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Lynden High School

Instrumental Music

Student Handbook

Steve Herrick - Instructor

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“Welcome” from LHS Vice-Principal Lisa McKeen

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Table of Contents

Principal’s Welcome ______________________ 2 Mission Statement ------------------------------------- 4 Music Advocacy ------------------------------------- 5 Course Descriptions ------------------------------------- 6 Ensemble History ------------------------------------- 9 Lesson Design for Band ------------------------------------- 10 Assessment/Grading ------------------------------------- 11 Vertical Performance ------------------------------------- 12 Horizontal Performance ------------------------------------- 14 Preeminent Performance ------------------------------------- 16 Bandmanship ------------------------------------- 18 Musical Opportunities ------------------------------------- 20 Music and Travel ------------------------------------- 21 Instruments/Uniforms ------------------------------------- 22 Uniform Usage Contract ------------------------------------- 23 Activity Permission Slip ------------------------------------- 24 Letter Award Application ------------------------------------- 25 Study Guides Tone ------------------------------------- 27 Balance/Blend ------------------------------------- 28 Intonation ------------------------------------- 28 Dynamics ------------------------------------- 29 Style ------------------------------------- 29 Duration ------------------------------------- 32 Pulse/Flow ------------------------------------- 32 Texture ------------------------------------- 33 Expression ------------------------------------- 33 Pyramid of Sound ------------------------------------- 36 Classic Shaped Note ------------------------------------- 37 Simplistic Style & Expression ------------------------------------- 37 Helpful Hints ------------------------------------- 38 Vibrato ------------------------------------- 41 Marking parts ------------------------------------- 42 Circle of Fourths ------------------------------------- 43 Ruler of Time ------------------------------------- 44 Notes/References ------------------------------------- 45 Web Links ------------------------------------- 46 Handbook Receipt ------------------------------------- 47 Music and College Admissions ------------------------------------- 48 SmartMusic ------------------------------------- 50

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Mission Statement

Music is inherent. Both the intrinsic and extrinsic values achieved through the study of music cultivate the spirit of humankind. Music enriches one’s life. It is a way to understand our cultural heritage as well as other past and present cultures. The medium of music binds all together as a people and a world of cultures. Music enhances communicative skills. It allows for communication of thoughts and feelings, which transcends the spoken word. Music contributes to the development of social behaviors, such as cooperative effort and multi-cultural sensitivity; personal behaviors, such as self-discipline and self-esteem; and educational behaviors, such as integrated and “whole brain” learning. The mission of Lynden High School Instrumental Music is to provide students with the opportunity to develop this inherent potential in musical excellence through exploration, experimentation, mastery, and enrichment in the performing arts.

Music education offers many avenues of learning which make positive differences in the quality of ones life. Music performance involves hearing, seeing, and doing. It is a whole brain experience resulting in educational outcomes that are transferred to each and every part of the student’s life. “Music is the art of thinking with sounds.” Jules Combarieu

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Music is a constant learning and growing experience. The quest for excellence is a lesson in self-improvement. Music students learn to compete with the goal of gaining and growing in their own skills. Music provides an avenue to emotional growth and awareness. Music offers the student an opportunity to express the collage of emotions shared by all humankind and through that experience develop self-awareness. With the passage of Goals 2000: Educate America Act, the arts were recognized as a core subject in the school curriculum. The academic values associated with music study are many. Band develops critical listening and thinking skills, it promotes the “student decision” making process, and it helps create an understanding of history and culture. Studies have proven the benefits music education holds for young and old alike. The study of music boosts spatial IQ, which is crucial for higher brain functions such as complex mathematics. Students with four or more years of music study achieve higher scores on the SAT exam. Participation in music even results in improvements in the brain chemistry of people suffering from Alzheimer's disease. (American Music Conference) Those skills currently stressed for development and use in the future workplace; working in teams, communication, self-esteem, creative thinking, imagination, and invention, are exactly those skills learned in music education programs. Music is a primary condition of the human experience. It captures moments and preserves the essence of the various criterion of the world we call culture. Music is and always will be multi-cultural, as it exists within the context of people and places. Music is diverse. “What is best in the music is not found in the notes.” Gustav Mahler

Music Advocacy

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One adverse trait of an active course schedule is it involves “choices”. As students entire high school there are numerous activities and classes which may be of interest.

Performing Arts are especially dependent on student choices needing consistent sequential instruction and the ability to take advantage of the many varying performance opportunities arising during a school year. Students electing instrumental courses are

expected to dedicate the time necessary to maintain a quality program and avoid schedule conflicts with other activities.

Major Performances are those yearly critical events that require attendance for both the event and any extra rehearsals that may or may not occur. These include FALL CONCERT, WINTER CONCERT, SJMEA FESTIVAL, SPRING CONCERT, and FARMER’S DAY PARADE for all concert ensembles and ANY SCHEDULED LEAGUE GAMES AND POST-SEASON PLAY for Spirit Band. Understand that missing a Major Performance results in a Failing Grade for the quarter in which the absence occurs.

If you plan to participate in the school musical it is strongly advised not to take a performing ensemble class (e.g. Symphonic Band, Wind Ensemble, Spirit Band, and Jazz Workshop.

Spirit Band

Class Status: 9,10,11,12 Prerequisites: Audition/Instructor approval. Students must be currently enrolled in a concert ensemble. Length: Wednesday and Friday 7:00 AM Pathway: Arts and Communication

Spirit Band is the Lynden High School Pep Band responsible for performing at athletic events. Each year students will play at all home football games and ten home basketball games. Spirit Band members are also involved in post-season play (tournaments). This class meets "zero hour" on Wednesday and Friday through the end of basketball season. To be eligible for participation, students must also be in a concert ensemble (Symphonic Band/Wind Ensemble). Attendance at all performances is mandatory for course credit.

Symphonic Band

Class Status: 9,10,11,12 Prerequisites: Previous experience with a wind and/or percussion instrument and the ability to perform a minimum proficiency exam. Length: TWO TERMS (not available for one term) Pathway: Arts and Communication

Symphonic Band studies and performs a wide variety of medium-easy/medium musical literature. Efforts are made through recruitment and/or placements to maintain quality performers and a balanced instrumentation. Students are expected to grow musically in several specific areas including rhythm, articulation, intonation, tone, musicianship, and rehearsal etiquette. Students must become familiar with the "three planes" of musical performance; Vertical, Horizontal, and Preeminent, and master each component skill. Attendance at all performances is mandatory for course credit.

Course Descriptions

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Wind Ensemble

Class Status: 10,11,12 (9 with instructor permission) Prerequisites: Wind Ensemble members must be approved by the instructor before entering this course. This is done before registration time of the prior year. Permission slips will be issued to approve applicants. Students may challenge/audition to be placed in this ensemble. Length: TWO TERMS (not available for one term) Pathway: Arts and Communication

Wind Ensemble studies and performs a wide variety of medium-advanced/advanced musical literature. Efforts are made through recruitment and/or placements to maintain quality performers and a balanced instrumentation. Students are expected to grow musically in several specific areas including rhythm, articulation, intonation, tone, musicianship, and rehearsal etiquette. Students must become familiar with the "three planes" of musical performance; Vertical, Horizontal, and Preeminent, and master each component skill. Attendance at all performances is mandatory for course credit.

Jazz Workshop

Class Status: 9,10,11,12 Prerequisites: Previous experience with a wind and/or percussion instrument and the ability to perform a minimum proficiency exam. Students must be currently enrolled in a concert ensemble. Length: Tuesday and Thursday 7:00 AM Pathway: Arts and Communication

Jazz Workshop studies and performs a wide variety of musical literature from the jazz medium. This course is designed to help develop an understanding of the components necessary to perform in the jazz style. Students are expected to grow musically in several specific areas including rhythm, articulation, intonation, tone, musicianship, and rehearsal etiquette. Students must become familiar with the "three planes" of musical performance; Vertical, Horizontal, and Preeminent, and master each component skill. To be eligible for participation, students must also be in a concert ensemble (Symphonic Band/Wind Ensemble). Attendance at all performances is mandatory for course credit.

Applied Music

Class Status: 10,11,12 Prerequisites: By instructor permission only. Length: One term Pathway: Arts and Communication

Applied Music is open to any student with previous experience on a Wind, String, or Percussion instrument. Vocal students may also enter. Students will perform as soloists, duets, trios etc. in a small ensemble experience. Emphasis is on improving performance skill. Available ensembles may include groups like Percussion Ensemble, Woodwind Quartet, Renaissance Consort, and Brass Quintet. With instructor permission music composition and music technology may also be studied. Accomplished performers may learn a second instrument. To be eligible for participation, students must also be in a concert ensemble (Symphonic Band/Wind Ensemble). Attendance at all performances is mandatory for course credit.

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Intro to Guitar

Class Status: 9, 10, 11, & 12 Prerequisites: A desire to learn guitar in a structured environment Pathway: Arts and Communication

This is an introductory course designed for the beginning guitarist. Course instruction includes Rock, Folk, and Popular styles of guitar performance. Lessons focus on the basics of reading music, history/function of guitar, chord symbols, strumming technique, and ensemble performance. Class size is limited to 26. Open to all students. Course is one semester in length.

Advanced Guitar Class Status: 10, 11, & 12 Prerequisites: Intro to Guitar This is the second course designed for the beginning guitarist. Course instruction includes Rock, Folk, and Popular styles of guitar performance. Lessons focus on more advanced skills as well as small combo performance. Class size is limited to 26. Course is one semester in length.

Beginning Mariachi Band

Class Status: 9,10,11 & 12 Prerequisites: A desire to learn a musical instrument in a structured environment

This is a beginning music course designed to meet the needs of those with no experience playing a musical instrument and/or reading printed music. Students will have the opportunity to learn either a guitar, violin, or trumpet by studying beginning methods some of which focus on the traditional sounds of Mariachi music. There are a limited number of instruments available but students are encouraged to purchase or rent their own. Method books and study material are provided for all.

Drum Line for Beginners

Class Status: 9,10,11 & 12 Prerequisites: A desire to learn a percussion instrument.

This is a beginning music course designed to meet the needs of those with no experience playing a musical instrument and/or reading printed music. Students will have the opportunity to learn several different percussion instruments by studying beginning concert band and marching band methods. There are a limited number of instruments available but students are encouraged to purchase or rent their own. Method books and study material are provided for all.

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The Lynden High School Band has long since set a tradition of excellence in musical performance. From the early beginnings, Lynden Bands have established themselves as extraordinary ensembles.

In the 1960’s the band enjoyed performing contemporary show music. Students produced a record album titled “It’s Music Time” with director Mr. North Storms. By the early 1970’s, under the direction of Mr. Gary Evans and Mr. Dave Reff, they became winners of several Whatcom County Band Contests held at the Mt. Baker Theater in Bellingham. The band program has continued to grow and flourish becoming one of the areas prominent concert ensembles. For the past twenty-two consecutive years Lynden bands have earned SUPERIOR ratings at the San Juan Music Educator’s Concert Band Festival. The Lynden Wind Ensemble has been featured as guest performers at WWU’s Spring Symphonic Band Concert. The Lynden Bands commissioned a concert work from noted composer Sean O’Loughlin. Spectral Landscapes was premiered on December 2nd, 2004 with Mr. O’Loughlin conducting.

Lynden Pep Bands have always had a reputation for excellent and exciting entertainment. Many times the UPS Field House “rocked” with the sounds of Lynden bands performing at the Class A State Basketball Tournament in Tacoma. That tradition continues today as Lynden has had numerous appearances at the Tacoma Dome, King Dome, and Key Arena. The Lynden Spirit Band won a WIAA Sportsmanship Award at the 1996 State Tournament making it one of the few bands to earn that distinction.

Travel has always been a part of Lynden Music. From concert tours around Washington State, to more exotic locations, Lynden bands continually share quality music and professional attitudes. Spring tours to Eastern Washington and the Olympic Peninsula were popular in the 1970’s. In 1974 the band performed at the World’s Fair in Spokane. The band has traveled to Hawaii performing outdoor concerts in the parks. Lynden is one of the few high school instrumental groups that have performed at the West Edmonton Mall in Alberta, Canada. The group has participated in the Disney Magic Music Days program numerous times and attends on a biannual basis. They have performed in the capitol rotunda in Olympia, Silverwood theme park, as guest artists at Western Washington University, and many other venues. Wherever the group performs, they consistently receive accolades not only for musical performance but also for student behavior and demeanor. Band members carry a proud tradition and value that element of professional artistic character.

Ensemble History

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Introduction Performance-based groups such as Symphonic Band and Wind Ensemble, work on the premise of teaching about music, through music, while working to perform the music. Learning a piece of music involves a never-ending process of exploration and discovery. With band class, it is the process not the product that is most genuine. Ultimately the process will become the product. Learning objectives for Instrumental Music remain analogous for the performing art sequence but with a desired outcome of displaying increased mastery with each experience. These basic objectives I term Fundamental. The Fundamental objectives are concerned with being In Tone (quality of sound), In Time (ensemble movement), In Tune (matching pitch), and In Touch (technique and artistry). Experiencing music to its fullest requires more than mastering Fundamental goals. It requires one to develop skills and perceptions unique to each piece of music studied. Domain objectives are outcomes concerned with those skills and perceptions labeled “Preeminent” (musical expression, nuance, sensitivity), and Historic (composer, style, significance). These objectives are developed from the components of each individual musical work. At Lynden High School, I have chosen to address Fundamental and Domain goals by developing an “articulated curriculum” for all the Fundamental objectives and supplemental lesson units/plans from specific performance repertoire for the Domain objectives. Fundamental Objectives The Lynden High School Instrumental Student Handbook contains all of the Fundamental objectives for band classes including assessment rubrics for measuring student ability. Fundamental objectives and goals are those goals, which are analogous and compulsory for studying music performance. They are those learning objectives the music educator addresses each and every rehearsal. Sometimes Fundamental objectives are the impetus of the lesson. Often they are the supportive and revisited objectives in the continual quest of musical excellence and mastery of performance. Domain Objectives Although some Domain objectives are addressed in the Student Handbook, i.e. those addressing music Preeminent Performance, most are developed for each piece of music studied from the significant merits unique to that work. For example, while working on The Wind and the Willows by Johan de Meij, Wind Ensemble students were also required to read several chapters of Kenneth Grahame’s book and write a Compare/Contrast paper with Disney’s animated film of the same name.

Lesson Design for Band

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Assessment of acquired knowledge and skill in instrumental music is measured using skill level rubrics. Each rubric is designed to assess at what level desired outcomes have been attained during each learning period. The desired outcomes are described in Vertical Performance, Horizontal Performance, Preeminent Performance and the personal element of Bandmanship (citizenship). The outcomes remain analogous for the performing art sequence with a goal of increased complexity and mastery with each experience.

Assessment refers to the means and tools used to gather information about students and their achievement. Evaluation refers to the judgments and decisions made about students and their work as a result of that assessment. A summative (letter grade) based on performance (rubric placement) is determined using a point system.

Rubric Points Letter Grade

15 - 16 A Superior Mastery

14 A- Near Superior Mastery

13 B+ More than Substantial but not A-

12 B Substantial Mastery

11 B- Near Substantial Mastery

10 C+ More than Adequate but not B-

9 C Adequate Mastery

8 C- Near Adequate

7 D Partial Mastery

In addition to the four outcomes assessed (Vertical, Horizontal, Preeminent & Bandmanship) musical performance courses also have dedicated events and exclusive assignments which are expected learning outcomes. These assignments are incorporated into the summative grade report as either having been satisfactorily met, resulting in no assessment modifications or as unsatisfactory resulting in point reductions.

Assessment and Evaluation for Instrumental Music

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The Vertical Plane is concerned with "sound".

Components:

Tone Musicians must produce a true characteristic tone for their instrument. The tone must be reproduced in the entire range of pitches appropriate for that instrument.

Balance Ensembles must produce a sound using a pyramid shape relative to the fundamental sounds. This concept must be mastered both at the ensemble and section levels. Each player must be effective in achieving blend.

Pitch Musicians must hear and correct note errors and develop intonation awareness skills. Students must employ the concept of "beatless" tuning in unisons, octaves, and chord structures.

Harmony Musicians must develop an awareness of good harmonic support for the melody lines. Players must develop skills in applying an understanding of chord color and its relationship to the "fundamental" of sound.

Dynamics Musicians must develop distinguishable levels of volume both as individual and as an ensemble performer. Students must master the dynamic nuances of each musical work being studied.

Style Musicians must develop appropriate articulations (attacks and releases). Players must be aware of "note morphology" (shape). Musicians must develop and apply appropriate weighting and lifting of notes (accents, dynamics). Students must apply all concepts within the context of the style and history of the music being prepared.

Texture Musicians must develop an awareness of textural changes in the music. They must develop the ability to make adjustments for changes in instrumentation and choir groupings (voicing).

Vertical Performance

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Vertical Performance Assessment Rubric

Substantial Mastery

(4 pts)

The student displays substantial skill and knowledge of those components relative to "Vertical Performance". Tone production is consistently of the highest quality over the player’s entire range. Tasteful use of vibrato is employed. Intonation is always accurate and relative to the ensemble. The student adjusts intonation for ensemble changes, instrument irregularities, and harmonic placements. The student employs appropriate note shape and related nuances associated with the style of music being prepared. The student displays substantial control of dynamics and is consistent in their use. The student demonstrates an awareness of balance and blend, and how they fit into the overall ensemble plan.

Adequate Mastery

(3 pts)

The student displays adequate skill and knowledge of those components relative to "Vertical Performance". Tone production nears a true characteristic sound and is demonstrated for the majority of the time. Intonation is above average and the student constantly monitors his/her pitch relative to the ensemble. The student displays awareness of note shape and its relationship to musical style. The student attempts to balance his/her sound at both the ensemble and section levels. Vibrato is attempted but not in a consistent manner.

Partial Mastery

(2 pts)

The student displays partial mastery of those concepts relative to "Vertical Performance". Tone production has progressed from beginning stages of development. The student makes attempts to adjust intonation relative to the ensemble although not consistently. Style, balance, and texture are concepts not mastered with sufficient skill and understanding. Vibrato is overlooked.

Limited Mastery

(1 pt)

The musician displays little evidence of mastering those components of "Vertical Performance". Characteristic tone production is not apparent. Pitch awareness is blatantly overlooked. Dynamics are seldom used and never in a consistent manner. More advanced concepts are not understood or employed.

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Vertical skills are applied to the written page of music.

Components:

Road Maps The musician must master and apply all "road map" signs including key signature, tempo and meter etc. Performers must develop an awareness of compositional form and structure, and master all new terminology.

Duration The musician will master all rhythmic figures and perform with accurate note lengths. Players will demonstrate an awareness of the silences between sounds and the importance of such. The student will accurately perform within the "ruler of time" concept.

Pulse The musician will maintain accurate tempos relative to ensemble performance. Players will develop the ability to feel and create "agogic stress" associated with meter. They will develop the ability to work with a unified "hidden pulse" (internal pulse).

Flow The musician will develop continuity in tempo and homogeneous movement including accelerando/ritardando, rubato, phrase endings (repose) etc.

Melody The musician will develop and apply an understanding of melodic contour and phrasing including the ability to create smoothness and intensity of phrases. The musician will apply proper breathing and dynamic shaping.

Horizontal Performance

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Horizontal Performance Assessment Rubric

Substantial Mastery

(4 pts)

The musician shows substantial evidence applying the components of the Vertical Plane to the Horizontal Plane of musical performance. Key, tempo, meter, and all related terminology of the music being studied, are interpreted and mastered with substantial accuracy and consistency. Rhythmic figures and musical flow are interpreted and mastered with substantial accuracy for each musical work studied. Melodic contour and phrasing is consistently employed in an accurate and appropriate manner.

Adequate Mastery

(3 pts)

The musician shows adequate evidence applying the components of the Vertical Plane to the Horizontal Plane of musical performance. Key, tempo, meter, and all related terminology of the music being studied, are interpreted and mastered with adequate accuracy and consistency. Rhythms of both basic and complex structure are mastered. The musician displays sensitivity to musical flow and shows some understanding of melodic contour and phrasing.

Partial Mastery

(2 pts)

The musician shows partial evidence applying the components of the Vertical Plane to the Horizontal Plane of musical performance. Application of key, tempo, meter, and all related terminology of the music being studied are evident although not always accurate. Rhythms of both basic and complex structure show partial mastery. More advanced concepts are still incomplete but there is evidence of partial understanding.

Limited Mastery

(1 pt)

The musician shows little evidence applying the components of the Vertical Plane to the Horizontal Plane of musical performance. Application of key, tempo, meter, and all related terminology of the music being studied are inconsistent and often ignored. The student shows difficulty executing rhythms other than those of a simplistic nature. More advanced concepts: pulse, flow, and melody are clearly not mastered.

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The Preeminent Plane culminates both Vertical and Horizontal components by the technical execution of learned skills and concepts to a holistic quest for artistic excellence.

Components:

Precision The musician will develop ensemble uniformity of articulations, attacks, releases etc. Players will strive for uniform note shapes. Musicians will begin shaping the "completeness" and continuity of all musical elements.

Interpretation The musician will develop an understanding of contrast, repetition, cadence, tension/relaxation, high/low points etc. Players will realize the "architectural structure" of the music being studied. They will employ the laws of musical expression as presented. Students will interact regarding the historical significance of the music and composer. Musicians will attempt to express the composer’s intent and emotional content of the music by including those unwritten or “implied” nuances relevant to each specific musical work.

Relevancy The musician will develop the process of continuous refinement and musical growth in the quest for excellence and success. The musician will acquire knowledge and appreciation to enable informed decisions and judgments. They will develop a relationship between music and daily life. Musicians will begin to activate the thought process towards "perception" allowing the student to experience musical expression and sensitivity.

Preeminent Performance

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Preeminent Performance Assessment Rubric

Substantial Mastery

(4 pts)

The musician displays substantial evidence of technical execution of concepts and skills acquired and developed in the Vertical & Horizontal planes of musical performance. The student has mastered knowledge and skills related to music "intangibles" (expression) and consistently performs with artistic precision and interpretation. The player displays continuous effort and growth towards musical excellence. The student shows substantial evidence of making informed judgments and decisions based on interpreting knowledge of music, it's historical significance, and it's composer's intent. The student develops a relationship between music and daily life.

Adequate Mastery

(3 pts)

The evidence of technical execution of concepts and skills acquired and developed in the Vertical & Horizontal planes of musical performance. The student shows some knowledge of music "intangibles" (expression) and employs those techniques for musical precision and interpretation. The student is able to function in the process of continuous refinement and musical growth. The student displays adequate evidence of making musical judgments including interpretation based on historical significance and composer intent.

Partial Mastery

(2 pts)

The musician displays partial evidence of technical execution of concepts and skills acquired and developed in the Vertical & Horizontal planes of musical performance. The student shows some knowledge of music "intangibles" (expression) although not consistently employed. The student begins to show evidence of making musical judgments based on acquired knowledge including the understanding of "ensemble" sound.

Limited Mastery

(1 pt)

The musician displays partial evidence of technical execution of concepts and skills acquired and developed in the Vertical & Horizontal planes of musical performance. There is little or no evidence of artistic quality to musical performance but simply a cold, noninvolved expression of sound mechanical in nature. The student displays little evidence of how his/her part fits into the overall ensemble "picture". Performance is most often soloistic and not a part of the whole.

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Bandmanship (citizenship) is that personal element essential for each student to successfully achieve and work within a performing ensemble.

Components:

Skills The musician will develop critical listening skills. The student will develop the ability to transfer knowledge attained through listening and applying it to individual learner needs and goals.

Cooperative Skills The student will develop and encourage group awareness and the ability to work with others. They will develop the ability to work within specific parameters and with rules and regulations. The musician will develop an understanding of positive interdependence and individual accountability.

Self-discipline

The musician will develop the ability to accept challenge and the persistence needed in a continual quest for self-improvement. He/she will develop an awareness of the effect self-discipline has on the effect of the group as a unit.

School to Work The student musician will develop good habits of punctuality and attendance. The student will develop those skills necessary to adapt and function in varying conditions. They will develop an awareness of tolerance and it's importance to success and productivity.

Bandmanship (Citizenship)

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Bandmanship Assessment Rubric

Substantial Mastery

(4 pts)

The musician displays substantial evidence of using critical listening skills in the rehearsal situation. The student readily applies those concepts learned by critical listening to his/her specific lesson objectives. The student displays expertise in cooperative skills and a willingness to work within specified parameters. Self-discipline becomes very apparent by the students' performance and demeanor. School to Work skills are above reproach. The student attends all performances or provides adequate recourse for conflicting situations.

Adequate Mastery

(3 pts)

The musician displays adequate evidence of using critical listening skills in the rehearsal situation. As an attentive listener, the student demonstrates awareness of lesson progress and content. The student demonstrates adequate evidence through performance and demeanor of self-discipline. The student takes an active role in mastering their instrumental part of the music being studied. School to Work skills are adequate and the student attends all performances or provides adequate recourse for conflicting situations.

Partial Mastery

(2 pts)

The musician demonstrates partial evidence of using critical listening skills in the rehearsal situation although not in a consistent manner. The student applies some knowledge of concepts learned through critical listening to his/her specific lesson objectives. The student is able to function within the group setting but is somewhat lacking in both self-discipline and cooperative skills. School to Work skills need improvement.

Limited Mastery

(1 pt)

The musician displays little or no evidence of using critical listening skills in the rehearsal situation. Both performance and demeanor reflect little or no self-discipline. Social skills lack fundamental concepts for cooperative learning. School to Work skills are less than satisfactory.

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National Music Organization

State Music Organization San Juan Music Educator’s Association is the local chapter of the Washington Music Educator’s Association. SJMEA represents Whatcom, Island, San Juan, and Skagit counties. Each year this association sponsors several enrichment events for those students involved in school music programs.

Honor Bands

Local Opportunities

Musical Opportunities

The National Association for Music Education with state affiliates is the largest arts association in the world. MENC exists to help ensure that every child in America has access to a balanced sequential high-quality education that includes music as a core subject of study. In cooperation with those state and local affiliates, the association helps provide many additional educational opportunities for music students. www.menc.org

San Juan Music Educator’s Association is the local chapter of the Washington Music Educator’s Association. SJMEA represents Whatcom, Island, San Juan, and Skagit counties. Each year this association sponsors several enrichment events for those students involved in school music programs. Some of these include; High School Honor Festival, Concert Band Festival, and Solo/Ensemble Festival. All-State and All- Northwest honor groups are state level events of the WMEA.www.wmea.org

Many universities and colleges sponsor yearly honor groups for high school music students. Students can experience college like as on-campus housing, private lessons, and course studies are frequently offered. Students are encouraged to apply/audition for these outstanding opportunities. Fees vary with each group and scholarships may be available from the Lynden Music Boosters. WIBC, PLU, Music in May are just a few!

Throughout the school year, many civic organizations and service clubs request musical performances for various events. The Lynden High School Music Department organizes several small ensembles, trios, and quartets etc. to perform in and around the community.

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Educational opportunities outside the confines of the school environment are desirable. These opportunities are comprehensive real-life experiences that allow students to apply acquired knowledge and skills in new and exciting ways. The Washington State Essential Academic Learning Requirements for the arts support and justify educational travel. Requirements such as; The student understands how the arts connect to each other, to other subjects, to history, to cultures, and to real-life situations; The student applies artistic discipline to work and life; and The student understands how to use sound, image, action, and movement to interact effectively in a dynamic world are exactly what is augmented by educational travel. There is also an array of subordinate learning opportunities and outcomes attached to educational travel. Organizational skills, time and money management, discipline, teamwork, and career awareness are but a few of those educational objectives reinforced and explored through travel. Average and/or borderline musicians often display a new sense of dedication to both class studies and to the performing group. Student leaders are developed from personalities least likely to fill those roles. A heightened sense of “esprit-de-corps” develops from the demanding teamwork. Students learn tolerance and learn to adapt to the differences of others while working and residing together. Camaraderie is elevated and students flourish in an “all for one and one for all” attitude focus rather than a “me only” concern. Lynden bands travel yearly to attend festivals, concerts, and sporting events. The San Juan Concert Band Festival occurs every spring. Every other year, the band participates in an extended field trip. Often the destination is Disneyland and participation in the Magic Music Days program. The Lynden bands have also traveled to Hawaii and the West Edmonton Mall to perform. The Wenatchee Apple Blossom Parade and the Port Townsend Rhododendron Parade are occasional interim destinations. Traveling with the band requires responsibility and commitment. A prerequisite for these optional travel opportunities is participation in a concert ensemble the year prior and the year of the extended field trip. Freshman students must have participated in 8th grade band if the trip falls during their first year of high school.

Music and Travel

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Instruments All students are expected to provide quality musical instruments maintained in proper playing order. Related supplies such as reeds, valve oil, sticks, etc. are also the responsibility of each individual musician. Repairs, whenever possible should be made during the summer break and other school holidays. The Lynden School District offers large woodwind, brass, and percussion instruments for student use. These instruments are costly and are reconditioned during the summer months. They are in proper playing condition at the beginning of the year. Students electing to use a school instrument are expected to maintain and properly care for and store that instrument. Students are liable for damages sustained from poor care and/or abuse. Students using school instruments are also encouraged to purchase their own mouthpiece when applicable. Percussionists must have their own set of drumsticks, timpani mallets, and keyboard mallets. Brass players must have their own mutes. Trumpets should have both a straight and a cup mute. All students are encouraged to “step-up” to an intermediate level instrument when entering high school. At the very least, consider purchasing a new quality mouthpiece. Sheet Music and Method Books Students are given the necessary curriculum materials for study and performance. It is each student’s responsibility to properly care for and store all sheet music and method books. Students must reimburse the school for lost and damaged materials. Uniforms As the music program has grown, providing uniforms for all band students has become a challenge. Uniforms have been inventoried and checked for damage before they are assigned during the school year. Uniforms are not a “tailored fit” nor are they meant to be an individuals “fashion statement.” A uniform simply presents a good image when viewed from the audience perspective. Each student is responsible for proper use, care, and storage of the uniform and all associated parts. Uniforms must not be kept in school lockers and should be stored at home. LHS does not provide all the uniform parts. Students are responsible for providing white shirts, suitable for wearing with a tuxedo, heeled black shoes & black socks, and a black bow tie. Pant and gown length may be hemmed but no material is to be cut off the garments.

Instruments, Sheet Music & Uniforms

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Uniform Usage Contract

I agree to accept the responsibility of properly caring for the band uniform, proper storage of the uniform, and proper cleaning of the uniform as described below. I further understand that improper care and/or loss of the uniform or any of the uniform accessories will result in a monetary fine and/or replacement charge for those parts missing or abused. Student Signature ____________________________________________ Parent Signature ____________________________________________ Date __________________

Uniform usage/cleaning fees are $25.00 paid to Lynden Music Boosters.

Carefully inspect your uniform when received. Once you take possession you are responsible for any damage or missing parts.

Uniforms must be kept in garment bags when not in use. Never put a wet uniform in a garment bag!

Uniforms must be hung properly on hangers. Pants must not overlap or be twisted on the hangers.

The floor is not a proper place to put your uniform while changing. Uniforms and accessories must be kept off the floor at all times.

Do not use pants, which are too long without first hemming!

Do not store uniforms in school lockers or book bags. They must be stored at home on hangers.

Have your uniform professionally dry cleaned before returning it at the end of the school year to avoid the $25.00 fee.

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Lynden High School Music Department

Activity Permission Slip and Medical Release

I am aware that as a participant in a school sponsored field trip, or any other trip, there are both known and unknown dangers that may occur, including but not limited to the hazards of travel, accidents or illness, the forces of nature, and travel by air, bus automobile, or other conveyance. In consideration of participation in the field trip listed below, I have and do hereby assume all known and unknown risks of danger which may arise of or in connection with participation in said field trip, and will hold all employees, staff, and/or agents of the Lynden School District #504 harmless from any and all liability as a result from such participation. The terms thereof shall serve as a release and assumption of risk for myself, my heirs, executor and administrators, and for all members of my family.

Your signature below indicates you have read the disclaimer and agree to said conditions and content. Your signature gives permission for your student to participate in this activity. Your signature will also serve as an emergency medical release compliant with the statement below.

In the event of illness or injury occurring while the individual named below is participating in the designated activity, I hereby consent in advance to whatever X-ray examination, anesthesia, medical or surgical diagnostic

procedure or treatment is considered necessary in the best judgment of the attending physician and performed by or under the supervision of a member of the medical staff of the hospital furnishing medical services. I understand in the event of a serious illness or accident, reasonable efforts to reach parent/guardian or closest relative/friend will be attempted.

Activity: _____________________________ Date: ___________________ Student: __________________________ Parent Signature: _______________ Home Phone: Work Phone: ____ Relative/Friend Name & Phone: ____ Insurance Provider: _____________________________ Policy # _________ Please list any medical conditions, medication, allergies and/or other information pertinent to your student’s health that would be beneficial for staff and medical personnel in an emergency situation, on the back of this sheet or a separate sheet.

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Application for School Letter Award Lynden High School ASB adopted an amendment to the school constitution in 1978 allowing students to earn a letter award for participation in band. This amendment included specific criteria that the student must meet to qualify for the award. Letter Awards are given to those who qualify at the end of each school year. Name _______________________________________________________________ Please check all those that are appropriate.

o I scored a 3 or above in “Bandmanship” each term. o I attended all Major Performances. o I developed better musical skills during this year of study. o I have had five or less absences from class. o I was seldom tardy to class. o I practiced my band instrument at home on a regular basis. o I helped with fundraisers. o I did one optional activity (Extended field trip, solo/ensemble, honor band, Spirit

Band, Jazz Workshop etc.) o I attended one concert or music program other than our own. o I took proper care of my instrument. o I took proper care of my sheet music. o I took proper care of my uniform. o I stacked chairs and stands daily.

Please write a brief statement explaining why you feel you should be awarded a school letter.

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Lynden High School Band

Study Guides

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Lynden High School Band

Study Guides

A good characteristic tone quality is necessary before proper blend and intonation can be achieved. It is of the utmost importance to produce the best tone possible. Producing a good tone is dependent on many factors including the playing condition of your instrument, the mouthpiece being used, and the reeds, if applicable. It is equally important to use the proper embouchure and air stream. A good tone is one that is rich, dark, and warm sounding. You can actually feel the instrument “resonate” when proper tone is achieved. Reed instruments must not be airy or have a vibrating wood sound. Brass instruments should not be overly bright, airy, or thin. Proper air must be supplied to your horn. Just as any machine requires a pure source of energy, so does a wind instrument. If an automobile uses impure gasoline, its engine will falter. Likewise, the wind instrument will not perform properly if its energy source (WIND) is faulty! Try the following exercise; Hold the palm of your hand a few inches from your face. Form an embouchure and blow on your hand. Generally, this produces a “cool” air stream on your palm. Cool air is the wrong type of air for a quality tone. The correct air stream will feel warm, moist, and thick. Do what is necessary to produce this result. While you’re at it, be sure the air stream remains constant and does not slow down! A slowing air stream not only damages the tone but the intonation. Imagine blowing an air stream that will hold a piece of paper against a wall! The shape of the embouchure, mouth, and throat all combine with the air stream to create your individual tone. Correct embouchure varies slightly with each player and each different instrument but there are basic characteristics that apply to all. It is often said that AIR makes the sound but the embouchure SHAPES the sound. If you suspect poor tone as a result of improper embouchure, ask for help! Also read the handouts about proper embouchure. Great Tone and Great Blend are dependent on Great Listening. Always be vigilant of the sound you produce with the instrument. If you hear yourself above all the others in the ensemble or section, chances are you are not playing with a good tone and the blend is bad.

Tone

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Learn to listen how your musical part fits into the “entire picture” of each musical composition we rehearse. When you have the melody, “Bring it Out”, but when you play a supporting line, “get out of the way.” If you hear yourself above others in your section, something is wrong! First, try playing softer. If you still stick out, work on a better tone. And if you make the first two adjustments but still stick out, you are out of tune! Understand the “Pyramid of Sound” and how it relates to the FUNDAMENTAL. The fundamental is the lowest (bass) sound playing at any particular time. Most often it is the tubas and low reeds but this is not always the case. Keep your ears “tuned-in” to the bass lines. Make sure your part is played at a volume and similar tone as to complement the low parts.

Correct intonation is a result of GREAT LISTENING and CONSTANT ADJUSTING. You must not mistakenly think you can tune your instrument to a “Concert Bb” and it will play all notes in tune. Listen for “waves” or “beats” (pulsations) between your note and others playing the same pitch. The closer you are to matching pitch, the slower the beats or vibrations. Strive for a “beatless” sound. Be aware of “trouble” notes with your instrument. No instrument can play all the notes in-tune. Design characteristics create special problems with certain pitches. If the opportunity presents itself, try mapping your instrument with a Strobe tuner to find those especially bad notes! Learn to use tuning slides, shading techniques, and embouchure adjustments to play with beatless intonation. Generally, over-blowing brass go sharp and over-blowing reeds go flat. Spend time practicing pitch adjustment. Play long tones and make slight pitch adjustments both up and down with embouchure and tongue placement. Use the following exercise to help. Play any scale using whole notes and a slow tempo. Start the scale in a normal manner but on counts 3 & 4 raise the pitch slightly by using only the embouchure and/or tongue. A firmer embouchure will help raise the pitch. Tongue placement can also help. (Try whistling a note and making it go high and low) When you whistle, it is the tongue that moves to help change the pitch! Feel what your tongue does as you say “ah…ee” Using these syllables can help raise the pitch of troublesome notes. For lowering a pitch that is sharp, relax the embouchure and/or relax the tongue saying “ee…ah.”

Balance and Blend

Intonation (Pitch)

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Understand that dynamics are always relative to what musical experience is occurring at any particular moment. There are no absolute “volume levels.” Each musician must strive for the ability to produce 6 distinguishable levels of volume that can be reproduced as demanded by the particular music being performed. To help develop this ability start playing a long-tone as loud as you can while still maintaining a quality tone. NEVER sacrifice quality tone for volume! Now, play the softest long-tone possible while still maintaining that same quality tone. Don’t let the sound go airy or let the pitch fluctuate. These two volumes become your personal ff (fortissimo) and pp (pianissimo). They will not be the same for every player or every instrument. From this point, find four levels in between (p, mp, mf, & f ) Learn to be accurate in reproducing these six levels of volume. Learn to balance your personal volumes to the overall section and ensemble sound.

Musical style results in character and authenticity of musical performance. Much of this is attributable to historical interpretation and the execution of some basic concepts of articulation and dynamics. The musician must be aware of the entire NOTE SHAPE (note morphology). This shape must be developed by the individual player and unified within the ensemble. Note shapes consist of two basic types. The “Classic” shaped note, for non-melodic notes in Baroque, Classical, and Contemporary styles of music, and the “Romantic” shaped note used for chorales, hymns, and Romantic styles of music. The classic shaped band note uses a normal D tongue or (doo) attack followed by a slight increase in air (perceived crescendo) with a delicate taper at the release. DO NOT STOP AIR WITH THE TONGUE! Each one of these notes is ever so slightly detached from the proceeding note unless otherwise indicated in the music. A picture of two Classic Shaped notes might look like this: Slightly detached

While a picture of two Romantic notes might look like this: Smoothly connected

Dynamics

Style

AIR AIR

AIR AIR

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Staccato notes are also approached differently depending on the style of the music being performed and it’s historical placement. There are three ways to execute a staccato (separated) note. The first is the most commonly used staccato note. These notes are separated by a slight shortening of the time value. Air is not stopped by the tongue nor is it ever fully stopped by any means! Think of a field sprinkler. As the sprinkler turns, the oscillating bar only interrupts the flow of water, it does not stop the flow of water. Use the same principle with your tongue and the air stream.

The second type of staccato is a more subtle (restrained) separation, which closely resembles the basic classic shaped band note. This is called a “mezzo-staccato” or a “long short” note.

Finally there is the special effect staccato or “tut” note which shortens the time value more dramatically and often requires a tongue stop of the air. These are very short and crisp.

Accomplished musicians must be able to distinguish between detached, separated, and short to accurately perform the three types of staccato notes.

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Accents are also important stylistic considerations. As with all musical concepts, it is imperative to execute these consistently and uniformly within the ensemble. Most importantly, Accents are made with AIR, not the tongue!

> is a full value note (dynamic) accent with a noticeable “ping” or emphasis on the note

beginning (attack).

^ is a shorter, harder (rhythmic) accent. On upbeats they are especially short!

A sfz is a “sting” accent. It is more “dramatic” than a >. The note is held full value.

A fp is a strong accent, which is immediately soft and stays soft unless followed by a

crescendo marking. One method of executing the sfz and fp so they are distinguishable from each other not only considers “force” but also considers “time.” If both are performed in time (tempo), the fp should be executed with the pulse on long notes. In other words, if a whole note has a fp, play forte for one pulse and change to piano for the remaining three. The difference with a sfz is the timing is quicker. Play the sfz loud on the pulse and change to soft on the following eighth-note (a half of beat sooner than the fp) Practice for improvement by trying these different accents while playing a scale. Record your performance on a cassette and listen to see if you can really distinguish between the different types of accents.

Don’t ignore the musical terms and signs on your printed music. Likewise, don’t wait for someone else to “enlighten” you about the meaning. Look up the unknown terms in an appropriate reference book . You are responsible for understanding all the musical terms on your sheet music.

Road Maps

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Duration refers to the length in time a note exists. Combinations of different note lengths are what make rhythm. Difficult rhythmic figures (note groupings) must be practiced slowly but accurately. Do not compress fast notes! Make each one speak equally. The brain learns by electric impulses going over the same path hundreds of times. If we walk an unfamiliar meadow of tall grass, we eventually find our way and wear down a correct path. So it is with difficult passages in music. Stay on the correct path. Play it Slowly and Right Every Time. This way your brain will only know the correct way! Develop an acute awareness of the silences (rests) in your music. Give as much care to shaping them as you do shaping sounds (notes). It is the quality of the silence that proceeds or succeeds any musical event (entrance, note, rhythms, articulations, etc.) that determines the quality of that musical occurrence. Too often our time and thought is with the left side of notes (attack) and we don’t give enough credence to the right side of notes (how we release and start the silence). The entire ensemble must become unified by “timed thought.”

To accurately perform rhythms as an ensemble, each performer must learn to “subdivide” the pulse into smaller units. These smaller units are eighth-notes and ultimately sixteenth-notes. This is called the “hidden pulse.” Counting only the pulse shown by the conductors beat is not an accurate enough increment for excellent ensemble movement. The tolerances are simply not close enough. How can precise measurements be taken if the only unit of measure is an inch? Musicians must be able to feel and count the “hidden pulse” within the music being performed. It is physically impossible, in most pieces, for the director to conduct these “hidden pulses”. During rehearsals, watch the conductor and instead of counting the directed pulse beat (usually quarter-notes) subdivide what you see into smaller units (eighths or sixteenths) The “hidden pulse” subdivision is the key to good ritardandos and accelerandos. It is the only way an entire ensemble can remain homogenous in movement.

Duration

Pulse/Flow

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Texture has to do with those thick/thin, high/low, entire ensemble vs. choir grouping, and sustained chords/flowing rhythms relationships of the music being performed at any particular moment in time. Sometimes, the entire ensemble is playing a part. When this occurs it can be said the texture is thick or heavy. Other times in a song just the flutes and clarinets may be playing. This is an example of a thin texture and requires different types of adjustments to sustain a quality sound. All ensemble members must be “in touch” with these types of changes and make the necessary adjustments to maintain ensemble quality and excellence.

Throughout the school year we will study and experience “intangibles” in music. One Preeminent skill we wish to develop is musical expression, our ability to perform music with “feeling.” The following concepts may be initially confusing but as each on is visited during class lessons, your skill with music intangibles will grow. Often when a director asks the student to “play with more feeling” the student agrees but really has no idea of how to accomplish the request! There are five basic laws of musical expression, which can be used as tools to help create an expressive performance. Law #1: Music converges towards a definite point of repose. Expression is a musical ”journey” to a point of repose. Repose is that feeling of being at a state of rest. This is how a musical phrase is created. Phrasing in music is like using commas, periods, and question marks in speech. Music uses pauses and spaces as punctuation. Without phrasing, music will make little sense and make communicating with others difficult. You, as an accomplished musician, must try to play a musical phrase in such a way that the listener will understand that you have completed a “thought.” Like a sentence, you must punctuate by adding a little space or pause at the end of the phrase (repose). To do this you may have to make the length of a note shorter or take away a little of the next beat. Simply pause for an instant at the end of a phrase and insert some silence.

Texture

Musical Expression

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When you are talking, you usually let your voice fall slightly and then pause at the end of each sentence. Likewise in music it is best if you don’t end a phrase too abruptly. PREPARE the ending of a phrase by getting a little softer and perhaps slowing down just slightly (do not slow down the air stream). Then take your short pause to signal the end of the phrase. Laws #2 & #3: Low searches for high – High searches for low. Music is a journey. The musicians mind must energize the movement of notes in a forward direction as it searches for something higher or lower and the ultimate point of repose. Melodies have contours (shape). As they move through time (forward) they also move up and down (pitch). With this movement there are implied dynamics and inflection (nuance). To give shape to the melodic phrase you should make slight changes in volume (intensity). Give the notes “motion.” When you speak, you often say more important words more loudly or with more emphasis. As a simple suggestion, when the music goes higher on the staff, get slight louder. As the music travels lower, get slightly softer. Do not ignore the page markings if it asks for a different effect! Learn to be expressive with melodic lines and do not be afraid to experiment with different volume shapes and repose. Remember too that good phrasing requires that “hot-moist-ever growing” breath pressure. Play this melody using the concept of high searches for low and employing musical nuance to add expression. Experiment with points of repose and stretching the last few notes before such points. Experiment with dynamics as the melodic contour moves up and down. Create musical “motion.”

Law #4: Short looks for long. Important consideration (emphasis) of any rhythmic pattern or phrase must be given to the “long note.” The musician must realize the short notes are precursors to the longer note values. This is easier to understand if we consider the dotted eighth sixteenth rhythm. The sixteenth becomes the note that points to the longer dotted eighth. The dotted eighth is the longer value and is related to the short note that comes before. The long note is much like a point of repose! It is important to recognize the direction the rhythm pattern is moving. By “re-beaming” this rhythm is becomes easier to see the relationship of short looks for long.

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Law#5: Articulation is an expressive language One of the biggest problems facing a bands performance is their method of articulation. Articulation actually causes many problems with tone quality, rhythmic precision, balance, blend, intonation, phrasing, and overall ensemble clarity and definition. In addition to proper note shape It is said, “All melodic and rhythmical mysteries of music in general are to be explained solely from the rhythm and melodic points of view on the basis of the melodic curves of speech.” Any type of complex articulation pattern must be first “spoken” in tempo before success can be achieved with a musical instrument. Apply the language of articulation to all complex articulation patterns you find in the music. These syllables are often helpful - Ti (tee) and a (ah). Verbalize this first exercise like this; ti-a-ti-ti, ti-a-ti-ti, etc. Remember, for effective articulation patterns, the last slurred note of any group of slurs is shortened and the tongued notes separated.

Practice all the articulation patterns on scales in the Circle of Fourths.

a = ti-ti-ti-ti b = ti-a-ti-ti c = ti-ti-ti-a d = ti-ti-a-ti e = ti-a-ti-a f = ti-a-a-ti g = ti-ti-a-a h = ti-a-a-a

Written

Thought as

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The Pyramid of Sound is a conceptual way of looking at ensemble balance relative to timbre, blend, and harmonic structure. Ensemble musicians must learn to build all sound from the bottom up! Understand that the “Fundamental” is the foundation of a quality band sound. The “fundamental” is the lowest sounding instrument at any particular moment in time. We know it is most often the tuba but this is not always true! Learn to listen for the “fundamental.” Bass parts must be slightly louder than all the rest. Make a habit of “listening down”. Also get in the habit of tuning your instrument to the bass sound. Learn how your instrument part fits into the “entire picture” of each musical work. When you have a supporting figure, “get out of the way.” When you have the melody, “bring it out.” The pyramid of sound has everything to do with volume but a quality ensemble balance cannot occur if tone and intonation are not of the highest quality. Balance and Blend are contingent upon excellent control of volume, tone, intonation, and most importantly, your ability to listen and distinguish. Balance not only your part with the ensemble but also use the pyramid concept to balance within your section (1st, 2nd, & 3rd parts etc.) Always make sure the “root” note of a chord dominates the sound followed with the fifth and light color tones (3rds, 7ths etc.) Balance is always relative to the “melody.” Learn to apply the pyramid concept under the melody! Build crescendos from the bottom up! Low instruments must always be dominant. The start crescendos first and diminuendos last. If the treble instruments get the loudest, balance and blend are destroyed.

The Pyramid of Sound

High

Mid-Range

Bass

Flutes, Oboe, Clarinets

Alto Sax, Trumpet Tenor Sax, Fr. Horn

Baritone, Trombone, Low Reeds Tuba, String Bass

1st

Parts

2nd

Parts

3rd

Parts Bass & Chord Roots

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In Baroque, Classical, Contemporary, and in Marches (except for melodic expressive lines), performers should use a “Classic” note shape. Start the tone with a Doo tongue for a normal attack and a Tah tongue for a stronger attack. The classic shaped note is followed with MORE air after the tongue, given a slightly tapered release, and delicately detached from the next note. Below is a visual interpretation of how this might be accomplished with notation. The four quarter notes are written in the normal fashion but are interpreted like the second figure. Similar concepts should be applied to all note values to achieve the “Classic Shaped Note.”

Remember, STYLE is a matter of Long Notes verses Short Notes and EXPRESSION is a matter of Loud Notes verses Soft Notes. Becoming a more expressive player is imperative. Whenever you play a note, always be aware of STYLE involving note shape and Expression involving note volume. When in doubt, try making each note a little bit different.

The Classic Shaped Note

Simplistic Rule for “STYLE” and “EXPRESSION”

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Any note followed by a Rest is held to the downbeat of that Rest.

Crescendo, build, or add intensity toward key changes with no breath as a general rule.

Never breathe in the middle of a crescendo or diminuendo.

Any tied notes especially if they come on an upbeat, get an accent.

Long notes (whole notes) are ALERT signs to “Back Off” and LISTEN for moving and melodic lines within the ensemble. Blow through these notes with intensity.

Always play with a constant speed of warm, moist, “thick” AIR!

Quarter-note triplets are played long with accents.

Repeated notes of like rhythmic value tend to RUSH. Carefully feel the “Hidden Pulse.”

Any note tied to the downbeat of any measure is released on the downbeat of that measure.

Any note a half or longer gets a “perceived” crescendo and vibrato.

Syncopated rhythms tend to RUSH. Don’t! Be aware and carefully feel the subdivisions of the hidden pulse.

Helpful Hints for Musical Performance

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“RELEASE DOWN” The lower voices in the band should be the last ones to sound or vibrate even if it is only for a tenth of a second or less! Upper voices need to “anticipate” the release and adjust accordingly.

Be sensitive to “tapering” at phrase endings. Do not stop the airflow with the tongue and do not let the air stream slacken or otherwise weaken. Also be sensitive to “sneaking in “as to avoid abrupt entrances. Remember, music is a conversation. Don’t shout if no one else is shouting! That’s rude! Likewise, do not whisper if everyone else is shouting!

As a general rule, in up-tempo music, fanfares, marches etc. “Drop-the-Dot”. On dotted rhythms, replace the dot value with the equivalent rest value.

Slurred notes followed by tongued notes must have the last slurred note of the group released quickly and the tongued notes must be played short. Verbalize tee-ee-ah-tee-tee for the example.

Always remember to GO FOR “IT”. All superior musicians must be In Tone, In

Tune, In Time, and In Touch.

Notes longer than one beat in rhythmic sections and faster tempos are generally released ON THE BEAT.

Learn to “LISTEN DIMENTIONALLY.”

Listen DOWN for pitch. Tune to the bass line notes and chords Listen UP for style. (Upper voices often carry melodic parts that indicate musical style and the type of support needed) Listen ACROSS for musicianship. Be aware of other instruments in the band. How does yours fit in? Who has the melody? More than likely, someone else has your same part and/or note. Pick them out and match what you hear (pitch and style etc.)

There are only two types of errors in band class. Errors of PREPARATION and errors of CONCENTRATION. Don’t make them!

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Good rehearsals make good performances. Great rehearsals make great performances. SUPERIOR rehearsals make SUPERIOR performances.

Use good manners and rehearsal etiquette. When a conductor is on the podium, all talking stops.

Make sure the band AGREES on all articulations.

WLR - WATCH (the conductor) LISTEN (to the others around you) and

RESPOND (instantly to what you see and hear)

Generally speaking. “If your mouth is moving, little learning is taking place.”

Learn to “silent finger” your parts while the conductor works with other sections of the ensemble.

Remember that if you hear yourself above all others, you are not blending and/or not playing with a balanced sound. Make the necessary corrections! First try playing softer. If you still hear yourself then try playing with a better tone. If both these adjustments don’t work, TUNE!

As a starting point towards becoming a more musical performer, think of STYLE as a matter of tones connected and tones separated. Think of EXPRESSION as a matter of loud tones and soft tones.

Long notes (whole notes) don’t just “sit there”, they grow or swell.

Unless marked so, the last note of a phrase is never chopped off.

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Often when one begins to use and develop a vibrato it can be confusing with regards to comparing the pulsations and fluctuations of vibrato with the “waves/beats” heard in out of tune notes. The main difference is the “waves/beats” are a natural occurring result of poor intonation (out of tune note) but vibrato is player induced. Vibrato is a “slight “ fluctuation of pitch (some claim intensity rather than pitch) used by vocalists and instrumentalists to enrich and color the sound. Even though pitch does fluctuate ever so slightly, it always maintains the proper “tonal center.” These illustrate the concept of tonal center. In-Tune Note Correct Vibrato with Centered Pitch (tonal center) The “in-tune pitch is centered with the fluctuations

Incorrect Tonal Center – Sharp Note The fluctuations center above the pitch

Incorrect Tonal Center – Flat Note The fluctuations center below the pitch

Vibrato and Intonation

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An amazing amount of rehearsal time can be saved if the musician learns from a mistake and then is consistent in applying the “fix.” So often the director must stop day to day for the exact same errors of the performer. Marking your part can help remind you of needed changes and make you a more consistent player. The entire ensemble benefits when time is not used to rehash old mistakes! Every player must have a pencil every rehearsal to mark parts with important information. Begin by numbering each measure of each song! Also include other pertinent information using this suggested ‘shorthand.” Regular breath

Adjust note up in pitch

Adjust note pitch down

] Phrase ending (repose/release)

NB No breath

BG Background

1 One player only

Watch closely!

Something important happens! (Key change/meter change etc.)

b # Accidental reminders!

1xo Play one time only (no repeat)

Musicians are encouraged to develop their own symbols to help with recall of important information and interpretation of the music being studied.

Marking Parts During Rehearsal

,

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Frank Bencrissutto Total Musicianship Hal Leonard Publishing Edward S. Lisk Alternative Rehearsal Techniques Meredith Music Publications 1987 Ft. Lauderdale, Florida 33334 Edward S. Lisk Intangibles of Musical Performance Meredith Music Publications 1987 Ft. Lauderdale, Florida 33334 Richard Miles Teaching Musicianship Through Performance In Band Vol. 1, 2, & 3 GIA Publications Chicago, Illinois 60638 Band World WIBC Publishing Ashland, Oregon 97520 Kirk Saville Regattas and Rehearsals Band Directors Guide Nov. 1995 Village Press Traverse City, MI 49684 Mark Whitlock Rehearsals Get Better When Everyone Listens The Instrumentalist Company Nov. 1996 Northfield, Illinois 60093 Essential Academic Learning Requirements Washington Commission On Student Learning The Center for Educational Integration 1270 S. Birmingham Rd. West Chester PA 19382 Arts Education Standards Project Washington State Arts Commission Goals 2000, Educate America Act Washington D.C. U.S. Dept. of Education

Notes/Sources/References

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Instruments and Equipment www.woodwindbrasswind.com Woodwind & Brasswind Company www.interstatemusic.com Interstate Music Supply www.marcinkiewicz.com Marcinkiewicz Company

Education www.lynden.wednet.edu Lynden Music Dept. http://www.wmea.org Washington Music Educators Association www.menc.org Music Educators National Conference www.amc-music.com American Music Conference

Software www.smartmusic.com SmartMusic (my favorite) http://www.sibelius.com Sibelius notation/publication software www.codamusic.com Finale. www.pgmusic.com Band-In-A-Box, Power Tracks, Pianist etc.

Sheet Music www.jwpepper.com J.W. Pepper and Sons, Pepper At Ted Brown’s

Music Camps www.marrowstone.org Marrowstone at WWU www.centrum.org Centrum High School Workshops in the Arts For your instrument repairs and needs Lynden Music Department recommends:

Music Related Web Links

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Music Handbook Confirmation of Receipt

Please sign this page, remove it from the folder, and return to Mr. Herrick by the end of the first week of school. We have received a copy of the Instrumental Music Student Handbook. I am aware that the contents include Course Descriptions, Grading Criteria, Study Guides and many more components regarding Instrumental Music at Lynden High School. ____________________________________ Student ____________________________________ Parent

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Music and College Admissions by Dr. Richard Strauch I sat down with Fred Pfursich, who is Whitworth’s Dean of Enrollment Services and oversees admissions. I shared this information with him, and asked for his thoughts. Fred made four interesting observations: Band on the transcript does make a difference. First, all other things being equal, consistent involvement in band - as well as other extra-curricular activities - is an advantage. The student who has been active in other things besides just academics definitely has a leg-up. Music students are academically above average. Second, he said that in the admissions office, they do notice that students who have band (or other music groups) on their transcripts tend also to stand out academically. The information about GPAs and SATs that I showed him simply confirmed what they have been seeing all along. Band and the optional SAT Third, at Whitworth, SAT or ACT scores are optional for admission - we don’t want to cut out students who do great work but, perhaps, just don’t do as well on standardized tests. When a student doesn’t submit test scores, admissions counselors must consider other things in the application that will provide evidence that the student will succeed academically in college, and one of the biggies is involvement in music, because… well, see above. Quantity vs. quality The fourth observation may come as a bit of a surprise. The conventional wisdom suggests that when a student applies to college, a long resume of a wide variety of extracurricular activities - maybe a year or two of band, a bunch of clubs, some community projects, athletics - is important to catch the eye of the admissions officer, and the more stuff on that list, the better. Well, here is the surprise. At Whitworth, when a student sends in that long resume of stuff, it actually can set off a red warning light. The big question for admissions is whether this student is a “dabbler”, and lacks the focus and commitment needed to be successful in college. When, on the other hand, a student mentions only a handful of things, like having been in band all four years, that show a record of consistent commitment, admissions looks much more favorably on that applicant. The bottom line is that if students think they have to drop out of band because they are “just too busy” with clubs, projects, and a million other things that they think they need to do to get into college, they ought to reconsider. (As I have said to many students, an average trombone player who has been in band all four years often has much more going for them in the college acceptance and scholarship game than a star quarterback.) Furthermore, the evidence suggests that students who continue their involvement in music in college (whether music majors or not) academically out-perform their peers. Colleges and universities are communities, and like any community, a college comprises a diverse group of students and faculty with a wide variety of interests and skills. Admissions officers at competitive institutions base their decisions not only on a candidate’s academic achievement and likelihood for academic success in college, but also on the unique blends of backgrounds and talents that will enhance the community. One of the most important reasons that musically accomplished students are so highly valued at institutions like Whitworth is for the richness they bring to the campus and the surrounding community. Whitworth’s president, Bill Robinson, once said that music, theatre, and athletics are the university’s “front door” to Spokane and the region. The effort and encouragement that music teachers - and parents - put into helping students become the best musicians that they can be in high school will be priceless to them in college and beyond.

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Richard Strauch is professor of music at Whitworth University in Spokane, where he conducts the Whitworth Wind Symphony and teaches music history and applied low brass. In addition, he is second trombone in the Spokane Symphony Orchestra.

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As we move closer to using Smart Music as the main assessment tool for school musicians, it is important that students get comfortable using this amazing software program Lynden School District provides this learning tool for each student. Students need to have a home computer (iPad, Notebook etc.) with Internet access. We do provide computers in the music room that students can use for assignments but that limits all the advantage of home practice (learning). Student’s assessment for Term Grades will be influenced by their performance with the SmartMusic software.