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Band Interpretation

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Band Interpretation Introduction - 2 Accents & Note Emphasis -51 Process of the Mind - 3 breathing - 3 Types of Accents - 51 Tone - 5 Non-Harmonic Tones and Tonguing - 6 Musical Devices - 53 Attack & Release - 6 Rhythm - 58 Legato Attack - 7 Interpreting Musical Figures-59 Staccato - 7 Cadences - 60 Releasing Notes - 8 Modulation - 63 Brass Tonguing - 8 Sequences - 64 Types of Brass 'tonguing - 8 Clarinet tonguing - 8 Quodlibet - 65 Soft & Breath Attacks - 10 Melody- 10 Pot Pourri - 65 Melody & its Properties - 10 Melodic intervals - Polychordal Style - 65 12 Urllne or Ursetz - 65 Scales - 12 Auffuhrungspraxis - 66 Triads & Scale Degrees Tones - 14 Slurs - 14 Freistimmig - 66 Phrasing & Slurs - 15 Consonance & dissonance - 66 Melodic Inversion - 16 Sight Reading - 66 Melodic Embellishments - 16 Cadenzas - 18 Following a Conductor - 68 Tuning - 18 What to Practice - 78 Intonation - 21 Instrumental Technique of Dynamics & Intonation - 23 Balance - 25 Instruments - 79 Section rehearsals - 26 Flute/Piccolo - 80 Warm up material its use- 27 Doubling or Clarinet - 84 subtracting - 2 Tutti Balance - 28 Saxophone - 89 Choral Balance - 29 Bassoon - 89 Off Beats & Accompaniment - 29 Phrasing - 30 Oboe - 90 Tempo - 33 Trumpet - 91 Tradition - 35 French Horn - 95 Tempo Terms - 35 Trombone - 96 Spacing & Playing Fast and Slow Tempos - 37 Baritone - 97 Dynamics - 39 Tuba - 98 Play Crescendo & Percussion - 99 Decrescendo - 40 Expression - 42 Bass Clarinet - 100 Nuances - 45 Forming of Musical ensembles - 101 Standard Rules - 46 Concert History - 101 Tenuto -46 Practicing - 112 Rubato - 47 Jazz & the Concert Band - 115 Marcato - 47 Playing Counterpoint - 129 Interpretation - 47 Alternating clarinet Fingering - 137 Musical Style - 48 Hymns - 142 Musical form - 48 Exec ices - 143 Fermatas - 50 Embouchures - 151 Scales - 152 Right & Wrong Way to Interpret Syncopation - 158 Chorales for warm-ups - 159 Form - 162 Clarinet Family - 163 'F' Attachment for Trombone - 164 Sax alternating fingering - 168 Tubas - 169 Trumpet alternate Fingering - 171 Brief History of Counterpoint - 172 The Composer - 173 2 INTRODUCTION This book has been written for the benefit of the band director to enable him/her to present an artistic performance. Often the training of a band conductor falls short in the many interpretive elements in presenting an artistic musical performance and in rehearsing a band for a performance. While there are classes in conducting which stress the physical necessities, the necessary musical interpretation skills are neglected. Even in practice teaching the student does not receive the necessary skills that usually only come with experience and the information that can be passed on by an experienced conductor. This book is written to give the new conductor the material needed to pass on to his band members on how to interpret their parts and the necessary techniques to present an artistic performance. Being proficient on one's major instrument will enhance the new conductor's understanding of how to play musically. Rehearsing a band is more complex and often the elements of music are not present in the new conductor's educational background. The book begins from how to start a tone and then on to how to present tones into a musical line and to interpret this line musically. By browsing the index one will see the many musical elements needed for a student to understand. Many of the statements should be understood as they are viewed through the students eyes and must be taken with moderate applications, not drastic ones. Many statements are given to begin to have the student think musically. What is felt by one artist may not be felt by another. Especially in the interpretation and expression of musical performance technics. Band directors have usually played in their own high school and college bands and have played many of the musical elements presented but may not realize that young students need to be explained to them the technics and the application of these technics of what is given in the music. The questions of how to play, when to play and what to play are not always completely explained or even written into the music. Also: Playing solo and playing in a band may have to be interpreted somewhat differently. There is also a section on training the jazz band. Many new directors have not had the exposure or experience during their college education in improvising or jazz playing but often are required to teach it as part of the curriculum. All student, whether in jazz or the classics should be taught the techniques of improvising, a classical technique that jazz adopted and used to its best advantage. 3 Process of the Mind in Beginning a Tone To first understand the physical process of what happens from the second the eye sees a note and until that note is stopped is a very marvelous procedure. First the eye sees the symbols on the page and relates them to the brain. Next the brain begins to fix the arms and hands and any other factors involved in the right position to begin the tone. The eye looks at the conductor's downbeat and goes through the similar procedure and the tone begins. The ear listens to the sound wave and relays it to the brain, whereupon the brain compares the sound and the other sounds around, decides whether it is out of tune or not, and makes the necessary corrections. This also shows the necessity of giving the band a clear and correct preparatory beat. Breathing There are two basic ways to breath: from the chest and shoulders, and from the diaphragm, a muscle located near the abdomen. The diaphragm is an inspiratory muscle, and is the sole agent in peaceful respiration. It is the muscular septum between the thorax and abdomen, and is composed of two portions, a greater muscle arising from the ensiform cartilage, and a lesser arising from the bodies of the lumbar vertebrae by two tendons. It assists the abdominal muscles, which are expiratory, powerfully in expulsion, each act of that kind being accompanied or preceded by a deep inspiratory breath. The use of the diaphragm for breathing is recommended by all wind teachers with no one in disagreement about the use of the diaphragm in breathing when playing a wind instrument. The breath may be controlled and supported best by using the diaphragm. More breath can be accumulated by using the diaphragm. This is the way that you breath when you are asleep and also the way that you took a breath when you were born into the world. The procedure of breathing this way can be explained best by thinking that you have a balloon inside your stomach. When you inhale the balloon will expand, when you exhale, the balloon will deflate. Also remember that the balloon expands equally around so it is with your middle section which should expand not only in front but also in the back and both sides. Posture is also of equal importance; think of what a balloon look like if you would grab it around the middle and picture your middle section being pinched this way. There are two kinds of breath: the long breath, and the short, quick breath. Many players will also include in this group a short 'sniff' breath but we will not as this kind will not be used except in rare cases. The procedure is not different between the two kinds, the important thing to remember being when to use one or 4 the other. Below are listed a few points to help you decide where to (and when to) use the long breath or the short one. Short phrases do not require the same amount of air as a long, legato "f" phrase. A shrilly run does not call for the same use of the breath as a quiet song like passage. Sometimes you will use the same amount of air but will vary its use. Remember the volume of air concentrated determines the possibilities of tension. Never play as much on one breath as possible. This makes for bad tone at the end of a phrase and you cannot catch a quick breath. This also makes bad releases with one person in a section holding on to a note while all the others take a breath. (Releases and use of breath can be heard in the accuracy of the release of a string instrument. It is good to have wind players play with string players for clean releases and phrase endings.) Breathing in proper places saves energy, gives ease, comfort and control. The end of a composition should be refreshing as the beginning. As phrases differ in length, take breaths according to phrase length. Breath marks should be decided upon and marked before any piece is given out. First impressions are important and the way a young musician plays a composition the first time will have a great influence on him. If marks are included for phrasing and breathing (long breaths are not needed for every phrase played) no bad habits will be begun and he will never play it wrong (or he will know the correct way). Good posture is important. This means both feet on floor and back not touching the back of the chair. Also remember don't bring your head and mouth to the instrument, first get your position then bring the mouthpiece to your lips. Don't wait until the last second to take a breath. On a measure rest, begin to take a breath no later than the 3rd beat (if 4/4 time) Notice the very first breath taken after beginning to play. Many times this first breath will not be sufficient and can effect the remainder of the composition. Remember to have members practice long tones for breath control (and for tone).
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