pitch.
• Pitch moves around in a performance within the ensemble – it is critical that you work on pitch match every day.
• Talk about the consistency of embouchure, air support, instrument length, and tendencies of instrument tessitura.
• 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 tonal 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.
  • Individual tuners should be encouraged for each student as they progress.
    • They are inexpensive and can be used for individual practice and in the ensemble.
    • The Tonal Energy Tuner or the Strobo Soft of Peterson are great applications for smart phones.
      • Students should be encouraged to check their pitch visually and then develop the listening skills to match what they see and hear.

Practice notes, articulation, and rhythms on unison pitches. 

• Work on concepts on unison notes for each instrument
• 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 change shape
• Breathe together relaxed and low sounding.
• Sound should respond quickly.
• Sound 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.

Assume that everyone can do it. 

• Have high expectations for each and every player.
• Being unable to learn and to play is not an option.
• Incremental individual listenings are great!
• Isolate players with other staff members.

Work to create incentives for your students to do well.

• Prizes, parties, additional recognition or praise.
• Chairing tests and games.
• It is okay to have high expectations.
• A planned musical high point is an excellent goal and a great way to end the class.
• End the rehearsal with the students wanting more.
• Encourage rather than discourage.

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

Food for Thought – Marcia Zoffuto

Introduction by Gary Garner

The following is a handout from a clinic Marcy Zoffuto presented for the directors and the WTAMU Band Camp only a month before her death.  I went expecting it to be a guide to making a band sound great (which she did so well).  There was some of that, to be sure, but, as you will see, it was much more about the philosophical underpinnings of teaching:  how to treat students and how to motivate them not just to be better players, but better human beings.

The clinic was not only informative, it was inspiring; delivered in her own inimitable way, with grace, charm, and wit, and with great wisdom.  Of course, Marcy knew she was seriously ill at that time, and I strongly suspect she knew the end was near.  As a matter of fact, she conducted her last concert at the camp a mere three weeks before she died.  But there she was, completely absorbed with the two things most precious to her: kids and music.

Whoever coined the phrase “tough love” must have had Marcy in mind.  My, how she loved her students.  But she was tough, too, always demanding everything they could give, and sometimes a little more.  As one who was lucky enough to be her college flute teacher and band director, perhaps the highest praise I can give her is to say that she was herself the kind of student she expected her own students to be.  And that’s about as close to perfection as one can get in this life.

FOOD FOR THOUGHT

Create your own “ivory tower.”

• Take small steps

• Challenges are the name of the game

• Pick your battles

Establish goals, expectations and basic requirements for learning within your own circumstances

• We must literally be willing to begin again and again over the course of the learning process

• Creative teaching is the preferable to “fixed” methods.

• Mix and match approaches

• On the spot trial and error

• No “tried and true guaranteed” method for success in every situation

• Student-oriented delivery and approach

• Established direction and trust between students and instructors creating a secure learning environment

• Fanaticism achieves results J

• “The actual arrival at a goal always creates a turmoil unconnected to any previous imaginings.”

Certain principles always seem applicable to me.

• Seek the most simple form of truth through music

• Strive for logic and consistency

• Focus on a sequential progression of acquired skills

• NEVER establish a “ceiling of learning”

• Be and trust yourself

• ALL students matter

“We are in the business of making beautiful things.  Period!  The University of Southern California, where I teach, places great emphasis on the crafts of counterpoint and orchestration, but I remind students that these skills are no guarantee of artistic music.  You have to add this to all of the things that are difficult to teach: intuition, a sense of wildness, courage, and a love of mystery.”

Frank Ticheli

Dick Clardy, Executive Director  – The Foundation for Music Education

dclardy@foundationformusiceducation.org

Dick Clardy is the Executive Director of The Foundation for Music Education and Choice Music Events. The Foundation for Music Education is a not-or-profit organization supporting music education by funding music scholarships, new teacher mentoring, on-line journal pedagogical journal, promoting student performance and offering continuing education as a part of Choice Music Events.  The Foundation for Music Education annually recognizes outstanding ensembles through the project entitled Mark of Excellence that includes: the National Wind Band Honors, the National Orchestra Honors, the National Choral Honors, the National Jazz Ensemble Honors, and the National Percussion Honors.

Mr. Clardy currently conducts the Lubbock Concert Band in Lubbock, Texas. He is an active clinician, adjudicator and mentor for numerous music programs. He recently served as the Director of Bands and Chair of Department of Fine Arts at Klein High School in Klein, Texas from 2001 though 2007.  The Klein Band has been one of the premier band programs in the state of Texas for over thirty years and was part of a very active and collaborative Fine Arts Department. Over one thousand students participated in multiple classes of band, choir, orchestra, music theory, drama and dance. The Klein High School Fine Arts Department was honored as a Grammy Signature School in both 2000 and 2004.

Mr. Clardy is a native Texan, having begun his musical career under the direction of J. R. McEntyre in the Permian High School Band and Orchestra. Mr. Clardy studied music education at West Texas State University under Dr. Gary Garner and earned a Master of Music Degree in Applied Trumpet from The Catholic University of America in Washington, D.C. along with additional studies at The University of North Texas.

Mr. Clardy performed as principal trumpet with the United States Army Field Band in Washington, D.C. starting in 1972, and in 1975-1976 was selected to perform on a national tour with The United States Armed Forces Bicentennial Band along with musicians from all Washington, D.C. Bands.

Mr. Clardy began his teaching career in his hometown of Odessa, Texas, with Bill Dean, at Odessa High School and in 1978 was given the signal honor of invitation to serve on the trumpet faculty at The University of North Texas as a colleague, and finally, a student of Professor John J. Haynie.

Prior to his appointment to The Foundation for Music Education, Mr. Clardy spent twenty-seven years developing the band and orchestra programs of Odessa High School, Strickland Junior High School in Denton, Marcus High School in Flower Mound, Griffin Middle School and The Colony High School in The Colony, and Klein High School in Houston, Texas.  He has served as a faculty member on the summer music camps at WTAMU from 1977 to 2006 and the University of Texas at Austin from 1996 to 2012.

Bands under Mr. Clardy’s direction have performed at the Midwest Clinic in 1994, the TMEA Convention-Clinic as the TMEA Class 5A Honor Band in 1997, the Pasadena Tournament of Roses Parade in 1997, the Midwest Clinic in 1998, the American Bandmasters Association Convention in Austin in 2000, the Chicago Symphony Hall in 2004 and Carnegie Hall in 2001 and 2006. The John Philip Sousa Foundation honored The Colony Band with The Sudler Flag of Honor in 1994. Bands under Mr. Clardy’s direction have been named Best In Class at every major Concert Band Festival in the country and have been consistent participants in the Texas State UIL Marching Contest since 1988 and a top 5 finish in the TMEA Honor Band process since 1986. Mr. Clardy has championed new works for band from such composers as Robert Linn, William Latham, Martin Mailman, Dan Welcher, Eric Richards and Eric Whitacre.

Mr. Clardy was named a Teacher of the Year and honored by the Parent Teacher Association as a Lifetime Member in 1989.  Mr. Clardy served as the President of the Texas Music Educators Association in 2001, the TMEA State Band Division Chair from 1998-2000, and the TMEA State Audition Chairman from 1993 to 1997.  Mr. Clardy is a member of Phi Beta Mu was elected into the American Bandmasters Association in 1997. The Texas Bandmasters Association honored Mr. Clardy with the Meritorious Achievement Award in 2005.

1. Soak reed (in a container – not your mouth) of warm water (change daily or ick..)

2. Pout your bottom lip/center the heart of the reed on the bottom lip

and roll top and bottom lips and reed in to cover teeth

3. Push corners of mouth forward leaving the lips rolled in.

4. Teeth should feel wedged open not clamped together or way far apart.

5. Face will feel vertical not horizontal. Keep lips rolled in.

6. Breathe – Filling up a glass with water.

7. Blowing - Hissing air through a straw.

8. Tonguing – Tip of tongue on tip of reed.

9. Sit tall. Arms relaxed. Fingers curved in a “soft” C.

10. When assembling the oboe, do not bend side keys. Line up bridge keys.

11. ALWAYS SWAB THE OBOE WHEN DONE. (Science project…. ewww….)

12. Practice 15 mins or till tired. Add on time as lip /face gets stronger. (DAILY……. Mm hmmm….)

13. ENJOY!!!!!!!!!!

14. XOXOX

The clarinet has more parts, and is the most difficult to assemble of any instrument, with a possible exception of bassoon. It will take as much as a week or more of explanation, demonstration, and practice, for beginners to properly assemble the instrument without doing it damage.

The case, parts and assembly

Take the time for them to CLEARLY understand which side of the case is bottom and which is top. The look of this may vary by brand. TIP – the latches!

Which piece fits in which receptacle of the case, and how it fits properly is difficult, and must be repeatedly practiced with supervision. Take it all out and start over.

Do all of this with the case on the floor, not on their laps. I suggest letting them sit on the  floor with the case in front of them.

How to hold the pieces of the clarinet when putting it together must be demonstrated and practiced to avoid bending the keys

TIP – look right at the bridge key when assembling the top and bottom joint

TIP – corks on new clarinets must be greased repeatedly over a period of time, before they will work efficiently. They will need greasing every day for a week or so until they absorb enough. Weekly after that. Too dry of a cork will cause friction and destroy the cork.  I recommend vaseline instead of cork grease for a variety of reasons.

The proper assembly of the mouthpiece – ligature – reed is exacting and difficult for students. Spend time on this and be very precise.

When looking at the reed and the mouthpiece – use this slogan

Flat to Flat

Fat to Fat

Thin to Thin

Explain the difference between inverted ligatures and regular.  The rails on the inside of the ligature go on the reed!

The ligature goes on the mouthpiece, then the reed comes butt end down from the top.

Do not allow them to put the reed on, then the ligature.  It is easier, but they will destroy lots of reed that way!

The ligature has to be raised from resting on the mouthpiece to allow room to position the reed.  Then it is lowered and tightened.  The reed will move and have to be repositioned as the ligature is tightened.

When the reed is on and the ligature screws firm, not tight, try to catch the light on the reed and table of the mouthpiece. Reflection of light from the table will let you see if you have put the reed on straight or have it over to one side.

Reposition if it is not on straight.

Practice this and monitor the student constantly on this. They will not be able to progress appropriately if their reed doesn’t respond due to bad positioning!

A good quality mouthpiece is much more important than a good quality instrument for a beginner.  A student on a good mouthpiece and a Vito clarinet will do far better than one playing a Buffet R-13 with a bad stock mouthpiece.

Embouchure

Setting embouchures is done one student at a time. At first, don’t even try to talk the whole class through it except to explain. The process and routine of setting embouchures cannot be done justice by writing it down, but here are a few suggestions.

Set embouchures with just the mouthpiece and barrel, not the assembled instrument – that is a distraction.

It is very important that the top teeth are on the mouthpiece as the rest of the embouchure is set.  I say ‘Click” as a signal to set the teeth. As you progress to other aspects, be sure the teeth are still on the mouthpiece.

Be sure the chin is flat, and say “oooh” to form the lips.

If the teeth aren’t on the mouthpiece, back out and start over. The teeth will come off the mouthpiece a zillion times for a zillion reasons, but make them start over every time it happens!

The head is straight up, and the students should blow straight ahead, not IN the clarinet.

It makes sense to them to blow in it. NO.

The setting of the embouchure is vital to correct progress, and substantial time must be spent here at the beginning. Don’t be too worried about losing them to boredom. Whenever you get to the first song that they can play, all that is erased, and a new era begins!

Hand Position

Hand position is difficult, because the clarinet is built for adult hands.

Fingers must stay curved not straight

No part of the body touches any other part of the body, INCLUDING FINGERS!!

Pinkies that are not being used should not be curled into a shrimp.

Look at the top joint register key.  A student will see the shape of that and think that they need to address the left thumb to make it look like the key, up and down.

NO.

Demonstrate the angle of the thumb to their left and wrist down.

Placing potential low brass players on instruments

• Medium to thick lips work well, however there are some very successful low brass players with thin lips as well.
• Students must be big and strong enough to not only properly balance and handle the instrument, but deal with the daily task of carrying it to and from school.
• Trombone students need to be able to reach 6^th position without contortion of the upper body.
• If you have a student with good potential in other areas but lacks finger dexterity, you might guide them toward trombone.
• Prospective trombone students should have a solid understanding of “sequencing.”  Trombone slide position choices require students who have brains “wired” to understand sequences.

Class Scheduling

• Preferable to have tuba/euphonium as a class and trombone as a separate class.
• Trombone class may move at a slower pace due to the attention necessary on slide technique and placement.

Recommended Basic Equipment

• Trombone – Yamaha YSL 354 – Bach 6 ½ AL mouthpiece – Slide-O-Mix slide lubricant
• Euphonium – Yamaha YEP321 – Bach 6 ½ AL mouthpiece
• Tuba – Yamaha YBB105 – Conn Helleberg  mouthpiece

Forming the Embouchure

• You place the mouthpiece for them! ½ top; ½ bottom lip or 2/3 top; 1/3 bottom works best. NEVER more bottom than top lip. Closely monitor this!
• Mirrors on the stand are a MUST!
• “Mmmmm – Poooo” – demonstrate this for them – make sure they are watching you!
• The aperture should be oval-shaped and the lips should not blow away from the teeth.
• Demonstrate your air stream on their hand – a focused, STEADY air stream that is angled down into the palm of their hand. Have them note that the air temperature is cold and the stream is STEADY and STRONG.
• Have them demonstrate the same thing into your hand. DEMAND that it is the same as yours!
•  Add the mouthpiece starting with air only; instruct students to gradually put their lips closer together and intensify the air stream until a “buzz” naturally occurs.
• Inform your students that you want “FUZZ IN YOUR BUZZ!” No “ducky” buzzes!
• Demand that the buzz is strong and above all else: STEADY!

Timing or Progress of Range

• Lip slurs from partial 2 through 4 (Low Bb, Middle F, Upper Bb) by Christmas break
• Lip slurs from partial 2 through 5 (Low Bb, Middle F, Upper Bb, D) by Spring Break
• Lip slurs from partial 2 through 6 (Low Bb, Middle F, Upper Bb, D, F) by the end of the year

Kathy Johnson – BEGINNING FLUTE FUNDAMENTALS

1st 6 Weeks

When choosing students to play the flute, I look for medium full lips with a defined shape.  I watch out for students who have a ‘tear drop’ or ‘cupid’s bow’ in the center of their top lip.  This generally causes a split airstream and makes it difficult for a student to get a characteristic sound and they end up being very frustrated.  I first have the student say the word ‘pooh’ for me.  Then I have them blow air using the ‘pooh’ syllable without using their voice.  I place the headjoint below their bottom lip and have them blow air using the ‘pooh’ syllable.  I look for a nice triangular shaped condensation on the outer part of the lip plate and I listen for a full clear sound.

Concepts covered in the 1st 6 weeks can vary from year to year depending on the dynamics of the class.  Some years I move faster than others.  Generally I introduce non-flute specific concepts first just to get students comfortable and engaged and in the band mindset.  This would include coming into the room correctly, foot tap, rhythm counting and clapping, basic music theory needed right away, such as lines and spaces, clef signs, notation, etc.  However, very quickly, I incorporate instrument specific information and start buiding the fundamentals needed to be successful on the instrument.  I am not concerned about the book or teaching ‘songs’ until my students can consistently model a full bodied, clear flute tone and can articulate correctly.   Below are some of the concepts that I teach in the 1st 6 weeks of school.

I.  POSTURE:  IMPORTANT FOR CORRECT BREATHING AND GOOD TONE PRODUCTION

A.  Place chairs far enough apart that students have plenty of room between the chairs.

B.  Slightly angle the chair toward 1:00

C.   Sit tall in the chair.

D.  Let the shoulders fall down in a relaxed manner.

E.  Make the shoulder blades meet in the back.

F.  Open chest cavity.

F.  Feet flat on the floor.

II. BREATHING:  THE AIR TAKEN IN WILL DETERMINE THE TONE THAT IS PRODUCED

A.  Open the mouth wide when breathing.

B.  Relax the throat and tongue (tongue forward).

C.  Keep the shoulders down and the chest open.

D.  Inhale the air down low (into your “pockets”).

E.  Let the tummy expand (like a balloon).

F.  Exhale air in a steady, focused, and in an even manner

• Release the same amount of air at the beginning, middle, and end of the breath
• Do not let your air sound like a match looks when you light it – strong at the beginning and weak at the end
• Propel the air through your instrument
• As you release the compressed air from your lungs, think of your tummy muscles propelling the air through your instrument

III. TONE PRODUCTION ON THE FLUTE HEADJOINT

     * I use the Kathy Blocki Pneumo Pro before using the flute headjoint.

A.  Head joint Placement – always use a mirror

1.  Place the lip plate in the “crook” of the chin.

2.  The head joint should rest on the “ledge” of the chin.

3.  Place the edge of the aperture hole below the lower lip where the red of the lip meets the skin.

4.  The bottom lip should slightly hang over the apeture hole.

5.  The head joint is kept parallel to the ground and slightly

forward out to the right of the face.

B.  Embouchure Formation – always use a mirror

1.  Put lips together so the insides meet.

2.  Press insides of lips together slightly.

3.  With a “pooh” syllable, “blow a hole” in the center of the lips.

4.  Continue to “resist” the air or “grip” the air with the soft

inside muscles of the lips (the wet part).

5.  Keep the corner firm to control the column of air.

• Keep corners in front of the canine’s, avoid stretching the lips back into a ‘smile’
  • You will lose your ‘pocket of air’ and produce a sharp, thin and strident tone
  • Stretching lips backs limits your flexibility
  • Corner’s should slide across the teeth when changing octaves
    •     Low register:  Elliptical shape, with corners back slightly and a more prominent upper lip.  Use the top lip to direct the air column.  Use ‘kitty cat whiskers’.
    •       Middle register:  Rounder shape, moving corners forward toward the front teeth.  Keep using top lip to focus the air column into the flute.
    •         High register:  Rounder, smallest hole, using firm corners to draw the corners toward the center.  Make wrinkles in your lips, like whistling.

C.  Finer Points to Embouchure Formation

1.  The inside of the top lip should come down to meet the inside of the bottom lip.

2.  One should feel the tip of the nose pull down with the top lip.

3.  Keep the lips forward, away from the teeth (like blowing a kiss).

4.  The lower jaw should be open and back, simulating an overbite.

5.  The base of the tongue should be forward at all times.

IV.   FOCUSING THE AIR INTO THE FLUTE HEADJOINT

A.  Direct or aim the air into the head joint with the top lip.

B.  Think of the top lip as a “pointer” for the air, or as a “hook”.

C.  Always strive for a small aperture by keeping the insides of the

lips together and resisting the air with the lips.  It helps to

starting the sound with your lips touching.

D.  Blow the air in a constant stream, like turning on a water (air) faucet.

V.  TIPS FOR STRENGTHENING THE FLUTE EMBOUCHURE

A.  Lip Pushups

1.  Make the insides of the lips meet.

2.  Press the insides of the lips together and hold.

3.  Release and repeat for ten repetitions, do this periodically throughout the day.

B.  Don’t use the “smile” muscles

1.  These muscles are already too strong.

2.  Keep the corners forward (not puckered) about even with the canine teeth.

1. Rest when the embouchure if you get tired so the “smile” muscles don’t take over.

VI. DON’TS

A.  Careful not to use those “smile” muscles too much when the embouchure is formed, this brings the lips against the teeth and causes a harsh sound.

B.  Don’t cover too much of the aperture hole with the bottom lip, the tone will be “covered” sounding.

C.  Avoid blowing the air straight across the aperture hole, the tone will be airy, unfocused, and sharp in pitch.

D.  Don’t duck the head down.

VII. WHAT’S GOING ON INSIDE THE MOUTH?

A.  The base of the tongue should be forward in the mouth.

This keeps the throat open for a tone that projects and for better articulation.

• ‘Blanket’ the tongue over the bottom of the mouth and even the lower teeth
• Imagine having an egg resting on your tongue (or a golf ball!)

B.  Blow the air towards the top lip and let the top lip focus the air into the head joint.

C.  The air should blow free without obstruction until it meets the top lip.

1. There should be a thin layer of air between your lips and teeth when you play.  Lips should not press against the teeth.

“…..to achieve the highest possible standards of excellence

 in the areas of vocal production, musicianship, musicality,

programming and overall contribution to the artistic

life of the community we serve…… (we strive) to rise to

completely professional levels of performance in every way

The quoted material above is taken from Donald Neuen’s vision statement as Artistic Director of the Angeles Chorale.  It is a noble vision, and one many of us will spend years of our life trying to achieve.  However, most choral conductors face an on-going challenge of preparing quality choral literature with a minimum amount of rehearsal time and a wide range of choral music skills within our members.  Even though we may strive to do so, often we find it difficult to “rise to completely professional levels of performance.”

 It has been said that all forms of art are especially dependent upon communication for their success – the choral art form, uniquely so.  Perhaps then, as we consider techniques to improve our level of performance, one important topic for consideration and examination should be our ability, as conductors, to communicate effectively and efficiently.

In that regard, have you ever wondered how you appear to your choir?  Have you considered what your singers might really be thinking as you guide them through a rehearsal?  (Do you really want to know?!)  Seriously, though, I sometimes wonder if we, indeed, communicate to our singers what we intend.

At the writing of this article I am in the midst of preparing an array of concerts – most probably, you are, also.  In the weariness that often accompanies many weeks of rehearsals with multiple choirs, I have to ask myself if I am giving each choir vivid, concise descriptives or the same old, tired cliches.  Am I conveying in speech, posture and gesture the beauty I want to achieve in the music?  Sometimes, I must admit, I don’t like my answers!!

In an article published in the October 1972 issue of the Choral Journal and later included in his book, Conscience of a Profession, Dr. Howard Swan wrote some subjective questions and proposals that might prove helpful as we explore the art of communicating with our choirs.

(1)   A conductor must experiment to find the ways by which he
communicates most effectively during a rehearsal.  If he uses speech, does he stress logic, the pictorial, or qualities of imagination?  Does he sing or play to make his points? Does he use a combination of the visual and auditory? Does the communication have form?  Is he able to skip or march or dance without embarrassment to indicate rhythmic flow?  Can he tell the chorus simply and with conviction how and why music moves him?  Is he able to do everything in a rehearsal without being self conscious on the one hand or exploiting his personality on the other?

 

(2)   If the conductor is attempting to teach others to be appreciative of beauty, what of his own endowment?  Does he respond with enthusiasm to form and design and color – to babies and flowers and people?  How long has it been since he has seen a collection of fine paintings or read a book of poetry?

 

(3)   As the director tells his singers how and why a particular score appeals to him, he should not hesitate to “read between the lines” and make his educated guesses concerning the wishes of the composer.  He will want to share with the chorus his technical and interpretive decisions.  Yet, he never should insist that his singers think and feel exactly as he does.  This is not possible.

 

(4)   The conductor will make allowances for the age and experience of the chorus.  Since children find it easy to live in two worlds, one which is real and the other imaginary, he takes advantage of this fact and uses it to flavor many communicative procedures.  Older people depend upon associative ideas; he makes use of this trait.  The conductor needs to change frequently his method and his terminology, but he should never find it necessary to change his personality.

 

(5)   Don’t make comments only to shock – to please in a superficial way – to hurt or to ridicule.  If a conductor is considered by his chorus to be a cynic, they will doubt his sincerity when he speaks of important musical matters.

Is it not interesting, that more than thirty years after the original publication, the suggestions offered in Dr. Swan’s article are still timely for twenty-first century choral conductors?   Hopefully, as we strive to “polish” our choral communication skills and our choirs, we will find the time to read and ponder Dr. Swan’s proposals over and over again.  In so doing, just imagine the possibilities improved communication might bring in our quest……

“…to achieve the highest possible standards of excellence

 in the areas of vocal production, musicianship, musicality,

programming and overall contribution to the artistic

life of the community we serve….”

Best wishes!!

TAKE THE BAR LINES OUT OF RENAISSANCE MUSIC

MIKE WARE,   CLINICIAN

SPONORED BY TFME AND TMEA MENTOIRNG NETWORK

TMEA 2013    ROOM 001   2 PM

Many editions of renaissance music today use bar lines and one meter signature to organize the text.  This creates problems because it places strong and weak syllables on improper beats and forces you to group the text using one meter signature throughout the piece.

The premise used in today’s session and the editions in your packet was created by Dr. B.R.” Bev” Henson. There are editions published by him that eliminated bar lines.  One of the things he stressed with great importance was the need to do a conductor’s analysis of the pieces you are performing with your choirs…before you begin rehearsals. 

Using different examples of the setting of Ave Maria by Jaques Acadelt we can see evidence of how bar lines can create problems.

Groupings of the text.

A ve   Ma ri- a-      gra ti a-   ple-na-    do mi nus    te- cum-    A- ve- Ma- ri- a-

  Examples  

• 4/4 with all unstressed syllables on downbeat
• 2/2  with traditional pattern
• 2/2  start with first downbeat on Ave not the rest.
• 4/4 with strict pattern, then adjusted to fit the word stress.
• Mark Curtis version with groupings according to the text.   

Dixit Maria                                                                                                                       

• Set in 4/4
• Set with half note pulse and groupings to match the text

Tu Pauperum

• Set in 4/4
• Set with half note pulse and groupings to match the text

Adoramus Te

• Set with the groupings to match the text

Confitemini Domino\  Cantate Domino  

• find the groupings of  4 and 1
  

Bennett Reimer, A Philosophy of Music Education, Prentice Hall 1970 pp 2 and 9

“Conductors must have a plan and be prepared to execute the plan in a process that the students understand and trust. Quality performance is a direct result of the educational process we create. During your rehearsals, students must experience a sequence that is the result of every new step being a logical extension of something previously learned. Teaching with this kind of building block approach guarantees success at each stage of the learning process. Therefore, you must create lesson plans from the literature that as the process unfolds the singers understand how the whole is put together. You must provide a balance between learning repertoire and providing singers with the skills they need to learn and read music on their own. This kind of teaching empowers the singer to think as musicians and gives them the confidence they need to perform publicly and encourages them to make music a life -long endeavor. “

ROBERT  SHAW PREMISES

• THE RIGHT NOTE AT THE WRONG TIME IS THE WRONG NOTE
• USE A STEADY TEMPO
• LISTEN MORE TALK LESS SING LESS SING EVERYTHING OFF THE VOICE TO SAVE THE VOICE AND TO HEAR BETTER  
• MARK MEASURES
• MARK EACH VOCAL LINE FOR BREATHS AND CONSONANTS
• MARK DYNAMICS                 
• MARK ARTICULATIONS                 
• MARK STRESSED SYLLABLES
  • WRITE IN TRANSLATIONS

BEV  HENSON  PREMISES

• MUSICAL PERFORMANCES ARE THE RESULT OF MUSICAL VISION THAT IS PLANNED AND REHEARSED
• YOU WILL ACCOMPLISH SO MUCH MORE IF YOU DO NOT LEARN THE SCORE WITH YOUR CHOIR.
• IT IS POSSIBLE TO TEACH MANY THINGS WHILE  TEACHING NOTES.
• NO TWO NOTES ARE SUNG OR PLAYED THE SAME UNLESS MARKED THAT WAY
• WE SING THE SOUNDS OF WORDS
• MUSIC IS EITHER MOVING TOWARD OR AWAY
• BREATH THROUGH THE VOWEL
• VIBRATO IS INTENDED TO ENHANCE THE PITCH -NOT CONFUSE IT
• VIBRATO ACCOMPANIES A CRESCENDO -NOT PRECEEDS IT
• IF ALL YOU DO IS TEACH NOTES, YOU RUN THE RISK OF THE CHOIR GOING BACK TO THE FIRST UNMUSICAL RENDITION UNDER CONCERT PRESSURE.
• YOU CANNOT TALK YOUR CHOIRS IN TO SINGING WELL,  YOU MUST REHEARSE THEM AND SHOW THEM WITH YOUR CONDUCTING.
• WHETHER IT IS A DISCIPLINED OR UNFOCUSED, LAX REHEARSAL, YOU ARE RESPONSIBLE FOR THE OUTCOME. YOU MUST CHOOSE WHICH PATH TO TAKE AND ACCEPT THE RESPONSIBILITY FOR THE RESULTS. ARTISTRY COMES FROM DISCIPLINE..

Denise Eaton, Sally Schott, Jan Juneau                                                                                                                                                                    

Texas Music Educators Association  Convention
Thursday, February 14, 2013  3:30 p.m.  CC001

FOCUS:  To investigate effective methods and resources for encouraging diverse student populations to read with insight, accuracy, and expressiveness.

GOAL: To explore not only the fundamental and crucial steps used to develop accurate readers but to provide proven techniques and a process to turn students into insightful and expressive music readers.

KEY POINTS:

• It’s not so much how much time is spent on developing music literacy and musicianship, it’s how the time is spent.
• By the same token, it’s not so much what reading materials are used, it’s how they are used.
• Why do we tend to teach in isolated segments, limiting the ability of students to transfer skills and concepts from one activity to the next?
• Why do we call music reading SIGHT singing?  How we really learn music involves far more than the sense of sight.

LEARNING STYLES:

A multi-sensory approach to music reading begins by following a natural primal order of feeling, hearing, and completing the process of successfully decoding the musical score by seeing.                                                      

I. KINESTHETIC

Feeling the musical pulse through movement:

• Establish a steady beat
• Echo rhythmic patterns by clapping, tapping, snapping, counting etc.
• Emphasize the strong and weak pulses
• Develop rhythmic independence by dividing into groups, one group maintaining a steady beat with other groups clapping various rhythms, as directed.
• Read rhythmic exercises with physical motions, i.e. tapping, patting, clapping.
• Conduct while reading
• Transfer patterns heard and echoed to patterns seen and performed

Physical demonstration of concepts of expressive singing:

• Use spatial signing to show pitch levels vertically
• Outline mouth shapes to reinforce correct vowel production
• Demonstrate the flow of the phrase using motion (pulling motion/rainbow arc)
• Practice rhythmic breathing

II.  AURAL

Recognizing intervals from hearing them. “Sound before sight”.

• Echo varied pitch patterns.
• Focus on listening by closing eyes, listening and repeating
• Develop a tonal vocabulary, assigning intervallic names to pitch patterns
• Audiate tonal patterns (intervals and I, IV and V chord outlines), then a phrase, then a simple melody
• Alternate singing a measure, audiating a measure
• Transfer patterns heard and echoed to patterns seen and performed
• Utilize audiation in music reading process
• Train the eye to scan efficiently by practicing looking ahead

III.  VISUAL

Connecting kinesthetic and aural approaches to music reading.

• Learn  line to space stepwise movement
• Use the hand staff to demonstrate five lines, four spaces and direction for high and low pitches
• Use the hand staff to fill in and name larger intervals
• Recognize chord outlines in root position and inversions
• Use the keyboard to increase understanding of half-step/whole-step relationships; apply the formula for a major scale
• On the keyboard, build a major scale beginning on C, then color or mark the half steps
• On the keyboard, build major scales on notes other than C, utilizing black notes to follow the formula and determine key signatures
• Identify (color or circle) groups of notes in the melody that outline the I chord.; add the V chord and then the IV chord to illustrate the large percentage of notes in the melody which are found in these three basic chords.
• Identify the shared notes between the I and V chords then the I and IV chords.

IV. APPLICATION OF A MULTISENSORY APPROACH TO SUCCESSFUL MUSIC READING