RETIRED MEMBER COLUMN... Buddy Hannaford, MMEA Retired Member Chair Less Stress and More Success: Advice From a Festival Sight-Reading Judge Phil Wood, guest author


BAND SIGHTREADING-KEY SIGNATURES


I was a band sight-reading judge at two different district music contests this past March and April. As band directors generally know, the sight reading segment of band performance is divided into two major categories: the six-minute instructional period and the band’s performance of the requisite selection. The results at each location were very similar. I noted that the reading of rhythms was improved but the acknowledgment of key signatures remained questionable.


In this article I shall address the key signature problem. It is probably the simplest to detect and the easiest to deal with. During the six-minute instructional period, I heard a wide variety of ways to alert students to key signatures and sections where the key signature changed. Some directors chose not to mention the key signature at all. Others merely mentioned key signatures very casually. For example, “Look at measure 28; there is a key change there.” Nothing further. No mention of how specifically this change affects various sections of the band. One needs to dig deeper and take this statement of an existing key change to a more meaningful level. For instance, follow the preceding fundamental statement with, “At measure 28 we change to F concert. Trumpets and clarinets, that means F-sharp. Concert


pitch people,


(especially flutes) that means look out for E-natural.” Find an E in the section, have them point to it, and


34 MISSOURI SCHOOL MUSIC


let the first chair demonstrate the correct fingering. Continue with, “Trombones, E-natural is in what position? See that E in measure 32? Point it out to your stand partner.” To merely state, “Watch out for the key change,” does not deal with the problem in sufficient depth to achieve the desired result. “Alto saxes have a C-sharp which tends to be flat.” Mention the measure number and move on quickly.


I must mention two remarkable performances that I witnessed. I heard a small band (under 30 players),


perform the requisite


sight-reading piece more accurately and more musically than any band at any level. The dynamics were well played, the phrasing was excellent and good balance was achieved with only two players on the bass line. Congratulations to those students and especially to their director. Fine playing and excellent teaching was quite evident. A different director used another successful technique during the instructional period. Before mentioning any


other technical aspect of the


band’s performance, this insightful teacher would say as a preface, (for example), “Clarinets put your finger on measure 28. Now count with me.” He had their attention and they responded positively. The problem was recognized, stated specifically and given a definite solution.


In conclusion, I wish to suggest that more directors take advantage of the “relaxed” rules for the 6-minute instructional period. Anything goes in the instructional period except actually producing sound on the instruments such as “air play,” and “sizzle,” techniques. Get into the details of the effects of certain keys on specific instruments. Give students experience with sight- reading in all keys. Start planning NOW for a less stressful more successful experience with your band when sight-reading at music contests!! [For more information about MSHSAA sight-reading rules and procedures, visit www. MSHSAA.org and review the music manual.]


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