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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
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.
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.
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
& wwwwb & wwwwb#& wwww#
& wwwwbb -31 +2 -14 +11 +2 +16
-31 +2 -14
+26 - 4 -14
& www & wwwb & wwwbb & www#& wwww & wwwwb & wwwwbbb& wwwwb
& wwww & wwwwbb & wwwwbb & wwwwbbb
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Major
Minor
Diminished
Augmented
Major 6th
Minor 6th
Diminished 6th
Dominant 7th
Dominant 7th (+9) Major 9th
Diminished Major 7th
Dominant 7th ( 9) b
Major 7th
Minor 7th
Diminished 7th
Minor 7th ( 5) bbDominant 7th ( 5) Minor Major 7th
Dominant 7th ( 5) Major 7th ( 5)
˙#˙#
+2 -14
+2 +16
-17 +16
- 4 -14
+2 -14
+2 +16
-17 +16
-31+2-14
+19
+14
-16
-12 +2 -14
+16 +2 +16
+16 -17 +16
-17 +16 +19
+4 -31 +2 -14
+16 -17 +16
& wwwwwb+4 -31 +2 -14
+5 -31 +2 -14
Table 20: Recommended Pitch Production on Mouthpiece /Reed Alone
INSTRUMENTCONCERT PITCH ON MOUTHPIECE / REED ALONE
Flute
• A on stopped or open head joint
Oboe
• Reed crow should sound a B or C
Clarinet • Soprano: C
• Bass: F#
Saxophone • Soprano: C
• Alto: A
• Tenor: G
• Baritone: D
Bassoon• Reed crow should sound a G or A
HTGNERTS DEERDEERERUTAGILECEIPHTUOMTNEMURTSNI
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)
• Cane should be of medium density.
Beginner:• Medium
Intermediate/Advanced:
• Medium-Hard to Hard
Bassoon BOCALBeginner:
• Heckel #1-CC or CD
• Fox #2-CVCIntermediate/Advanced:
• Heckel #1-CC or CD
• Fox #2-CVC
N/A Beginner/Intermediate:• Jones• Charles
Advanced:• Hand made• Jones
• Cane should be of medium density.
Beginner:• Medium
Intermediate/Advanced:
• Medium-Hard to Hard
Clarinet Beginner:• Vandoren B45• Vandoren 5RV
Intermediate/Advanced:
• Vandoren B45• Vandoren 5RV
Bonade (inverted)Rovner (Eddie Daniels)
Beginner:• Rico Royale
Intermediate/Advanced:• La Voz • Vandoren 52 or V-12• Rico Grand Concert Select
Beginner: • 2 or 2 1/2
Intermediate:• 3 or 3 1/2
Advanced:• 3 1/2 or 4
Bass Clarinet Selmer C*Charles BayVandoren B45
BonadeRovner (Eddie Daniels)Charles Bay
Vandoren (traditional)Rico Grand Concert
Beginner: • 2 or 2 1/2
Intermediate/Advanced:
• 3 or 3 1/2
Saxophone Selmer C* (S-80) Rovner(Eddie Daniels)Bonade
:rennigeB)lanoitidart( nerodnaV• 2 or 2 1/2
Intermediate/Advanced:
• 3 or 3 1/2
Trumpet Bach Standard / Yamaha EquivalentBeginner:
• Bach 7C / Yamaha 11C4 Intermediate/Advanced:
• Bach 7C / Yamaha 11C4• Bach 3C / Yamaha 14B4
(It is common to use the same mouthpiece for Bb and C trumpets.)
Baritone /Euphonium
Beginner:• Bach 11 or 11C (1st year)• Bach 9 (2nd year)
Intermediate/Advanced:• Bach 6 1/2 AL• Schilke 51D (available for small or large
shank horns)• DEG BB2 (Brian Bowman Signature
Series)
Horn Beginner:• Yamaha 30C4• Holton MDC
Intermediate/Advanced:• Yamaha 29D4, 30C4, or 31D4• Giardinelli C8 or C10
Tuba Beginner:• Bach 22 or 24• Yamaha 65
Intermediate/Advanced:• Bach 22 or 18• Yamaha 66 or 67C4
Trombone * Beginner:• Bach 12C
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 )
*NEVER use an adaptor for a mouthpiece to adapt a small bore to a large bore instrument
Group 1 Oboes, Eb Clarinets, 1st Clarinets 1st Trumpets Group 2 2nd & 3rd Clarinets 2nd & 3rd Trumpets Group 3 Alto Clarinets, Alto & Tenor Saxophones Horns, 1st Trombones Group 4 Bass Clarinets, Bassoons, Baritone Saxophones 2nd & 3rd Trombones, Euphoniums, Tubas
Group 1 (Soprano)
Group 2
(Alto)
Group 3 (Tenor)
Group 4
(Bass)
90+ Tables and FiguresDynamics ! louder dynamics = encourages pitch to play sharp*! softer dynamics = encourages pitch to play fl at*☺ when playing at louder dynamics , compensate for sharp pitch by relaxing the embouchure/lipping down ; (fl utes will compensate for a sharp pitch by directing air stream down and/or rolling head-joint in)☺ when playing at softer dynamics , compensate for fl at pitch by fi rming the embouchure/lipping up ; (fl utes will compensate for a fl at pitch by directing air stream up and/or rolling head-joint out)☺ Reeds: when playing at louder dynamics, compensate for fl at pitch by fi rming the embouchure
☺ Reeds: when playing at softer dynamics, compensate for sharp pitch by relaxing the embouchure* opposite pitch tendency for reed instruments, esp. saxophone and clarinet . (Although this pitch tendency can sometimes vary dependent on reed strength and embouchure .)
Practical Charts for Students & Directors (found in Developing the Complete Band Program (S. Jagow)
[Meredith Music Publications]
Repertoire: ____________________________ Composer: ____________________________
6 ms. after
E
Adjustment
Piccolo
Flute 1
R
Flute 2
R
Oboe 1
3-14
Oboe 2
English Horn
Eb Clarinet
Clarinet 1
5+2
Clarinet 2
3-14
Clarinet 3
3-14
Clarinet 4
Alto Clarinet
R
Bass Clarinet
R
ContraBass Clarinet
R
Bassoon 1
3-14
Bassoon 2
Alto Saxophone 1
5+2
Alto Saxophone 2
3-14
Tenor Saxophone
3-14
Baritone Saxophone
R
Trumpet 1
5+2
Trumpet 2
3-14
Trumpet 3
R
Cornet 1
Cornet 2
Cornet 3
Horn 1
3-14
Horn 2
R
Horn 3
Horn 4
Trombone 1
Trombone 2
Trombone 3
Bass Trombone
Euphonium
Tuba
Timpani
Mallet Percussion Vibr.
R35na
Mallet Percussion _______
Mallet Percussion _______
Director & Student Tools
(Instrumentation Calculator included on DVD)
COMMON PERFORMANCE ISSUES "1.Lack of Characteristic Tone Quality
• Tonal Vocabulary • Quality Recordings • Long Tones & the Mouthpiece • Factors Affecting Tone "
2. Improper Balance • Listening Priorities • “Basic Law of Sound” • Balanced Instrumentation "
3. 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
Concert Pitch on Mouthpiece / Reed / Headjoint Alone
Flute
#Oboe
Clarinet
Saxophone
Bassoon
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.C: Reed alone should "crow" octave C’sC: on Soprano F : on Bass Note: Pitch should be within +/- half step of pitch indicated.
C: on Soprano A: on AltoG: on TenorD: on Baritone
Note: Pitch should be within +/- half step of pitch indicated.
G or A: Reed alone should "crow" a G or A
Instrument
Download Charts: http://www.halleonard.com/meredith-tuning-for-wind-instruments-fingering-charts
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
5. Significant Intonation Problems • Tuning Truths • Best Tuning Notes • Overtone Tuning • Pitch Barometer "
6. Little Evidence That Students Are Listening
• Are you giving them something to listen to? • Engaged Listening "
7. Lack of Dynamic Contrast • WYSIWY = What You See Is What You Get • Balanced Dynamics "
8. Improper Articulation • Aural Aids • Visual Aids "
9. Poor Releases • Internal Ensemble Pulse • Pulse-Release • Fermata Release • Stylistic Release • Score-Order Release "
10.Teacher-induced Issues (no eye contact, no connection to ensemble, etc) •Communicating Effectively and Genuinely
b b? &wC1
wG3
wC2
wC4
wE5
wG6
wC8
bbB
7
wD9
wE10
wG12
bbB
14A13
wC16
nB15
nw#
#F11
# b # # #b b bb b # #+2 -14 +2 -31 +4 -14 -49 +2 +41 -31 -12
bb
(Rehearsal Videos included on DVD)
BOOKS & DVD AVAILABLE AT ECKROTH MUSIC, HAL LEONARD, AND MEREDITH MUSIC
300+ pgs of “Tips & Tricks”
Download Tuning & Fingering Charts:!
http://www.halleonard.com/meredith-tuning-
for-wind-instruments-fingering-charts
Just Intonation Formulas: ChordsIndicates how many cents from ET tuning that the note must be Raised in pitch.
Indicates how many cents from ET tuning that the note must be Lowered in pitch.
+
&
&
&
&
&
wwwwMajor Major 7th
(MM7)
-14
-12+ 2
8:10:12:15 [Major triad + M7]
wwwwminor minor 7th
(mm7)
+16 + 2+18
10:12:15:18 [minor triad + m7]
i
+16 + 2www
10:12:15[minor triad]
wwwI
-14 +2
4:5:6[Major Triad]
diminished Triad(dim5)wwb w - 17
+16
using 7:5 for 5th
Dominant 9th(Dom9)wwwwwb
-14
- 31+ 2
+ 4
[Mm7 + M9]
-14
-12+ 2
+ 4wwwww
[MM7+M9]
+16 + 2
wwww[minor triad + m6]
wwwwminor Major 7th
(mM7)
+16 + 2- 12
[minor triad + M7]
-16wwww -14+ 2
[Major triad + M6]
+16
+18+ 2
+ 4
[mm7 + M9]
wwwww
Augmented Triad(Aug5)
www -27-14
using 25:16 for 5th
Dominant 7th +m9(Dom7 + m9)wwwwwbb
-14
- 31+ 2
+12
[Mm7 + m9]
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wwwwbDominant 7th(Dom7) or (Mm7)
-14
-31+ 2
using 7:4 for 7th[Major triad + m7]
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wwwwbDominant 7th(Dom7) or (Mm7)
-14
- 4+ 2
using 16:9 for 7th[Major triad + m7]
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wwwwbDominant 7th(Dom7) or (Mm7)
-14
+18+ 2
using 9:5 for 7th[Major triad + m7]
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Chart based in key of C Major
# #
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#
+16
- 12- 17
diminished Major 7th(dimM7) or ( M7)o
[dim triad + M7]
wwww#- 17+16
+18
half diminished 7th( 7) or (m7 5)bo
[dim triad + m7]
wwww - 17+16
+18
diminished 7th(dim7) or ( 7) o
[dim triad + d7]
wwwwb
+14
(added M6)
(added m6)
(added M9)
(added M9)
& w# wbD # E b
wE
wF
w# wbF # G b
wG
oror
or
or
or
or
or
If F If F If F If F If F If F
Alt./Side F#
Stable Tuning
Note
Stable Tuning
Note
& wA
w# wbA# B b w
B
wD
w# wbC # D bw
CA-keyavailable on some Baritones
*
Lip down/warm air.
If S, lip down/warm air.
First Octave
*
If S, lip down/warm air.
If S, lip down/warm air. If F
Lip down/warm air.
Note: The airstream can be “warmed” by voicing the syllable “haw”; maintain air speed.*
vS SvS
Saxophone Key Chart
Octave Key
2nd finger3rd finger
2nd finger
CE
B (Bis)b
B b
C
bE
D
#G
BB b
F (high)#
Fork/Spatula
F
C #
bE
F #
Palm Keys(LH 1st finger)
(thumb rest)
LEFTHand } [1st
fingerLH4thfinger(pinky)[
Thumb [
RIGHTHand } [1st
finger
[3rdfinger RH
4thfinger(pinky)[
indicates notes that are VERY FLAT in pitch.
indicates notes that are often Sharp in pitch.
indicates notes that are often Flat in pitch.
indicates notes that are VERY SHARP in pitch.
indicates notes most stable for tuning in band.
��������������������Ƥ������������add (GO).
��������������������Ƥ������������delete (STOP).
vS
vF
Stable Tuning
Note
F
S