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Rehearsal Techniques 1
RUNNING HEAD: Rehearsal Techniques
REHEARSAL TECHNIQUES AND AUDITION PREPARATION
By
ELIZABETH ALEXANDRIA OBICO
“XANDRIA”
Submitted to
Professional Education Faculty
Northwest Missouri State University
Department of Professional Education
College of Education and Human Services
Maryville, MO 64468
Spring 2014
07-28-15
Rehearsal Techniques 2
ABSTRACT
This research is based on A high school band program throughout the 2014-15 school year.
Students were taught new practice methods in class and encouraged to use these methods in their
own practice sessions and in private lessons. Throughout the school year, a record was kept to
determine the success of the students who auditioned for district band, participated in honor
bands, and participated in solo contest based on their practice time. The goal of this research is to
prove that rehearsal time and technique taught in the classroom play an important role in the
success of an instrumental musician. New routines and techniques were taught in class and
practiced daily at school and at home. Students who spent more time practicing the methods
taught in the classroom were more successful when auditioning for honor bands whether or not
they also participated in private lessons.
Rehearsal Techniques 3
INTRODUCTION
Background, Issues and Concerns
When students join band, they are expected to turn in practice records to prove that they
are practicing their instrument outside of school. Many of these students have never played an
instrument in an instrumental class setting before. In many cases, it is assumed that the student
knows how to practice their instrument already. There is also the issue of whether or not the
practice card form is a trustworthy practice record. A second issue is the question of favoritism.
Some believe that students are placed in higher chairs or are given better grades because of the
teacher’s opinion of the student. The following study demonstrated how practice time and
techniques affect the outcome of the student’s success in auditioned ensembles and individual
performances. This will prepare the students for a better band experience, future playing tests,
and auditions.
Practice under Investigation
The practice under investigation demonstrated how specific practice techniques that were
being taught in the classroom to better prepare students for auditions. This includes teaching
scales and arpeggios, changing rhythms, developing tone and counting correct rhythms.
Practicing strategies are more commonly taught in private lessons outside of the classroom for
individuals rather than the director in a regular classroom setting. This investigation discovered
whether a correlation existed between practice preparation and audition results. This result will
be compared to the correlation between practice time using the new classroom technique and
audition and performance results.
Rehearsal Techniques 4
School Policy to be Informed by Study
There are high expectations for instrumental auditions. The knowledge and preparation
required to have a successful audition should be taught and practiced by all students in the
classroom. This includes playing tests or chair auditions, ensemble auditions and solo auditions.
This would not only improve the individual students, but improve the performance of the
ensemble as one.
Conceptual Underpinning
More exposure to “mock” auditions will allow the students to be more prepared for actual
auditions and performances in the future. The more opportunities the students have to practice
this technique in a real life situation, the better prepared they will be for an actual audition in
their future. Unlike practicing for the test, the students will use new material, overcome the fear
of stage presence and continue to develop musicianship. These characteristics can be compared
to learning how to be a better public speaker.
Statement of the Problem
The problem is how to increase student achievement in music for musicians of all ability
levels. If more students have improved audition results, the schools should incorporate this
practice into their curriculum. These techniques could potentially help students prepare for other
scenarios similar to auditions such as interviews, public speaking opportunities or other contests.
This could also play a role in preparing for school exams.
Rehearsal Techniques 5
Purpose of the Study
The purpose of this study is to find a significant connection between practice times and
methods, and better results in auditions. The results in this study will inform the directors of how
the students to prepare for auditions during class time teach and how to practice. This could
potentially improve the individual student’s success and the entire ensemble’s success.
Research Questions
RQ#1: Is there a relationship between student learning of proper practice methods and
their performance in auditions?
RQ#2: Is there a relationship between participating in mock auditions and the student
level of preparation for musical performance?
Null Hypotheses
Ho#1: There is no relationship between student learning of proper practice methods and
their performance in auditions.
Ho#2: There is no relationship between participating in mock auditions and the student
level of preparation for musical performance.
Anticipated Benefits of the Study
If there is a significant connection between practice methods and high performance
achievement, teachers will be able to use these methods to improve student achievement in the
music classroom and potentially other subject areas.
Rehearsal Techniques 6
Definition of Terms
Auditions - A selection process decided by ability level and talent.
Practice Time - The time spent rehearsing outside of the classroom.
Honor Bands - These are auditioned ensembles.
Summary
A study was conducted to decide if teaching practice techniques in the classroom in
addition to more required practice time would result in better preparation for auditions. After the
study is complete, the school is encouraged to decide on any changes to the curriculum to better
prepare the students for musical and nonmusical auditions. Students were taught how to practice
rather than being told to practice and expecting the students to play the same part repeatedly until
they believed they understood it. Mock auditions allowed the students to experience an audition
before participating in a real one. This also allowed the director to guide the student to be better
prepared. Outstanding mock auditions were also performed in front of the class as if it were a
master class to demonstrate a successful audition.
Rehearsal Techniques 7
REVIEW OF LITERATURE
Music is a universal language that is understood throughout the entire world. Lyrics may
be foreign to one’s ear, but the emotion expressed in a song connects with those who are
listening. Middle school and high school students have the opportunity to participate in musical
ensembles in school, specifically band or instrumental music. Those participating in band are
given the possibility to learn how to perform on an instrument. These students are able to
express themselves through music individually and in an ensemble setting. Band class teaches
students the basics in how to make music on their specific instrument. However, the amount of
practice time and the method of practice affects how a developing musician will advance in their
musical career.
Beginning band students first learn how to assemble instruments, form an embouchure
and make a sound on their horn. They quickly learn the fingerings to three to five notes and
begin playing music by reading music notation and matching fingerings to the respective notes
on the staff. As students advance, practicing become even more important. This is a habit that
needs to develop early and become part of a daily routine outside of school (Spitzer, 2014).
Many excuses may include:
“But I play every day in school” (That‘s not practicing, and it’s not enough to help you
really improve.)
“I already play better than anyone else in school” (You should try to be the best player
that you can be. It’s not about comparing yourself to others. Besides, if you goof off,
pretty soon you won’t be the best anymore.)
“I’ve already learned my assignment” (So...give yourself a new assignment! Remember,
you are your own best teacher.)
Rehearsal Techniques 8
“It’s boring” (This indicates the need for a better attitude. Learning is fun, music is fun,
and being good at something is fun.)
“I don’t have time” (Really? You can’t find 20 minutes a few times a week? If you truly
are too busy, though, just make sure that you make up for it the following week.)
“I don’t know how it goes” (Ask a parent, or an older sibling, or find a recording. If you
somehow can’t do that, then practice other things, and ask your teacher to demonstrate it
at the next lesson.)
“I’m taking lessons, so I don’t need to practice” (That’s not the way it works. Your
teacher is not there to babysit one day a week of practicing. He or she is there to give you
the tools so that you can be your own best teacher.) (Spitzer, 2014, P.1).
In an instrumental class, students are learning how to read notes, rhythms, tonguing,
slurring, breathing, phrasing and how to read and perform many other musical symbols. A
typical band class includes students who need to learn how to read both bass clef and treble clef.
Percussionists are learning more advanced rhythms than wind players. Wind players are learning
how to breath while percussionists patiently wait for instructions pertaining to their own
instruments. In some cases these instrument groups are split up into different classes with like
instruments for example, brass players, woodwinds and percussionists are in three separate
classes. However, in most smaller schools this is not the case (Spitzer, 2014).
Band directors use many different teaching methods to help students advance on their
instrument of choice. It is unlikely that many beginning band students are taking private lessons
at this point in their musical career. The Breathing Gym is a great breathing exercise to help
wind players learn how to control their breathing as they are performing. “The Breathing Gym
Rehearsal Techniques 9
consists of five types of exercises: Stretching, Flow Studies, Therapies, Strength and Flexibility
and Breathing for the Brain” (Pilafian & Sheridan, 2014). It is normal for students to feel out of
breath or lightheadedness when first learning an instrument. Over time, students learn how to
control their breathing and their playing improves. Better air support also improves tone, or the
sound of their instrument.
As students advance on their instruments, they need to learn how to practice at home on
their own without a teacher there to guide them. Other practice techniques that can be used in the
classroom and carried over into a personal practice session include: slowing it down, the “add a
note” technique, the “fingers only” technique, over train, play it backwards, change the octave,
sing it, rhythm only, buzz it, and combining these different techniques (How to practice, 2013).
The slowing it down technique may require the use of a metronome, a device used to
keep a steady beat. Slowing a difficult passage down and then gradually speeding it up to the
desired tempo often helps. Adding a note to a technical passage is another great option. If there
are six notes, try playing only the first three, and then four, and then five until you are finally
able to perform all six notes. The fingers only technique allows all of the energy to focus on
notes and fingerings alone before playing it again. Over training is going beyond slowing it
down. First slow down to a doable tempo but do not stop when you reach the suggested tempo.
Instead, continue to a faster tempo to better prepare the difficult passage. Playing a passage
backwards is unconventional but does work. Changing octaves is exactly as it is stated. Playing a
passage in a higher or lower octave may be easier. This allows the musician to have a better idea
of what the passage should sound like before going back to the original passage. Singing is also a
great technique to help with intonation and tone quality. Rhythm only allows the performer to
put the instrument down and think through the difficult passage by clapping the rhythm rather
Rehearsal Techniques 10
than paying it. Buzzing the passage is a technique for only those who play a brass instrument.
Buzzing the passage through the mouthpiece only allows the performer to focus on rhythm. As
stated above, a combination of any of these practice techniques is recommended. These
techniques are encouraged in the classroom and during individual practice sessions (How to
practice, 2013).
Practicing on a daily basis is a great habit to begin at a young age. The suggested amount
of practice time for a young musician is about twenty minutes a day every day of the week. This
number should increase as the student become more advanced. Students develop a routine and
begin improving on their own in addition to the classroom. Students begin to take pride in their
work and strive for perfection while rehearsing individually and in the classroom. The more
students practice, the better they become and the more they enjoy what they are doing. Practice
time is how students improve and study for band (Estrella, 2014).
Using practice techniques during band class teaches the students different ways to
practice at home on their own. As students advance, they are encouraged to begin taking private
lessons. However, private lessons are an additional cost to participating in the school band
program. In some cases, students have to travel longer distances to find a suitable private lessons
teacher for their specific instrument. Sometimes private lessons are not an option for all students
(Spitzer, 2014).
As students advance to more difficult music, more opportunities are presented to them.
Some of these opportunities include auditioning for honor bands, performing solos or performing
in small ensembles. A common honor band is the all-district band. Some districts have honor
bands for both high school and middle school ages. Students are given specific material to
Rehearsal Techniques 11
prepare for auditions. This is above and beyond classroom expectations (Goodwin, &
Copenhaver, 2005).
In Missouri, the all-district band is a preliminary audition for the Missouri All-State
Band. The audition material is alike throughout the entire state. The music is frequently used for
other local honor bands as well. Preparing major and melodic minor scales is a requirement of
the audition. Although scales are frequently found in music, it is important to learn and
memorize major and minor scales (Goodwin, & Copenhaver, 2005).
Ann Goodwin and Paul Copenhaver created a list of tips to help musicians prepare for the
audition.
I. Preparing the Scales – the ‘backbone’ of your audition!
(Scales are never requested in “concert pitch”. Ex. A Bb scales begins on your Bb.)
A. Play at indicated speed; = 88 (in sixteenth notes)
1. Faster is NOT better; better is better!
2. Establish a sense of pulse – Use a metronome as your practice
3. Make sure each note ‘speaks’ – don’t let it all be a ‘blur’
B. Play with good characteristic tone throughout full range of instrument
(Make sure that you play all scales the required number of octaves for your
instrument)
C. Prepare scales both tongued and slurred
D. Learn major/minor scales in relative pairs, so that key relationships become
familiar
E. Use a ‘flash card’ system to quiz yourself; don’t always practice scales in the
same order (Goodwin, & Copenhaver, 2005).
Rehearsal Techniques 12
Another portion of preparing for the all-state band auditions include an unaccompanied
solo. This is also great practice for when the student decided to prepare a solo for music contest
in the future. Technique and musicianship are two key components in an audition. Technique
includes proper notes, rhythms and articulations. Articulation is the way in which a note is
played for example, tonguing, slurring or accenting a note. Musicianship includes tempo,
dynamics, phrasing and overall performance of the song (Goodwin, & Copenhaver, 2005).
There may come a time when a student is ready to upgrade their instrument for a better
model. Much like vehicles, there are many different models of instruments. Student models are
cheaper and are great for learning how to play an instrument. As a student progresses to a
professional level instrument, many music stores have great options for step up instruments to fit
your budget. Other options may be purchasing a new head joint or mouthpiece instead on an
entirely new instrument. It is very important the students and parents never buy new equipment
without the teacher or a trusted listener hearing you first (Walker, 2014).
Becoming a musician does not necessarily make someone smarter. However, the
discipline required to become a great musician does advance a person’s ability to perform in
other subject areas. There is also a great satisfaction in preparing and performing a piece of
music. This quality cannot be taught, but is learned through their musical experience. Perhaps if
other subject areas required the same discipline and satisfaction after completing a goal, students
would have better results in all subject areas in school (Brown, 2012).
Rehearsal Techniques 13
RESEARCH METHODS
Research Design
A questionnaire was given to the students to collect data about whether or not they
accomplished their goal after participating in an audition and if they received any lessons during
their preparation. They were also asked how many hours of practice time they recorded each day
of the week. This was also recorded on a practice card that was signed by their parents. A record
was kept throughout the school year to track the student's musical achievements. These results
were entered into a chi-square analysis to determine the results. The same groups of students
auditioned in each of the musical opportunities. Two of the students were in regularly scheduled
weekly lessons while the remaining students depended primarily on independent practice and
classroom instruction. All auditions were over the same material for each instrument.
Study Group Description
A form was passed out to all of the students who participated in any type of audition
process. They recorded their results for each auditioned ensemble and music contest. The free
and reduced lunch for this school is 45.7%. The ethnicity is 1.9% hispanic, 0.8% asian, 0.6%
black, 0.5% indian, 0.5% pacific islander, 95.7% white. The study group was split evenly, 50%
female and 50% male.
Data Collection and Instrumentation
Students will be expected to accurately describe their experience and preparation for the audition
on the form. Directors will also be expected to report their class activities that prepared students
for their auditions. The form can be found in Appendix A.
Rehearsal Techniques 14
Statistical Analysis Methods
Below is a chi-square analysis on the surveys to determine if practice techniques used in the
classroom will benefit students auditioning for honor bands such as the district band.
Rehearsal Techniques 15
FINDINGS
The frequency plots organized the data to display the outcome of the student auditions
and practice times. The auditioned ensembles include: The All-District Band, four different
regional bands, practice hours and solo contest. All performances are adjudicated on the same
level of expectations set by the Missouri State High School Activities Association (MSHSAA).
All-district band auditions are blind unlike the other audition requirements for the remaining four
honor bands. Solo contest is an individual performance prepared by the student and accompanied
by a piano. Again, the same MSHSAA guidelines are followed in this performance. All students
that participated in any auditions also participated in two mock auditions prior to auditioning for
any of the honor bands. These students were also enrolled in the same class.
The practice under investigation proved to be successful. Students who practiced using
classroom taught techniques such as scales and arpeggios, changing rhythms, developing tone
and counting correct rhythms had better results in their auditions. Students taking private lessons
were also successful in their auditions.
Students who participated in “mock” auditions also had better results than those students
who did not participate in the “mock” auditions. These students rehearsed a live audition in front
of the class to prepare them for the actual audition process.
Rehearsal Techniques 16
FREQUENCY PLOTS
VARIABLE: District Band
FRQ. CUM. % CUM. FREQUENCY PLOT
---- ---- ----- ----- -------------------------
x < 1 0 0 0 0 |
x = 1 6 6 42.9 42.9 |******************
x = 2 8 14 57.1 100 |************************
x > 2 0 14 0 100 |
TOTAL 14 100
Key for plot #1 = Made District Band #2 = Did NOT Make District Band
Total Respondents = 14
Narrative:
A total of 14 students out of a class of 21 students (67%) auditioned for the Northwest
All-District Band. Of the 14 students, six students, 42.9 % were selected into the
ensemble and eight students, 57.1 % were not accepted.
Rehearsal Techniques 17
VARIABLE: Practice Hours
FRQ. CUM. % CUM. FREQUENCY PLOT
---- ---- ----- ----- -------------------------
x < 1 0 0 0 0 |
x = 1 2 2 14.3 14.3 |*******
x = 2 7 9 50 64.3 |************************
x = 3 3 12 21.4 85.7 |**********
x = 4 2 14 14.3 100 |*******
x > 4 0 14 0 100 |
TOTAL 14 100
Key for plot #1 = Practiced less than 1 hour #2 = Practiced 1-2 Hours
#3 = Practiced 2-3 Hours #4 = Practiced more than 3 Hours
Total Respondents = 14
Narrative:
A total of two students, 14.3 % practiced less than one hour. A total of seven students,
50% practiced a total of 1-2 hours. A total of three students, 21.4 % practiced 2-3 hours. A total
of two students, 14.3 % practiced a total more than three hours per day. 100% of the students
who practiced more than three hours a day made the all-district band.
Rehearsal Techniques 18
VARIABLE: Honor Bands
FRQ. CUM. % CUM. FREQUENCY PLOT
---- ---- ----- ----- -------------------------
x < 1 0 0 0 0 |
x = 1 8 8 57.1 57.1 |************************
x = 2 4 12 28.6 85.7 |************
x = 3 2 14 14.3 100 |******
x > 3 0 14 0 100 |
TOTAL 14 100
Key for plot #1 = Participated in 1 Honor Band
#2 = Participated in 3 Honor Bands
#3 = Participated in 4 Honor Bands
Total Respondents = 14
Narrative:
Eight students, 57.1% participated in only one honor band. Four students, 28.6 %
participated in three honor bands. Two students, 14.3 % participated in four honor bands.
Rehearsal Techniques 19
VARIABLE: Mock Auditions
FRQ. CUM. % CUM. FREQUENCY PLOT
---- ---- ----- ----- -------------------------
x < 1 0 0 0 0 ¦
x = 1 6 6 42.9 42.9 ¦******************
x = 2 8 14 57.1 100 ¦************************
x > 2 0 14 0 100 ¦
TOTAL 14 100
Key for plot #1 = Participated in the mock audition
#2 = Did not participate in the mock audition
Total Respondents = 14
Narrative:
Six students, 42.9% participated in a mock audition. Eight students, 57.1% did not participate in
a mock audition.
Rehearsal Techniques 20
RQ#1
Is there a relationship between student learning of proper practice methods and their performance
in auditions?
Source Made District
Band
Did Not
Make District
Band
Chi-Sq df p-value
1 hour 0% (0) 25% (2)
2 hours 33.3% (2) 62.5% (5)
3 hours 33.3% (2) 12.5% (1)
4 hours 33.3% (2) 0% (0) 5.5 1 0.142
Sign = or < 0.25
The p-value is 0.142 The alpha level is 0.25.
The null hypothesis is there is no relationship between student learning of proper practice
methods and their performance in auditions.
The conclusion is that we will reject the null hypothesis - there is a significant relationship
between student learning of proper practice methods and their performance in auditions.
Narrative:
Zero students, 0%, practiced for one hour and were selected to perform in the district band. Two
students, 25% practiced for hour and were selected to perform in the district band. Two students,
33.3%, practiced for two hours and were selected to perform in the district band. Five students,
62.5% practiced for two hours and were not selected to perform in the district band. Two
students, 33.3%, practiced for three hours and were selected to perform in the district band. One
student, 12.5%, practiced for three hours and was not selected to perform in the district band.
Two students, 33.3%m practiced for four hours and were selected to perform in the district band.
Zero students, 0%, practiced for four hours and were not selected to perform in the district band.
Rehearsal Techniques 21
The null hypothesis was: “There is no relationship between student learning of proper practice
methods and their performance in auditions.” The p-value of 0.142 is less than the alpha level of
0.25, therefore the null hypothesis is rejected. There is a significant difference between the
amount of practiced hours and being selected to perform in the district band.
RQ#2
Is there a relationship between participating in mock auditions and the student level of
preparation for musical performance?
Source Made District
Band
Did Not
Make District
Band
Chi-Sq df p-value
Mock
Audition
83.3% (5) 12.5% (1)
No Mock
Audition
16.7% (1) 87.5% (7) 7.024 1 0.008
Sign = or < 0.25
The p-value is 0.008 The alpha level is 0.25.
The null hypothesis is there is no relationship between participating in mock auditions and the
student level of preparation for musical performance.
The conclusion is the we will reject the null hypothesis - there is a great difference between
participating in a mock audition and being selected to participate in the district band.
Narrative:
Five students, 83.3%, participated in a mock audition and were selected to perform in the district
band. One student, 12.5%, participated in a mock audition and was not selected to perform in the
Rehearsal Techniques 22
district band. One student, 16.7%, did not participate in a mock audition and was selected to
participate in the district band. Seven students, 87.5%, did not participate in a mock audition and
was not selected to participate in the district band.
The null hypothesis was: “There is no relationship between participating in mock auditions and
the student level of preparation for musical performance.” The p-value of 0.008 is less than the
alpha level of 0.25, therefore the null hypothesis is rejected. There is a significant difference
between participating in mock auditions and getting selected to perform in the district band.
Rehearsal Techniques 23
CONCLUSIONS AND RECOMMENDATIONS
Based on the conclusion of this research, it is proven that students who practice more
frequently, at least 1-2 hours a day are more successful in extracurricular music activities. The
chi-square statistical analysis showed that students who practice more than one hour a day are
more likely to be selected into an auditioned ensemble. Practice technique also plays a key role
in the success of the student. Teaching practice and rehearsal techniques in the classroom is a
great method for personal guided practice. Although private lessons are highly recommended,
this is a great alternative for those students who are unable to pay for a private instructor.
Solo contest is a great opportunity for students to be judged against themselves rather
than competing against others. All of the students who advanced to the state level earned a 1
rating at contest. Of those six students, only one of them studied privately with an instructor. The
other five students used rehearsal techniques and practice time from classroom instruction.
Teaching students how to practice is more important that what to practice. When students
use their practice time effectively, they are more successful in their performances. This is a great
method that can also be used in other subject areas in school. Music is a proven subject to teach
discipline and is highly recommended after the completion of this research project.
Rehearsal Techniques 24
REFERENCES
Brown, L. L. (2012). The benefits of music education. Retrieved March 18, 2015, from PBS
Parents website: http://www.pbs.org/parents/education/music-arts/the-benefits-
of-music-education/
Estrella, E. (2014). 11 tips for practice time. Retrieved March 16, 2014, from
http://musiced.about.com/od/adviceformusicians/tp/practicetime.htm
Goodwin, A., & Copenhaver, P. (2005, November 14). Successful All-State Band Auditions -
Preparation Outline. Retrieved February 16, 2014, from http://
www.palenmusic.com/qnissues/20051114.htm
How to practice. (2013). Retrieved March 1, 2014, from Point Loma High School Instrumental
Music Department website: http://www.plhsmusic.com/current-students/how-to-practice
Pilafian, S., & Sheridan, P. (n.d.). Breathing Gym. Retrieved February 16, 2014, from
http://www.brianshook.com/resources/Breathing-Gym-Clinic.pdf
Spitzer, P. (2014). How to practice a musical instrument. Retrieved March 31, 2014, from
http://www.hopestreetmusicstudios.com/articles/how-to-practice-a-musical-instrument
Walker, J. (n.d.). General advice for flutists. Retrieved March 31, 2014, from
http://www.jimwalkerflute.com/advice-for-flutists-flute-tips.html
Rehearsal Techniques 25
APPENDIX A
Practice Techniques
Student ID
________
Do you take private lessons?
○ YES
○ NO
Do you participate in any outside of school music activities?
○ YES
○ NO
How many hours a day do you practice?
Please also submit your signed practice card.
○ less than an hour
○ 1-2 hours
○ 2-3 hours
○ more than 3 hours
Were you a member of the all district honor band or concert band?
○ Honor Band
○ Concert Band
○ Did not make it
Were you a member of the all state band?
Rehearsal Techniques 26
○ Yes
○ Alternate
○ Honorable Mention
○ No
Did you get a 1 or 2 rating at district contest?
Solo
○ 1 rating
○ 2 rating
○ Did not participate
Did you get a 1 or 2 rating at state contest?
Solo
○ 1 rating
○ 2 rating
○ Did not participate
How many honor bands did you participate in?
○ 0
○ 1
○ 2
○ 3
○ 4
GPA
________
Class Rank
Rehearsal Techniques 27
________
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