Top Ten Teaching Tips - Search for People at Wright State University

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Top 10 Teaching Tips!
Developing the COMPLETE Band Program!
"
Participants will explore key points of successful band rehearsal techniques gathered from some of the best music
educators in the field. This session will share tips for approaching common performance errors in an effort to prioritize
music making in the rehearsal. Whether a beginning or veteran teacher, this clinic will help you focus on key teaching
ingredients for administering effective rehearsal techniques.
SHELLEY JAGOW
Wright State University; Department of Music ; 3640 Colonel Glenn Hwy. Dayton, OH 45435 Phone: 937-775-2178 Email: [email protected] Website: www.wright.edu/~shelley.jagow/index.html
Tone quality is essentially influenced by five basic factors (Jagow, 2007, p. 34):
1) _______________ concept of tone for each instrument,
2) _______________ concept of tone for their instrument,
3) student’s ability to produce a characteristic tone,
4) ensemble _______________ and _______________, and
5) the color and texture influenced by the nature of the repertoire.
COMMON PERFORMANCE ISSUES
"
1.Lack of Characteristic Tone
Quality
•
"
Tonal Vocabulary
Instrument
•
Quality Recordings
•
Long Tones & the Mouthpiece
•
Factors Affecting Tone
Concert Pitch on Mouthpiece / Reed / Headjoint Alone
Flute
A: on stopped or open head joint; this is a good average pitch for young
flutists to practice sustaining a controlled open sound. More advanced
students could practice playing octaves in tune and then learn to raise and
lower each pitch by as many cents as possible.
Oboe
C: Reed alone should "crow" octave C’s
Clarinet
C: on Soprano
F # : on Bass
C:
A:
G:
D:
Saxophone
2.
Improper Balance
"
Listening Priorities
•
“Basic Law of Sound”
•
Balanced Instrumentation
3.
(Instrumentation Calculator included on DVD)
Not Enough Evidence of Musicality "
•
Encouraging the Heart; Encouragement Index
•
Key Concepts for Musical Interpretation
4.
Poor Repertoire Choice
•
You Are What You Eat!
•
The Q-Factor
Practical Charts
for Students & Direct
ors
(found in Developing th
e Complete Band
Program (S. Jagow)
[Meredith Music Publi
cations]
& ww
w
I NS T R U M E NT
M OUT HP I E C E
LI GAT UR E
R EED
Oboe
N/A
N/A
Beginner/Intermediate:
• Jones or Charles
Advanced:
• Hand made
• Jones
• (preferred reed cut is 10.5 to 11 mm
in diameter; tube length should be 47
mm and total reed 70 mm; tip width ca.
7mm)
Bassoon
BOCAL
Beginner:
• Heckel #1-CC
or CD
• Fox #2-CVC
Intermediate/
Advanced:
• Heckel #1-CC
or CD
• Fox #2-CVC
N/A
Clarinet
Beginner:
• Vandoren B45
• Vandoren 5RV
Intermediate/
Advanced:
• Vandoren B45
• Vandoren 5RV
Bonade (inverted)
Rovner
(Eddie Daniels)
Bass Clarinet
Selmer C*
Charles Bay
Vandoren B45
Major
on on
ducti
ch Pro
:
Table 20
Pit
ended
Recomm
ENT
INSTRUM
CONCER
T PITCH
Oboe
Clarinet
one
Saxoph
Bassoon
ON
piece /Re
Mouth
HPIECE
MOUT
open
pped or
sto
• A on
• Reed
Flute
Note: Pitch should be within +/- half step of pitch indicated.
G or A: Reed alone should "crow" a G or A
Bassoon
•
Note: Pitch should be within +/- half step of pitch indicated.
on Soprano
on Alto
on Tenor
on Baritone
crow sh
ne
ed Alo
/ REED
head joi
nt
d a B or
un
ould so
ALONE
C
res
d Figu
n
a
s
ble
0+ Ta
no: C
• Sopra
F#
• Bass:
no: C
• Sopra
A
• Alto: G
r:
no
• Te
ne: D
rito
G or A
Ba
•
und a
ould so
crow sh
• Reed
9
& www
w
Major
&w
6th
& b ww
ww
Minor
+2 -16
-14
-12
! louder dynamics = encourages
www -14+2
! softer dynamics = encourages pitch to play sharp*
pitch
☺ when playing at louder dynamics to play flat*
Major
Dynamics
& bw
ww
Minor
+2
-14
7th
& b bww
ww
Minor
& b www
ww
& b ww
ww
& wwww
w
hed
Saxophone
Diminis
& bww
ww
Domin
Horn
-31
+2
-14
& b b ww
ww
+16
-17
+16
ant 7th
-31
+2
-14
& b bww
b ww
Minor
Trombone *
7th ( b
5)
Beginner:
+16
• Bach 12C
-17
+16
Intermediate/Advanced:
• Bach 6 1/2 AL (with small shank)
• Bach 5G or Benge 6 1/2 ALL (with large
shank)
(Bach 3G or 4G is recommended for
Bass Trombone )
& # ww
ww
Major
7th
& b bwww
ww
˙
( #5)
+26
-4
-14
Domin
ant 7th
+5
-31
+2
-14
( b9)
for
______
______
______
____
r: ______
Adjustm
r
R
R
3
Piccolo
• Cane should
Flute 1 be of
medium density.
Beginner:
Flute 2
• Medium
Oboe 1
Intermediate/ 2
Oboe
Advanced:
Horn
• Medium-Hard
English
to Hard
inet
______
ent
-14
+2
5
-14
3
-14
Eb Clar
3
1
Clarinet
inet 2
Beginner:
Beginner: Clar
R
3
• Rico Royale
• 2 or 2Clar
1/2 inet
R
Intermediate/Advanced:
Intermediate:
4
inet
• La Voz
• 3 or 3 Clar
1/2
R
inet
-14
• Vandoren 52 or V-12
Advanced: Alto Clar
3
inet
• Rico Grand Concert Select
• 3 1/2 or 4
Bass Clar Clarinet
+2
ass
ContraB
5
1
-14
Bassoon
Vandoren (traditional)
Beginner:
3
2
-14
Rico Grand Concert
• 2 or 2 1/2 Bassoon
1
3
ophone
Intermediate/
2
Alto Sax
Advanced:
R
+2
ophone
• 3 or 3 1/2 Alto Sax
5
ophone
-14
Tenor Sax ophone
Va ndore n (tra ditiona l)
B e ginne r:
3
Sax
tone
• 2 or 2 1/2
Bari
R
1
Intermediate/
Trumpet
Advanced:
2
• 3 or 3 1/2
Trumpet
3
Trumpet
Baritone /
Beginner:
-14
1
Euphonium
• Bach 11 or 11C (1st year)
Cornet
3
• Bach 9 (2nd year)
net 2
Cor
Intermediate/Advanced:
R
3
• Bach 6 1/2 AL
Cornet
• Schilke 51D (available for small or large
Horn 1
shank horns)
Horn 2
• DEG BB2 (Brian Bowman Signature
Series)
Horn 3
Group 1
Tuba
Beginner:
Horn 4
1
e
Oboes,
Eb
Clarinets,
1st
• Bach 22 or 24
Trombon 2
• Yamaha 65
e
1st Trumpets
Trombon 3
Intermediate/Advanced:
e
1
• Bach 22 orGroup
18
Trombon bone
• Yamaha 66 or 67C4
(Soprano)
Bass Trom
na
ium
*NEVER use an adaptor for a mouthpiece to
Group 2
Euphon
adapt a small bore to a large bore instrument
R35
Tuba
2nd & 3rd Clarinets
Group 2
Timpani ussion Vibr. _
Perc
___ 2nd & 3rd Trumpets
Mallet
on ___
(Alto)
Percussi _______
Mallet
on
Percussi
Mallet
Group 3
(Tenor)
Group 4
(Bass)
Stu
____
______
______
Compose
6 ms. afte
E
Beginner:
• Medium
Intermediate/
Advanced:
• Medium-Hard
to Hard
Dire
cto
r&
Beginner:
• Yamaha 30C4
• Holton MDC
Intermediate/Advanced:
• Yamaha 29D4, 30C4, or 31D4
• Giardinelli C8 or C10
-17 +19
+16
Domin
-
4
Bach Standard / Yamaha Equivalent
-14
Beginner:
• Bach 7C / Yamaha 11C4
Intermediate/Advanced:
• Bach 7C / Yamaha 11C4
• Bach 3C / Yamaha 14B4
(It is common to use the same mouthpiece
Bb and C trumpets.)
-17 +14
+16
& b b ww hed 7th
ww
Diminis
hed Ma
jor 7th
& #w
ww
Rovner
(Eddie Daniels)
AugmBonade
ented
Trumpet
Diminis
& # bww ant 7th ( #5)˙
ww
Selmer C* (S-80)
-17
+16
& b b wwhed 6th
b ww
7th
+16
+2
Bonade
Rovner
(Eddie Daniels)
Charles Bay
Diminis
+2 +19
+16
+16
, compensate for sharp
relaxing the embouchu
pitch by
re/lipping down Do
; (flmin
utes
antwill
sharp pitch by directing
te for a
7th compensa
( b5)
air stream
rolling
head-joint
☺ when playing at softer dynamics down and/or-31
Minorin)
+2
Major
, compensate-14
for flat pitch by firming
7th
the embouchure/lipping
up ; (flutes will compensa
+11
te for a flat pitch by
directing air stream up
+2
and/or rolling head-joint
+16
Domin
out)
☺ Reeds: when playing at louder dynamics,
ant 7th
compensa
(+9
te) for flat pitch by
firming the embouchure
+4
-31
Major
9th
☺ Reeds: when playing at softer dynamics, -14+2
compensate for sharp pitch
+4
relaxing the embouchu
-31 by
re
+2
* opposite pitch tendency
-14
for reed instruments, esp.
saxophone and clarinet
(Although this pitch tendency
.
can sometimes vary dependen
strength and embouchu
t on reed
re .)
& b bww
ww
& b bw
ww
+2
+16
6th
Beginner/Intermediate:
• Jones
• Charles
Advanced:
• Hand made
• Jones
R E E D S T R E NG T H
• Cane should
be___
of ___
ertoire:
medium
density.
Rep
den
Clarinets
t To
ols
Group 3
Alto Clarinets, Alto & Tenor Saxophones
Horns, 1st Trombones
Group 4
Bass Clarinets, Bassoons, Baritone Saxophones
2nd & 3rd Trombones, Euphoniums, Tubas
BOOK & DVD: Teaching Instrumental Music: Developing the COMPLETE Band Program! by Shelley Jagow!
BOOK: Tuning for Wind Instruments: A Roadmap to Successful Intonation! by Shelley Jagow
Download Charts: http://www.halleonard.com/meredith-tuning-for-wind-instruments-fingering-charts
#
+2
?
w
w
C
1
C
2
w
G
3
&
w
C
4
#
-14
+2
w
w
b
E
5
G
6
-31
bb
#
+4
bb #
-14
-49 +2
# w
b w w w
Bb C
7 8
D
9
# # bb
+41 -31
b b
-12
b
nw w
F # G Ab B b B n C
11 12 13 14 15 16
E
10
Just Intonation Formulas: Chords
+ Indicates how many cents from ET tuning that the note must be Raised
&
ww
w
wwww
I
+2
-14
4:5:6
[Major Triad]
& www
Significant Intonation Problems
www
w
•
Overtone Tuning
# ww
ww
(mm7)
(mM7)
+18
+2
+16
b www
w
# www
ww
(added M9)
- 12
+2
+16
[minor triad + M7]
b www
w
Dominant 7th
Dominant 7th
Dominant 7th
(Dom7) or (Mm7)
(Dom7) or (Mm7)
(Dom7) or (Mm7)
-31
+2
-14
using 7:4 for 7th
[Major triad + m7]
-4
+2
-14
using 16:9 for 7th
[Major triad + m7]
+18
+2
-14
1st
finger
[
RIGHT
Hand
1st
finger
&
* A-key
available
[
w
vS
&
Pitch Barometer
&
b b wwww
w
Augmented Triad
diminished Triad
(Dom7 + m9)
(Aug5)
(dim5)
www
w
# www
+12
- 31
+2
-14
[Mm7 + m9]
+18
- 17
+16
[dim triad + m7]
Chart based in key of C Major
•
Are you giving them something to listen to?
•
Engaged Listening
B b (Bis)
Palm Keys
(LH 1st finger)
[
F
G # LH
C # 4th
B finger
B b (pinky)
E
C
Bb
F # (high)
F#
[
#w bw
A#
A
on some
Baritones
vS
w
Bb
indicates notes that are often Sharp in pitch.
F
indicates notes that are often Flat in pitch.
vS
indicates notes that are VERY SHARP in pitch.
vF
indicates notes that are VERY FLAT in pitch.
Stable
Tuning indicates notes most stable for tuning in band.
Note
E b RH
4th
C finger
First Octave
S
add (GO).
(pinky)
delete (STOP).
w
C
# w bw
If S,
lip down/warm air.
If S,
lip down/warm air.
S
B
C#
w
Db
D
Lip down/warm air.
If S,
lip down/warm air.
If F
* Note: The airstream can be “warmed” by voicing the syllable “haw”; maintain air speed.
Dominant 7th +m9
half diminished 7th
( o7) or (m7 b5)
D
Fork/Spatula
using 9:5 for 7th
[Major triad + m7]
(Dom9)
[Mm7 + M9]
Eb
(thumb rest)
*
Dominant 9th
+4
- 31
+2
-14
[
2nd finger
3rd
finger
Lip down/warm air.
b www
ww
Octave Key
2nd finger
3rd finger
+4
+18
+2
+16
[mm7 + M9]
}
}
[
diminished 7th
b ww
ww
b www
-27
-14
using 25:16 for 5th
(dim7) or ( o7)
+18
- 17
+16
[dim triad + d7]
- 17
+16
& #w bw
D#
w
w
Eb
E
#w bw
Stable
Tuning
Note
F
F
#
Gb
Stable
Tuning
Note
w
G
Alt./Side F#
using 7:5 for 5th
or
diminished Major 7th
# www
w
(dimM7) or ( o M7)
- 12
- 17
+16
[dim triad + M7]
or
If F
or
or
If F
or
or
or
If F
If F
If F
If F
(Rehearsal Videos included on DVD)
•
WYSIWY = What You See Is What You Get
•
Balanced Dynamics
Improper Articulation
"
9.
Best Tuning Notes
ww
ww
10:12:15:18
[minor triad + m7]
LEFT
Hand
[MM7+M9]
minor Major 7th
+ 2 +14
+16
[minor triad + m6]
-12
+2
-14
8:10:12:15
[Major triad + M7]
+4
-12
+2
-14
Thumb
Lack of Dynamic Contrast
"
8.
•
b www
w
ww
ww
w
minor minor 7th
(added m6)
+2
+16
10:12:15
[minor triad]
&
Little Evidence That Students Are
Listening
"
7.
Tuning Truths
•
"
6.
•
+ 2 -16
-14
in pitch.
(added M9)
(MM7)
[Major triad + M6]
i
5.
www
w
Major Major 7th
(added M6)
Saxophone Key Chart
in pitch.
Indicates how many cents from ET tuning that the note must be Lowered
•
Aural Aids
•
Visual Aids
Poor Releases
"
•
Internal Ensemble Pulse
•
Pulse-Release
•
Fermata Release
•
Stylistic Release
•
Score-Order Release
arts:! h
C
g
gerin ith-tuning
n
i
F
ing & m/mered harts
n
u
T
nload leonard.co ngering-c
w
o
D
-fi
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ww.h truments
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/
/
:
http wind-ins
for-
10.Teacher-induced Issues (no eye
contact, no connection to ensemble,
etc)
•Communicating Effectively and Genuinely
s of
0+ pg
30
ricks”
T
&
s
“ Tip
BOOKS & DVD AVAILABL
E AT
ECKROTH MUSIC, HAL L
EONARD,
AND MEREDITH MUS
IC
BOOK & DVD: Teaching Instrumental Music: Developing the COMPLETE Band Program! by Shelley Jagow!
BOOK: Tuning for Wind Instruments: A Roadmap to Successful Intonation! by Shelley Jagow