college & university


back row) right next to each other. This option empowers the bass section to create a solid foundation for the band, especially if there is only one of each instrument. An- other configuration places the instruments mostly in separate rows but in a vertical line where they are able to listen from front to back more easily. Experimenting with one of the examples provided would also allow those with the lowest voices to be more aware of their intonation as a unit to ensure it settles in quickly. If intonation persists from this area of the band, the rest of ensemble will continue to struggle without a proper foundation.


To further enhance student listening in rehearsals, have soloists from different sections sit next to each other for a little while to become more aware of their counterparts. Sitting closer together than


normal will allow them to agree on style, pitch or phrasing with subtle nuances performed by the other performer that may be difficult with their traditional seat placement. Their musical partnership can become much stronger because they are now intimately aware of each other’s interpretation.


Another strategy that is highly effective is unorganized seating placement. With this approach, any student can sit anywhere in the ensemble as long as they are not next to their instrument. The benefits associated with this approach are plentiful because it challenges students to adapt to a new listening environment where they are the sole performer on their instrument in that area of the ensemble. The accountability level also changes for each player so it becomes imperative that they can suc-


cessfully perform their part, as they can no longer hide in the section sound. Lastly, one of the best things we can do in rehears- als is to stop conducting while letting our students continue to play. At first, you may be apprehensive about releasing control, and the ensemble may even fall apart without having a pulse provided. But with continued practice, this strategy forces the musicians to listen to each other without the safety net of the conductor providing everything for them. Ultimately, these strategies can help your students listen with greater clarity and participate more actively in the rehearsal process.


Michael Butler is director of bands at UW-Stevens Point.


Email: mbutler@uwsp.edu


Wisconsin Foundation for School Music President: Paul Heid, Heid Music, Appleton


President-Elect: TBA


Past President: Robert Berndt, Retired, Beecher-Dunbar-Pembine Schools


Secretary: Timothy Schaid, Executive Director, Wisconsin Foundation for School Music


Treasurer: James Byrd, President/CEO, Midwest Asset Management, Inc., Madison


Board Members: Robert Berndt, Retired, Beecher-Dunbar-Pembine Schools Jim Brandmeier, CEO, 180 Music, Madison Gregg Butler, Administrator, Eau Claire County Off Campus High School Paul Heid, Heid Music, Appleton Vicki Jenks, WYSO Percussion Ensemble Director, Wild Rose Sarah Jerome, Retired, Arlington Heights School District Elaine Mischler, M.D., Retired, Waunakee Marcy Peters-Felice, Principal, Waunakee Middle School Russ Rautmann, Executive Director, Engler Center, Chilton Elizabeth T. Russell, Russell Law


Richard Parks, Superintendent, Marathon Public Schools Ted Witt, Owner, Local-Mize Wisconsin, Waunakee


Wisconsin School Musician


Advisory Council: Linda Bergren, Retired, Madison


Rhea Myers, Attorney, Wheeler, Van Sickle & Anderson, S.C., Madison


James Schutz, Senior Financial Advisor, Statehouse Investments, LLC, Madison


Roger White, Retired, White House of Music, Inc., Waukesha


Richard W. Wolf, Emeritus Professor of Music, University of Wisconsin, Madison


Gerald Kember, Retired, La Crosse School District


Staff:


Timothy Schaid, Executive Director, schaidt@wsmamusic.org


Jamie Kember, Development Associate, kemberj@wsmamusic.org


Mackenzie Pitterle, Development & Marketing Associate, mpitterle@wsmamusic.org


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