Twenty Things You Can Do Tomorrow
To Improve Your Program
Reprinted From Maryland Music Educator
by Sam Andress, Band Director, Los Osos High School, Rancho Cucainonga, California and
Scott Bonner, Band Director, Day Creek Intermediate School, Rancho Cucamonga, California
Adapted from a presentation at the 2008 Southern California School Band & Orchestra Association Fall Conference.
As an additional step to this exercise, • “Exhale all of your air out.”
F
ollowing are suggestions that you
can implement tomorrow, either
con sider adding a piece of “bell work” to • “Hold your breath.”
on the podium during your ensem-
the rou tine at least once a week. When stu- • “3 more puffs out.”
ble rehearsal or seated at your desk during your
dents are set up in their seats and listening • “Hold your breath.”
prep period. Many of the topics discussed here
quietly to the recording, pass out to each • “Three more puffs out.”
were adapted from the work of Dr. Tim
row a simple half-page theory exercise • “Hold your breath.”
Lautzenheiser (Attitude Concepts for Today,
worksheet. Sam uses the Alfred’s Essential • “Three more puffs out!”
Inc.), and Dr. Peter L. Boonshafr (Hofstra
of Music Theory, Book One. These pages • “Hold your breath!”
University - Hempstead, NY), as presented at
are divided nicely into very manageable • “You’re under water in the ocean rising
the 2008 Texas Music Educators’ Association
lesson chunks that can be done quickly. On toward the surface - don’t breathe yet
Conference, in San Antonio. Other parts of
days when we do a theory lesson (usually or you’ll get a mouth full of sea water”
this session were simply derived from time “in
once a week on a different random day), I (hand visual in upward rising motion).
the trenches”, so to speak, and from borrowing
usually allow the recorded music that was • “Breathe in!”
and trading ideas with countless other music
playing when they entered the room to con- • “Take a few deep breaths in and out.”
educators.
tinue for a few minutes so that they can • “Please be seated.”
listen as they complete the worksheet.
1. Rehearsal Time is Sacrosanct
About 5-8 minutes later, I ask the stu-
4. Check Fundamentals During Warm Up
Because of this, the next 19 things we
dents to please make sure that they have put
• Posture.
will discuss are of major importance.
their name on their paper, and to pass it to
• Hand position on the instrument.
Approach the rehearsal time as the most
the end of their row. I then collect the
• Neck strap adjustment on the saxo-
important part of your day. The students
papers and hand the stack, the teacher’s
phones.
will sense this level of importance, and it
answer key (also available for purchase from
• Peg height on the bass clarinets.
will be reflected in their rehearsal demeanor.
the publish er of the worksheet) and a col-
• Height and placement of the music
Simply put - if you care, they will care.
ored pen to one of my more studious band
stands.
2. Have Music Playing as Students Silently
members and ask them to take some time at
Enter the Rehearsal Room
home over the next two days or so to grade
5. Utilize Non-Verbal Cues
Do this every day! How can we ask stu-
and return them. (Be sure your school’s pri-
Students joined the band for one
dents to approach a refined, characteristic
vacy policies will allow student grading.)
reason – to play. The more time we can
individ ual instrument and ensemble sound
These simple work sheets can be utilized as
allow them with instruments to the face,
if they don’t fully understand what that
an added assessment tool to guide the
the happier they are.
sounds like? Have recordings playing as stu-
teaching and can also be counted for a grade
Work to establish a system of simple
dents enter. Ask them to silently set up their
if you’d like, WARNING - Be careful not
hand sig nals to save time. Examples are:
instrument and furniture, and listen for a
to turn your ensemble into a class.
• Boonshaft’s balance signal (triangle).
few minutes. When everyone is in place,
Remember, the students joined the organi -
• Number of fingers up for where to start
stop the record ing and begin your normal
zation because they enjoy playing their
in the music (example: 6 fingers up for
rehearsal. You will realize after a few
instru ment. Music theory, however, is cer-
start ing at measure six instead of saying
rehearsals how much faster students set up,
tainly a valid component of comprehensive
it aloud). As simple as this may sound,
and how much rehearsal time you have
musicianship, and can actually enhance the
you might be amazed to find how
therefore gained. Treat your students to the
skills of your ensemble.
much more attentive the musicians are
when they have to both watch and
best possible musical sounds as they enter
the rehearsal hall. Perhaps pieces can be
3. Start Rehearsal with this Breathing
listen.
Exercise (Boonshaft) Can you choose your words wisely
loaded onto an iPod for quick reference and
enough to say what needs to be said in five
plugged into the rehearsal hall stereo
Peter L. Boonshaft’s exercise for words or less? Boonshaft has his music edu-
system. See Useful Resources for sug gested
achieving the diaphragmatic deep-breath: cation stu dents work toward this, with the
listening.
• “Everyone stand up.” idea that you can achieve the same results
TEMPO 12 MAY 2009
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