students continue to struggle with the same rhythms, perhaps varying the activity may do the trick. Have students create words to particular rhythms to help retain the patterns. This way, each student can contribute and avoids going through the motions in a counting system in which they are struggling to understand. Of course, do not forget to count or chant with the metronome. Students often omit this important step of counting or chanting the rhythmic patterns to a steady pulse which explains their struggle in understanding the placement of rhythms.


For passages in which students struggle with articulation, either style or speed, have the students sing. If they can verbalize it, they will be able to articulate it. Many successful band directors use this technique but it only works if the fundamental skills are present (even in singing). Emphasize energy in air speed when the students are singing through rhythmic patterns and styles. Students frequently forget to use fast air stream when they are focused on an articulated problem. Regardless whether band students intentionally go through the motions or not, band students need constant reminders to perform with the quality fundamental technique to ensure strong and consistent musical outcomes.


Figure 1


the foundations of good musicianship. Teaching tonality and structure from the beginning will help students understand how to create shapes. If students learn that every phrase must be shaped from the moment they start playing their instruments perhaps a stronger foundation will be built.


Another way to build musicality for your students is to make your conducting consistently expressive. If your conducting appears to the students as going through the motions, the students will do the same in their practice and performance. Practice and adjust to refine your conducting technique. Student attention to the conductor will improve if there are a variety of gestures. Record yourself during rehearsal and turn down the volume to see the effectiveness of your conducting gestures. Perhaps you may find you have a limited vocabulary, not enough emphasis on style, or just bad habits. You will improve as a conductor, musician, and teacher, and your students will improve as musicians individually and as an ensemble.


5. Practice While all of these above strategies may seem obvious to the skilled musician, students need varying activities with plenty of reminders to avoid playing through the motions. The most challenging part is setting up the band students for home learning success. Ideally, individual studio lessons would help instrumentalists with fundamental problems, but not all students come from families that have the means (or interest) to invest in private lessons. Home learning practice habits need to be taught in a manner where students can have a variety of routine activities for efficient home learning. Most students (when they practice) either play through the music continuously or only play the portions they enjoy


4. Musicality Every phrase in music must have a shape. If the musical performance does not have direction or shape, musicality is lost. I have witnessed countless band students play notes and rhythms well but lack musicality. Students have a difficult time creating shapes and end up performing just the notes and rhythms. Perhaps this happens because the students learn the piece without musicality in mind. Teachers must help their students in the learning process by insisting and reinforcing


ala breve


(i.e. the part they can play well and that is fun for them) which is not the most efficient use of home learning time. Create a checklist of activities with specifics of what to listen for during student home practice. For example, routine long tones and scales can have daily variations on duration lengths and patterns. When it comes to portions of the music being rehearsed, isolate a particular section and give specific instruction on how to practice at home...and put it in writing! Students will not take practicing at home seriously unless the band director takes it seriously. Be consistent in assigning home learning assignments and


holding the students accountable for performance improvements based on the checklists. The moment band directors assume students understand how to practice, frustration and disappointment are soon to follow.


Conclusion Routines are wonderful for band students but only if the efforts delivered within the routine activity does not affect the integrity of the music performance skills. Students have tendencies to forget fundamental technique when distracted or bored of repetition; hence go through the motions. Keep the students involved by reinforcing fundamental technique through all portions of rehearsal, including home learning. Whether the students are practicing their instruments individually or in a group setting, create a variety of meaningful activities where you can provide feedback for student growth. Going through the motions is not acceptable practice for playing in band, so insist on avoiding it by reinforcing high musical expectations throughout the year.


References Juchniewicz, J., Kelly, S. N., & Acklin, A. I. (2014). Rehearsal characteristics of “superior” band directors. UPDATE: Applications of Research in Music Education, 32, 2, 35-43. 1177/8755123314521221


Musco, A. M. (2010). Playing by ear: Is expert opinion supported by research? Bulletin of the Council for Research in Music


Education, 184, www.jstor.org.marie.converse.edu/stable/27861482


Worthy, M. D. & Thompson, B. L. (2009). Observation and analysis of expert teaching in beginning band. Bulletin of the Council for Research in Music Education, 180, 29-41. www.jstor.org.marie.converse.edu/stable/40319318


(49-64).


Susana M. Lalama is Assistant Professor of Music Education and conductor of the wind ensemble at Converse College in Spartanburg, South Carolina. She is an active band clinician, adjudicator, consultant, and music education researcher.


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