Band Quiz Study Guide

The Selmer Band Manual
by Nilo W. Hovey
FOREWORD
The success of a school band or orchestra is to a large degree dependent upon the competence of its
individual members. The contribution of each individual in turn can be evaluated in terms of three
factors, each of which is necessary for effective participation.
The first of these factors is ATTITUDE. Each student must be willing to share the responsibility of
establishing and maintaining high standards of excellence in his organization. Each student must show
respect for those in authority and cooperation with his fellow members. Teamwork is just as important
in the rehearsal room as it is on the football field or basketball floor,
The second factor is SKILL IN PERFORMANCE. Meeting the demands of the part to which he is
assigned is will require individual preparation beyond the time spent in rehearsal. Fluency of technique,
a pleasing quality of tone, and intelligent interpretation are equally important phases of musical
performance. Individual practice should provide for improvement of all three of these phases.
The third factor is KNOWLEDGE of numerous fundamentals, rudiments and terms which are
commonly used in the study and performance of music. The student who merely "plays the notes’’
cannot possibly play with understanding. He must comprehend the language of music in order to speak
it properly.
The third factor mentioned above is frequently neglected. With this in mind. Selmer presents this
booklet to assist you, the school musician, to improve your knowledge of “the language of music.”
Chapter 1
Technique
While effective performance demands more than technique, this is listed first simply because the notes
must be “under the fingers” before proper attention can be given to intonation, tone quality and
expression. The better you prepare your parts the more time your director will have to work out
ensemble (group) problems in the rehearsal.
Slow, accurate practice of fast moving passages is a most effective method of developing adequate
technical skill, whether it be done individually or in the full rehearsal. If your director chooses to use
some of the rehearsal time in this way, you should be patient and give careful attention, knowing that
his goal is the same as yours — to improve the accuracy of the organization as a whole.
If you are lacking in general technical ability you can improve your playing by consistent practice on
scales, arpeggios, thirds, and other technical studies which your director or private teacher will
recommend. This type of exercise may not provide you with the greatest musical excitement, but it will
help you become a better performer and a more valuable member of your organization.
Intonation
This is the musician’s term for playing “in tune.’ Good intonation is certainly among the top elements
in importance, for the other aspects of good playing are obscured if an organization plays out of tune.
It has been said that a poor workman complains of his tools, and this frequently applies to the school
musician who plays out of tune. It is certainly to your advantage to have the best instrument that you
can afford, as well as a good mouthpiece (and a reed, if you play a reed instrument), but no instrument
is in perfect “tune” by itself! A competent performer plays it that way, whereas a poor performer plays
a fine instrument badly.
Playing in tune requires certain physical disciplines. Good posture, a good embouchure, and adequate
breath support all contribute to good intonation.
The clarinetist may tune to the given pitch but may nevertheless, play badly out of tune. So perhaps the
most important factor involved in good intonation is careful listening. (Even a fine professional
musician could not play in tune if his ears were plugged.) Listen to your pitch in relation to those near
you and try to eliminate the “beats’ which are the result of faulty intonation.
Music that is high, loud and fast does not encourage careful listening; in fact, if used incorrectly, it can
result in poor intonation and tone quality. Many directors use sustained tones, chords, unison scales and
chorales to improve the intonation of their organizations, for this type of practice will do much to
encourage careful and discriminating listening. If your director uses this procedure, you may be certain
that he is making a sincere attempt to improve the intonation of your group.
Wind instruments cannot be built to play perfectly in tune without some favoring by the player. Another
factor in good intonation is the knowledge of how to favor notes that are sharp or flat on your
instrument. This process is also called “humoring” the tone. It is accomplished in different ways on
different instruments — sometimes by relaxing or tightening the embouchure or by changing the
direction of the air column, sometimes by increasing or decreasing the amount of breath that is used,
and sometimes by using an auxiliary fingering. It is part of your business as a musician to find out how
this is done on your instrument. Ask your director or your private teacher for advice, and apply his
suggestions in your practice so that GOOD INTONATION becomes a habit.
Common Terms
For proper understanding and interpretation of music, you must know the meaning of many terms
which are in common use. There are hundreds of such terms, but the following may be considered a
minimum which every music student should know.
By studying a few terms each week, you will soon develop a good vocabulary which will be a real asset
in your future musical experience.
accelerando (accel.) - gradually faster
adagietto – slow, but not as slow as adagio
adagio – very slow
agitato – agitated; rapid
al fine – to the finish
alla – in the style of...
(such as alla marcia – in the style of a march)
allargando (allarg.) - gradually slower and broader
allegretto – Light and moderately quick, but not as
fast as allegro
allegro – rapid; lively
amore, con – with tenderness
andante – moderately slow, but moving
andantino – generally a little quicker than andante
Chapter 2
Phrasing
Suppose you were to ignore all punctuation marks in reading the preceding paragraph. Stop in the
middle of a sentence and let your voice drop as though you had concluded your reading. Skip over the
periods and continue on into the next sentence without a pause. Overlook all commas. Your reading
would not be very meaningful. would it? Now this would be comparable to poor phrasing in music.
One might refer to a phrase as “a sentence of music” and to the function of phrasing as “grouping the
notes according to musical thoughts.” In music of certain periods a phrase usually consists of two, four,
or eight measures, but phrases of three, five, and seven measures are not uncommon. The wind
instrumentalist, as well as the singer, marks the end of a phrase by a breath, and in compositions of
slow tempo by a slight “tapering off” and other minor modifications of the printed part.
Good phrasing demands much more than a breath in the right spot. However, you will make your
playing much more interesting to hear if you find a “peak” note (or notes) within the phrase. In vocal
music, the words frequently provide a clue, but the instrumentalist must search for it. Sometimes the
important note will be the longest one, but it will not likely be the shortest Sometimes it is the highest
note. But it could also be the lowest one if the melodic line tends downward. Sometimes it is a note
which is “foreign” to the key in which you are playing. If a rhythmic pattern is repeated many times, it
will likely be the changing note that is important. Perhaps you have heard that the first beat in each
measure is an accented one, but this would not be good phrasing if done without variation, for it would
result in monotony.
Just to point out the importance of finding a musical meaning to the phrase. Let’s examine the
following sentence:
“I thought you would drive to Chicago.”
What meaning do you derive from it? Now try reading it in different ways, giving importance to the
capitalized word:
“I THOUGHT you would drive to Chicago.”
“I thought YOU would drive to Chicago.”
“I thought you would DRIVE to Chicago.”
“I thought you would drive to CHICAGO.”
See what a difference a little emphasis will make? Read with expression - play with expression.
Sometimes the phrase starts at the bar line as it does in the following familiar hymn:
But quite frequently the phrase starts with a “pick-up” note as it does in this familiar tune:
In the latter example, phrasing at the bar lines would destroy the musical meaning. So do not allow the
bar lines to dictate the phrasing.
In some works of comparatively recent composition phrasing has been indicated by the composer, and
generally it is well to abide by his suggestions. It should be emphasized. However, that in many fine
musical compositions there is more than one way to phrase. This is as it should be, for individual
expression could be stifled by a “foolproof” mathematical formula for phrasing.
Phrasing is an art, not a science. You are encouraged to use your imagination, to try your own ideas,
and to consult with your director or private teacher to check your results.
Tone Quality
In this phase of music more than any other you can learn by imitation. Try to build a mental concept of
the tone you are trying to produce. Hear as many fine performers on your instrument as you can,
analyze their tone quality, think of words that describe it, then try to reach your goal by conscientious
practice. Remember that lightning speed of the fingers will not help you in your study of tone. Long,
sustained tones will allow you to hear what you are doing and will permit concentration on proper
control of the breath and embouchure.
To the wind instrument player, selection of a good mouthpiece is of great importance. Never purchase a
mouthpiece “over the counter” without the advice of a competent teacher. In addition, the player of a
reed instrument must be particularly fussy about his reeds. For without a good reed, the best equipment
will give poor results.
There is another aspect of tone quality which has an important effect on the sound of your band or
orchestra. A fine tone quality from sixty musicians is not a guarantee of a fine ensemble (group) tone.
Those sixty must blend their tones so that no section or individual stands out in an obtrusive way. Only
the ‘show-off” attempts to out-blow his fellow members. So as an individual, you must make an effort
to blend your tone with that of the organization as a unit, except when you are performing solo on the
instructions of your director.
Common Terms
For proper understanding and interpretation of music, you must know the meaning of many terms
which are in common use. There are hundreds of such terms, but the following may be considered a
minimum which every music student should know.
a poco – a little; gradually
appassionato – intensely; passionately; with
Deep feeling
arioso – in vocal style (also see “cantabile”)
assai – very
(Such as allegro assai – very fast)
a tempo – in time; generally implies a return to
Original rate of speed
ben – well
(Such as ben marcato – well marked)
brilliante – brilliantly
brio, con – with spirit; brilliantly
calando – gradually slower and softer
cantabile – in a singing style
chromatic – by semi tones (half steps)
coda – the final added measures of a musical
composition
con – with
crescendo (cress.) - Gradually louder
Chapter 3
Style
There are many terms in music which come under the heading of “style” For example. Con graze
means “gracefully,” maestro’s means “majestically.” luggable means “sadly,” et cetera. Ad infinitum.
But there are three terms which, if understood and observed by all school musicians, would result in
much better unity of interpretation and musically intelligent performance.
One of these is legato. Legato means “smooth and connected” and any composition, section or phrase
so marked should be played with almost no perceptible interruption of tone except at phrase ends.
Many times the character of the composition demands legato style even though the composer has not
indicated it on the music. A flowing beat by the conductor should be sufficient clue to the members of
your band or orchestra. Solid, uninterrupted support of the tone (“follow through”) should be used;
spasmodic use of the diaphragm will result in a poor legato style. Beginnings of phrases should be
accomplished without a harsh attack; endings of phrases should be nicely rounded off, not terminated
abruptly. In other words, “Come in without knocking; go out the same way.
A second essential style is marcato. Our music dictionaries tell us that marcato means “marked”,
“emphatically” etc. To this, one might add the word “detached.” So many wind instrumentalists would
play marcato passages more effectively if they would depend on spacing well-supported tones, use a
less explosive stroke of the tongue, and forget about brute force! A little “daylight” after each tone
would help obtain the “marked” effect that is desired. Sometimes the composer indicates marcato on
the music; sometimes he uses accent marks (>); at other times we must depend on the emphatic beat of
the director to inform us. In any case, marcato demands precise attacks and equally uniform releases of
the tones to be fully effective.
The third essential style is staccato. Staccato is also a separated, detached style, but too often a passage
so marked becomes something of a “tutters’ contest,” with the resultant “sputtery” effect.
Consequently, many directors like to add the term “lightly” to their definition of staccato. It has been
said that a true staccato should never be performed at any volume level above a mezzo - forte (mf).
Even though this is not completely accurate, it does provide good advice for the school band and
orchestra. The degree of detachment should vary with the tempo or speed of the composition, with less
separation between the tones in slow tempo. The composer indicates staccato by the use of the term, or
by dots over or under the notes, whereas the director indicates it by short, pointed, rebound beat.
Recall these three terms at frequent intervals so you will always interpret your music in the correct
style:
(1)
Legato: a smooth, connected style
(2)
Marcato: a heavy, detached style
(3)
Staccato: a light, detached style
Dynamics
One of the qualities of musical expression concerns the various degrees of loudness and softness. This
quality is called “dynamics.” It is difficult to recall a single musical composition which should not vary
somewhat during the course of its performance, but many school bands and orchestras play a full
program with little contrast in volume, (The worst of these are loud all of the time.) Such a program is
indeed dull and uninteresting.
Every musical organization should attempt to play, WITH CONTROL, five recognizable levels of
volume: pianissimo (pp), piano (p), mezzo-piano (mp), forte (f) and double-forte or fortissimo (ff). If
we were to add mezzo-forte (mf), then the number of levels would be six.
Perhaps you noticed that the words “with control” are capitalized. School instrumental organizations
are faced with two difficult problems in obtaining good dynamic contrast. The first is to develop a
solid, full-sounding fortissimo without roughness and distortion of tone quality, and the second is to
develop a resonant pianissimo that is not weak and feeble. As an individual player you can help solve
these problems by practicing control of volume on your own instrument, Many teachers recommend
sustained tones, played with crescendo (gradually louder) and diminuendo (gradually softer). Listen
carefully as you play, and do not allow the pitch of your tone to change as the volume changes.
Common Terms
da capo (D.C.) - from the beginnings
dal segno (D.S.) - from the sign
diminuendo (dim.) - gradually softer
dolce – sweetly
energico – energetically
etude – a study
fermata – a hold or pause
forte (f) – loud
fortissimo (ff) – very loud
forza, con – with force
forzando – forcefully accented
fuoco, con – with fire, energy
furioso – furiously
giocoso – joyfully
grandioso – grand or noble style
Chapter 4
Balance
If you are a good ensemble performer you have learned to adjust your volume level according to the
relative importance of your part. The volume mark indicated on the music may generally be accepted as
a guide but not as the final criterion.
Suppose, for example, that you have a melodic passage marked “mp” (mezzo-piano). If the director
stops your organization to comment that the melody does not come through properly, it may be
necessary for you to play at a higher volume level than you consider “mp” and for those on other parts
to play more softly. If, on the other hand, you are playing a rhythmic accompaniment part that is
marked “ff” and the melodic line is obscured, it may be necessary for you to play “mf” so that all parts
will be properly balanced.
As a reminder that a certain passage should be louder or softer, it may be permissible for you to pencil
in the change on your printed part.
Good balance, then, requires the proper mixture of melody, one or more harmony parts, countermelody, and rhythmic accompaniment parts. The final judgment must be made by your director, but
you can do much to simplify his problem by listening carefully and evaluating the importance of the
part you are playing. Remember that the melodic line must always be predominant, and that other parts
are to be subordinated to it regardless of the volume indicated. During rehearsal and performance
watch your director carefully for a sign that you should play louder or softer. Such signs are generally
indicated with the left hand – palm down for less volume, palm up for more.
Articulation
Clean-cut articulation bears somewhat the same relationship to music as enunciation does in speech.
Very likely you have heard speakers in your assembly programs who, with a normal speaking voice,
were very easy to understand. They were heard distinctly because they enunciated clearly. That is what
you should attempt to do with instrument - make it ‘‘speak distinctly”.
Two important factors in articulation are correct use of the tongue and correct use of the breath. In the
course of your musical experience you will frequently hear the term ‘‘attack,’’ which refers to the start
of the tone. Whether soft, medium, or loud, each note (except those within a slurred group) should start
with a precise attack which is produced by proper breath support and a positive action of the tongue.
Most teachers recommend a tongue action which is similar to its use in pronouncing one of the
following syllables: too, tah, ti, tuh, or doo, dah, dee, duh. The tongue operates something like a valve
which releases the column of air. NEVER say thu, tha, or any syllable which starts with the “th”
sound. And remember when your director asks for a precise attack, he does not mean “accent”.
The tempo (speed) of a passage exerts considerable influence on articulation. For example, in fast
tempo the group
is played
. The first note is attacked in a precise manner; the second
one is not started with the tongue but is released early – that is before it has been sustained its full
value; the third and fourth are played with a light staccato. Be certain that there is as much space
before the third note as there is before the fourth. In fast tempo, likewise, the group
,
is played
. In slow tempo, however, these groups would be played quite broadly, with each
note receiving full value, articulated with almost no separation of tone.
During your playing experience, it is likely that you will see most of the following articulation, each of
which demands a slightly different degree of separation.
Common Terms
For proper understanding and interpretation of music, you must know the meaning of many terms
which are in common use. There are hundreds of such terms, but the following may be considered a
minimum which every music student should know.
grave – very slow and solemn
grazia, con – with graceful style
grazioso – gracefully
larghetto – slow, but not as slow as largo
larghissimo – very slow, more so than largo
largo – very slow
legato – smooth and connected
leggiero – lightly
lento – very slow
l'istesso – the same
(such as l'istesso tempo – the same speed)
maestoso – majestically
marcato – marked; with emphasis
marcia – march style
marziale – martial
meno – less
(such as meno mosso – less movement;
slower)
mezzo – medium; half
(such as mezzo-forte – medium loud;
mezzo-piano – medium soft)
moderato – moderately
Chapter 5
Rehearsal Marks
In many school bands and orchestras considerable rehearsal time is wasted by frequent repetition of
interpretive suggestions by the director. In most of these cases, time could be saved and progress
accelerated by the use of penciled rehearsal marks placed on the printed part when the director’s
comments are made the first time.
Suppose, for example, that your director suggests that a particular note or series of notes should be
played longer in value and in a more legato manner. A short, straight line placed over or under the
notes in question will remind you of this fact on each subsequent reading and it should not be necessary
for the director to repeat his comment:
If the director desires a semi-legato or slightly detached style, you would use the straight lines and dots:
If the director desires a detached, staccato style, use the staccato mark:
If you are not breathing in the correct place, a comma will remind you the next time:
If a definite space is desired between a pair of notes, or an abrupt release is wanted, use a short.
diagonal line:
If you are consistently flat on a particular note, use an arrow to indicate that it should be favored
upward:
Use the arrow in reverse for a sharp note to be favored downward:
If your director designates the “peak” note or the climax of a phrase, use an asterisk:
If your part should be louder or softer for effective balance, change the printed volume marking:
Many other supplementary marks may be suggested by your director. Remember that a pencil is an
essential part of your rehearsal equipment. Save rehearsal time by marking the director’s suggestions
on your part!
A Comparative List of Tempo Markings
Generally very slow to slow
Larghissimo
Largo
Larghetto
Grave
Lento
Adagio
Adagietto
Generally medium
Andante
Andantino
Moderato
Generally fast to very fast
Alegretto
Allegro
Vivace
Veloce
Presto
Prestissimo
Metronome Marks
M.M.
M.M. is an abbreviation for Maelzel's Metronome.
= 60
usually indicates the unit of measurement or the kind of note which receives one beat.
60 indicates the number of beats per minute.
Generally speaking, the metronome mark gives the performer a reasonably accurate means of
establishing the tempo. It is used to supplement the meter signature and terms indicating speed.
/
Adagietto tells us that there are four quarter notes to the measure and that the tempo is slow.
But if these symbols are accompanied by “MM. tempo 60,” we are more completely informed, we now
know that a quarter note receives one beat and that there are sixty beats per minute.
Some examples of metronome indications and their interpretations follow:
Common Terms
For proper understanding and interpretation of music, you must know the meaning of many terms
which are in common use. There are hundreds of such terms, but the following may be considered a
minimum which every music student should know.
molto – very
morendo – dying away
mosso – motion; movement
moto – motion; movement
non troppo – not too much
opus (op.) - a musical work or composition
ottaba (8va) – an octave
(such as ottava alta – octave higher; ottava
bassa – octave lower)
pesante – heavily, with emphasis
pianissimo (pp) – very softly
piano (p) – softly
piu – more
(such as piu lento – slower; piu mosso –
faster)
poco – a little
(such as poco animato – a little more
animated; poco meno – a little less)
poco a poco – little by little
prestissimo – very fast; more so than presto
presto – very fast
primo - first
Chapter 6
Key Signatures
It should not be necessary for the director of a school band or orchestra to use valuable rehearsal time
to remind his students that “D is flatted in the key of Ab” or that “E is natural in the key of F,” and yet,
this is a common occurrence. One of the responsibilities of every student musician is to KNOW the
common key signatures and the notes that are affected by the sharps or flats in these signatures.
Not all of the twenty-four key signatures (twelve majors and twelve minors) are used in school band
and orchestra music. If you request it, your director will likely check the ones which are the most
common, the ones which you should know thoroughly. If you wish to progress beyond this minimum
responsibility, you will find all the major keys listed on pages 16 through 18. (Minors are omitted—not
because they are unimportant, but be cause deviations from the major signatures are clearly indicated
by the use of accidentals.)
One method of mastering the key signatures which will improve your technical skill at the same time,
is to practice these scales, Select the correct clef and the octaves which are within your playing range,
and practice the scales diligently. Improved knowledge and playing skill will reward you for your
efforts.
TREBLE CLEF INSTRUMENTS FLAT SCALES
Flatted notes are black. In progressing through the
flat keys, note that the extra flat is always on the
FOURTH DEGREE of the scale.
TREBLE CLEF INSTRUMENTS SHARP
SCALES
Sharped notes are black. In progressing through the
sharp keys, note that the extra sharp is always on
the SEVENTH DEGREE of the scale.
BASS CLEF INSTRUMENTS—FLAT SCALES
Flatted notes are black. In progressing through the
flat keys, note that the extra flat is always on the
FOURTH DEGREE of the scale.
BASS CLEF INSTRUMENTS—SHARP SCALES
Sharped notes are black. In progressing through the
sharp keys, note that the extra sharp is always on
the SEVENTH DEGREE of the scale.
Common Terms
rallentando (rall.) - gradually slower
segno ( ֠) - the sign
religioso – in solemn style
sempre – always; continually
ritardando (rit.) - gradually slower
senza – without
ritenuto – a steady pace, but slower than preceding sforzando (sfz) – forced; with emphasis
tempo
simile – the same; continue in the same manner
rubato – temporary irregularity of time, lengthening smorzando (smorz.) - dying away
certain notes at the expense of others
soli – more than one performer in unison
scherzo – playfully; usually in rapid tempo with
solo – a composition or passage for one performer
rhythmic and dynamic contrasts
scherzando – in light, playful style
Chapter 7
Taking Care of Your Instrument
Woodwinds
Never subject a wood instrument to sudden temperature changes, for his may crack the body. Never
play a wood instrument when it is cold.
When you have finished playing, use a chamois swab to remove all moisture from the bore—especially
at the joints. This will prevent the wood from absorbing moisture, the greatest single cause of cracking.
Oil the bore of a new instrument ever two or three weeks for the first three months, making certain that
the oil does not touch the pads. Use a few drops of specially prepared bore oil or a good grade of olive
oil, and apply it with a cloth or cotton swab. After the first three months it should not be necessary to
oil the bore more often than once a month. PLEASE NOTE THAT THE BASSOON IS AN
EXCEPTION in the matter of bore oiling. Most bassoons are treated to resist moisture and the tenor
and boot joints are usually rubber-lined, Oil would rot the rubber. It is sufficient to remove moisture
and dirt with a dry cloth or regular bassoon swab.
Never assemble a wood instrument when the bell, body or barrel rings are loose, for serious damage
may result. Loose rings can be adjusted quickly by a competent repair man. All points of friction in the
key mechanism should he oiled regularly with special key oil, or a very light oil, applied with a
toothpick or a needle. This will minimize wear, keep the key action in top shape. and eliminate the
possibility of screws becoming rusted in, Oil the keys held by long screws by backing out the screws
about half of their length. After the oil seeps into the key hinges tighten the screws again. Keys that are
on pivot posts may be oiled between the post and the end of the key rod.
A small camel’s hair brush should be used to remove dust and lint that gathers around the posts and
springs and under key rods.
Cork joints should be kept “live” by the application of a small amount of cork grease. Dry cork
becomes brittle and will crack easily.
Adjusting screws are for delicate adjustment of the mechanism. Particularly in the case of the oboe and
flute these should not be moved! If you think your instrument needs adjusting, ask your director or see
a competent repair man.
After each playing, clarinet and saxophone mouth pieces should be cleaned with a soft cloth, and the
ligature screws loosened before the mouthpiece is put in the case. NEVER USE HOT WATER TO
CLEAN A HARD RUBBER MOUTHPIECE.
Fingerprints should be wiped off the body and keys of the flute and saxophone after playing, and before
returning the instrument to its case.
Brasses
It is best to follow the manufacturer’s instructions for “breaking in” a new instrument. In some cases
the use of valve oil is recommended, in others, only water. But in any Case it is important that you keep
the valves, valve casings, slides and the entire bore clean.
One of the most important items in the care of brass instruments is keeping the mouthpiece clean. Do
this by removing all particles of dirt with a toothpick, then flushing with clear water. Never leave the
mouthpiece in the instrument after playing. In case of a stuck mouthpiece. NEVER use pliers or force
in any way. Take the instrument to your director for his advice.
Clean the inside tubing of the instrument regularly by pouring water through the entire bore. Work the
valves up and down while the stream of water is going through the instrument so that valve chambers
and slides are cleaned too.
The most common cause of sluggish valve action is dirty valves and valve casings. Valves may be
cleaned with soap and water, but soaps that contain abrasives are likely to damage the valves. Be on the
safe side by using castile soap. For the valve casings, use a cleaning rod and clean cheesecloth, being
extremely careful that the metal rod does not touch the casing wall. Rinse valves and valve casings with
clear water before replacing the valves.
Also keep tuning slides and valve slides clean. Ordinarily, soap and water will do, but if the slides have
become quite corroded, it may be necessary to use metal polish to restore the finish. Before replacing
the slides, wipe them clean, flush with clear water, and put a small amount of Vaseline or tuning slide
grease on them to prevent sticking.
If your instrument has a lacquer finish, the outside tubing can be cleaned with clear water and a
chamois, or you may obtain better results with a good quality lacquer cleaner. Do not use silver polish,
commercial cleaning fluids, alcohol, or any cleaner which contains alcohol. Silver-plated instruments
may be cleaned and polished with a good grade of silver polish.
Trombone Slides
Because of the great variety of finishes used on trombone slides and the variation in amount of
tolerance used in fitting slides, it is best to follow manufacturer’s instructions regarding lubrication. If
cold cream and water is recommended, follow this procedure: Clean inner slides thoroughly with a soft,
clean cloth, Apply a very small quantity of cold cream to the end of each inner slide.
Pour a little lukewarm water into outer slides, then insert the inner slides and “slush-pump” the slides
thoroughly. Remove inner slides and repeat the process, inserting each inner slide individually. Drain
the water and the instrument is ready to play. A single application may last for a week if the, slides are
‘slush-pumped’ with lukewarm water before each use. Remember that cold cream accumulates dirt
rapidly so frequent cleaning of the slides may be necessary. If oil is recommended for your instrument,
be certain that you use a good grade of oil manufactured for this purpose.
Drums
The mechanism for adjusting the tension of a drumhead or snares should be treated like any other
mechanism. Moving parts should be oiled often enough to keep them in good working order. All metal
parts should be treated with a thin film of light oil from time to time to protect them from moisture and
dirt. Be sure to keep oil away from the drum heads.
It is best to keep drum heads under tension at all times, even when they are not in use. If the drum is to
be stored for any length of time, lower the tension slightly—perhaps a single turn of each screw. If it is
necessary to increase the tension for playing in damp weather, release the extra tension when you are
through playing to avoid breakage should the atmosphere return to normal.
Snares are also best kept under tension at all times. This will prevent gut snares from stretching
unevenly, and delay wire snares from wearing through the head.
Hints on Systematic Practice
It is a significant fact that some students obtain highly satisfactory results with less practice than others
who accomplish very little. This does not suggest that there is but one way to practice, but rather that
some students use systematic methods of achieving definite aims.
A conscientious musician strives constantly to improve his tone quality, his interpretation, and his
technique for these are the fundamentals of good musicianship. Consequently, we may assume that
efficient practice should be designed to improve all three of these elements. The student should attempt
to discover the weakest phase of his performance and spend a large portion of his time developing it,
but never with such concentration of effort that the other phases are ignored.
For tone quality, long tones, slow scales and arpeggios and cantabile style melodies are recommended.
You are urged to re-read the paragraph on “Tone Quality” and remember that unless you hear what you
are doing, hours of practice will be to no avail.
For interpretation, solo literature is especially recommended. A wealth of fine material is published in
this category, much of it of high musical content. Etudes which stress melodic interpretation are also
available for most instruments.
For technique, exercises of all types, including scales, arpeggios and interval studies are recommended.
These should be practiced with varied articulations, for coordination of tongue and fingers is an
important part of technical development. Work for accuracy at all times and remember that careless
practice is worse than no practice, for it fixes had habits.
In addition to the above, you should set aside a period for individual practice of band music. You
should consider each composition placed in your folder as a definite assignment to he mastered outside
of the rehearsal period. After noting the passages which are difficult, you should work them out
carefully, so your director can use the full rehearsal period for putting the parts together properly.
Common Terms
sordino – mute
(con sordino – with mute; senza sordino – without mute)
sostenuto – sustained
spirito, con – with spirit; brilliance
staccato – separated, detached style
stringendo (string.) - gradually faster
subito – suddenly
tacet – silent
tempo – time;speed
tempo di valse – waltz time
tenuto (ten.) - sustain full value
valse – waltz
veloce – very fast
vivace – vivacious; lively
vivo – lively; brisk