enter your band room, and allow them only in your jazz band. 3. Reeds: I still recommend theVandoren, Purple box, strength 3. 4. If you do a lot of tuning exercises on F concert
(Remington etc.),don't be
surprised if your altos and baris sound sharp. The D is quite sharp on all brands. ConcertAis a much better tuning note.
Our final contributor, Professor Raymond Smith, is the woodwind instructor and Director of the Concert band at Troy University. In his thirty-plus years of teaching, he has guided students and bands at all levels, from elementary to graduate school.His advice is not somuch a “quick fix” from the podium, but some good long-term guidelines to help the development of the overall band program. He states: “I ama believer that good band sound, good woodwind tone, good intonation, and good technique begins with targeted listening. While most band directors preach to listen down to the bass section for intonation, they seldom do a
good job of teaching to balance to the woodwind section. The woodwinds have a limited dynamic potential.
If
woodwinds try and play louder than they can, lots of bad things happen like: bad tone, bad blend and bad intonation.While it is true that from time to time to achieve a specific effectwe should allowthe brass and percussion to dominate the band sound, most bands could raise their evaluation at festivals a whole level by just balancing to the woodwinds.
One reason for not playing transcriptions is a lack of understanding of the woodwind sound within the texture of the band. Many modern composers have replaced the traditional role of principal clarinet with principal percussion or lead trumpet. While many of
these
contemporary compositions are exciting, the woodwinds are often little more than chord organs. The woodwind choir is a beautiful blend thatwe can use to raise the whole level of our groups.
I encourage every band director to find ways to make every section an important part of the whole. We woodwinds understand that in the marching band we will never be as loud as the brass and percussion. BUT - we need our turn. We chose the concert band. Most band directors think nothing of hiring outside help for their dance line, percussion or flags, while the flutes, clarinets and saxophones are mostly left to figure it out on their own. I submit that playing a flute is a littlemore complicated thanmost flag routines. Let’s spend as much time and money on the clarinets as we do on the drum line.”
Rho Chapter of Phi BetaMu International Bandmaster Fraternity is committed to improving quality instruction and advancement of bands in this state. Please email
pemin@mac.com with any comments on this column or suggestions for future columns.
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