ABA Adjudicators Clinic - Alabama Music Educators ... same level of quality when playing softly. • The quality of the overall ensemble sound suffers when they play sustained notes

ABA Adjudicators Clinic

June 23, 2010Presented by - Ken Ozzello

Golden Rule of Adjudication

You should not comment on an error without giving a possible reason why it occurred and/or providing at least one possible suggestion for correcting the error.

3 General Categories of Comments

1. Concept Comprehension

2. Consistency of Execution

3. Fine Tuning

1. Concept Comprehension

Trigger = no attempt is made to correct the error.

Example = “The trumpets are consistently out-of-tune and they are not making any adjustments. This leads me to believe that they might not understand what it means to play in-tune.”

2. Consistency of Execution

Trigger = The ensemble demonstrates that they have a general understanding of the concept but are not consistent in applying the concept.

Example = The ensemble plays well in-tune when playing “mf ” but struggles when they play “p”.

3. Fine Tuning

Trigger = The ensemble clearly understands the concept. The adjudicator needs to only comment on specific concerns in the performance.

Example = “At measure 35, the second clarinets are playing the third of the chord which needs to be lowered to be in tune.”

Tone Cat. 1• Concept = All sounds need to “fit into” to the overall ensemble sound. No individuals should be

heard over the ensemble.

• Analogies = Organ, Piano or Choir

• Elements to Consider

• Matching Dynamics

• Matching Pitch

• Matching Tone

• Suggestions for Improvement

• Singing

• Breathing Exercises

• Playing Chorales(with objectives!)

• Listening to Good Models

Tone Cat. 2• Common Issues

• The ensemble has a good, well blended sound at “mf” to “f”. They need to work on producing that same level of quality when playing softly.

• The quality of the overall ensemble sound suffers when they play sustained notes.

• The winds make characteristic sounds but the percussion do not.

• Soloist need to project and play with confidence

• Suggestions for Improving

• Breathing Exercises

• Playing against a reference pitch while changing dynamics

• Provide good models especially percussion

Tone Cat. 3• Typical Comments

• Work to master the difficult passages so that they do not detract from the ensembles overall sound. Be sure to consult with an expert on the instrument to see if there is a better approach to extremely difficult passages.

• This is a long piece, work to maintain a great ensemble sound throughout the entire length of the work.

• You might consider changing the balance of the chord at measure 98 to darken the ensembles sound.

• The trombones need to work on matching each other when playing the muted section at measure 66. Check out the mutes that they are using.

• Be sure to maintain your wonderful overall ensemble sound when playing at extreme dynamics and extreme ranges.

• Have the soloist worked together at measure 135 without a conductor?

• Suggestions for Improving

• Try this breathing exercise.

• Play more chamber music.

• Have you heard “X” recording of this piece?

• Have you read Ray Cramer’s article on ensemble blend?

• Develop your own technique exercises that address the challenges of the music that you are presently preparing.

Intonation Cat 1

Concept = 2 or more players playing the same pitch without any variation in frequency (AKA Beat-less Tuning)

Trigger = Out and Stay Out

Suggestions

Demonstrate the concept

Pitch Matching each session

Breathing Exercises

Singing

Develop a strategy and stick with it.

Intonation Cat 2Common Issues

Soft Playing

Sustained Notes

Matching Across the Ensemble

Timpani

Suggestions for Improvement

Breathing Exercises

“Tune Up” Program

Principal Playing Pitch Passing

Chamber Music

Intonation Cat. 3Typical Comments

The C# is typically very sharp on the saxophone. You might want to consider adding some fingers on the right hand to lower the pitch

At measure 50, the trumpets must listen back to the euphoniums and match pitch

In the chamber music section of the Holst, the soloists need to get together and identify the tuning order sequence. Who need to tune to whom?


More chamber music

Less conductor input on fixing pitch

Pitch matching exercises

Breathing exercises

Consider seating arrangement. It can change on each piece

TECHNIQUE -ARTICULATION

Common Issues (working from general to specific)

Check the articulation technique that the students are using

The ensemble is using the same articulation for all notes

Work to match articulation across the ensemble

Work to expand the range of articulation beyond short and long

Have you considered “X” for the entrance at measure 22? (e.g. bow on the string)


Start with extreme contrast echo playing

Pass the pitch and articulation around the ensemble

Listen to articulations on other instrument that might help (e.g. chimes, cello, timpani)

TECHNIQUE - FACILITYCommon Issues (general to specific)

All of the notes are not being played correctly

Some of the notes sound like they are beyond the range of the students

The percussion techniques are incorrect creating sounds that don’t fit with the winds (e.g. cymbals)

The technical elements are adversely affecting the music

Work for evenness of technical passages


Consult an expert for the proper technique (e.g. In The Mood)

Scale practice

Work with a metronome

Slow practice

TECHNIQUE - PRECISIONCommon Issues (general to specific)

Ensemble and section entrances are not together

The ensemble lacks a consistent ensemble pulse

The ensemble pulse fluctuates when playing different dynamics and articulations

Different sections of the ensemble have different interpretations of the ensemble pulse


Is the conductor giving proper information on the preparatory gesture (prep exercise)

Work with an audible subdivision (Single-Shot)

Develop exercises with dynamic and articulation changes and play against a subdivision (Wayne Downey)

Work “groove sections” without a conductor

TECHNIQUE - RHYTHMCommon Issues (general to specific)

Several rhythms are incorrect

Syncopated entrances and rhythms are a problem

There are different interpretation of the rhythm at measure 54 throughout the ensemble

Avoid compressing 16th note passages


Teach proper concept of subdivision (how long is a quarter-note)

Work with an audible subdivision

Work from a “skeleton rhythm”

Work with smaller audible subdivision such at 16th notes

LINEAR BALANCE CAT. 1

• Linear Concept = putting the various simultaneous occurring elements in the order that the composer intended.

• Analogy = foreground, mid-ground and background of a scene from a movie or TV Show

• Common Issues

• Everyone is playing the same dynamics

• The melody is be covered by the accompaniment

• Students don’t seem to understand how their part relates to all of the others


• Explain the concept using another art form (e.g. a painting)

• Play and balance chorales (unison then harmonized)

• Ask the students what they perceive to be the function of their part at any given time

LINEAR BALANCE - CAT. 2• Common Issues

• Students must be aware and sensitive to who is playing while they are playing

• The orchestration can put the lead voice at a disadvantage

• When one line moves and everyone else’s doesn’t, the moving line must get to the front of the balance hierarchy

• The balance of lines is a “liquid” situation that is constantly changing


• Balancing lines is one of the most critical roles of the conductor (how is the piece organized)

• Use chamber music settings to improve balance awareness

• Ask the students what they perceive to be the function of their part at any given time

LINEAR BALANCE - CAT. 3• Typical Comments

• Clarinets as you go lower in the register, you must play louder to be heard

• Solo playing is a different mindset from ensemble playing relative to balance

• Be aware that the function of your part could change several times within the same measure in contemporary music

• As the line works it ways through the ensemble, the dynamics need to dovetail each other in order to have a complete musical idea

• Percussion need to be sensitive to the function of their part and instrument that they are playing at any given time

• Students should constantly orient their listening to both within the section and across the ensemble

• Suggestions for improvement

• Listening to good models with an emphasis placed on clarity of lines

• Do some unusual seating arrangements to increase listening awareness (e.g. circles)

• Don’t be afraid to adjust concert seating to accommodate the piece being performed

VERTICAL BALANCE - GENERAL• Concept = how much of each voice (e.g. bass, tenor, alto, sop.) should you hear to achieve the desired balance

• Analogy = if you want to bake a cake that tastes good, you need to use the amount of ingredients suggested in the recipe - if you want to achieve a balance of voices in the ensemble that is pleasing to listen to, you must have the proper amount of each voice

• Common Issues (general to specific)

• The soprano voices (e.g. trumpets) are overshadowing all the others making for a very bright sound

• The ensemble lacks enough bass voice

• The alto and tenor voices do not have enough presence

• The 2 and 3rd parts are not balancing the 1st parts

• There are individual notes sticking out of the chord balance

• The color note of the chord (e.g. 7, 9, sus 4) need to have more presence

• Suggestions for improvement

• Play chorales (with specific objectives)

• Play scales in rounds

• “The Creative Director” by Ed Lisk

Interpretation - Phrasing GeneralConcept = a complete musical idea

Analogy = speaking in sentences rather than individual words

Common Issues (general to specific)

The ensemble is playing individual notes rather than connecting them together into complete phrases

The ensemble needs to agree on the phrasing

Be sure to finish one phrase before moving on the the next

Treat the end of the phrase with the same care as the beginning

In the slow lyrical sections, take more time at the ends of the phrases


Make the parallel to speaking

Echo playing

Singing

Interpretation - Style GeneralConcept = a manner of doing something

Analogy = wearing a 70’s style tux to this year’s prom


Everyone is using a different style

Be sure to read the composers instructions relative to style

Be sure to listen across the ensemble and match style

The style you are using does not seem to match the composer’s intent

Have you considered “X” style


Echo playing

Listening to models

Applying different treatments to the same passage

Interpretation - Tempo GeneralCommon Issues (general to specific)

The tempo that you have chosen is not close to what is indicated on the score

I respect individual interpretation of tempo but the tempo that you have chosen doesn’t seem to work very well

The tempo that you have chosen is making it difficult for the musicians to perform the piece

Have you heard “X” recording of this piece

Have you read John Whitwell’s article about this piece


Research, research, research

Listen to recordings

Record and listen to your ensemble

Musical Effect - General

• Common Issues (general to specific)

• It is difficult to make any comments on the musical effect because of so many deficiencies in the basic technical concepts

• Observe the information around the notes more closely (e.g. ritard, accel etc)

• The fermatas need to be longer

• In the Holsinger, exaggerate the effects (e.g. fp, sfz, etc)

• Take more time at the ends of slow lyrical passages

• The slow lyrical sections need more give and take, ebb and flow, speed up and slow down

• Let the emotion of previous section settle in before moving on the the next section


• Listen to good models

• Observe the rehearsals of accomplished conductors

• Read

OTHER FACTORS -CHOICE OF MUSIC GENERAL


The level of music does not seem to fit the ability of the ensemble

The pieces are very similar to each other - maybe choose a more diverse program next time

This is just my opinion but this piece doesn’t have a great deal of musical content, have you considered something like “X”

If you like this composer you might consider “X”


Listen to music

Purchase an iTunes card

Read

Attend conferences and go to the concerts

OTHER FACTORS - PHYSICAL STAGE ISSUES

GENERAL


Check the posture of your students

Be sure the students understand proper concert etiquette (e.g. talking, chewing gum etc.)

Check the direction of the bells of your bell-front instruments

Check the placement of the percussion (e.g. cymbals and bass drum)

You might consider adjusting your seating arrangement to “X”


Stand back and look at your ensemble

Stand back and listen to your ensemble (if possible)

Read seating arrangement chapter in “Teaching Music through Performance in Band”

Documents

ABA Adjudicators Clinic - Alabama Music Educators ... same level of quality when playing softly. • The quality of the overall ensemble sound suffers when they play sustained notes