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

When working with beginning/training band ensembles, how do we avoid falling into the trap of “Not knowing what we don’t know?”  I believe that it is essential that we consistently maintain our quest for knowledge and improved delivery/teaching strategies through regular exposure to professional development opportunities and further learning opportunities, for being mildly ambivalent to new/different teaching approaches is really not a professional development option.
 
This philosophy especially holds true for maintaining our commitment to introducing and reinforcing the essential performance fundamentals, such as:

• Tone quality/sound production
• Secure intonation
• Internal pulse development
• Tonguing and articulations
• Sub-division/counting strategies, leading to full value notes, accurate syncopation and acquiring a workable rhythm vocabulary
• Accurate notation reading skills (acquiring rhythmic and pitch vocabulary)
• Connecting/moving from note to note; expressive phrasing and shaping musical lines
• Home practice strategies; investment, personal ownership and returns;
• Personal comparative/assessment listening skills.

However, before we can start addressing the technical and musical issues of the above points, we need to begin by consistently demonstrating the basic foundational playing habits of posture, hand position and embouchure and ensure that they are firmly in place. It is good to remember that simply practicing without using the correct templates won’t improve the improper posture, hand position and embouchure: “Practice doesn’t make perfect; however, it does make permanent”!
 
In my role as a visiting clinician, before I ever begin to address an ensemble’s repertoire, I often find myself confronted with an array of confusing and physically inhibiting postures, hand positions and embouchures.  Before I can begin to proceed towards exploring and addressing their ‘musical’ issues, I will need to start by first adjusting posture & hand position. (Embouchure adjustment in this context is generally not an option; for many, it’s too late…)  Only then can I begin to effectively move on to address the musical challenges!
 
In fact, it is common knowledge when these fundamental points are firmly established, they will facilitate superior performance practice, as they positively enable a more naturally intuitive physical manipulation of the students’ instruments. 
 
Goal/target identification: Becoming, and remaining visually aware…
 
To effectively introduce, reinforce and maintain acceptable performance habits of posture, hand position and embouchure we need to be sure of our set of visual instrument performance ‘templates, so that we can be assured of our effectiveness in introducing, assessing and reinforcing them.  Of course, we will also need to remain committed to consistently using them throughout every private lesson and/or training/rehearsal session until they become the natural response.
 
 ‘Templates’ – A correct model of a skill, technique, response, knowledge base or objective which is superimposed over that which is observed of a student’s performance as incorrect, faulty or insufficient in order to identify, adjust and reinforce the proper response.
 
These ‘visual templates’ should be derived from our overall definitive, measurable ‘student learning objectives’ (SLOs) such as  

• What is an appropriate seating/standing posture, and what does it look?
• What should each instrument’s specific hand position like?
• What should the characteristic embouchures and mouthpiece placement look like for each instrument?

 
Employing the various visual templates requires:

• An understanding of the overall importance of proper formation of posture, hand position and embouchure
• An active, on-going attention to the specific details. 

 
And, what are the details anyway?  For what specific sorts of things should we be looking and listening?  Only after we have effectively transferred our passion for these essential templates to our students will we begin see the transformation.
 
For starters, let me introduce you to some helpful woodwind teaching points you should be aware of, and be actively engaged in introducing and reinforcing in each rehearsal.

1. Woodwinds - The basics:

_____________________________

• Flutes: Getting started –
• The size of the instrument does matter, so be sure to check the student’s arm reach, as the right arm/hand –little finger needs to comfortably reach the key stack on the foot joint.
• The left hand fingers need to be able to arch sufficiently to comfortably depress their corresponding keys, especially the left little finger.
• Make sure that the right thumb pad is under the middle body of the flute, centred and opposing the finger action. Be sure that the elbow is not too high or too low, but is natural looking.  From fingers to elbow there must be a flat angle, making sure that the right elbow is sufficiently high enough for the thumb to be in the right position under the body of the flute.  The right wrist must align with the forearm. (see lower website)
• The head angle must be looking over the left elbow, not facing front, and the left wrist and elbow must be aligned, with the elbow high enough to place the thumb on the thumb keys comfortable and natural looking. There is an option for the curved head joint for smaller students. Go to your browser and key in "Curved Head-Joint for Flute"
• Remember: tension in any form or place should be avoided!
• Be sure that the head-joint is aligned properly (see example in method book an/or online reference pictures).
• Remember, to start out by getting the proper sound/pitches on the head joint alone; open and closed.
• When setting up the lip plate on the student’s mouth be sure that the line separating the white and red portion of the lip lines up with the bottom edge of the tone hole; jaw forward on bottom lip; it’s a good place to start.
• Before placing the head joint on the flute body make sure that the student is getting a full-bodied and centred tone on the head joint alone.  You can begin to work on tonging articulation while working on the head joint.
• For setting the embouchure (the way the lips are placed on the -Lip-plate), the use of ‘Wee too’ can be useful.  Think of the lips having drawstring, gently pulled close.
• Here are a few extra viewpoints: https://drcatesflutetips.wordpress.com/category/flute-posture/
• http://sbomagazine.com/performance/4452-46beautiful-tone-for-the-new-flutist.html
• http://blockiflute.3dcartstores.com/Head%20joint%20Ex.%201.pdf

 For your consideration: a wonderful device known as “The Blocki Pneumo Pro® breath direction       embouchure trainer – check it out! 

• https://www.ozwinds.com.au/pneumo-flute-trainer-with-p-3196.html

  ________________________________-

• Clarinets: Getting started -

• The size of the instrument does matter, so be sure to check hand sizes and insure that all of the student’s fingers can comfortably cover and depress the corresponding keys.
• Again, make sure that the right thumb is centred under the thumb rest.
• You may wish to consider using a clarinet neck strap. A thin shock cord placed around the thumb rest and around the student’s neck may partially address the size and weight problem.
• Demonstrate the proper assembly of the bell, lower joint, upper joint, barrel joint and mouthpiece and remind them of the importance of not twisting the fragile key mechanisms and using cork grease weekly to avoid costly damage to the corks.
• Recommend size either 1 ½ or 2 reeds: Remember to check with regards to the shading of each reed they purchase. Refer to the “head and shoulders darkened shape” emanating from the circular shaving of the reed (top side) to the tip of the reed.  The ‘head and shoulder’ shape should be partly darker. Another viewpoint on reeds: https://www.wikihow.com/Choose-a-Reed-for-a-Clarinet
• The reed should be inserted into the mouth while assembling the instrument allowing it to become moist and thereby more respondent. (This will keep students ‘quiet’ at least while they are assembling their instrument!)
• Attaching the reed should be the last act in the assembly.  The reed is placed down on the lay, the flat portion of the mouthpiece, tip of reed to tip of mouthpiece. The ligature is now slipped over the reed and mouthpiece, being careful not to chip the fragile edge of the reed.  The top edge of the ligature closed to the mouth, should be approx. 5 mil from the edge, of the sloping portion of the mouthpiece.
• For setting the embouchure (the way the lips embrace the mouthpiece, placed in the mouth).  Again, ‘Wee-tooo’ & think of the lips having drawstring, gently pulled close.  Just above the point of the chin there should appear a flattish dish between the bottom lip and the chin.
• The bottom lip is very slightly (!) pulled over the bottom teeth, as a cushion, protecting the reed from the bottom teeth.
• When the mouthpiece & barrel joint are inserted and the student blows, if set up properly we should hear a concert high F#.  If not check for the above.  Beware of excessive tension; it’s the enemy! So often the student is trying too hard.  Put a piece of paper between the reed and ‘lay’. Where the paper stops, mark the reed from L to R. This becomes the place where the bottom lip stops.  Put the thumb just under the line and it acts like a bumper.
• For both saxophone and clarinets, it is best to always have three playable reeds, rotating them daily.  Having a reed protector case, keeping them flat and dry is essential for a reed’s life.  If cared for, they can have a long and serviceable life.

 
       Another few extra viewpoints:

• https://capitolmusic.wordpress.com/band/woodwinds/clarinet/basics/
• https://www.midwestclinic.org/user_files_1/pdfs/clinicianmaterials/2007/howard_klug.pdf

 
_________________________________

• Saxophone: getting started -

• Once again; the size of the instrument does matter, so be sure to check hand sizes and ensure that all of the student’s gently curved fingers can comfortably depress the corresponding keys & be able to reach around the palm keys. https://www.youtube.com/watch?v=VWbTltTvANY
• https://www.wikihow.com/Play-the-Alto-Saxophone
• Make sure that the right thumb is centred under the thumb rest.
• As the saxophone is fairly heavy, the use of an adjustable neck strap is essential.
• Please ensure that the left hand thumb is anchored on the left hand thumb rest.  Only the tip of the thumb is used to activate the octave key.
• More specific saxophone reed, ligature and mouthpiece information check out these links: http://www.learnsaxophoneonline.com/saxophone-equipment-for-the-beginner.html
• https://www.bestsaxophonewebsiteever.com/6-crucial-facts-about-saxophone-reeds/

 

• The shape of the embouchure is more ‘ohhh’, or ‘ahwww’. The pitch produced on the alto saxophone mouthpiece and neck is concert ‘F#’ above staff; tenor saxophone, ‘G’ above the staff.
• Placing the neck joint on the saxophone is a delicate business.  Be careful when twisting it on, as the octave key mechanism can be easily bent out of alignment.
• Care also must be taken when handling the instrument because the entire key mechanism can be bent out of alignment and become unplayable.
• For both saxophone and clarinets, it is best to always have three playable reeds, rotating them daily.  Having a reed protector case, keeping them flat and dry is essential for a reed’s life.  If cared for, they can have a long and serviceable life.
• Remember that the angle of the neck & mouthpiece on the saxophone should be turned to accommodate the natural upright head angle and good sitting posture.  Make sure that the student’s head remains upright by adjusting the mouthpiece to accommodate this upright head angle.
• Don’t forget to emphasise the importance of using cork grease weekly on the mouthpiece receiver to avoid damage and costly replacement.
• Another viewpoint on saxophone training methods: https://musicrc.eq.edu.au/Supportandresources/Formsanddocuments/Documents/Woodwind%20resources/wwd-teaching-tips-beg-sax.pdf
• http://saxhub.com/saxophone-embouchure/
• http://apps.texasbandmasters.org/archives/pdfs/clinic/2002-davis1.pdf

 
In my next instalment we will continue our discussion of acquiring and using the visual templates for the Brass and Percussion families.

By the way, I have added several new articles for your consideration in my "Publications and Articles" section. 

I hope that you may find them useful!  To access them you will need to obtain a Password from me.
 
Thank you once again for reading!
 
Warm regards and best wishes,
 
Monte

In these following four instalments I will be sharing some basic ensemble training strategies for developing specific instrument knowledge, teaching pedagogy principles and applications for the three instrument families common to the concert band ensemble.

We will be looking at the importance of using visual and aural templates for these families with regards to the essential visual, and often less conspicuous aural cues. These cues/templates in turn, will assist you in knowing what to look for and listen to, hopefully fostering a passion for the details in our task of ensemble training while also providing some useful strategies.

Remember: In the critical first 5 weeks of instrumental class/ensemble practice, it is important to commit to the consistent reinforcing of correct posture, hand position and embouchure.  If not, we will be tacitly reinforcing that whatever is incorrect is OK. And, of course, we all recognise that this process is an on-going task!

We simply cannot assume that the itinerate/studio teachers will take care of everything for us. In fact, in order to competently reinforce good habits, we will need to understand and use the essential information on each instrument in aiding us towards fostering successful habits, leading to both lasting and rewarding learning!  Our rehearsals should always include lessons on how to practice at home, which aides students in building healthy practice habits, critical listening and self-observational skills, along with the ability to apply proven learning strategies demonstrated in our class lessons/rehearsals.  We will need to be committed to consistently and patiently reminding our students until the correct responses become automatic, internal and organic.

Great supporting article on beginning band training rationale! http://www.dansr.com/wick/resources/the-beginner-band-student

It is equally important that we understand that one cannot simply stand up and conduct our ensemble without being fully engaged with how the learning, sharing and demonstration and assessment process actually works. In fact, I do very little conducting with a learner band.  I don’t want to focus on my conducting. My ensemble needs both my eyes and ears to be totally focused on the ensemble.  Instead of thinking about my conducting, I need to be looking and listening, focused on using and employing the visual/aural templates I plan to share in my three future instalments. It is my hope that they will assist you in reinforcing correct performance habits, while also identifying those needing to be adjusted or corrected.

If we are to be effective ensemble trainers we cannot afford to have our heads stuck in our scores. Most method book exercises, including young band ensemble repertoire are straight forward enough for basic score study and preparation.  Both generally contain clear, identifiable goals and targets necessary for even, consistent technical and musical development and growth.

At this point of our discussion it is important to understand that the proper use of a method book as an essential part of your rehearsal is not optional, and that you will need to regularly employ one as it was designed, sequentially moving from page to page, beginning to end, including its extra resources.

The method book purpose is to introduce and use the often self-directed learning strategies shared through a series of short, purpose written and self-explanatory exercises. These sequential exercises provide opportunities to learn, develop and acquire both technical and musical mastery through the use of ‘scope and sequence’ learning. These skills include; developing pitch and rhythm vocabulary notation, the use of counting & sub-division, articulations, phrasing, general musical knowledge and terminology through a systematic and sequential approach. It is easy to point out to the students the goals/targets contained in each exercise and assist them in recognising when the targets have been achieved. What is more, use of the method book provides for a daily discipline with clear ‘investment’ in practice strategies for experiencing rewarding advancement returns, which is comforting and encouraging for young students. 

In fact, the ‘method book’ training materials provide our students with one of the most important educational motivation factors in our tool box; that of a student achieving daily achievement with the ‘five-minute’ goal process!  Arriving at a successful outcome with a method book exercise that can be generally achieved within a relatively short time can be intrinsically rewarding and encouraging. I have found that students generally find more satisfaction receiving success from a shorter and more realistically achievable goal with clear, identifiable objectives, than waiting for weeks to experience a moment of success in, say a concert, contest or festival experience.  If effective and informed home practice, leading to motivation, personal engagement, recognisable progress and, ultimately, retention is to be cultivated and achieved, we will need to share with students how their little successes gained through the use of a systematic approach to learning basic fundamentals will lead to greater rewarding achievements!  It goes without saying that the method book also provides one with an excellent framework lesson/rehearsal planning!

I know that many will say that due to a lack the time it is not practical to use a method book, or for that matter, any training materials. However, with careful time management and the appropriate repertoire choice, you can do it. In a sense, you don’t have time not to include these essential study materials in your rehearsals. Besides, learning your repertoire will be that much easier when your ensemble possesses the skills necessary for meeting the musical demands of your repertoire choices. More on this in a later post!

​Come prepared with your lesson plan, and know your scores and method book lesson material, including the array of targets for each exercise you wish to use and share with your students. Teach them to identify the targets for effective and rewarding home practice. It will also encourage developing their own personal ownership of their learning experience!

"If you don't know where you are going, any road will take you there" John Lennon 

Please stay tuned for the next three instalments which will include helpful points on gaining a workable understanding of the fundamental pedagogies
·      Woodwinds
·      Brass
·      Percussion

​Thank you for reading! Warm regards, Monte

A Saturday Afternoon Recital
Organ, Piano and Sackbut

​Presented by
Lynda Nicholls and Monte Mumford
With guests, Andrew Polden and Stephen King
         
Music of the 17th and 18th Centuries in works by

Marcello, Handel, Corelli, Cesare and Bach

Pilgrim Uniting Church
Saturday, March 24th –3:00 PM

The choosing of educationally and artistically appropriate repertoire for our ensembles can, at times seem a difficult and daunting task.  I offer for your consideration the following points when selecting your repertoire.  Work toward choosing works that will:
​

1. Provide ample opportunities for the nurturing of musical creativity, expression and inspiration and lie within the technical capabilities of your ensemble.  
2. Provide for the necessary connections that allow for the transferal of both technical facility and musical concepts introduced and developed in the warm-up and training portion of your rehearsals.  
3. Provide for the ‘all-important’ motivation, which should lead our ensembles toward the perfecting of manual dexterity, rhythmic vocabulary, articulations and expressive interpretation.  
4. Provide possibilities for exploring the wide range of human emotion through the exposure to and engagement with significant art music. 
5. Provide opportunities for your ensemble to experience a balanced range of works that includes: original, serious 20th & 21st century compositions; faithful transcriptions, or arrangements of significant works and composers that retain the composer's original intent, and finally include well-crafted works drawn from the popular/contemporary genre.

 
And for further thought:
 
All of our repertoire choices generally pass through the following filters:

• Our personal aesthetic criterion
• Our personal tastes
• Our musical & extra-musical values, including our overall music education philosophy

 
Therefore, it is important to regularly examine our own understanding of what constitutes quality, significant music, and to commit ourselves to maintaining our listening through consistent exposure to significant musical performances.

Is your Ensemble watching you? Why should they bother…? One of the most frustrating, challenging and rewarding aspects of conducting young ensembles is the realisation that our students actually do not need for us to be their time keepers.  So what are they looking for?
 
As conductors we often feel that our students need us to conduct strict time patterns, believing that they will become lost and disoriented without them.  Nevertheless, it is important to remember that they are, or should be the time keepers; we are, or should be the time givers. As the conductor, we are responsible for both the choosing and delivering of tempi.  It is the ensemble’s responsibility to keep the time until we wish to adjust it for interpretative reasons.  If you are finding yourself endlessly asking your ensemble to watch you, it may be that simply keeping time for them is insufficient to engage their curiosity and interest.  If they are capable of keeping time without our help then we need to offer a more creative approach to conducting which will attract, engage and hold their attention.
 
If you want to go beyond conducting time patterns and communicate a more expressive interpretation, here are five tips to consider:

1. The very nature and shape of the three basic patterns (and other asymmetric configurations) are actually designed to convey aural and visual shapes within the context of meter.  All we need do is to work on moulding our standard patterns into shapes that look like, and reflect the style and character of the music we are performing.  The best place for finding expressive gesture inspiration is to watch proven conductors effectively employ music shapes that produce emotionally charged, exciting, significant performances.
   
   
2. It is important that we regularly engage in active music listening, and watch a variety of live, or recorded music performances. We can then begin to experience, like children how to move, or look like the music. Do not be afraid to experiment… while in your listening/watching mode!
   
   
3. Provide rehearsal time for your ensemble to play chorales, ensemble etudes, rhythm exercises or passages from your performance repertoire ‘un-conducted’.  It is a brilliant way to pass music-making ownership and responsibility on to your students.  It also develops ensemble listening skills like no other exercise.  In fact, it proves that they can be more in-charge of music-making then they ever believed possible.  And, it frees you from the need to ‘keep time’, allowing you to focus on the business of inspirational musical direction and leadership!  I seldom conduct the first 20 minutes of my rehearsals. This portion usually consists of Ed Lisk’s “Alternative Rehearsal Techniques of the Circle of 4ths”, scale/arpeggio exercises, rhythm vocabulary studies, ensemble etude exercises, and finally, chorales: all un-conducted!
   
   
4. Video record your rehearsals.  This is an incredibly powerful tool, not only for considered reflection on your rehearsal technique, but also for observing on how well you effectively communicate your musical interpretations. I suppose my favourite question to myself when observing my rehearsal videos is, ”would I enjoy and be inspired by my musical body language and visual communication skills”? 
   
   
5. Finally, reach down into your personal musicianship and take a step of faith by asking ‘what does the music itself demand of me, and how can I best communicate my beliefs to my ensemble? What is more necessary; the projecting of time or expressive phrasing, and is it possible to creatively convey both?  Even beginner ensembles can be taught to play perfectly in time without our help by simply breathing in the time and listening to each other, while we occupy ourselves with the more important issue of phrasing, shaping and inflection.

Last April (2016) I posted an article which dealt with the importance of active and engaged listening, and its special relationship to conducting.  I have finally found the time and energy to finish the article as promised. However, much has happened to expand my thinking since I posted my original thoughts, which includes the intense mental journey I have taken in the completion of the final three Professional Development courses of the Melbourne Youth Orchestra's Professional Development Programme for Instrument Music Educators. With this in mind, I now submit the complete article for your consideration...

Often in the effort to improve our conducting skills, there comes the temptation to expend an inordinate amount of time and energy focusing on addressing the physical skills of controlling time-keeping and the development of expressive gestures, as if technical mastery of time and gestural actions should form the basis of the definitive act of conducting. (Looking like the music)
 
However, it has also been countered that the true definition of conducting is in reality a listening activity, from which the physical act of conducting derives its true inspiration. (Looking like the music, through your inner ear) In fact, informed, active, engaged listening should always be considered the major contributor in achieving successful, effective and musically satisfying proficiency as a conductor. The importance of focused, informed, and attentive listening is essential in at least two different ways:  One, the act of hearing the score and its potential interpretation, while the music still remains on the page; and two, the ability to hear the score while it is literally coming off the page. It is these two considerations, which I would like to examine in this article.
 
The first listening consideration has been addressed many times, and from many different angles. Most of us would agree that it is important that one endeavours to aim towards training themselves in effectively hearing the score, as yet unsounded on the page.  But, achieving this skill often leaves one frustrated, especially if the conductor’s piano skills are of a limited nature. A helpful analogy here is to remember that hearing a score in silence is much like using the skill of reading books silently to oneself.  How did we, as children move from reading aloud to the internalising of our reading skills?
 
The explanation is not difficult.  Obtaining effective reading and comprehension expertise in music reading requires the same mindful, or comparative repetition of basic reading comprehension skills, such as the mastery achieved through the application of vocabulary acquisition, spelling, pronunciation, and correct grammar usage.  Effective reading also requires consistent exposure to reading, including listening to someone read. It also includes aural modelling of pronunciations and the correction of definitions, and spelling errors.  It is important to understand that none of these learning activities were fast-tracked.  In fact, these activities required a careful, repetitive ‘time-on-task’ framework for achieving the mastery of silent reading over a period of time.
 
Learning to read/hear music in silence requires a systematic immersion in basic ear training and aural recognition.  These are essential skills that enable one to understand both the vertical and horizontal elements of music notation.   It is one’s technical proficiency in rhythmic notation reading, gained through internal pulse, counting and subdivision, along with the capacity to hear basic harmonic progressions, identify and sing intervallic relationships,  identify chord qualities and melody lines, combined with the ability to see phrase structures through note-grouping relationships that facilitates mastery.   These are the essential tools that will enable one to silently read/hear the score as intended.  Another important factor in obtaining effective silent score reading skills is to be found in strengthening one’s visual and aural skills through sight singing, as well as the exercise of engaging in personal music performance experiences on their principal instrument.
 
The second listening consideration is a bit more problematic, for it requires the conductor to hear, respond and adjust the music as it is literally coming off the page; all at the same time. This skill is of vital importance for achieving significant musical outcomes through effective rehearsal communication.  The process is dependent on three factors: seeing and hearing the music as it is being performed, intuitively knowing what the composer had in mind through systematic score study, and holding a personal interpretative understanding of what one desires to hear and wishes to change, thus enabling the ensemble to realise the conductor’s interpretation.  This process, of course requires that one already holds a firm belief in their interpretation of the passage, or work under consideration, knowing how they wish it to be performed, and has confidence in their rehearsal strategies, including appropriate gestures, metaphors and/or analogies. 
 
Inspirational musical leadership requires one to communicate the composer’s innate intension through understanding the emotional narrative and related connections with conviction, passion and confidence.  This includes understanding the historical, cultural, emotional and stylistic context of the music, along with its attendant set of descriptive, expressive instructions.   For instance, why is a particular passage marked ‘forte’, or why is another passage marked, ‘allargando’? To fully understand expressive directions one must also appreciate the musical context in which they appear.  The music itself is always pleading with us to listen to how it wishes to be performed, and these ‘directions’ are merely reminders of what the composer intended.   I believe that it is imperative that physical gestures and body language be derived from deeply held convictions and understanding about the ‘character’ of the music, and how the notes and rhythms should be performed in view of communicating this ‘character’. It is difficult for conductors to expect their ensembles to respond meaningfully to their gestures if the conductor does not hold a personal commitment to an authentic interpretation, character and context.
 
Therefore, this second kind of listening calls for our regular exposure to a wide range of significant music performances that feature virtuosic artistry, mastery, conviction and passion. It is vitally important to understand the correlation between regularly listening to a wide range of musical performances while appreciating their role in assisting one in forming opinions of what constitutes significant music-making in general.  This kind of listening can also provide opportunity and inspiration for the expansion of one’s emotive vocabulary of physical gestures and facial expression.  Truly effective musical communication requires empathy, understanding, emotional connection and deeply held beliefs about music performance, which can only be obtained through one’s personal exposure to great music and music-making on a regular basis.   The benefits of listening and viewing of significant music performance cannot be underestimated, for it is an essential ingredient in developing one’s inner ear towards the purpose of stimulating personal interpretation, as well as providing models of expressive definitions, which may include:  

• tempi considerations,
• dynamic contrasts,
• articulations & inflections,
• note grouping considerations,
• phrase shape,
• melodic/harmonic contour
• tone colour /timbre

 
Conducting is certainly more than just knowing what is happening in the score, such as conveying a set of literal instructions; time, key signatures, tempi indications, meter, dynamic symbols, articulation markings, volume adjustment, fermata considerations, cues, etc. It is also about acquiring an informed opinion, and a conviction about the repertoire one is to rehearse/perform, while knowing how to effectively communicate their personal interpretation of the repertoire to their ensemble.  A commitment to engage on a regular basis to listening and watching of significant musical performances will go far in both feeding and inspiring our musical souls.

Listening: The foundation of effective musical leadership
 
Often in the pursuit of becoming a conductor, one can wind up spending a great deal of time and energy focusing on developing the physical skill of body motion and movement as the definitive act of conducting. (Looking like the music)  However, it has also been said that the true foundation of conducting in reality is, at the heart, a listening skill, in which the physical act of conducting derives its true inspiration. (Looking like the music through your inner ear)  In fact, listening forms a major key to successful and effective conducting, and can be considered essential in at least two different ways:  One, the act of hearing the score and it’s potential interpretation, while the notes still remain un-sounded on the page; and two, hearing the score while it is actually coming off the page. It is these two considerations, which I would like to examine in this article.
 
The first listening activity has been addressed many times, and from many different angles; and most would agree that it is important that we perfect this skill.  To this end, we have to train ourselves to effectively hear the score while it remains printed, yet unsounded, on the page.  However, achieving this skill often leaves one frustrated, especially if piano skills are of the limited kind.  Maybe a helpful analogy here is to remember that hearing a score in silence is much like using the skill of reading books silently to oneself.  How did we, as children move from reading aloud to the internalising our reading ability?
 
The explanation is not difficult.  Obtaining effective reading and comprehension expertise in music reading requires mindful, or comparative repetition of basic reading skills, such as the mastery achieved in spelling, pronunciation and definition comprehension.  However, it also requires consistent exposure to reading, including listening to someone read. It also includes aural modelling of pronunciations and the correction of definitions, pronunciations and spelling errors.  It is important to understand that none of these learning activities were fast-tracked.  In fact, these activities required a careful, repetitive ‘time-on-task’ framework for achieving the most effective mastery of silent reading.
 
Learning to hear a music score in silence also requires a systematic immersion in basic ear training, sight-singing and aural recognition skills.  These skills are essential in assisting both the acquisition of both the vertical and horizontal notational elements of music.  For it is proficiency in both the comprehension and the internalisation of rhythmic notation (gained through internal subdivision): the ability to identify intervallic relationships, recognising chord qualities and the structure of harmonic progression; understanding the importance of note group relationships in creating recognisable phrase structure, which enables one to actually hear the score. 
 
At this point, I cannot stress strongly enough how incredibly important it is to regularly spend quality time, both to the listening and viewing of a wide genre of music performances; live and recorded. The exposure to consistent listening and viewing cannot be underestimated as essential towards developing one’s inner ear for the purpose of acquiring a wide range of expressive definitions, such as understanding the expressive relationships of tempi, dynamics, articulations, note grouping, melodic/harmonic contour, as well as for the acquisition of physical gestures and facial expression vocabularies.  Truly effective musical communication requires empathy, understanding, emotional connection and deeply held convictions about music, which can only be obtained through exposure to great music making.  Consistent exposure to significant music performance provides the vital inspiration necessary for truly expressive leadership in music making: More about this later.
 
This kind of listening is not about the need to hear several performances of music for which one is studying, or for preparing a performance.   This is the actual need for consistent exposure to a wide range of significant music performances that will provide us with the essential framework for the developing, not only improvement in silent music reading, but will allow for a wide range of expressive and imaginative possibilities from which to draw both gestural and mental inspiration.
 
Another important way we can develop effective silent score reading skills is to be found in strengthening our visual and aural skills through sight singing and personal music performance experiences.  In my next instalment, we will explore the use of, and need for singing/playing, towards improving our score listening and interpretative abilities.