Welcome back to my final episode on developing and improving personal practice habits and learning skills!

My final instalment is entitled "Informing the practice format - Essential elements in actually living with our practice - Keeping 'practice time' attractive and rewarding"

D. Specialisation – Generalisation practice strategies: How can we keep practice attractive 
 
It is essential that the balance between spending practice time on detailed, technical development, or specific technical/musical challenges in our performance repertoire be offset with time spent on making the necessary expressive performance connections for the overall picture. 
 
It is easy to either spend too much time just playing through our repertoire, or to become too bogged down by inordinate time spent on specific technical details. “We can’t see the forest for the trees”, or “we can’t see the individual trees because our focus is on the forest”. 
 
Either scenario keeps us from experiencing healthy, rewarding progress to rewarding musical outcomes.  It is important therefore that we search for opportunities allowing for us to consolidate our progress through either informal or formal performance opportunities. (friends, family, informal occasions, etc.)
 
Some practical considerations towards transforming the act of practice from 'duty' to relative 'pleasure':

1. As peak concentration generally occurs during the first ten to twenty minutes of practice, be sure to utilise your warm-up and technical A & B studies to support your solo and ensemble repertoire studies for today’s focus.
2. Make time to listen to a variety of professionally recorded performances of your repertoire, following the score as you listen. This is particularly helpful before you begin to attempt to play the music yourself.  
3. When starting work on your etudes, and, or solo/ensemble repertoire, it is not necessary to begin every practice session from the beginning of the work under study. Instead, your study can begin on the more challenging sections before attempting a general read through: save that for later.
4. It is best to begin by identifying and addressing the fundamental technical challenges first. The most sensitive musical interpretation will ultimately fail if we cannot play with  precise articulations, accurate rhythm vocabulary, in time, in tune, and with a beautiful, expressive tone.  For approaching difficult and fast passages, be sure to play slowly at first, gradually increasing tempo. The metronome will  be your best practice partner: be sure to use the ‘sub-dividing’ strategy for complex syncopation and long, sustained passages.  Remember: You must learn the work before you can begin to practice it. It is just possible that not enough work/study has been allocated to general technical development on the challenge under question... 
5. Try inventing “mini exercises/studies” derived from the repertoire passages under study to assist you in overcoming the technical or expressive problems you encounter and consider employing the “three times rule”: After learning a challenging passage, play it at least three times in a row without errors.  But once again, remember that you must first learn the passage before you can begin to perfect it. The more times you can play through the passage without errors, the more likely you are to have locked it into your subconscious muscle memory.  You may have to repeat this process over a period of days.  No matter; keep at it, for persistence is the key to attaining lasting, successful outcomes. Just remember to approach difficult passages no faster than you can play them correctly. And finally, we often choose not to play a passage slow enough for a long enough time to achieve perfection: Be patient!
6. Next, decide how you want the piece of music to sound and how you can make it uniquely your own interpretation. Try experimenting with alternate fingerings/alternate slide positions, various tone colours, nuance, inflection and breathing considerations and phrase structures.  These can greatly assist you in accomplishing your expressive performance goals.
7. Missing two or three practice days in a row, with the idea that you can “make up the time” with marathon sessions over the next few days is a fallacy.  Effective practicing needs to employ a consistent, daily, systematic and sequential process to achieve confidence and mastery. And by the way, one of the best times of the week to practice is shortly after your lesson!  On that day your teacher’s suggestions will be fresh in your mind.  

In conclusion: Don’t be overly discouraged when you experience difficult practice days, days of progress drought, or even a disappointing practice week!  After all, it is a normal occurrence and frustrations can often lead to thinking in new ways and using the challenges to grow our skills.  Consistent investment in a well-planned practice regimen will, over time, reward you with steady progression.  
 
It is also important to understand that the effective learning habits being formed, developed and reinforced through the process of systematic practice should be considered ‘transferable’ to many learning applications and will remain with you for the rest of your life.

It is my hope that these past three instalments investigating the nature and process of successful and rewarding individual practice will lead to fresh inspiration for both music teachers and students alike.  Thank you for taking time to read my musings and suggestions on the The Art of Practice “Perfect Practice makes Perfect…maybe”

Warm regards, and best wishes for your musical journey

Monte
 

Welcome back to my discussion on developing and improving personal practice habits and skills!

Following on from my last post in which I discussed my philosophy behind developing a more effective and rewarding  practice routine, I now want to share the actual nuts and bolts of how one can actually maximise their practice sessions through examining specific, proven practice strategies. 

C.  Improving our actual practice approach:  Making each session count!

1.   Identify/Isolate/Reconnect
One of the most effective ways to approach a work is to first identify the challenging passages. Next,  isolate those sections, working through them slowly and then putting them back into the context of the work when sufficient accuracy is achieved. Do not reinforce mistakes by repeating them, but stop and identify what the specific problem or challenge is. Now, determine how you will fix it. Your teacher’s shared strategies will be of great assistance in this exercise. 

2.   Learn to identify trouble points through the comparative listening approach.
At times, it may be useful to record yourself (audio or video) to identify specific trouble spots. If you are having difficulty with a particular passage, it often helps to play through the section very slowly, experimenting with  a variety of articulations, rhythmic sub-divisions and intervalic variations. Try alternative finger combinations/slide positions. If it is a rhythmic problem then try counting (sub-dividing) and fingering (slide shift) or buzzing through the passage.  Do not play the passage any faster than you can play through it correctly! Slow practice is best when addressing individual trouble spots. This strategy will aid in automating your approach to the passage.
 
                            The Comparative Listening  Process - 
I have an aural model of what is to be recreated, either from my teacher, musical director or another source, such as a professional recording, or live performance.  I try to re-create the model.  Following my 1st attempt, I now compare my performance against the model: I make the necessary adjustments, (teacher suggestions) and try again.  I repeat this process until I achieve a close approximation of the model.
 
3.   Be patient! 
Begin by playing through the problem passage very slowly, if need be, one note at a time, until you are playing the rhythms, fingerings, articulations and pitches correctly.  Once accuracy has been achieved, then repeat that section at least 3 times. Now, gradually increase the tempo until the passage is up to speed. Remember; it is essential to begin the passage at a slow tempo and gradually increase your speed while playing the passage correctly rather than attempting to play an entire piece at performance speed, making numerous errors. Remember: We don’t generally play difficult passages slow enough for long enough periods.
 
4.   Trial expressive interpretation possibilities.
Once the passage has been mastered you can then begin to focus on expressing yourself through the passage/work instead of being limited to playing the correct note at the right time.   Musicality can be defined through demonstrating the ability to interpret a piece with emotional connection through identifiable phrases and cadence points, with shape, contour and nuance. These decisions are generally informed through harmonic “Departure/Arrival”. This is what distinguishes an outstanding performance from that of a predictable one.
 
5.   We all need inspiration. 
First, follow the printed directions such as dynamics, style of playing, and the tempo, or speed at which the music should be played.  But remember; these are only ‘instructions’ that are actually derived from the underlying harmonic chord progression and the unique interplay between harmony, rhythm and melody.  It is best to ask ‘why the instructions are there in the first place.’ To what are the instructions pointing and leading us to actually do at the moment. Can the interpretation be different tomorrow?  
 
You can gain additional interpretive insight and inspiration through listening to fine recordings of the same piece performed by various artists and attending to their individual interpretations.  You can also gain excellent insight by researching the history of the composer and the era in which the music was composed.

6.   Be prepared to experiment!
Be sure to try out different phrasing/breathing/fingerings/alternative slide positions. Also explore variations in tone production, articulations, style, and intensity. Memorising a piece may assist you in achieving more freedom of expression. Once you know a piece so well that you are "free" from the technical demands, you may find it easier to interpret music on your own.
 
7.   Productive Review Process
At the end of each practice session, try playing straight through the piece, enjoying your successes and consolidating your gains. The progress made during addressing ‘problem spot’ practicing can be reinforced and locked in.  And, you will also feel a sense of accomplishment, hearing the improvements you have made in the full context of the work. “Perfect practice makes perfect".  All it takes is commitment, persistence, patience, consistency and concentration. We can then begin to enjoy the fruits of rewarding, productive practice – real musical investment.
 
8.   Come Prepared 
Be sure that you have all of your materials handy and organised, including music, tuner, pencil, metronome and any other items you plan to incorporate into your practice. Use your pencil to note fingerings, phrasing, breathing points and any other pertinent information. A serviceable music stand is essential and always employ the best posture and hand position, whether sitting or standing.
 
As to the materials ...

• Breath control tools
• Buzzing aides 
• A book of warm-up studies consisting of series of systematic long tone, lip slurs and agility and range-building studies over a wide compass
• A rhythm vocabulary builder/primer
• A comprehensive scales and arpeggios collection
• A few method books containing technical exercises and etudes, studies that provide for various combinations of meters, rhythmic syncopation challenges, clef/transposition studies, alternative fingerings/slide positions, articulations, phrasing and styles. 
• A few of method books consisting of several melodic/vocalise studies, across all keys. These are helpful in building expressive phrasing, contour, shape and nuance interpretation as it relates to the implied harmonic progressions.
• Sight-reading
• Solo Repertoire
• Ensemble repertoire
• Orchestral excerpts

 
9.   Be sure to divide your practice segments equitably. 
Consider using a mix of scales, etudes, and repertoire selections (concertos, sonatas, orchestral music, etc. However, you may not have time to work on every element in every practice session, plan according to your time limitations.

Consider building your practice sessions around the following five categories
         a.  Warm-up routine - be sure to vary this every day

• Lip buzz exercises & long tone, intonation studies,
• lip slurs, lip trills (brass)
• lip/finger/wrist flexibility exercises
• endurance and range building

          b.  Technical ‘A’ - rhythmic exercises that include

• Various syncopation and meter combination challenges  
• Scales-arpeggios:
• Major/minor/whole tone/chromatic/modes – arpeggios: Maj, min, aug/ dim/ related 7ths various articulation combinations
• Technical studies/etudes:  exercises involving mixtures of rhythms, articulations, key centres, mixed time signatures & meters

           
       c.  Technical ‘B" - Melodic studies exploring:

• style
• sight-reading
• dynamic contrast and expression
• shape, contour,
• note-grouping,
• harmonic profiling
• phrasing

          d.  Solo repertoire

1. current works under preparation
2. projected works
3. past works
4. sight-reading

          e.  Ensemble repertoire*

• Remember:  Responsible ensemble participation also requires systematic preparation enabling one to make significant ensemble contributions.

​
Be sure to catch my final instalment "Informing the Format: How to put it all together"
​
​Once again, thank you for reading!

Warm regards and best wishes for your next practice session.

​Monte 

I believe that a great way to examine and improve our approach to personal practice is to consider the time spent practicing as one would consider the analogy of making financial investment as one might invest in ‘futures’.  In a sense practice is a form of investment, so therefore we need to develop a systematic, sequential approach to practice that will equate into to effective, rewarding performance returns/outcomes over the long term.
 
However, many of us remain unfamiliar with the systematic and sequential learning principles that lead to successful, rewarding practice outcomes.  I trust that the following overview of the fundamentals of practicing will provide some informative direction leading to more productive, enjoyable practice sessions  inspiring us to return to the practice room time and again.
 
A.  Here follows some common questions
 
    1. When is your best time for practice (consider work/school/family/friends commitments)
           If you feel more alert in the morning, this may be the best time for you. Conversely, if your                             concentration, energy and focus are better in the afternoon or evening, then these may prove more               productive.  Sometimes it is more effective to divide practice time into two or three time slots instead             of one long session.  Whatever time suits your schedule and state of mind, be consistent and make                the effort to practice at the same times at least five to six days per week.
 
    2. Where is the best place to practice?
      Practicing requires a ‘quiet’ space where you won't be distracted or disturbed. Put away any                           distractions and let the people around you know that you would like not to be disturbed. Be sure                    to Turn your media/phone off.

    3. How can I best prepare for successful practice outcomes?
      Practice requires both mental focus and physical energy to effectively progress your practice plan.                  Practicing when tired, thirsty, hungry or un-focused, will only lead to frustration and disappointing                results. 
​
   4. How long should I practice? 
     The actual time spent in practice does not matter as much as how you will use the time you have,                 identifying what you wish to  accomplish and selecting and organising the activities and exercises that           will best aid you in achieving today’s goals.  

          a. Depending on the tasks at hand,  such as: exams, juries, recitals, major ensemble public                               performances; forty-five minutes to an hour is a good place to start… However, practice time is also              about building mental and physical endurance. It is important to understand the physical and mental              demands our performance repertoire will place on us so that we can prepare for both mental and                   physical endurance.

          b. Make sure that you programme your practice sessions for success by identifying what specific                    things you wish to accomplish today.  It is easy to reinforce mistakes and waste time when you                      practice without a plan; well-constructed plans can provide both purpose and focus to your practice.              They promote ‘scope and sequence’, encouraging mindful concentration thereby enabling steady                   progress.  

   5. How can I get the best results from my practice time?
         Structured, planned and consistently timetabled practice sessions provide the basis to achieving                     productive progress. The following suggestions will help you steadily progress when you practice.
​

B.  Planning and Preparing for a workable practice routine
 
The first step toward developing a productive and rewarding practice routine is to begin with a clear              definition of the word “practice”.  Practicing is the act of learning and refining one’s technical and musical      fundamentals through a sequential and systematic approach.  Without a properly developed technique it        is very difficult to master either ensemble or solo performance repertoire.  Actually, there are two parts to      this: ‘learning’ and ‘refining’.
 
Performance’ can take place in front of your friends, teacher, an audition panel, an exam, a master              class, or a public audience. The art of practicing in its broadest terms is a skill that is developed over            time, enabling you to detect problems and mistakes through careful concentration and comparative              listening; to effectively solve those issues through the application of proven strategies.  Practicing is              hard work.   For this reason, it is necessary to approach the task with thoughtful planning and constant          experimentation to learn what format is ultimately most suitable and effective for you.

     1. First of all, you will need to decide on how many hours of practice you are going to attempt each                   day/week. Much depends on your destination, ultimate goals, the performance task, and what you                 ultimately wish  to accomplish in the time allotted.
 
     2. Sit down with your weekly schedule and organise specific practice times.  If you are unable to set                  regular times, you will fill up the time with other activities, unable to meet your goals.  Be sure to trial            your schedule.  Some practice times may work better than others, but it will at least provide a place to            start. You can always make adjustments to meet your particular needs.  

    3. If possible, break up your practice times throughout the day.  However, if you have to practice, for                 example, two hours consecutively, take a break of ten or fifteen minutes between sessions.e.  Be                   flexible in finding practice time when your daily life adds more activities.  You may need to get up                 earlier or stay up later.  You may also  need to invest in a practice mute:  There are currently many on            the market.

   4. Daily practice does not consist of simply playing through exercises, solos and ensemble repertoire               with a dis-engaged’ rote-repetition approach’.  Rather, it is essential that one first identify the                         fundamental skills and knowledge “I need to overcome the specific technical performance challenges of          my repertoire”.  These basic performance skills are developed and mastered through the daily use of              sequential training materials.  It is the mastery of these skills that enable us to meet the technical and            musical challenges of our performance repertoire 

   5.  Play with specific goals in mind; ones that you can measure. Set three focused gals for each time you             begin practice. At the beginning of practice sessions, ask yourself, "What do I want to accomplish                   today?  Shall I focus on tone/intonation development, basic finger/slide technique, build reading                   skills through sight-reading?  Or, should I begin to focus on a new work, play with heightened                       musicality, or fix some problem passages in a current work?"  Now, set three focused goals for each               specific exercise, task or passage you place under the ‘microscope”. Don’t aim too high though. Make           your goals realistic, even setting them lower than you think. Better to hit a lower target than to miss               altogether.
 
   6.  Before we can practice a work, we must learn it through becoming familiar with the specific key                     centres, notes, articulations, rhythm challenges and expressive considerations.  The main task of                   ‘practicing’ is that of getting the work up to speed. As your focus may change, continue to analyse                 our progress with questions such as: "Am I playing in tune? Is my tone even across the range, are the             specific rhythms properly aligned and what parts of the work need specific attention?" However,                     whatever direction you take, remember to form detailed, descriptive opinions of your specific practice           out-comes throughout your practice time, and be sure to recognise what is going well first and then               identify what you would like to improve!  

   7.  The most effective use of time is to meticulously plan for each practice segment with specific targets              and measurable outcomes.  As a part of the learning process try to form honest, articulate opinions on          your progress*

         a. Listen critically
         b. Listen analytically
         c. Listen patiently  

*Start with ‘What did I believe went well’ and follow up with ‘What would I like to improve’?

Be sure to stay tuned into my next instalment "Improving our practice approach"

​Thank you for reading! Warm regards, Monte

Dear friends and family, Lynda and I have finally released our CD Album, "Go, Lovely Rose!"

​The album can be purchased online at 
https://montemumford.bandcamp.com

This album represents a unique partnership between myself and my friend and colleague, pianist Lynda Jessup. The album celebrates a musical friendship spanning 35 years of shared music-making. Together we have performed the widest range of repertoire, from works that are specific to the trombone, to the lush and romantic compositions for voice.

In this recording, we share with you a selection of English, Russian, French, Australian, and American art songs and dances drawn mainly from the early 20th century. Although the trombone is often capable of projecting a voice of power and majesty, this collection of eclectic, little-known works provides opportunity to experience the instrument's unique ability to 'sing' with glorious piano accompaniments, of both intimacy and surprise.

Hard copies can purchased directly from me.
We do trust that you will enjoy this delightful collection!

 “If you don’t know where you are going, any road will take you there” … John Lennon
 
“Professionals rehearse because they perform. Amateurs/students perform because they rehearse. The rehearsal is the main event” … Craig Kirchhoff 
 
“My rehearsal is my most important performance” ... Monte Mumford
 
As much as we might agree that planning for every rehearsal is important, both the writing, and using of comprehensive rehearsal plans can be daunting.  And, what about all those pesky considerations, such as;
 
 “Where do I start?  I have such limited time… I must prepare for the next concert…  I must teach the       pieces… My students never practice their parts at home… How will we ever be ready in time?” etc…
 
At this point it is essential to remember that rehearsal plans generally reflect our ‘core’ music philosophy and overall purpose for inspiring students through rewarding participation in mastering skill, knowledge and artistic expression through our rehearsal routine.   Is the ‘next concert’ our true destination, or is it our ensemble’s overall musical development and advancement?   

To this end it is imperative that we frequently revisit, re-examine and continually adjust our educational philosophy to ensure that it consistently supports and informs our purpose and direction for each and every rehearsal.  After all, we should remember that as conductors, we are educators first.  What do we wish for our ensemble members to gain through our rehearsals?  Without meticulous planning it will not be possible to effectively lead and instruct our ensembles in the short rehearsal time allotted.  If the lack of rehearsal time is a real concern, it is imperative that we work with a detailed plan of specific targets, strategies and goals with realistic timings to ensure steady progress.
 
Like many challenges, once you have the ‘learning curve’ down for creating and delivering a balanced rehearsal plan, it becomes much easier.  After the first plan is written and delivered, it then serves as a template for the rest of our plans for the term. 
 
Here are some guidelines I find helpful in my initial rehearsal planning routine.
1. I carefully consider the priorities of what my ensemble will need to know to meet generic performance requirements, such as:

• characteristic tone and intonation production
• basic key centres
• rhythmic vocabulary,
• articulations and context
• interpretative skills of balance, blend, dynamic contrast in context
• phrasing through harmonic connections
• stylistic considerations

2. I usually write my next plan two to three days following my previous rehearsal. This allows time for mental reflection and thought towards the next stage to be formulated from my review of the last rehearsal.

3. I find it incredibly useful and most effective when I can share my plan via email with my ensemble three or more days before the next rehearsal. This provides the ensemble sufficient time to respond and employ the suggestions I have shared towards our next rehearsal.
 
The use of meticulous, systematic rehearsal plans leads to measurable, rewarding outcomes, and also ensures positive engagement and continued growth.  However, it is important to also understand that these intensive, broad-based rehearsals are to be planned so that their content and activities are tailored to fit into whatever time frame you are working. "There is always to to do what you want to do." ,,, Benton Minor 
 
Be both persistent and consistent, for the rewards of a well-trained ensemble are truly worth the effort.  As an added benefit, well prepared plans can also establish our credibility to both colleagues and students alike.  
 
My rehearsal plans generally consist of the following three major sections

1. Warm-up:  physical preparation and mental focus, employing;
“Circle of 4ths” studies and related exercises as needed;
developing independence and aural awareness

2. Training:  technical and interpretative exercises/studies **
rhythmic and pitch vocabulary materials – rhythms, scales, arpeggios, the use of relatively short, unison etudes phrase and harmonic development through the use of chorale material

3. Performance repertoire:  sight-reading and performance works
all of repertoire choices are consistently matched to the level of the warm-up, training and chorale materials and overall abilities required by the repertoire.

​This three-point rehearsal format is based upon the use of  a series of annually adjusted ‘Student/member Learning Objectives’ (SLOs).  These are broken down into term goals and addressed through weekly rehearsal plans. These SLOs can be further broken down into the introduction and use of ‘long term, mid-term and short-term’ practice strategies (more on these later).  The end point of our use of ‘rehearsal plans’ is to ultimately demonstrate to our ensemble members how to successfully invest in planning their home practice routine for successful progression and measurable, positive returns on their ‘investment’!

1. Circle of 4ths – Alternative Rehearsal Techniques*  - The purpose of the various exercises introduced through the Ed Lisk Circle of 4th routine is to “redirect” thought and attention away from written notation (visual skills) to the art of listening (auditory skills).  It is also useful in building individual and group concentration skills and individual engagement with independence.  The mental processes and visualisation techniques promote ensemble member participation and focusing attention.  It also provides for activating and improving individual listening skills through internal pulse development and aural awareness in scale, arpeggio and interval work.
 
2. Technical development (I generally split this section into two parts)

• (Technical A) Systematic and sequential rhythmic studies** These provide excellent opportunities to acquire excellent rhythm vocabulary and reading skills through counting and sub-division strategies necessary to independently negotiate challenging rhythmic passages. I place a major importance on rhythmic vocabulary acquisition through the use of counting and sub-division measurement strategies. I also include scale and arpeggio work in this section as well.
• (Technical B) Technical Etudes and Chorale Studies Rehearsal plans should also provide for technique facility and expressive interpretation, gained through systematic, method book studies, which provide for logical ‘scope and sequence’ of systematic technical and musical progression.  These texts work best when we follow the logical sequence from page to page.  I also include the use of chorale material in which I introduce and reinforce balance, blend, phrasing and harmonic context in light of musical interpretation.

​               a.   Unison etudes allow for targeting and improving our ensemble’s  understanding of expressive                       phrase structure, inflection, articulations, rhythmic agility and managing challenging key                               centres.  The specific targets found in each exercise are easy to identify and measure,                                     providing opportunities to experience rewarding progress.

               b.   Chorale studies provide opportunities for developing perceptions of balance, blend and
                     vertical intonation, as well as for exposure to the all-important harmonic movement (departure                       and arrival), and harmonic context as the driving force in phrase sensitive                                                       expression/interpretation.  

There are several method/etude/chorale ensemble texts# (see list below) that can be systematically employed for every level of ensemble expertise; the choices are many.  However, ultimately, it is not the material you choose, but how you choose to use it that really matters. (A topic for another post, but they are designed to be used sequentially!)
 
The important point here is that we employ the training material systematically every rehearsal with special attention to applying the learning strategies to home practice routine.  In fact, every amateur and professional sporting club both appreciates and practices the importance of daily training discipline in every turn-out. Every rehearsal provides a valuable lesson in how to practice at home: make an opportunity to introduce a learning strategy and then demonstrate its effectiveness, in every rehearsal!  We, in fact become trusted investment counsellors.
 
3. Repertoire and the Rehearsal Proper:

Specific considerations

It is at this point that we need to see that a major function of our repertoire choice should provide for opportunities to reinforce the technical and musical development of our ensemble.  Our plan therefore will need to effectively connect the training material introduced in the first two sections of the rehearsal towards addressing the technical and musical challenges found in our repertoire choices.  We must not lose sight of the fact that we are trying to build generic skills and musical knowledge to meet the musical and technical demands of our repertoire.  That is why it is vitally important that the mastery of technique and musical interpretation are separately introduced and learned prior to exposure to the current repertoire in the folder.  Be careful to choose repertoire that does not exceed the capacity of your ensemble to meet its technical and musical demands.
 
Therefore, when moving on to planning and preparing the performance repertoire section of your rehearsal, it is important to list the specific issues for consideration, such as how will your repertoire best serve achieving your music education philosophy.  You will need consider what sections will need attention and how they should be approached and prepared with references and examples drawn specifically from the training materials.
 
The ability to balance your training and performance activities requires both vision and dogged commitment to meticulous planning, timing and above all, patience.  We must remain committed to the ‘long game’.
 
Point to ponder… Good rehearsals always include connective analogies, metaphors and narrative (stories) to assist our ensemble in understanding musical concepts difficult to understand and promote the intrinsic value of excellence in music performance  over short-term extrinsic rewards.
 
Additional notes and resource lists:
 
*Circle of 4ths Rational and use:  Why I both promote and employ the Circle of 4ths strategies as a foundation of warm-up procedure across  every  rehearsal. 
 
Through the use of the “Circle of 4ths” exercises and stratagems, I focus on developing rhythmic internal and external pulse awareness through  the use of subdivision, and vertical pitch alignment through beat-less tuning,  harmonic alignment and balance:
accurate rhythm and duration,
pitch, tone quality and intonation
harmonic and melodic ensemble balance and blend
tone colour,
articulations,
key centre cognation
scale mastery.
 
Employing the Circle of 4ths  programme and related applications enables ensembles to increase their automised skills base through its application throughout the rehearsal.   It is important to understand that all of the ‘Circle of 4th’ exercises are to be ’un-conducted’ and are solely dependent on each individual’s internal pulse. They are expected to listen to the ensemble for developing and matching tone quality, intonation, balance, blend and corporate time and internal pulse.
 
**On-line resources for ‘Rhythm Reading”
I believe that it is important to share online resources with our ensembles, which will assist in priming curiosity and individual engagement with technical and musical growth, as this promotes individual responsibility and ownership. 
Here are three rhythm sites that can be of great assistance.  All three appear to be free and interactive. The 3rd site includes a print option, so I share them with in hopes that they will assist in improving rhythm vocabulary. Mastering rhythm notation is key to ultimate success in sight-reading, so, happy rhythm reading! http://www.daniellaberge.com/music/rhythm/rhythm1.htm
http://www.therhythmtrainer.com
http://www.samuelstokesmusic.com/rhythm.html

#Texts and training materials
The Creative Director Alternative Rehearsal Techniques (Edward Lisk)
Rhythm Spectrum for Effective Rhythmic Development (Ed Sueta)
“Sound Innovations” books 1-2 (Robert Sheldon)
“Sound Innovations Ensemble Method”  books 1-3 (Robert Sheldon)
“Accent on Achievement” - books 1-3 (John O’Reilly)
“Traditions of Excellence” – books 1-3 (Bruce Pearson)
“Essential Elements” - books 1-3 (Tom Rhodes)
“Symphonic Band Warm -ups“ (Claude Smith)

During the opening weeks of my first semester at the University of Northwestern as Director of Bands (2005-2010), I spent a great deal of my time, both watching and listening to my new colleagues and students as I settled into the business of teaching music through performance ensembles. As I watched and listened, I began to notice a certain ‘disconnect’ with regards to my student’s understanding of my educative direction and purpose in our Symphonic Band Rehearsals. I became curious as to the nature of their personal and corporate engagement, both inside and outside of our rehearsals. I ultimately concluded that many of my students held very different views from mine as to the purpose of ensemble rehearsals in general.  In fact, we were poles apart as I was soon to discover.

Following one particularly frustrating rehearsal, I asked my senior members as to why they believed that there was a symphonic band on our campus. The only answer that they could offer was “well, every school has a band”. Apparently in their minds, participation in the school ‘band’ had not been considered to be of any particular educational value outside of a ‘fun’ activity, meant in someway to provide a relief from the grind of the daily diet of academia and ‘homework’, or to encourage communal team spirit and the sundry benefits of ‘social participation’ in such ‘co-curricular activities’. To be sure, there was a certain degree of commitment to preparing for festivals, contests and the twice-yearly school concert.  However, these events were seen as destinations that somehow became the ultimate justification for the existence of their school performance ensembles.  And, it was also tacitly understood by most ensemble members that the actual preparation for these ‘important events’ was to be achieved solely within the actual rehearsal period, and certainly not through the process of personal home practice.
 
I wonder how often we engage in exploring, questioning and considering what it is our ensemble members understand, or believe as to the importance of their participation in school performance ensembles? I suspect that there are many and varied beliefs, and that we might be surprised by hearing their thoughts…
   
Upon reflection of my students' answers, I was struck with the urgent need and importance for school ensemble rehearsals to clearly reflect and promote academic rigour with systematic and sequential purpose in the pursuit of performance music participation. Indeed, if we are to secure the ongoing support and respect of our administrators, colleagues, students and parents alike as to the valuable educative assets and outcomes of music ensemble participation in the school community, our ensemble rehearsals will need to clearly demonstrate the acquisition, purpose and effective use of learning processes, which in turn lead to measurable, transferable skills, a useful knowledge base and identifiable outcomes.
 
Over the years I have often observed ensemble directors playing down the importance of the warm-up/training portion of their rehearsal, relegating it to something that one has to ‘get through’ so that they can get on to the ‘more important’ task of teaching our repertoire.  Generally, these routine activities consist of a few minutes of playing through a couple of scales, (often the same ones each rehearsal) and a tuning exercise, maybe employing an electric tuner, a tuba, oboe or vibraphone: then, it’s quickly on to the ‘all-important’ repertoire. When the warm-up portion of rehearsal is seen in this light I believe, we are missing a great opportunity for sharing effective and imaginative learning strategies, and applications in acquiring the skills necessary for musically rewarding rehearsal and performance outcomes.

To be both worthy, and effective of the time allocated, the warm-up/training portion of the rehearsal has to have direct relevance and connection to what will follow on in the repertoire to be rehearsed. Ensemble warm-ups should be used for the process of introducing, preparing and shaping our ensemble’s knowledge and skill level necessary for meeting both the present musical demands, as well as for identifying and preparing for future learning goals.
 
In fact, our rehearsals should actually reflect our personal philosophy of music education, providing models and practical instruction on how ensemble members are to develop, organise and utilise their own personal practice routine. The main function of the warm-up/training portion is to provide basic strategies on mental focus and concentration, tone production, breath control/bowing/sticking, embouchure development, internal pulse, meter cognition, automatic responses relating to rhythmic and melodic notation, learning and practice strategies, phrasing, harmonic sensitivity and most importantly, independence. In fact, there should be specific reasons and attendant goals for everything contained in our warm-ups as they generally comprise the most precious time of our rehearsal structure: the first 15 – 20 minutes.

Therefore, everything that happens in those first few minutes should be systematically planned to address not only the repertoire which is to follow, but to also prepare our ensembles how to acquire and use technical and interpretive skills and knowledge. It logically follows then that both the materials and strategies used in warm-ups should be assisting in providing our ensemble with the tools/techniques/skills required to meet both the technical and musical demands of our present repertoire choices as well as for our student’s future learning strategies. Planning warm-up/training sessions then requires careful preparation and systematic planning, as to how one selects their material and arranges the various activities which will aid in achieving our educative goals by the end of the day’s rehearsal, the semester and the year before us.

The Edward Lisk “Alternative Rehearsal Technique” warm-up system is perfectly suited to forming the basis of developing creative and imaginative warm-ups as it provides endless exercise opportunities, based around the use of the Circle of Fourths.  I personally have successfully used his concepts and exercises to great effect over the last 28 years with ensembles of all ages and experience levels. I also employ a wide variety of chorales, such as Frank Erickson’s “66 Festive and Famous Chorales”, Richard Thurston’s “Bach Chorales for Band”, and Leonard Smith’s “Treasury of Scales for Band and Orchestra”. Depending on the level of ensemble, I include the use of assorted standard method books such as the “Traditions of Excellence”, “Essential Elements” and “Sound Innovations”, etc. With more advanced ensembles I employ technical studies, such as Claude T. Smith’s “Symphonic Warm-ups for Band”, Raymond Fussell’s “Exercises for Ensemble Drill”, Ed Sueta’s “Rhythm Spectrum” exercise book containing 67 progressing rhythm charts and “Sound Innovations Ensemble Training Series”. (This is just a small offering as there are many more for consideration.) The most important issue, however, is to make use of a variety of exercises and texts so that the only routine is the actual time, and not the specific exercises.

An important factor in designing and delivering imaginative and effective warm-ups is found making sure that the material you use is related to addressing and developing both long term generic skills and also addressing specific skills directly contained in the specific performance repertoire you are presently engaged in preparing. It is also important to remember to avoid consistently using the same material and/or employing predictable training routines. This practice dulls the mind, often resulting in a ‘disconnect’, or mental withdrawal from the activity. The main thrust should always be to remind our ensembles that using the ‘learning process’ is their responsibility, not ours, and that they themselves own what they learn. It is our responsibility to model and introduce how to effectively use the time and material, while proving its value by demonstrating the success experienced when the strategies and material are used. The rest is up to them. We might be surprised if we asked an Olympian athlete to describe their outlook and philosophy on their warm-up/training routine.

The actual content found in method books, chorale books, rhythmic studies and technical etudes listed above is not as crucial as the learning process applied to the specific material, leading to successful outcomes.  Instead, it is the actual learning process that is most significant and how it is applied to other musical (or non-musical) challenges. Why is the exercise there in the first place, how does it fit into the overall learning sequence, and how can we assist students in identifying the embedded targets: how will the students know when they have met and achieved the implied targets found in in each exercise? Who ultimately is responsible for setting the outcome criteria? How does the exercise sound when it is right? 

​If we do not share the effectiveness of ‘process learning’ during our rehearsal warm-up/training portion, we then miss a great opportunity to demonstrate the power of personal ownership found in independent learning. Why do we learn to master specific exercises if not to apply the process used in learning them to the technical and musical challenges? Do our students understand this principle? Mathematicians do not learn equations, save for their application and usefulness in the process of problem-solving.

The warm-up portion/training of our rehearsal should provide opportunities where invaluable performance skills are introduced, developed and perfected. If we agree that 70 % of our rehearsal time should be spent on music-making and 30 % to be spent on technique acquisition and mastery then it stands to reason that a majority of the technical skills needed to allow our ensemble to focus on music-making ought to be addressed separately from the repertoire.  Composers of significant repertoire generally assume an ensemble’s command of a prior knowledge and skill base to be necessary for a rewarding, significant musical performance to take place.
​ 
If we also agree that educational ensembles give concerts because they rehearse, then at least part of the entertainment value should be derived from the communal joy of a successful progression from one level of performance to the next. School concerts, besides entertaining our audiences of friends and families, should also provide reality checks on the ensemble’s overall musical development and progress. Therefore concerts, festivals and contests should never constitute ultimate destinations, as we will be generally disappointed with ours and our ensemble’s overall results. Instead, we should endeavour to view these activities as vital stops on our ensemble member’s way to their final destination of assisting in producing independent, life-long learners and lovers of music.

Thank you for taking the to read my thoughts...

​Monte

Percussion section:  The basics
 
For this, my next instalment on basic ensemble training knowledge I would like to share some thoughts and resources regarding the development of our percussionists.  And yes, posture and hand position play an important role in percussion performance, so once you have the templates clearly established, be prepared to remind your percussionists 70 X 7!
 
So often in our rehearsals our percussion sections get left out, either through ours, or our percussionist’s mis-understanding, lack of confidence, lack of specific knowledge/role models, or the fact that they are simply isolated by too great a distance from our podium.  Sometimes we fail to understand how to employ the sequential and systematic learning approaches found in our method books, or lack proper materials, or instruments, to prepare our students to meet the challenges in our performance repertoire.
 
What other section in our ensemble is presented with so many performance challenges? Physical distance between unlike instruments, the need to develop individual/group organisation skills, the ability to master performance technique for so many different kinds of instruments, and the list goes on.
 
And do we actually know the different percussive sounds our individual scores demand?  Can we describe them? Do we actually know what kind of sound the composer wishes to hear at a particular point in the score for each instrument?  Can we articulate it? Can we demonstrate the sound for which we desire?  
 
Sometimes we have to admit that we just don’t know enough…yet.  Once again, 'we don’t know what we don’t know’!  But, we need to know! Do we know where to find the answers, and is this important?  However, it is a plain fact that the success of our bands and orchestras lie in the effectiveness of our percussionists to possess the techniques, reading skills and passion to cover and musically meet the challenges of modern ensemble repertoire.  If we are fortunately endowed with a fine percussionist tutor/staff, we still need to reinforce their teaching and direction. And we still need to be able to articulate that special sound we wish our percussionists to produce.
 
Another important point for consideration is the need for we musical directors to be able to build and encourage our percussion sections to become vibrant communities of shared challenges, learning journeys and ultimate joy of being a part of an important group of musicians within our ensemble.
 
For the developing of an effective and engaged percussion section, it is essential that we hold in our repertoire of teaching strategies, the accurate physical and aural templates for percussion.  To this end I have chosen several video demonstrations and written articles covering what I consider to be the most important fundamentals of percussion performance.  
 
This next portion of my presentation for beginning and training knowledge acquisition, and development provides you with both written and video resources for percussion instruments technique. These resources specifically explain and demonstrate posture, hand position, stick/mallet angles, and proper sound production. Also provided within this section are several approaches and specific exercises for introducing developing basic technique.
 
Percussion Basics Websites:
 
Vic Firth Percussion 101 – This is an absolutely fabulous video site covering almost every aspect of percussive techniques and individual instrument description, including: selecting mallets, sticks and beaters and suitable instruments as well as practical maintenance tips, such as replacing heads, snares and simple repairs. 
 
The site also presents descriptive techniques and demonstrations that cover the major points of snare drum, bass drum, timpani, tom tom, cymbals - both suspended and crash, and triangle performance.  Also included is an excellent series of videos demonstrating most of the basic Latin and auxiliary percussion performance techniques.  This is an incredibly comprehensive resource and I highly recommend it for broadening your knowledge of this absolutely essential and often little appreciated or understood section. https://www.youtube.com/results?search_query=vic+firth+percussion+101
 
Here are further resources:

• http://apps.texasbandmasters.org/archives/pdfs/clinic/2010-dick.pdf

• http://www.beginband.com/percussion.shtml

• http://bandmasters.net/JHV%20Perc.Inst.Recommend..pdf

• https://fas.org/irp/doddir/army/tc1-19-30.pdf

• http://www.bandworld.org/pdfs/WarmUp_Percussion_Todd.pdf

• http://www.bandworld.org/pdfs/PercussionABC_Schwartz.pd

 
 Snare drum technique:

• https://www.youtube.com/watch?v=0Krnkf865SI

• The following site is impressive, as it features a young student teaching basic snare drum rudiments! http://www.youtube.com/watch?v=Mj2AgAs-3gQ&feature=related

• https://www.youtube.com/watch?v=0HFW7yplSBw

• http://www.youtube.com/watch?v=JIQKyLX9QPU&feature=channel&list=UL

• http://bandmasters.net/JHV%20Perc.Inst.Recommend.pdf

 
Mallet performance sites:

• https://www.smartmusic.com/blog/developing-a-young-mallet-player/

• http://news.chopspercussion.com/what-mallets-does-my-student-need-beginners-faqs/

• http://groverpro.com/an-organized-percussion-section-the-key-to-success-by-john-r-beck

• http://apps.texasbandmasters.org/archives/pdfs/bmr/2004-06-wessels1.pdf

In my next post I am hoping to share some thoughts on the importance of getting the breathing concepts we share with our wind students unified and maybe less contradictory.  After all it is a topic fraught with difficulty, and there are many diverse philosophies swirling around this important issue...
 
By the way, just as a reminder, I have added several new articles for your consideration in my "Publications and Articles" section. However, you will need to obtain a password to access the section.  Please contact me.

I hope that you may find all of my resources useful! 
 
Thank you once again for reading!
 
Warm regards,
 
Monte














________________________________________________________________________

Goal/target identification: Becoming visually and aurally aware: The Brass Family
 
Continuing on from last week’s post, here is the 3rd instalment addressing the importance of introducing, reinforcing and maintaining acceptable performance habits.  Please find below the set of visual rehearsal ‘templates’ we should employ to introduce and reinforce proper brass posture, hand position and embouchure.  Once again, it is essential that we remain committed to consistently using them to remind students to demonstrate correct responses throughout every private lesson and training/rehearsal session.
 
The word ‘template’ may be unfamiliar to my readers, however it is the term I commonly use to describe and reinforce the set of aural and visual skills, such as characteristic tone production, or a specific hand position for any particular instrument.  In my mind I hold a picture of the acceptable tone quality, articulation, accurate rhythmic response, correct posture, hand position, properly formed embouchure, mouthpiece placement, etc, which has been systematically and sequentially introduced to the student in the early stages of their private lesson/ensemble participation.  In subsequent rehearsals/lessons I then superimpose these over the student’s physical demonstration/performance.   My use of both visual and aural templates assists me in determining whether their present performance habits are being formed and successfully developing.  The constant use of these templates allows for me to either reinforce acceptable habits, or correct and re-establish the proper performance response.
 
Your visual and aural ‘templates’ should always be derived from your music education philosophy and your student  learning objectives’ (SLOs) such as:  

• What is appropriate posture, and what does it look like?
• What should each instrument’s hand position look like?
• What should the characteristic embouchures and mouthpiece placements for each instrument look like?
• What should a ‘characteristic tone’ for each instrument sound like?

 
Once again, the various templates I have listed below require a consistent ‘attention to the specific details’ representing a basic catalogue of the sorts of things for which we should be both looking and listening. However, it is only after we have effectively transferred these essential templates on to our students that we will begin to see student ownership and personal assessment opinions progress into significant rewarding and lasting success.
 
For the next topic in this series on “Basic Ensemble Training Knowledge”, let me introduce you to some helpful brass teaching aids and specific details that you can actively share and reinforce in each rehearsal.
 
Brass: the basics - Brass instruments come in two basic shapes: Conical and Cylindrical. Simply put, cone shaped and cylinder shaped bores. Cone shaped instruments gradually get larger from the time the tubing leaves the mouthpiece receiver and are as follows:

• Cornet
• Flugelhorn
• French horn
• Tenor horn
• Baritone
• Euphonium
• Tuba/Sousaphone 

 
The conical bore tone characteristic is generally warm and round, voice-like and less direct.  The conical instruments respond best when the sound is not forced.
 
Cylindrical Instruments relatively retain their bore diameter until they arrive at the beginning of the bell flare, and are as follows:

• Trumpet
• Trombone
• Bass Trombone

The  cylindrical tone characteristic is generally bright, directional and penetrating. Both the conical and cylindrical shapes are capable of singing. However, the cylindrical needs more attention.  It is a little less easy to distort the cylindrical shape, but one still needs to be careful. 
 
The best way to develop a beautiful characteristic tone for both shapes is to find and listen to fine brass artists.  Besides, no one instrument has the corner on beautiful sound production, so don’t limit yourself to your own instrument!  The human voice actually offers the best options!
 
Trumpet: getting started:The size of the instrument does matter – The trumpet is relatively heavy, and as most wind instruments, basically designed for adult body shapes and hands. Check student hand sizes to ensure that their fingers can comfortably depress the corresponding valves and that the left hand can comfortably support the weight of the instrument.

• It is the Left Hand that holds the instrument, allowing for the right hand 1st three fingers the ease of action without trying to carry the weight of the instrument and operate the valves simultaneously. 
• Eventually the left hand 4th finger, or middle finger will operate the 3rd valve slide for 1 & 3 and 1, 2 & 3 valve combinations. These 2 combinations are physically too short and need extra length to compensate for the inherent sharpness.  Some trumpets, the more expensive models, tend to also include a 1st valve slide, which compensates for 1 & 2 valve combination sharpness.
• All trumpets come equipped with a hook ring on the lead pipe for the right hand ‘pinkie’ finger. Its general usage is to steady the instrument; hold the instrument while turning pages or inserting and removing mutes.  I generally discourage its use in young students, as they tend to pull on it to increase embouchure pressure or use it to support the weight of the trumpet. I prefer the floating little finger.
• Developing the right- hand’s position is really important at this early stage, as bad habits are very hard to break later on.  Furthermore, incorrect right-hand position can impact embouchure setting and stiff, tense fingering, causing further difficulties.
• The right hand thumb should be placed between the 1st and 2nd valve casing, under the lead pipe and opposite the 1st finger placement on 1st valve. Be sure that the elbow is not too high or too low, but is following a natural looking angle down from the wrist.  This ‘hand position’ can be discovered by simply dropping the right hand to the side and lifting it into its place.  It will appear completely natural!
• The left hand starts in the same place, dropped to the side and then lifted to hold the valve casing between the thumb and fingers. Don’t allow them to strangle the instrument.  Both natural & relaxed is best:  Avoid hand, shoulder and neck tension!
• Additional information:
• https://www.youtube.com/watch?v=XFPTUOJjjWg
• http://www.thetrumpetblog.com/trumpet-hand-playing-position/

• Embouchure formation, once again starts with either the letter “M” or “P”: firm, set corners, flat chin and relaxed centre;

Once the correct lip formation is set, we are now ready for the correct placement for all brass instrument mouthpieces; this is essential, and is best accomplished with a ‘mouthpiece visualiser’.  This is generally a trumpet, French horn, trombone/euphonium & tuba rim.  Old mouthpieces can be turned into visualisers. Simply cut the rim off and have a little thin metal rod welded to the outside face of the rim.  Conversely, you buy an expensive one from a music store supplier. In either way you will need 4 of them.  The visualiser allows both teacher and student the opportunity to both see and feel the correct placement, and should be used regularly in the early learning stages to avoid incorrect habits to develop. After demonstrating the proper mouthpiece placement, let the student now place the mouthpiece on their lips.  Be sure to encourage the student to regularly check their mouthpiece placement with a mirror.

• The correct trumpet mouthpiece placement is 50/50 top/bottom lip, in the centre, or as close to the centre as possible.  Be very sure that the line on the lip THAT divides the white portion from the red is INSIDE the cup!  This set-up supposes that the student’s teeth are fairly even, and that there are no serious issues with crooked teeth, severe ‘under bite’ or ‘over bite’, otherwise known as malocclusions.  If this is the case, the success rate for a student choosing to play a brass instrument can be greatly diminished and a second instrument should be suggested.  You will need to be committed to consistently checking and correcting embouchure on a regular basis! Look for it and correct it immediately!  A good mouthpiece recommendation for getting started would be a Vincent Bach 7C.

   http://www.bandworld.org/pdfs/embstudytpt.pdf

• The angle of the instrument should be at a comfortable, slightly slanted (10%) angle towards the bell end.  This angle is very important, as an improper angle (usually too low due to the weight of the instrument) can lead to incorrect mouthpiece placement on embouchure; generally, too low on the lips. Overbite and underbite can be compensated by aligning the bottom and top teeth against the mouthpiece rim.
• Valves and slides, (all four slides, including tuning & 1st, 2nd & 3rd) need regular lubrication.  Valves (approved valve oil), at least once a week, and slides (Vaseline Petroleum Jelly), once a month.
• Be sure that the student presses the valves straight down and not from the side.  Correct right hand and finger position will generally solve this issue.

 
 French Horn: The basics:

• The size of the instrument does matter: The instrument is heavy:  As in the trumpet, check for hand position and the ease of finger action.  It is fingered with the left hand and basically supported by both hands; left hand pinkie; right hand inserted into the bell with the weight supported by the back of the right hand placed in the upper opening of the bell throat. This right hand position will assist in shaping the sound and controlling intonation as the student progresses. (Maybe controversial, but for smaller students it may be acceptable in the initial stage to rest the bell rim on their leg as long as the mouthpiece remains in the proper position.)  
• The most common form of the modern French horn today is known as the ‘Double Horn’ having ‘two sides’; pitched in both Bb and F.
• the shorter/higher side being pitched in Bb and the longer/lower side pitched in F.  The instrument is set to play in F and then moved into Bb via the depressing of the thumb valve, operated by the left hand thumb.
• The main advantage of the Bb side of the horn is improved intonation and accuracy of pitching.
• Embouchure formation, once again starts with either the letter “M” or “P”: firm, set corners, flat chin and relaxed centre;
• For more information:

http://hornmatters.com/2010/08/hornmasters-on-mouthpiece-placement/

• The mouthpiece placement is quite different from the trumpet.  Top lip portion is between 2/3, and 3/4, and bottom lip placement is between 1/3 and 1/4. The bottom edge of the mouthpiece rim should be placed in the red of the lip.  The mouthpiece is placed as close to the centre of the mouth as possible.

    An all-round mouth piece for starters is a Yamaha 30 C4

• The instrument is held at an angle, bell pointing towards the right ‘off side’, accommodating a natural right hand/left hand juxtaposition. A picture is worth a thousand words! (Insert picture)
• The valves and slides must be lubricated, just as in the trumpets on the same sort of schedule. 
• For further information check out these sites:

http://www.public.asu.edu/~jqerics/beginners.html
https://www.musicarts.com/Student-Resources---A-Beginners-Guide-to-French-Horn-g29315t0.mac

Trombone: the basics-

• The size of the instrument does matter: Arm length is ALWAYS going to be a problem for young trombonists, but don’t despair!  There are trombone slide extenders available which will assist in getting out to 6th and 7th positions. 
• The hand position is complicated to the uninitiated so here are some pictures… https://www.youtube.com/watch?v=pUhTG74aqZM

• The left hand holds the instrument and the right hand moves the slide.  Right hand holds the slide, palm facing the chest and the 1st two fingers and thumb holding the slide brace towards the bottom of the brace.  Make sure that the elbow is not too high or too low, naturally follows the angle from the wrist.  The palm should be facing your heart.
• The trombone comes in three pieces and has to be put together and taken apart by the student. Herein lies the great danger for serious damage to occur, as the slide is very delicate, the slightest dent impacts the instrument’s ability to be played.
• It has a bell, slide and mouthpiece combination.  The slide section being inserted into the bell receiver pipe and connected together by the use of a threaded circle.  The bell and slide should be at a 90% angle.  Beware of the slide coming in contact with the bell rim as this can dent the slide, making the instrument inoperable.
• Embouchure formation, once again starts with either the letter “M” or “P”: firm, set corners, flat chin and relaxed centre;
• The trombone mouthpiece placement, again crucial for future success is placed in the middle of the mouth, with a 2/3 top lib and 1/3 bottom lip ratio: It is the same placement set-up for euphonium mouthpieces as well.
• For further information:
• https://www.youtube.com/watch?v=hJW4wibjR_E

• An all-round mouthpiece for starters is a Bach 11C
• As a trombone has a slide instead of valves or keys, with the exception of the ‘double trombone’ the instrument is, for all practical purposes is a fretless instrument.  It has 7 positions, just as the valved brass has 7 basic valve combinations, nevertheless, the positions are slightly different on every trombone.  Ultimately, it is a combination of ear and kinaesthetic muscle memory, which the trombonist must acquire from ‘time on task’ learning, comparative, mindful repetition, just like young string players.
• The most common trombone model today is the Bb/F instrument.  As you are most likely to come in contact with this instrument fairly early on, it is important to know that it has become the ‘standard’ instrument.  Unlike the double French horn, the trigger trombone is in Bb the F side is engaged when the left thumb depresses the valve.  It expedites the slide requirements, simplifying the slide shifts by often replacing the need for using 6th and 7th positions.  There is insufficient space to go into great detail here regarding the various pros and cons.
• Other developments include the introduction of the new plastic trombones called P-Bones, coming in various bright colours.
• The main slide and tuning slide(s) must be lubricated on the same schedule for the trumpet and horn.  However, the slide lubrication is of a special nature and must be demonstrated.
• Types of slide lubricant:

• Trombotine cream,
• Slide-O-Mix; liquid & comes in both a two-pack, or single application,
• Conn Sure-Slick, & comes in both a two-pack, or single application,
• Yamaha Brand: comes in two options; cream in a tube, or a liquid.
• Bach Slide Cream.

 
Euphonium: the basics-

• The size of the instrument does matter: The Euphonium is a heavy instrument:  Holding it is like cradling a small child.  The instrument is supported by the left hand and the valves are operated by the right hand.  In the case of English and European instruments, if there is a 4th valve, it is most likely located on the right side of the instrument half way down the bell tube.  In this arrangement, the left hand forefinger is used to depress the valve.
• The Japanese, Chinese, American, and some European models follow the “in-line arrangement of either 3 or four valves. in this case the 4th valve may be covered by the right hand pinkie or played by the left hand index finger.    The euphonium will be either be 'upright bell' or 'bell front'. 
• More advanced euphonium models have a 4th valve, as already mentioned.  This is a 'double' instrument arrangement: shorter side in Bb and longer, 2nd side in F.  This arrangement is a cross between the need for improvement in intonation and more effective valve combinations.  The instrument suffers from the valve issues mentioned in the trumpet as well as the problems brought on by its conical shape, which compounds the intonation issues.  
• As the instrument height adjustment is crucial for proper mouthpiece placement and lead pipe angle, one may find that adjusting the angle of the instrument may be necessary.  It will have a lot to do with the length of the student’s torso.  A long torso will require a cushion under the bottom of the instrument. If the torso is too short, then the angle of the instrument will have to be adjusted.  Just as in the trumpet, the correct finger alignment is very important to developing quick and secure fingering.  Make sure that the right thumb and elbow are in the right place: Be sure that the elbow is not too high or too low, but follows a natural looking angle down from the wrist.
• Embouchure formation, once again starts with either the letter “M” or “P”: firm set corners, flat chin and relaxed centre; The proper mouthpiece placement, like the trombone is 2/3rds upper lip and 1/3 lower lip, in the centre.

 
Tuba: the basics-
The Size of the Tuba matters: The tuba is a heavy instrument: Holding the instrument is problematic, depending on the size of the student.  There are tuba- stand options such as tripod posts, cradles and such: See:
https://www.wwbw.com/Tuba-Stands.wwbw
 
The best option is to use either a single Bb tuba or a single Eb tuba.  These provide easier handling options allowing for younger students to get started.

• The Eb tuba option sets up minor transposition issue when reading bass clef.  When reading from a Bb method book the student has to remember that on an Eb instrument G equates to concert Bb.    If you choose the Bb tuba option there are no transposition issues. Follow this site for assistance in transposing Eb tuba to Bb bass Clef:

http://www.johngagemusic.com/2014/12/reading-bass-clef-parts/

• The tuba is played ‘bell up right’ and has the same fingering arrangement as the euphonium.  Again, be sure to check body shape and hand size.
• The mouthpiece is placed in the centre of the mouth and 50/50 on the upper and lower lips.
• Carrying the instrument can lead to creative cartage options such as a little handcart, shock cords on a skateboard, etc. and a variety of other ideas.
• More advanced Tuba models have a 4th valve option, as already mentioned.  This too is a double instrument arrangement: shorter side in Bb and longer 2nd side in F.  This arrangement is a cross between the need for improvement in intonation and improved valve combinations.  Just like the euphonium, the tuba suffers from the valve issues mentioned in the trumpet as well as the problems brought on by its conical shape, which compounds the intonation issues.   Make sure that the right hand position is set by properly aligning the thumb under, the 1st and 2nd fingers, and keeping the wrist from collapsing to the valve casing.
• Another viewpoint article on brass embouchures: http://www.brucepearsonmusic.com/articles/TeachingTheBrassEmbouchure.pdf

 
As in all wind instrument hand positions, it is always best to bring the instrument to your lips and not the other way around!
 
 Understanding the development of air support is crucial for all wind instruments.  However, the topic of air support needs a separate discussion as there are many approaches to this important topic and equally many points of view and equal number of strategies.
 
Many have merit and some are really contradictory and confusing.
Some people talk about the diaphragm in incorrect terms and function.  Proper air intake, delivery and control are essential for a rewarding engagement with the wind family.  I hope to address this subject in a future post.

In my next instalment I hope to continue our discussion of acquiring and using the visual templates for the Percussion families. I also hope to discuss some basic ideas for addressing 'breathing for winds: a can of worms for sure!
 
By the way, In my website I have added several new articles for your consideration in my "Publications and Articles" section. However, you will need to obtain a password to access the section.  Please contact me.

I hope that you may find them useful! 
 
Thank you once again for reading!
 
Warm regards,
 
Monte