Student Selected Excerpts from “How to Practice” by Terry Guynes,School Band & Orchestra, April 2007

Don’t Set a Clock; Set a Goal

• When sitting down to rehearse, the goal should be tobe able to play something that couldn’t have beenplayed the day before, or something that wasdifficult from that day’s band class.

• Remember to set a musical goal: “I will be able toplay these three measures at a tempo of 120 beatsper minute by the time I get done today. Tomorrowmy goal will be able to play it at performance tempoof 160 beats per minute.”

Make Practice Fun: Play Along with a Friendor a Pro• Sessions can be made more fun by practicing with a

friend.

• Work together to get parts down or help each otherout.

• Listen to each other play and decide what needsimprovement

• The biggest advantage of practicing with a friend isthat he or she can help make sure that phrasing isconsistent and that breathing is occurring at the sameintervals, when necessary.

• One way to develop the ear very quickly, whileplaying real music and accompanying a real band, isto buy a recording of a professional who plays yourinstrument and try to figure out what they areplaying, and then try to play along with them.

Start Slow

• Real improvement comes from taking music that isdifficult and practicing until it can be played withease.

• If you can’t count it, you can’t play it.

• Remember to start slow.

• Expect to fail many times before becomingproficient.

• While changing the articulations [and rhythms], startslow and build speed.

Change the Articulations: Stay Slow

• Changing the articulations will make it easier torecognize the actual articulation that is written in themusic.

• Don’t just change the articulation once – change itseveral times.

Be Patient

• Progress will only become visible as mastery of thedifficult passages becomes easier. Remember this isa very slow process.

• Countless hours of sweat, sometimes a little blood, alot of tears, patience, and dedication are necessary tobecome a musician who is even slightly proficient athis or her craft.

Conclusion

• Don’t just put in the time – make that timeworthwhile.

• Dedicate yourself to improving how you use thelimited time available for practice.

• Don’t be afraid to ask your director. Directorsalways want to help their students improve – that’swhy they became teachers in the first place.

CONCERT ETIQUETTEByron Belt (Newhouse News Service)

The performing artist is getting into full swing. Audiences are set to enjoy the entertainment and inspiration of performing ensembles of

every description. Sometimes, performances will be marred by thoughtlessness on the part of too many people who otherwise consider themselves

good citizens. These unknowing people ignore the simple rules of courtesy or unconsciously destroy the peaceful environment necessary for the

enjoyment of many wonderful performances being offered to a generally eager and appreciative audience.

Here are some rules that should be reprinted in every program book in America. Simple common sense and courtesy will vastly improve

the serenity and happiness of sharers in the magic of the arts.

TEN COMMANDMENTS OF CONCERT ETIQUETTE

THOU SHALT NOT –

1. TALK – The first and greatest commandment. Stay home if you aren’t in the mood to give full attention to what is being performed on

stage.

2. ARRIVE LATE OR LEAVE EARLY – It is unfair to the artist and the public to demand seating when one is late or to fuss, apply make-

up and depart early. Most performances have scheduled times; try to abide by them.

3. USE THY CELL PHONE OR PERSONAL PAGER – While what your conversation might be incredibly important to you, the

audience does not wish to share in it. Turn your communication devices off before entering the concert hall.

4. RUSTLE THROUGH THY POSSESSIONS – Leave any purse, briefcase, camera bag or what you have unlatched during the

performance.

5. OPEN CELLOPHANE WRAPPED CANDIES OR LOZENGES – Next to talking, this is the most general serious offense to

auditorium peace. If you have a bad throat, unwrap your throat-soother between acts or musical selections. If caught off guard, open your

sweet quickly. Trying to be quiet by opening a wrapper slowly only prolongs the torture for everyone around you.

6. ALLOW THY CHILDREN TO WANDER – While your children are undoubtedly sweet and kind, they are most definitely yours.

Please do not allow them to disturb neighbors trying to enjoy performances; audience members are not your system of daycare.

7. CHOMP THY GUM IN THY NEIGHBOR’S EARS – The noise is completely inexcusable and usually unconscious. The sight of

otherwise elegant ladies and gentlemen chewing their cud is one of today’s most revolting and anti-aesthetic experiences.

8. SIGH WITH BOREDOM – If you are in agony, keep it to yourself. Your neighbor may be in ecstasy – which should also be kept under

control.

9. READ – This is less an antisocial sin than personal deprivation. In ballet or drama, it is usually too dark to read, but in concerts, it is

typical for audiences to read program notes, skim ads or whatever. Don’t. To listen means just that. Notes should be digested before or

after the music – not during. It may, however, be better for those around to read instead of sleeping or snoring.

10. HUM, SING, WHISTLE, OR DANCE – The musicians don’t need your help and your neighbors need silence. Learn to tap toes

quietly within shoes. It saves a lot of annoyance to others and is excellent exercise to boot.

There are, undoubtedly, other points, and each reader will have a pet peeve we have omitted. However, if just these were obeyed, going to

performances would be the joy it was intended to be and we all would emerge more refreshed.

PLEASE REMEMBER:STAYING THROUGH THE ENTIRE CONCERT IS NOT ONLY A GRADED ACTIVITY FOR YOUR STUDENT,

BUT COURTEOUS TO ALL OTHER PERFORMERS!

Music Lessons Pay Off in HigherEarnings: PollWed Nov 14, 2007 3:33pm EST

TORONTO (Reuters Life!) - Those hours practicing piano scales or singing with achoral group weren't for nothing because people with a background in music tendto have a higher education and earn more, according to a new survey.

The poll by Harris Interactive, an independent research company, showed that 88percent of people with a post-graduate education were involved in music while inschool, and 83 percent of people earning $150,000 or more had a musiceducation.

"Part of it is the discipline itself in learning music, it's a rigorous discipline, and inan ensemble situation, there's a great deal of working with others. Those types ofskills stand you well in careers later in life," said John Mahlmann, of the NationalAssociation for Music Education in Reston, Virginia, which assisted in the survey.

In addition to the practical skills gained from studying music, people questionedin the online poll said it also gave them a sense of personal fulfillment.

Students who found music to be extremely or very influential to their fulfillmentwere those who had vocal lessons and who played in a garage band. Nearly 80percent of the 2,565 people who took part in the survey last month who were stillinvolved in music felt the same way.

"That's the beauty of music, that they can bring both hard work and enjoymenttogether, which doesn't always happen elsewhere," Mahlmann added in andinterview.

© Reuters 2007 All rights reserved

BEAL CITY BANDS SUPPLY PRICE LISTREEDSClarinet $1.25Alto Sax $1.50Tenor Sax $2.00Bass Clarinet $2.00Baritone Sax $2.50

MOUTHPIECESClarinet $15.00Alto Sax $16.00Tenor Sax $20.00Trumpet $28.00Trombone $30.00

LUBRICANTSCork Grease $1.00Valve Oil $1.50Slide Cream $1.50

TRUMPET MUTESStraight $12.00Cup $20.00Harmon $32.00

TROMBONE MUTESStraight $15.00Cup $22.00Harmon $52.00

PERCUSSIONDrum Sticks $8.00Keyboard Mallets $15.00Stick Bag $15.00Stick Kits $65.00

(Includes snare sticks, timpani andkeyboard mallets and a stick bag)

OTHERCleaning Kits

Flute $11.00All Others $14.00

Metronome $20.00Tuner $25.00

WEBSITE UPDATE: COMING IN JANUARY 2008

SUPPLY-O-U LISTUpdated weekly to keep financial obligations up to date

BEAL CITY BANDSAPPROVED INSTRUMENT BRAND LIST

FluteArmstrong

GemeinhardtYamaha*

ClarinetBuffet*LeBlancSelmer

Yamaha*

SaxophoneConn

SelmerYamaha*

TrumpetBach*Conn

GetzenYamaha*

TromboneBach*Conn

GetzenKing

Yamaha*

PercussionLudwig

PearlYamaha*

CymbalsSabian

Zildjian*

Sticks & MalletsMike Balter

ProMarkVic Firth*

Questions?See Mr. Lowe

DECEMBER 2007FROM THE PODIUM …Each holiday season brings about a sense of reflectionfor me – what we do, how we do it, and where we aregoing as a program. We are blessed in Beal City to havesuch tremendous students – it is a reason teachers seekthis place for their career’s home. We are blessed withadministrators that place great value on the arts andwork to ensure their place in our school community.We are blessed with an incredibly supportivecommunity of parents, grandparents, individuals andbusinesses who work to ensure our students have thefinest experiences possible in Beal City. We are blessedto have tremendous students who have great capabilitiesmusically and academically.To that end, Victor Hugo is quoted as saying, "There isnothing more powerful than an idea whose time hascome." I have often thought of the idea of after-schoolsectionals for high school students that rotated througheach section for some more structured practice time,individual attention and higher accountability. I havebeen concerned with implementation, attendance, andall the other things that accompany this initiative.Regardless of those concerns, I believe that time hascome for us to make this important investment in ourprogram. The realization that this is the moment and weare seizing it is not lost on me – I certainly hope you feelthe same.As our high school students prepare for ourinterdisciplinary concert and the National FestivalPerformance in Cleveland, we must move in a positivedirection along these lines. These sectionals will be heldon Mondays and Thursdays from 3:15 to 4:00 PM and

rotate through each section. No instrument groupwill meet twice in a week; in fact, it may be two

or three weeks before eachsection has rotatedthrough their sectionalobligation. These aremeant to increaseaptitude without takingprecious time from ourclass time rehearsals.

For our middle schoolstudents, we will endeavorto br ing in some

outstandingstudents from Central

Michigan University to workduring class time. These

experiences have been meaningfulfor our middle schoolers in the past; I

look forward to resumption of in-classinstrument coaching.

These investments are required becauseour program requires it. We are taking importantmusical and maturing steps that demand a differentanswer than one we have given in the past. We possesssubstantial musical talent at Beal City. However,without a new methodological approach to preparation,we squander this potential.Our program is truly one of the jewels of ourcommunity, a focal point of positive activity of ourstudents. This investment is made by each of us in ourprogram that has seen tremendous growth in numbersand musicality over the past several years. As weprepare for our interdisciplinary concerts, for MSBOAMiddle School Band Festival, for Cleveland, we cannotand must not rest upon the accolades and achievementsof the past. We are only as good as our nextperformance. We must remain committed to excellencein every facet of our endeavors.We are blessed in Beal City to have such fantasticstudents. I thank you for being given the ability to workwith them, for the support you give now and in thefuture for their musical endeavors. I thank you inadvance for your renewed commitment to our work tobring the very best in music to our community and ourstudents.

MAY YOUR FAMILY HAVE THEMERRIEST OF HOLDAYS AND THEBRIGHTEST OF NEW YEARS!

Musically yours – Mr. Lowe