Teaching Ensemble Fundamentalswithin the Music: An Approach to Maximize Rehearsal Efficiency PRESENTERS: Dr. John D. Pasquale, University of Michigan Patricia D. Hughes, Cedar Ridge High School Arris A. Golden, Gravelly Hill Middle School Demonstration Group The Gravelly Hill Middle School Concert Band Sixty-Sixth Annual Midwest Clinic An International Band & Orchestra Conference McCormick Place West Room W184 Wednesday, December 19, 2012 1:10 pm a Golden. John D. 2012 1:10 pm . December 19. Cedar Ridge High School Arris A. University of Michigan Patricia D. Hughes. Pasquale.Teaching Ensemble Fundamentals within the Music: An Approach to Maximize Rehearsal Efficiency PRESENTERS: Dr. Gravelly Hill Middle School Demonstration Group The Gravelly Hill Middle School Concert Band Sixty-Sixth Annual Midwest Clinic An International Band & Orchestra Conference McCormick Place West Room W184 Wednesday. a . executive skills 10. characteristic sound quality 6. 3. air stream 3. The Directed Listening Hierarchy Pulse 1. 4. 2 3. internalization of subdivided pulse metered inhalation metered exhalation start of the note precisely in time length of note (precise durational value) change of the note precisely in time release of the note precisely in time Body of Sound 1. 2. 4. resonance 7. 5. release of note 9. 5. forward motion tonal energy style dynamics cadential clarity PAGE ONE . embouchure 2. note shape 8. vowel shape 5. 2. 7. 5. articulation production 4. 3. instrumental tendencies Symmetry 1.Teaching Ensemble Fundamentals within the Music: An Approach to Maximize Rehearsal Efficiency 1. 6. 4. tonal strength volume levels of listening ensemble symmetry chart manipulation of the ensemble symmetry formula Musicality 1. Synopsis of the referenced counting system Rhythmic Examples PAGE TWO .2. PAGE THREE . List of fundamental articulation syllables for each instrument Flute Double Reeds Clarinet Bass Clarinet Saxophones Trumpet Horn Trombone Euphonium Tuba Percussion “dah” “dah” “dee” “doo” “doo” “dah” “dah” “dah” “dah” “dah” “dah” *Syllables with which the tongue touches the teeth or reed and subsequent shape of the tongue as it rests inside the oral chamber following the articulation.3. 30% lip vibration . 40% lip vibration 60% air.4. PAGE FOUR Trumpet Horn Trombone Euphonium Tuba 50% air. 5. Fundamental parts of the instrument to assess proper embouchure production and tongue placement. Flute Oboe Bassoon Clarinet Bass Clarinet Saxophones All Brasses Percussion Headjoint Reed Bocal and reed Mouthpiece and barrel Mouthpiece and neck Mouthpiece and neck Mouthpiece Mallets or sticks appropriate to the instrument played Concert pitches that should be produced by woodwind fundamental parts Brasses should match a reference pitch. 50% lip vibration 50% air. 40% lip vibration 70% air. Physical ratio of air stream to lip vibration used in the cup of the mouthpiece of brass instruments for fundamental tone production. 50% lip vibration 60% air. Figure 1. Ensemble Symmetry Chart * Upper Voices Piccolo Flute Oboe E-flat Clarinet B-flat Clarinet Middle Voices English Horn Alto Clarinet Alto Saxophone Low Voices Bassoon Bass Clarinet Tenor Saxophone Baritone Saxophone Contra Clarinet Contra Bassoon A B Trumpet Horn Tenor Trombone Euphonium Bass Trombone Tuba D E F Percussion C G Figure 2. Ensemble Symmetry Formula * A=B=C=D=E=F=G *The goal of Figures 1 and 2 are to aid the students in creating a frame of reference of ensemble balance with specific listening responsibilities in real time. Often times. in fact. students should have a tangible reference tool from which to manipulate their sounds. PAGE FIVE . For the beginning of conceptual understanding of ensemble balance. By no means are the clinicians suggesting that all voices in music should be heard equally. it is not. educators assume this skill to be innate within the students when. These figures provide a suggested starting place for instruction. Balance: The volume manipulation component of creating symmetry of sound within ensemble settings. Macrobeat: The primary beat within the meter. PAGE SIX . Body of sound: The “core” between the articulated front-side and back-side of the note. resistance of the instrument to create resonance. Internalization of pulse: The technique of a player feeling the pulse within their body before and while they play. Embouchure: The physiological components of the face and oral cavity involved in properly producing a resonant and characteristic sound on a wind instrument. Instrument tendencies: Specific. Articulation: The physical action of beginning a note with the tongue. strength of the embouchure. Ensemble Clarity: The result when individual players combine with other players in producing sounds that are precisely together. Executive Skills: The physiological and mechanical skills of finger dexterity. or voices that consist of the most mature. Forward Motion: The manipulation of relationships between note beginnings with prior or subsequent releases within a musical phrase. symmetrical. Level 3 listening: The listening responsibility when the section or voice color listens and matches all other sections within the ensemble. and release of a note. Fundamentals: The individual pedagogical skills required to begin. and mental audition of the pitch. Front-side of the note: A physical description of where the sound starts. fundamentally characteristic and resonant. vibrant. and performed musically in regard to the composer’s intent. Ensemble Color: The specific combination of characteristic sounds from individuals. Clarity of Note Shape: The clearly defined articulation. and release a note on each instrument. inherent individual performance issues associated with the construction of each instrument. Cadential clarity: The symmetrical hearing of voice-leading and resolution within a musical context. change. consistently sustained body. Characteristic sound: The result of allowing the instrument to vibrate in the center of the harmonic series as a result of the balance of air. Back-side of the note: A physical description of where the sound stops. Level 1 listening: The listening responsibility when the individual player solely listens to himself or herself. Level 2 listening: The listening responsibility when the individual player listens and matches others in the section or voice color. Dynamic production: The physiological process of creating changes in volume within a musical context. sections.Commonly Used Ensemble Pedagogy Terms and Definitions Commonly Used Ensemble Pedagogy Terms and Definitions Air Stream: The column of air used to play a wind instrument. and rate of articulation. sustain. and consistent sounds throughout all registers. lip flexibility. Ensemble Volume: The sum of combined decibels when each instrument of the wind ensemble is playing together in a symmetrical sound. of the music. oral and forward motion within a defined musical context. tonal strength. tempo. Tonal Strength: The combination of resonance. Vowel sounds: A technique for wind instruments of shaping the tongue with a vowel sound within the oral cavity to create a desired tone quality depending on the register of the music. tonal strength. “Directed Listening for Wind Ensemble Conductors: a Pedagogy For Developing Aural Analysis and Effective Rehearsal Strategy. Style: The manipulation of note shapes and releases following the note’s articulation Side-to-side energy: An individual matching of all aspects of wind playing with within a given musical context. 2008. mechanics. played with tonal strength. Pasquale. quality. Note changes: The relationship of instrumental fundamentals. tonal energy. Rhythm: The relationship between sound and silence in relation to pulse.. tonal energy. Texture: The result of the combination of various instruments or voices playing together. within a given musical context. and embouchure do not move as the note is released. performers on either side. cavity. and note shape Musicality: The relationship between musical events as per composer intent and at the precise time within the meter from one note to another. timbre.Microbeat: The division of a primary beat within the meter into duple or triple components. Rhythm: The relationship between sound and silence in relation to pulse. Symmetry: The result of each instrument heard at a tonal strength appropriate for the Tonal Energy: The relationship and manipulation of individual and ensemble sounds music. start of a note. Phrasing: The result of proper instrumental fundamentals. oral at the precise time within the meter from one note to another. mechanics. Meter: Organizing equal divisions of time into patterns of strong and weak beats. played with tonal strength.A diss. PAGE SEVEN . Note changes: The relationship of instrumental fundamentals.M. and embouchure do not move as the note is released. conductor interpretation. John D. Pulse: The equal division of time into portions. Resonance: The quality of a sound as a result of sympathetic vibrations within the and forward motion within a defined musical context. conductor interpretation. cavity. harmonic series achieved through proper playing fundamentals. University of Oklahoma at Norman. quality. Symmetry: Subdivision:The result of each instrument heard at a tonal strength appropriate for the Deconstructing meter to its smallest rhythmic value appropriate to the music.” D. Texture: The result of the combination of various instruments or voices playing together. Note starts: A physical description of the front of the note. Open-throat note release: The most resonant ending of a note where the throat. Phrasing: The result of proper instrumental fundamentals. and volume in an sound within the oral cavity to create a desired tone quality depending on the register individual sound. and volume in an Tonal Energy: The relationship and manipulation of individual and ensemble sounds individual sound. Pulse: The equal division of time into portions. Subdivision: Deconstructing meter to its smallest rhythmic value appropriate to the Style: The manipulation of note shapes and releases following the note’s articulation tempo. Note starts: A physical description of the front of the note. and note shape Open-throat note release: The most resonant ending of a note where the throat. performers on either side. Vowel sounds: A technique for wind instruments of shaping the tongue with a vowel Tonal Strength: The combination of resonance. timbre. Meter: Organizing equal divisions of time into patterns of strong and weak beats. Resonance: The quality of a sound as a result of sympathetic vibrations within the Side-to-side energy: An individual matching of all aspects of wind playing with harmonic series achieved through proper playing fundamentals. Microbeat: The division of a primary beat within the meter into duple or triple Musicality: The relationship between musical events as per composer intent and Metered Inhalation: Breathing in for a prescribed number of beats prior to the components. Hooten. Kohut. Max F. Elizabeth A. Dalby. Jr.A.” D. Band Rehearsal Techniques: A Handbook for New Directors. Robert J. 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Anthony. Handbook of Conducting.. Brown Company Publishers. New York: W. Ridenour. Ross.” Ph.. Student Attitudes and Student Achievement. diss.D. Rudolf.” M. Score and Podium: A Complete Guide to Conducting. 2004. 2002. California: Wadsworth Group / Thompson Learning.” Ph.. Ulrich. no. Illinios: Southern Illinois University Press. The School Music Conductor. Inc. The Art of Tuba and Euphonium. Phillips. Techniques for Beginning Conductors. Ueber das Dirigiren: A Treatise on Style in the Execution of Classical Music. ” In this position. and taught ensemble music as a member of the Brass Staff of the Cavaliers Drum and Bugle Corps from Rosemont. John D. “The Pride of Oklahoma” Marching Band. Pasquale served as a conducting associate to the Wind Symphony. Dr. California. through performances and tours spanning the United States and Canada.” Dr. played on Dr. In addition. PASQUALE Dr. Opera Orchestra. Concert Band and the Weitzenhoffer Family Department of Musical Theatre. inaugural conductor of the Alumni Concert Band. In addition to his responsibilities at the University of Michigan. and directed the summer program. conductor of the Campus “Maize” and “Blue” Bands. Associate Director of the Michigan Marching and Athletic Bands. Pasquale conducted an internationally recognized and competitive middle school wind ensemble holding the position of Director of Bands at Griffin Middle School in The Colony. Pasquale is a member of the conducting faculty at the University of Michigan serving as the Assistant Director of Bands. Dr. clinician. Symphony Band Chamber Winds and Concert Band. 2002 and 2003 recipient of the “Making A Difference Award” given by the student body of Griffin Middle School and received the 2003 nomination for Griffin Middle School “Teacher of the Year. the Cavaliers have been named Drum Corps International World Champions three times and the recipient of two Jim Ott Awards for “Excellence in Brass Performance. China.” in Beijing. During his four year assignment. John D. In the genre of marching and pageantry arts. Through his teaching at the Cavaliers. Pasquale was a contributor to the instructional DVD entitled. Contact Information | jdpas@umich. he is the conductor of the University Band. Texas. Texas. he was an adjunct instructor and graduate teaching assistant within the Music Education Department.” Receiving the Doctor of Musical Arts degree in Conducting from the University of Oklahoma at Norman in 2008. Director of the Michigan Hockey Band. New Century Ensemble. within the Lewisville Independent School District. During his tenure from 2002-2009. Symphony Band. Illinois. Dr. guest conductor with the Symphony Band. The Cavaliers Brass: From the Concert Hall to the Football Field. which has been met with international acclaim. teaches conducting and program administration through independent study. Prior to attending the University of Oklahoma. Pasquale guided the historically authentic recreation of 19th century brass band repertoire. Faculty Composer Concert Series.edu | 734-763-5891 PAGE TEN . Shanghai and Xi’an. Pasquale served as the Associate Brass Caption Manager of the Santa Clara Vanguard Drum and Bugle Corps from Santa Clara. He holds a Master of Music degree in Instrumental Conducting from the University of Oklahoma and a Bachelor of Music Education degree from Texas Christian University in Fort Worth. In this position.ABOUT OUR PRESENTERS JOHN D. “America’s Premier 19th Century Brass Band. “Instrumental Music Education in China: Cross-Cultural Performance and Pedagogy. Pasquale is in demand as a conductor. pedagogue and adjudicator in band and orchestra programs throughout the United States and Asia. Pasquale served as the Music Director of The Dodworth Saxhorn Band. Pasquale period instruments. Pasquale was the 2001. Student performers in each of the Cedar Ridge Bands have achieved numerous individual accolades and are members of countywide. Ms. and in 2006. she served as the Secretary for this organization. collegiate. from 2004-2012. Ms. Hughes has served in many capacities throughout her career. Ms. Patricia D. district-wide. Most recently. HUGHES Patricia D. Contact Information | patricia. Ms.hughes@orange. She has been chairperson of the Central District High School All-District Band Clinic and has served as the chair and site host of the Central District Middle and High School Concert Band MPA from 2005-2012. A 1990 recipient of the North Carolina Teaching Fellows Scholarship. Ms. Most recently. Hughes attended the University of North Carolina at Chapel Hill. Patricia was chosen by her colleagues as the North Carolina Central District Award of Excellence recipient in 2006 and was selected as the Central District’s Band Director of the Year in 2005. Hughes has been elected by her peers to the prestigious American School Band Director’s Association. North Carolina. Ms.nc. Hughes is also active as an adjudicator for both concert and marching band and is a member of the UNCG Summer Music Camp conducting staff. As a member of the Central District Bandmasters Association (CDBA). In 2008. ensembles have performed concerts and participated in festivals throughout the eastern United States. She received certification from the National Board for Professional Teaching Standards in 2007. Hughes is the Director of Bands at Cedar Ridge High School in Hillsborough.us | 919-245-4000 PAGE ELEVEN . was a featured ensemble at the annual North Carolina Music Educator’s Conference in Winston Salem. Hughes was also featured in the Conn-Selmer Keynotes Magazine as the “Director of Note” in the spring of 2006. earning the Bachelor of Music Education Degree in 1994 and later attended The University of North Carolina at Greensboro (UNCG) earning the Master of Music Education Degree in 2004. Hughes was the North Carolina Representative featured in School Band and Orchestra Magazine’s annual “50 Directors Who Make a Difference” article. and all state honor bands each school year. North Carolina.PATRICIA D. Hughes Since the foundation of the band program at Cedar Ridge.k12. and Sigma Alpha Iota: Women’s Professional Music Fraternity. the University of Michigan. In March 2008. featuring band classes for all grade levels. Contact Information | arris. the North Carolina Music Educator and School Band and Orchestra Magazine. Student members Arris A. Golden of the Concert Band have worked with numerous clinicians during its six years of existence. and in the 2006-2007 school year. as well as a clinic performance under the leadership of Dr. the Concert Band was honored to be one of two featured middle school bands at the North Carolina Music Educators Association Annual In-Service Conference held in Winston-Salem. receiving only Excellent and Superior Ratings. Since the opening of the Gravelly Hill Middle School in 2006. Ms. The Gravelly Hill Concert band has participated in multiple adjudicated festivals in the past six years. this invitation included a concert performance by the band. North Carolina. jazz ensemble. and Performing Arts in the same year. Golden was also named the Central District’s Band Director of the Year in 2004 and was the recipient of the Cary Chamber of Commerce “Honor a Teacher” Award in Fine Arts. Golden has had articles and interviews featured in the Music Educators Journal. Ms.us | 919-245-4050 PAGE TWELVE . Ms. John Pasquale. Golden was named one of the United States “Fifty Directors Who Make a Difference” by School Band and Orchestra Magazine. Golden is in constant demand as a guest conductor. Ann Arbor. Ms. Golden Arris A. Music. Ms.k12. Assistant Director of Bands.golden@orange. Pierre LaPlante and Mr. concert band clinician. Golden has also served as a guest conductor for the Cape Fear Wind Symphony. and marching band adjudicator throughout North Carolina and Virginia. Steven Bryant. Ms. Golden was honored with induction into the prestigious American School Band Directors’ Association. the Gravelly Hill Bands have grown to a membership of 101 students. Director of Athletic Bands at Campbell University and is on staff as a conductor for the UNC-Greensboro Summer Music Camp. Ms. the Central District Bandmasters’ Association.” written by Mr. Golden is the Director of Bands at Gravelly Hill Middle School in Efland. marching band instructor. and received the Master of Music Education degree from the University of North Carolina at Greensboro (UNCG) in 2004. Brian Balmages. Golden was chosen be her peers as the CDBA Award of Excellence recipient in May 2009. “Kitsune: The Fox Spirits. as well as numerous smaller ensembles that meet throughout the school year. Michael Markowski in 2014 and 2015 respectively. Also a published author. including the premier of two newly commissioned works for young band. Ms. Ms. percussion ensemble. the North Carolina Music Educators’ Association. Golden’s professional affiliations include the American School Band Directors Association. A Nationally Board Certified Teacher.Arris A. Music Educators National Conference. The Gravelly Hill Concert will also premiere new works for young band by Mr. Golden has also completed coursework toward the Doctorate in Educational Leadership from the University of North Carolina at Chapel Hill. and “The Machine Awakes” for young band and electronics by Mr.nc. Golden received her undergraduate degrees in Music Education and Political Science from the University of North Carolina at Chapel Hill in 1996 and 1991. In November 2010. North Carolina. respectively. Ms. NOTES . NOTES . a .