Post on 18-Mar-2022
One approach to developing intonation awareness, color, balance, and blend
Ryan Johnstone – Canyon Vista Middle School
ryan_johnstone@roundrockisd.org
DEVELOPING MIDDLE SCHOOL ENSEMBLE
SOUND: A MULTI-YEAR GUIDE
BEFORE WE START…
• Very little of this is original!
• The goal of the session is to provide you with a practical system to use in developing
better ensemble quality
• This is one approach!
TODAY’S PRESENTATION
Part 1
Philosophy/Goal
Definitions and Improving the Basics
The “What”
System – The “How”
Part 2
The “When”
Beginners – Basic Outline
Middle School – Basic Outline
THE “SYSTEM”
The Power of 4
4 “Ts”
The “What”
1 – Tone 2 – Tuning
3 – Time 4 – Touch
4 Levels of Listening
The “How”
1 – Individual 2 – Section
3 – Color Group 4 – Full Ensemble
MATCHING TUNING
• Tone is the #1 factor
• Centered
• Clear
• Resonant
• Full/Rich – aka “a range of overtones”
• “You can’t tune a bad sound”
• Length of Instrument is second factor
MATCHING TIME
• Pulse/Tempo and Subdivision
• Rhythm – “The Math of Music”
• Start and end together
• Also related to tuning – moving out of time or rhythm creates dissonance and discord that
is not intended by the composer
MATCHING TOUCH
• Touch is the most “abstract” of the 4 Ts
• Articulation – consistent use of syllables, clarity and strength of note fronts
• Style – matching note lengths, energy - rhythm and articulation must be locked in first
• Nuance – “notes marked the same should sound the same!”
• Phrasing – breathing, cresc/decresc while maintaining other elements – especially tone
IMPROVING TONE AND INTONATION THROUGH
BREATHING EXERCISES
• Breathing Exercises
• It’s not about what you do, it’s about how you do it!
• Basic Exercise – 4 in, 4 out; 2 in, 4 out; 1 in, 4 out – metronome @ 80ish
• Right hand is visual aid for air flow – smooth hand=smooth air/tone
• Angle of arm to face should match air direction for the instrument being played
• Left hand on navel to check for proper expansion
• A few guidelines for breathing:
• First exercises can involve counting and doing movements only
• Fill and empty completely – no air left behind
• Blow out with your “band face” - embouchure
• Relax on inhale, energize on the exhale
• Maintain relaxation even as the amount of time available to breath decreases
IMPROVING TONE AND INTONATION THROUGH
SINGING
• Singing
• Vital Point: Resonance is not created in the instrument; it is created in the open spaces of our heads
• Again: It’s not about what you do, it’s about how you do it!
• Use a source: Harmony Director or Section/Individual with great resonance and tone
• Students hum the pitch and strive to feel the vibration in the forehead (mouth will need to be tall on the inside – molars apart)
• Analogies:
• “Hive of bees.”
• “Feel as though the sound is being projected from your forehead.”
• “Hide your yawn”
• While humming, signal students to open to an “Ahh” syllable (Some vowel sounds may need to be adjusted to match the voice of a certain range or instrument – clarinets should sing “EEE”
IMPROVING TONE AND INTONATION THROUGH
SINGING
• Have students add the consonant of your choosing – T or D: students should strive
to get to the vowel quickly without overly emphasizing the consonant
• A few guidelines for singing:
• Teeth should be open enough to fit the width of two fingers between the upper
and lower front teeth – Opera, not country
• At note end, avoid stopping the sound with the glottal muscles. Instead, allow
the sound to end naturally as it would on the instrument. Students should strive
for a “relaxed look of disbelief” and maintain this relaxed face and vowel shape
for several beats after the note has ended.
• Do not abandon other fundamentals such as posture, breathing, etc. while
singing! Stack the fundamentals!
• Start with one pitch and advance to basic lines (scales, long tones,
familiar/simple melodies, etc.)
IMPROVING TIME
• Rhythm
• The greatest gift is literacy! Have a system and stick to it!
• Rhythm Bee
• Pulse/Tempo and Subdivision
• Count, Clap, Tap
• Subdivision Exercise
IMPROVING TOUCH
• Golden Rule – Matching Air Stream = Matching Sound
• Articulation Exercise
• Daily attention to note fronts and ends
• Focus on air – practice air only; model correct airstreams, have students echo back
• Sing/vocalize syllables – tongues retreat quickly; hand under chin to check for
extraneous jaw movement
• Continue to enforce ALL fundamentals
IMPROVING TOUCH
• Style Matching
• Rhythm and articulation quality must be locked in first
• Match air strength, shape, and quality – model vs. group
• Make sure students are looking at style/articulation exercise while playing so that the
reinforcement is there for when it occurs in the music
• Phrasing
• Basic: 8 beats of air only with cresc. 4 and decresc. 4
• Intermediate: Symmetrical long tone hairpins without distortion of tone, pitch, or balance
• Advanced: Adding phrase shape to familiar long tone or other fundamental exercise
• Expose to asymmetrical rise/fall as an advanced concept or as music calls for it
BASIC PHILOSOPHY – THE “HOW”
The Four Levels of Listening Students: Listen louder than you play!
Insist that all exercises are listening exercises and
engage and challenge students to talk about what they
hear.
BASIC PHILOSOPHY – LEVELS OF LISTENING
Individual
(Me)
Section
(My Next of Kin)
Color Groups
(My Relatives)
Full Ensemble
(All My Friends and Family)
BASIC PHILOSOPHY – LEVEL 1 - INDIVIDUAL
• The most basic level
• Reserved for mostly 6th grade
• The individual must be right!
• Hearing oneself as an individual while performing in a large ensemble is usually due to a lapse in one of the 4 Ts!
• THINK ABOUT IT!
BASIC PHILOSOPHY – LEVEL 2 - SECTION
• Section speaks as one instrument – “Sound like one ________”
• Matching as duets and trios, left and right, player to player, tone clone concept
• Play “Telephone”
• Having each section achieve this at 100% is a lofty goal for middle school – it must be a focus
• Proficiency here leads to a superior band sound at this age/ability level
BASIC PHILOSOPHY – LEVEL 3 – COLOR
GROUPINGS OR SECTION TO SECTION
• Examples:
• Trumpet/Flute
• Trumpet/Clarinet
• Trumpet/Saxophone
• Horn/Clarinet
• Horn/Saxophone
• Trombone/Saxophone
• Euphonium/Bassoon
• Tuba/Low Reed
BASIC PHILOSOPHY – LEVEL 3 – COLOR
GROUPINGS OR SECTION TO SECTION
• Color Groups – Another Approach (Brian Beck)
• “Dark Woodland Creatures” give the ensemble warmth, a primary source of resonance and “dark” tone qualities
• Dark Woodland Brass includes horn, euphonium, and tuba (conical)
• Dark Woodland WW includes clarinet, bass clarinet, bassoon, tenor sax, and bari sax
• “Centaurs” give the ensemble brilliance and power
• Soprano Centaurs are trumpets
• Bass Centaurs are trombone
• “Fairies” provide color and shimmer
• Primarily, fairies comprise of all vibrato producing instruments
BASIC PHILOSOPHY – LEVEL 3 – COLOR
GROUPINGS OR SECTION TO SECTION
• Some basic principles for achieving better middle school ensemble sound utilizing Level 3 Listening:
• First: Don’t attempt adding the responsibility of “Level 3” on students that cannot achieve “Level 2”
• Main goal is to match tonal aspects from section to section – operate under the assumption that all sections should be represented equally
• Passing 4s is a good general exercise to start with – it can take FOREVER to master
• In general, woodwind sounds “color” the brass sounds within any mixed grouping
BASIC PHILOSOPHY – LEVEL 4 – FULL
ENSEMBLE
• Awareness of the role the color group plays in the overall band sound at any given
moment in time (can change dramatically from phrase to phrase depending on difficulty of
music)!
IT STARTS WITH BEGINNERS!
• Basic Fundamentals and Objective-based Learning
• Tone first - the foundation of ensemble brilliance lies in the individual tone qualities of the group
• Know your pedagogy but don’t be afraid to ask for help!
• Pass-offs - Use a rubric that emphasizes tone as a priority (see example in packet)
• SING! Everyday…
• Breathe! Everyday…
• Stack your Fundamentals!
BEGINNERS
• Daily drill concept
• First semester – instrument-based skills and development
• Utilize lesson staff and/or specialists within your cluster to come up with routine for each instrument
• Second semester – begin leaning towards ensemble-based as the semester progress (your MS ensemble drill)
• Don’t neglect instrument-based skills or routine, but develop the student’s understanding of what ensemble drill is and why we do it!
• Introduce most basic ensemble skills through drill but also make it a priority to teach the PROCEDURE and make students FAMILIAR with the exercises. This could potentially save you several WEEKS of instruction the following year.
TUNING AND BEGINNERS
• Again, tone first
• Tuners and clips – a guide for pitch awareness and tendencies
• Use only after basic set up is in place and students are making fully supported and characteristic sounds
• Ear training – main ingredient is singing
• At end of year, teach students tuning sequence for their instrument (utilize tuner and clip). Check for understanding/hold them accountable.
TIME AND BEGINNERS
• Developing the student’s rhythmic understanding and reading without first establishing a strong sense of pulse and subdivision will result in a student with poor rhythmic skill overall.
• Establish foot tap and clear positioning of “down” and “up.” Hold students accountable – make it part of your test rubric.
• Rhythm Bee is a great tool – highly recommend.
• Suggestion: Do not use metronome feature – students will learn to watch and internalize pulse via subdivision. Do not give in – it will be difficult at first.
• Counting System – pick one! I like Count, Clap, Tap (Debra Haburay) – simultaneous development of reading skill/understanding along with subdivision accountability. Count daily by making your counting procedure part of learning a new line or song!
• Rhythmic skill should always develop ahead of and beyond technical skill on the instrument. Never introduce new rhythmic concepts while playing the instrument with beginners.
• Subdivision is a constant, even during rests – the brain is never idle.
PERFORMING GROUP YEAR-AT-A-GLANCE - 1ST SIX
WEEKS
Vocabulary/Concepts Individual
Development
Full Ensemble
Development
Daily Drill
Posture Establish Daily Routines
for Instruments
Focus more on individual
skills relating to 4Ts
8-Beat air/tone (Concert
F)
Instrument
Carriage/Hand Position
All-Region Etudes or
Similar
Split as much as
possible!
Breathing exercises
Breathing Scale Work/Technique
(establish realistic goals
for key areas)
Development of “choirs” Block F – air, sing, play
Singing Unison Duet/Trio – Pass-
Off
Limited Articulation
Exercise
Parts of the Note Rhythmic
development/review
Basic long tone exercise
Articulation/Releases
Rubric – What is a
“Pass-Off”?
YEAR-AT-A-GLANCE – 2ND SIX WEEKS
New
Vocabulary/Concepts
Individual/Small
Ensemble
Development
Full Ensemble
Development
New Daily Drill
Level 2 Listening Continued development
through instrument-
based routines
Continue splits as much
as possible!
8 beat Air/Tone – expand
to 1-octave range
Tuning Basics – tuning
sequence for each
instrument
Continued development
through All-Region
Etudes or Similar
Continued development
of “choirs” – new
listening responsibilities
Expanded Articulation
Drill – lifted note values
and style
Tuning Tendencies
Expanded Scale
Work/Technique
(establish realistic goals
for key areas)
Fall Concert: WW, Brass,
Percussion Ensembles
Passing 4s from Low to
High – develop your best
ensemble sound and use
“Concert F” as a sound
model for concert music
Chord tuning in
sectionals – Major triads
(homogenous)
YEAR-AT-A-GLANCE – 3RD SIX WEEKS
New
Vocabulary/Concepts
Individual/Small
Ensemble
Development
Full Ensemble
Development
New Daily Drill
Level 3 Listening Continued development
through instrument-
based routines
More full ensemble – use
splits for learning new
music
8 beat Air/Tone –
continue to expand
range
Chorale Quartet in
sectionals – learn S, A,
T, B parts and
responsibilities
(heterogenous)
Continued development
of “choirs” – new
listening responsibilities
Relate more
fundamental drill aspects
to music: breathing,
articulation, balance,
color exercises
Winter Concert – select
music at least one grade
easier than average
individual skill level
YEAR-AT-A-GLANCE – 4TH SIX WEEKS
New
Vocabulary/Concepts
Individual/Small
Ensemble
Development
Full Ensemble
Development
New Daily Drill
Level 3 Listening Solo literature or similar Music-driven – relate
daily drill directly to
weaknesses within
concert/contest music
Chorale transcribed to
key(s) of concert/contest
music
Ensemble literature –
application of previous
acquired skills!
Chord tuning exercises
based on concert/contest
music
Snippets and style
exercises specific to
concert/contest music
(example in packet)
YEAR-AT-A-GLANCE – 5TH SIX WEEKS AND BEYOND
• Continue to refine concepts and approach
• More opportunities for individual development through
solo/ensemble and end-of-year auditions
• Expand fundamental drill to include exposure to atypical
band keys
• “Expose”
WRAP UP/CONCLUSION
• Directors must have a clear plan and unified vision. Expectations must be congruent across the board!
• There is no substitute for great individual fundamentals
• Sing and Breathe with beginners daily to develop the ear and a resonant sound
• Utilize the Levels of Listening as students are ready
• Level 2!
• The 4 T’s are primary goals