9. Intonation and Tone Production
In our “Band Book,” tone production is discussed and exercises given which make a band tone -conscious. Complicated exercises or long rehearsals are not needed. Band members become excellent sight players, however, only after they become tone-conscious, and have developed an ability to play with a lovely tone consistently, and habitually. Sight playing requires mental concentration and it is not uncommon for experienced performers to play at sight with a tone quality far below par, for they are not truly conscious of the sound being produced. This is especially true when playing in extreme ranges. This truth should provide ammunition to spur individual players to practice on scales including both extremes of range on their instrument. The remarks on tone apply equally to playing in tune. All that is needed here is to remind the conductor to practice on tone and intonation each day, until the players build a “mental keyboard” for hearing accurately, without which they will never play in tune. The continued use of the exclamations “Listen”—”Sing”—serves to snap the attention of players back to actually hearing themselves play.
10. Counting Time
The ability to count and beat time accurately is so important that a separate section is devoted to explaining how this may be taught efficiently.
11. Expressive Playing
Theabilitytoplayapartaswritten, and be flexible in following the conductor’s signals, is acquired only through special practice. Band members will not “read around the notes,” play dynamic and expressive marks as indicated, and at the same time watch the conductor unless they have been trained to do this from the very beginning. There should be constant practice on this aspect of reading. Playing at different dynamic levels is a relative thing that is concerned with the acoustics of the room, the balance of parts, and the carrying ability of the instrument or instruments playing the melodic line.
Many suggestions are given in the Leblanc “Band Book” to help in developing the ability to play expressively. Many students have but two ways to play expressively, loud and soft. There are infinite gradations of volume, from the faintest pianissimo to the loudest fortissimo. A sensible way to get this idea across is to play four measures of a chorale as softly as possible. Then play the same four measures, piano, mezzo forte, forte, and finally fortissimo, not forgetting to caution the band never to play louder than what may be called ‘lovely.” Then select a chord, have the band take a full breath and play it pianissimo, with a crescendo to piano. Repeat the chord, beginning piano, with a crescendo to mezzo forte; then from mezzo forte to forte; and finally from forte to fortissimo. This drill takes only a few seconds and should be included as a regular part of each day’s “warm-up” period. Make the band realize the different gradations of tone, and be conscious of how they are playing, as well as what they are playing. Be sure that they recognize the dynamic limitations of individual instruments. For example, the clarinet does not have the dynamic range of a trombone. When this is forgotten, either by performers or conductor, results are apt to be disastrous. Students must watch the conductors hands for indications of expression. tempos, and accents. Do use the expression “Watch my hands” constantly. Students are sure to bury their heads in the music unless taught to read and watch the conductor at the same time. This can be learned, but only after constant drilling and admonition.
12. Phrasing
Phrasing means to “punctuate” the performance with musical commas, semi-colons, periods, and so on. Thinking and playing phrase-wise enhances the beauty of music. It is not difficult to teach the elementary rules of phrasing. This can be done by using a familiar tune like “America.” Have the band play this as if singing. Stop at the end of each sentence and have them take a deep breath. Then have them play it through without stopping, but continuing to breatiie at the ends of sentences. In a short time they will comprehend the idea of phrasing, and will do it correctly; Keep using the word “sing”, as this will help them to acquire a feeling for phrase line. After they have learned simple phrasing, there will be a foundation upon which to build. Since the “inner” voices must follow the phrasing of the melodic line, everyone must listen to the melodic line carefully. It must never be covered.
13. Basic Articulations
In the Leblanc “Flute Book” suggestions are given regarding the playing of articulations. This book should be studied, because the remarks in it about style apply to all wind instruments.
14. Fingerings
If one is to sight play with efficiency, fingerings must be taught thoroughly. In teaching fingerings on wind instruments, it is best to remember that notes preceding or following a “given note” govern its fingering or slide position. Students must be taught to read notes in sequences or patterns. To illustrate: fourth line Bass clef F is a first position note on the trombone: however, when it is preceded or followed by second space C. it is usually played in the sixth position. A brochure “The Overtone Principle”, published by Leblanc. discusses in detailed fashion the use of auxiliary fingerings and positions for all brass instruments. Other Leblanc brochures discuss this matter in detail so far as woodwind instruments are concerned. Proper use must be made oi alternate fingerings and slide positions, or wind instrument players may get into awkward situations which preclude the possibility of developing a fluent technique. It is a good rule to teach the use of legitimate fingerings and positions as a rudimental base from which one deviates only when auxiliary fingers or slide positions become absolutely necessary. The time to teach them is when the situation arises that makes it imperative to use them. I remember a national band contest at which I served as one of three judges for Class A sight-reading. The test march had an introduction with an easy passage for trombones if the F naturals which followed the low C’s were played in the sixth position. But it was most difficult to play up to tempo if (as nearly every trombone section played it) the slides were made to travel rapidly from first to sixth position. There is one section in the trombone part of Mr. Sousa’s march, “The Thunderer,” that can be played almost entirely in the sixth position. To change from first to sixth position during performance calls for an extremely rapid movement of the slide. I have gone into these examples at length because it is so easy to teach these techniques at the beginning.
It is natural for directors to feel that they do not have time enough to train a band thoroughly at the beginning of the year. The truth is that while the band which is trained correctly may move more slowly at the beginning, its ensemble performance will be much better than that of the carelessly, fast-trained band well within a year’s time. Believe me, a careful routining in the basic fundamentals of musicianship is the only honest way to teach young people.
The best way to teach correct fingerings is by using a rehearsal routine which combines scales and chords. In the Leblanc “Clarinet Book”, I give the four simple rules for fingering that follow accepted precepts laid down by our greatest teachers. And in the “Flute Book”, I mention that in his daily devotions, every school band conductor should ask the Almighty to give him grace and wisdom to use fingering charts as these are laid out. Wind instruments are built around basic fingering schemes. The only deviations permissable are those used in avoiding an awkward technique, or for trills and other rapid alternations. When a band plays well at sight, its players have been thoroughly routined in the correct fingerings for their instruments. When a variety of illegitimate fingerings or positions is permitted, confusion results, and both tone and intonation are impaired seriously. Speed of technique is acquired by constant, correct daily practice. At first, difficult passages should be played slowly and accurately, then speeded up gradually, bearing in mind not to move to higher rates of speed until technical difficulties have been mastered at the slower. It is best to go beyond the speeds required in playing difficult passages, and then return to the right tempo. This routine will produce a relaxed, easy, flowing technique. I repeat the admonition given in the “Flute Book”—the ultimate in speed cannot be gained except through relaxation. Tension is fatal to speed.
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